S

S

S

S

S



        

‫أهدي هرا البحث الجامعٍ إلً ‪:‬‬ ‫والدٌ المحتسمين والمحبىبين‪ :‬الحاج حسن مسضٍ و‬ ‫الحاجت منىزة‬ ‫شكسا كثيسا إلً تسبيتكم و محبتكم‬ ‫[وجميع إخىتٍ فٍ البيت‬ ‫و فضيلت أساترتٍ‪،‬خاصت أستاذ محمد فيصل‪ ،‬الماجستيس‬ ‫زحمكم اهلل فٍ حياتكم‬ ‫وحبيـبتٍ التٍ تدافعنٍ فٍ الدزاست‪ :‬سيتٍ زشيدة‬ ‫وجميع أصدقائٍ فٍ شعبت اللغت العسبيت وأدبها ‪2003‬‬ ‫وشمال ئٍ المحبىبين‬ ‫شكسا إلً اهتمامكم ومساعدتكم جصاكم اهلل خيس الجصاء‬ ‫آمين‬

Genetic Structuralism


Happy Ending


‫ﻫ‬


The Theme Of Story The Setting Of Story The Character Of Story

Exposition Conflict Denouvement


M. Quraish Shihab, Tafsir Al-Mishbah, Cet. 1, Vol. VI, (Jakarta: Lentera Hati, . 2002) P: 377

Communicator Communicate Code of Communication

. M. Nur Kholis Setiawan, Al-Qur'an Kitab Sastra Terbesar, Cet. II, (Yogyakarta: eLSAQ Press, ) P:

Sainte Beuve

Mathew Criticism of Life

Arnold

Structuralis Signified

Signifier Genetic Structuralism



Swardi Endraswara, Metodelogi Penelitian sastra, (Yogyakarta: Pustaka Widyatama,

) H:

Plot Setting

Character




Qualitative Research

Quantitative Research

Suharismi Arikunto, Prosedur Penelitian; Suatu Pendekatan Praktek, (Jakarta: Rineka Cipta,

) H:

Naturalist Setting

Wrightsman

Observation

Seltiz Insightstimulating

Suharismi Arikunto, Prosedur Penelitian, (Jakarta: Bulan Bintang,

Cook

) P:

Jalaluddin Rahmat, Metode penelitian Komunikasi, (Bandung: PT. Remaja Rosda Karya, ) P: Moh. Nasir, Metode penilitian, (Jakarta: Ghalia Indonesia,

) P:

Deskriptif

Library Research

Zed Mestika, Methode Penelitian Kepustakaan, (Jakarta: Yayasan Obor, ) P:


Susastra

Sastra Literature

Sainte Beuve

Creative

Subjective

Descriptive

Objective

Internal External

Story

Short Story

Novel

Luxemburg

Plot Point of Structure and

Kenney Setting

Character

Style and Tone

View

Sumardjo

Theme

Technique

Theme

William Kenney, How to Analyze Fiction, http://www.fingersfollies.com/books/adeb/

, P: .htm

Fanani

Zainuddin Fanani, Telaah Sastra, (Surakarta: Muhammadiyah University Press, ) P:

Setting

Plot

.netWWW.Welatema

.

Exposition Denouvement

Conflict

Zainudin Fanani

Character

Central Character Peripheral Character

Com

WWW

http://www.fingersfollies.com/books/adeb/

.htm

Protagonist Antagonist

Tritagonist

Genetic Structuralism Genetic Structuralism


Swardi Endraswara, Metodelogi Penelitian sastra, (Yogyakarta: Pustaka Widyatama, ) P:

Homologi Vision du

Subject trans-individual monde Taine

Lucien Goldman

Nyoman Kutha Ratna, Teori, Metode dan Teknik Penelitian Sastra, (Yogyakarta: Pustaka Pelajar, ) P: Swardi Endraswara

.


Teeuw Genetik

a

Struktural

Tensional/Stressing coherent whole

:

Zainudin Fanani Jabrohim, Metodologi Penelitian Sastra, cet. Ke , (Yogyakarta: Hanindita Graha Widya,

) P:

http: //WWW. Altafsir.org

Quraish Shihab

The Theme Of Story

The Setting Of Story

Zainuddin Fanani

Happy Ending

The Plot Of Story

Novel

The Character Of Story

Central Character

Peripheral Character

Protagonist

Antagonist

Tritagonist

‫‪.‬‬ ‫‪.‬‬

‫‪ ،‬ص‪212 :‬‬

.WWW.

‫من‬ Ali4.com/vb/member.php?u=1 . .

. . .

.

.

. . . Quraish Shihab .

Denouvement

Conflict

Exposition

                                                                                                                                                                                        

                                                                                                                                                                                          

The Theme Of Story

،Quraish Shihab . .

The Setting Of Story

. .

Happy Ending

The Character Of Story

Central Character

Peripheral Character

Protagonist

Antagonist

Tritagonist

Exposition

 





 

                           

Conflict



Denouvement

Jealous

Tension Angry

Surprised

Sad Ending Happy Ending

Happy Ending

Genetic Structuralism Genetic Structuralism


Homologi

. Swardi Endraswara, Metodelogi Penelitian sastra, (Yogyakarta: Pustaka Widyatama, ) P:

Subject trans-individual Vision du monde Lucien Goldman

Lucien Goldman

Nyoman Kutha Ratna, Teori, Metode, dan Teknik Penelitian Sastra, (Yogyakarta: Pustaka Pelajar,

) P:

                  









    







 

               

                                    



 





 

Lucien Goldman

    





 

     

            











 

          





     

 

 

         

  

 











    





   







         

Happy Ending


Arikunto, Suharismi. Prosedur Penelitian; Suatu Pendekatan Praktek, Jakarta: Rineka Cipta, Arikunto, Suharismi. Prosedur Penelitian, Jakarta: Bulan Bintang, Chaer, Abdul. Psikolinguistik Kajian Tioretik, Jakarta: PT. RENIKA CIPTA, Endraswara, Swardi. Metodelogi Penelitian sastra, Yogyakarta: Pustaka Widyatama, . Fanani, Zainuddin. Telaah Sastra, Surakarta: Muhammadiyah University Press, Jabrohim, Metodologi Penelitian Sastra, cet. Ke , Yogyakarta: Hanindita Graha Widya, Mestika, Zed. Methode Penelitian Kepustakaan, Jakarta: Yayasan Obor, 2004 Nasir, Moh. Metode penilitian, Jakarta: Ghalia Indonesia, 1999

Quraish, Shihab M. Tafsir Al-Mishbah, Cet. 1, Vol. VI, Jakarta: Lentera Hati, 2002 Rahmat, Jalaluddin. Metode penelitian Komunikasi, Bandung: PT. Remaja Rosda Karya, Ratna, Nyoman Kutha. Teori, Metode, dan Teknik Penelitian Sastra. Yogyakarta: Pustaka Pelajar, Setiawan, Nur Kholis M. Al-Qur'an Kitab Sastra Terbesar, Cet. II, Yogyakarta: eLSAQ Press,

WWW.Welatema.net WWW Com http://www.fingersfollies.com/books/adeb/ http: //WWW. Altafsir.org; WWW. Ali4.com/vb/member.php?u=1 http://www.fingersfollies.com/books/adeb/

.htm

.htm

DEPARTEMEN AGAMA UNIVERSITAS ISLAM NEGERI MAULANA MALIK IBROHIM MALANG FAKULTAS HUMANIORA DAN BUDAYA Jalan Gajayana 50 Malang, Tlpn (0341 ) 551354 Faks (0341 ) 572533

BUKTI KONSULTASI Nama mahasiswa

:

Nim/fakultas

: 03310141 / Humaniora dan Budaya

Pembimbing

: Moh. Faishol , M.Ag

Judul

:

NO

TANGGAL

HAL YANG

TANDA

DIKONSULTASIKAN

TANGAN

.

Maret

Bab I

.

Maret

Bab I

.

Maret

Bab II Bab II

05 April 2010 Bab I-IV

16 April 2010 ACC

17 April 2010 Mengetahui Dekan Fakultas Humaniora dan Budaya

Drs. H. Chamzawi, M.Hi NIP.

S

Recommend Documents