A NARRATOLOGY ANALYSIS ON JUN CHIU’S CROP CIRCLES
A THESIS
BY: DINI OKTAVIA REG. NO. 160705015
DEPARTMENT OF ENGLISH FACULTY OF CULTURAL SCIENCES UNIVERSITY OF SUMATERA UTARA MEDAN 2020
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ACKNOWLEDGEMENT
First and foremost, a great thank and praise to the Almighty God, Allah
SWT for His blessing, love and guidance in my life that I could finished my thesis entitled “A Narratology Analysis On Jun Chiu’s Crop Circles”. Secondly, I would like to give my sincere gratitude to Dr. Budi Agustono, M.S., as the Dean of
Faculty of Cultural Sciences, for the facilities during my academic years in this faculty. Thirdly, I would like to give my sincere gratitude to Prof. T. Silvana
Sinar, M.A., Ph.D., as the Head of English Department, who has provided facilities for the authors to attend education and Rahmadsyah Rangkuti, M.A.,
Ph.D., as the Secretary of English Department, as well as my supervisor for his kindness, knowledge, patience, motivations, as well as his precious time for guiding me in writing and finishing this thesis. Furthermore, I would like to give my appreciation to Muhammad Yusuf, S.Pd., M.A., as my co-supervisor for his time, kindness, and attention and for tutoring me that I can accomplish writing this thesis. Your contributions to this are very priceless and valuable.
Moreover, I would like to express a deepest gratitude to my beloved parents. Your love, pray, moral support and spiritual advice are the most important thing in the world. Then, I would like to thank my brother and sister for the happiness and laugh that we share together. I also would thank to Pak Kirno as the administration staff at English Department for always helping me in preparing my file.
Last but not least, I would to give biggest thanks to my classmate in
English Literature A 2016, especially Cindy, Dea, Nisma and Alfi for always
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understanding me with all the stupid think I do and for the helps, motivations, spirits and laugh that I could finish this thesis. Then, I would like to appreciated for all the hard times and the unforgettable moments that we spend together everyday in about for years. Finally, the authors submit all to the Almighty God,
Allah SWT hopefully this thesis can be beneficial to the world of education and health.
Medan, 9th July 2020
Dini Oktavia Reg. No. 160705015
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ABSTRACT
This thesis entitled A Narratology Analysis on Jun Chiu’s Crop Circles. The purpose of this study is to find out the elements of narrative found and the function of narrator found in Jun Chiu‟s Crop Circles. The design of this research was qualitative design. The data of this study were in the form of picture there were 20 pictures taken from silent comic. The data obtained from Jun Chiu‟s Crop Circles were published in June 4, 2016. The data were collected through stages: finding out and determining, classifying and separating the pictures of Jun Chiu‟s Crop Circles which included into the components of narrative. Analysis of data qualitatively using the analysis phase of Miles, Huberman and Saldana: condensation, display and verification. The research result show the elements of narrative found in Jun Chiu‟s Crop Circles those are narrative mood (transposed speech-indirect style); narrative instance (narrative voice: heterodiegetic narrator, time of narration: simultaneous narration; narrative perspective: external focalization), narrative levels (embedded narrative, metalepsis) and narrative time (order: analepsis, narrative speed: ellipsis, frequency of events: singulative narration). The functions of the narrator found is the ideological function because the narrator wants introduce public policy.
Key Words: Narratology, silent comic, Crop Circles, Transposed speech, Ideological Function
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ABSTRAK
Skripsi ini berjudul: “A Narratology Analysis on Jun Chiu’s Crop Circles”. Tujuan dari tesis ini adalah untuk mengetahui unsur-unsur narasi dan fungsi narator pada komik tanpa teks Crop Circles karangan Jun Chiu. Desain penelitian ini adalah kualitatif. Data berupa gambar tanpa teks sebanyak 20 gambar yang diambil dari Crop Circles terbitan 4 Juni 2016. Data dikumpulkan melalui tahapan: mencari dan menentukan, mengklasifikasikan dan memisahkan gambar yang termasuk dalam elemen narasi. Analisis data secara kualitatif menggunakan fase analisis menurut Miles, Huberman dan Saldana: kondensasi, penyajian dan verifikasi. Hasil penelitian menunjukkan unsur-unsur narasi yang ditemukan di Lingkaran Tanaman Jun Chiu yaitu: narrative mood (transposed speech-indirect style); narrative instance (terdiri dari narrative voice: heterodiegetic narrator, time of narration: simultaneous narration; narrative perspective: external focalization), narrative levels (terdiri dari embedded narrative dan metalepsis) dan narrative time (terdiri dari order: analepsis, narrative speed: ellipsis, frequency of events: singulative narration). Fungsi narator yang ditemukan adalah fungsi ideologis karena penulis ingin memperkenalkan kebijakan publik lewat komiknya.
Kata Kunci: Narratologi, komik tanpa teks, Crop Circles, Transposed speech, Ideological Function
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TABLE OF CONTENTS
AUTHOR’S DECLARATION ...... i COPYRIGHT DECLARATION ...... ii ACKNOWLEDGEMENT ...... iii ABSTRACT ...... v ABSTRAK ...... vi TABLE OF CONTENTS ...... vii LIST OF FIGURES ...... ix
CHAPTER I : INTRODUCTION ...... 1 1.1 Background of the Study ...... 1 1.2 Problems of the Study ...... 4 1.3 Objectives of the Study ...... 4 1.4 Scope of the Study ...... 5 1.5 Significance of the Study ...... 5
CHAPTER II : REVIEW OF RELATED LITERATURE ...... 6 2.1 Narratology ...... 6 2.1.1 Definition of Narrative ...... 7 2.1.2 Element of Narrative ...... 8 2.2 Function of Narrator ...... 14 2.3 Silent Comic ...... 15 2.4 Related Studies ...... 17 2.5 Theoretical Framework ...... 20
CHAPTER III : METHOD OF RESEARCH ...... 22 3.1 Research Design ...... 22 3.2 Data and Data Source ...... 22 3.2.1 Data ...... 22 3.2.2 Data Source ...... 22 3.2.3 Data Collection ...... 22 3.3 Data Analysis ...... 23
CHAPTER IV : ANALYSIS AND FINDINGS ...... 26 4.1 Element of Narrative in Jun Chiu‟s Crop Circles . 26 4.1.1 Narrative Mood ...... 26 4.1.2 Narrative Instance ...... 33 4.1.3 Narrative Levels ...... 37
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4.1.4 Narrative Time ...... 39 4.2 Function of Narrator ...... 43 4.3 Findings ...... 43
CHAPTER V : CONCLUSIONS AND SUGGESTIONS ...... 45 5.1 Conclusions ...... 45 5.2 Suggestions ...... 45
REFERENCES ...... 46
APPENDIX
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LIST OF FIGURES
Figure 1.1 Ileana Surducan‟s silent comic A Game of Hide and Seek- Narrative Mood (Source: Fatihah, 2019) ...... 2
Figure 1.2 Jun Chiu‟s Crop Circles (Narrative Time-Order) ...... 4
Figure 2.3 Pak Tuntung (Source: mantanaja.blogspot.com) 17
Figure 2.1 Theoretical Framework ...... 20
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CHAPTER I
INTRODUCTION
1.1 Background of the Study
Semiotics is the study of signs and it is one of applied linguistic branches.
Signs take the form of words, images, sounds, odours, flavours, acts or objects but such things have no intrinsic meaning and become signs only when we invest them with meaning. Semiotics deals with the meaning or symbol or sign used as the message (Peirce, 1958). Chandler (2007:1-2) In Semiotics the Basics, stressed that semiotics is about visual signs. The sign can be drawings, paintings and photograph that also include words, sounds and body language. The combination of picture and words can create sign that have same interpretation in the reader‟s mind in general. Semiotics is concerned with everything that can be taken as a sign. Study semiotics is not only everything that refers to sign but anything that represent something else.
Narrative semiotics is one of part semiotics. Narrative semiotics discusses about sign relationships which is contained in narrative and one of studies in narrative semiotics is narratology or in other word is narrative theory (Marsen et al., 2003). Todorov (1977) state, narrative theory is concerned with the field study and analytical narrative text. This places the investigation of pieces of literary language and produces an understanding of the components having a very texture.
In narrative theory, a narrative is analysed from the points of view of its constituent component.
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Drawings and sequential images are an integral part of human expression dating back at least as far as cave paintings, and in contemporary society appear most prominently in comics. Through comics, the author expresses message to the reader and to beauty contain, sometimes the author uses explicit to enhance the meaning. Some authors added pictures and words in their comics, but how about readings comic without dialogue, just slide or only the pictures? It seems like watching the pantomime performance, no sounds only sign. The example of silent comic had taken from Fatihah‟s research in 2019 that analysed Ileana Surducan‟s silent comic A Game of Hide and Seek.
Figure 1.1 Ileana Surducan’s silent comic A Game of Hide and Seek- Narrative Mood (Source: Fatihah, 2019)
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The picture above is the first panel in Ileana Surducan‟s silent comic A
Game of Hide and Seek. There are six closures in this panel. Based on narrative mood, the element analysed is Distance. Among four points of distance, there is only one point found in Ileana Surducan‟s silent comic A Game of Hide and Seek, that is Transposed Speech, Indirect Style because the narrator tells the story without using texts or dialog (Fatihah, 2019).
In narrative instance is known to be the connector between narrative voice
(who is speaking), narration time (when story happen) and narrative perspective
(through whom are we perceiving). In narrative levels, variants of reading effects showed which are known traditionally as embedding. So, in narrative levels there are embedded narratives and metalepsis. In narrative times described how are stories presented in relation to the overall narrative in relation to the last results?
In narrative times there are order, narrative speed and frequency of events.
The writer wants to analyse narrative elements found in silent comics of
Jun Chiu‟s Crop Circles by using narrative theory proposed by Genette (1980).
According to him, there are four categories of narrative elements, such as narrative mood, narrative instance, narrative levels and narrative time. Narrative time is how the story presented with respect to the narrative as a whole, with respect to the final result. Narrative time consist of three kinds: order, narrative speed and frequency of events. One example of analysis narratology of the picture of Jun Chiu‟s Crop Circles by using Genette‟s theory focused on narrative time- order presented in the following picture.
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Figure 1.2 Jun Chiu’s Crop Circles (Narrative Time-Order)
The kind of Order that found in Jun Chiu‟s silent comic Crop Circles is analepsis because the narrator introduces the characters, shows the place and tells the events from the beginning of the story. Therefore, narratology theory is needed to make it easier for readers to understand silent comics.
1.2 Problems of the Study
The problems of this study are:
1. What are the elements of narrative found in Jun Chiu‟s Crop Circles?
2. What is the function of the narrator found in Jun Chiu‟s Crop Circles?
1.3 Objectives of the Study
Based on the problem of the study above, the objective of the study is:
1. To find out the elements of narrative found in Jun Chiu‟s Crop Circles.
2. To find out the function of the narrator found in Jun Chiu‟s Crop Circles.
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1.4 Scope of the Study
The writer only discusses about the elements of narrative and the functions of narrator as proposed by Genette (1980) found in all pages of Jun Chiu‟s Crop
Circles.
1.5 Significances of the Study
The writer expects this research give benefit to the readers theoretically and practically.
1. Theoretically
The results of the study are expected to increase knowledge and development
presents providing a look at the sign in an image in the silent comic.
2. Practically
a. This research will be advantageous for further researches who would like
to research with similar topic especially about narrative semiotics.
b. This research is expected to be beneficial through the analysis presented.
Silent Comics are very unique and make people interested to read. So, the
readers can add insight and can understand more deeply about it.
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CHAPTER II
REVIEW OF RELATED LITERATURE
2.1 Narratology
Narrative theory, or to use the internationally accepted term narratology, is the study of narrative as a genre. Its objective is to describe the constants, variables and combinations typical of narrative and to clarify how these characteristics of narrative texts connect within the framework of theoretical models (typologies) (Fludernik, 2009:8).
Prince (2012) believes narrative theory helps to show the structure of narrative, and practices something that illuminates temporality and human beings as temporal beings. Narrative theory has crucial implications for our self- understanding. Bal (1991:264) states narrative theory is the theory of narrative text. A theory is a systematic set of generalized statements about a particular segment of reality. The segment of reality, the corpus, about which narratology attempts to make its pronouncement consists of narrative text”.
In order to understand narrative theory or narratology's contribution to semiotics, it is important to grasp the distinction between its three fundamental entities: story, narrative and narration. The story generally corresponds to a series of events and actions that are told by someone (the narrator), and represented in some final form, producing a narrative. As a field of study, narratology looks at the internal mechanisms of narrative, the form taken by a narrated story
(Guillemette & Lẻvesque, 2018).
Narratological studies consist of two phases: the first is the classical phase, and the second is the post classical phase. “During its initial or classical phase,
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from the mid-1960s to the early 1980s, narratologist were particularly interested in identifying and defining narrative universals” (Meister, 2009, cited in Hune et al., 2009, p.329). The second phase in narratological studies is the post-classical phase. Narratology is not limited to one theory and discipline. From post-classical perspective, narratology is a discipline that is quite board in scope to be applied to other discipline.
2.1.1 Definition of Narrative
Narrative is a story which is linked to series of times. It deals with problematic events which lead to a crisis or turning point of some kind which in turn finds a resolution (Wellek & Warren, 1989:280). Narrative is a basic human strategy for coming to terms with time, process, and change (Herman, 2009:2).
Narrative is associated above all with the act of narration and is to be found wherever someone tells us about something: a newsreader on the radio, a teacher at school, a school friend in the playground, a fellow passenger on a train, a newsagent, one‟s partner over the evening meal, a television reporter, a newspaper columnist or the narrator in the novel that we enjoy reading before going to bed. We are all narrators in our daily lives, in our conversations with others, and sometimes we are even professional narrators (should we happen to be, say, teachers, press officers or comedians) (Fludernik, 2006:1).
Nash (1994:xi) holds a similar perspective toward narratives and says that narratives in one form or another permeate virtually all aspects of our society and social experience. Narrative forms are found not only in the context of literature but also in the recollection of life events, in historical documents and textbooks, in
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scientific explanations of data, in political speeches, and in day-to-day conversation.
Genette (1980:27) defines narrative in a limited sense as an act of storytelling addressed by a narrator to a narratee, or as the recounting of a sequence of past events. A narrative is comprised of three basic components: the story (the signified/the narrative content); the narrative (the signifier, that is, the statements that comprise the discourse in the text itself); and narrating (producing the narrative action/the entire real or fictional situation in which the action/plot of the narrative takes place).
According to Toolan (2001:2) narrative is a perceived sequence of non- randomly connected events, typically involving, as the experiencing agonist, humans or quasi-humans, or other sentient beings, from whose experience we human can learn. It seems that for Toolan the feature of event sequence is a necessary feature of a narrative. So, according to the writer narration is the act of retelling a story in the past to the reader or audience both in the form of words and pictures.
2.1.2 Elements of Narrative
1. Narrative Mood
Gennete (1980) states, that all narratives need to be synthesized (telling stories), because they cannot reach the mimetic illusion again (showing) by making the story real and alive. So, each narrative implies the narrator
(Guillemette & Lévesque, 2018:3). In narrative mood, there is element called as distance. Distance is useful for readers in order to specify the degree of precision exactly and specifically in a narrative and the accuracy given by the information.
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Does text shows narrative (telling what characters do) or a words narrative which tells what the character said or think (Genette, 1980:171-172): a. Narrative speech; the character‟s dialogues and actions are integrated into
narrative, and they are treated just like any other events (++ distant). b. Transposed speech, indirect style; the character‟s dialogues or movements are
reported by the narrator, which presents them with their interpretation
(+distant). c. Transposed speech, free indirect style; character‟s words or actions are
reported by the narrator but do not using subordinate conjunctions. d. Reported speech; the words of the character are quoted by the narrator word
per word (-distant).
2. Narrative Instance
The narrative instance is known to be the connector between (1) narrative voice (the one who speaks?), (2) narrative time (when it happens), (3) narrative perspective (by whom we are perceiving?). a. Narrative voice (who is speaking?)
Only the narrator permits signs of his existence appear in the narrative that he
tells, he able to accept a special status depends on how the story is made. In
addition, if the homodiegetic narrator is the hero of the story, or the
protagonist is automatically called as autodiegetic. b. Time of narrative (when story happens, is it relative to the story?)
The narrator will be frequent in a specific and exact temporal position relative
to the story narrative that he tells. Genette classified into four:
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1) Subsequent narrative; this is the most basic temporal appointment. What
happen in the past, the narrator tells it.
2) Prior narrative; what happen in the future, the narrator tells the story. It
often takes from a vision or predictions.
3) Simultaneous narration; instantaneously, the narrator tells the story or in
other words, the narrator tells the story at the present time.
4) Interpolated narration; this is a complicated combination between
simultaneous and subsequent narrative. The narrator tells what happened
during a day, having he experience that incident and the current event, he
concludes it. c. Narrative perspective (through whom are we perceiving?)
Genette makes difference between narrative perspective and narrative voice by
the last point of view that adopted by the narrator. This term is called
Focalization by Genette that he classified into three kinds:
1) Zero focalization; the characters know less than the narrator. The narrator
event know the facts about the protagonists, and their thoughts and
movements. It is called “omniscient narrator”.
2) Internal focalization; the knowledge between the narrator and main
character is same. However, the character can filter the information given
to the reader and he cannot report other thoughts about the character.
3) External focalization; the characters know more that than the narrator and
they pretend to act like a camera lens, follow the measure and movements
of protagonist character, but the character are disable to guess the
narrator‟s mind.
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3. Narrative Levels
Variants of reading effects show from switching narrative levels, which are known traditionally as embedding. In the dominant plot, the writer or the author of the narrative is able to include other short attached narrative, told by other narrative perspectives. This is commonly a general technique which adds diversion to narrative actions and increases the amount complexity in narrative. a. Embedded narrative
The main narrative or also referred to as the first level occurs at the
extradiegetic level. The stories told at this first level fill the second level
position, known as intradiegetic. If the characters had found in this story take
steps and tell some other narratives, narrative actions will also be at the same
intradiegetic level. However, the events told through the second level
narrative are metadiegetic. b. Metalepsis
Once in a while, the author also uses metapelsis, a process in which the
boundary between two levels of narrative (that is commonly resistant) is
violated, just so it intentionally fades the boundary between reality and fiction.
Metalepsis can be said as a way of playing by varying levels of narrative to
create a displacement or the effect of an illusion. This could be a case that a
character or the narrator from a level shows his existence/presence in a scene
at a higher level, while it does make sense to absolutely completely exclude
this possibility.
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4. Narrative Time
Genette (1980) also thinks of questions about narrative time: how are stories presented in relation to the overall narrative, in relation to the last results?
Once more, some methodological choices are suitable for authors. To reach the results that expected, they able to distinguish narrative sequences, narrative speed and frequency of events. a. Order
Order is the relationship between the sequencing or events in the story and
their arrangement in the narrative. A narrator may choose to present the events
in the order they occurred, that is, chronologically, or he can recount them out
of order.
The term that Genette uses to designate non-chronological order is anachrony.
There are two types of anachrony: 1) analepsis, the narrator tells after the
events that occurred earlier than the present point in the main story; and 2)
prolepsi, the narrator does anticipate the possible events which would happen
after the main plot of the story ends.
There are two factors that can affect analeptic and prolepsis: the range and
extent. Anachrony is able to pursue the past or the future, whether less or more
than the present event (that is, from the events in the story when the narrative
is broken to make room for an anachronistic): this temporal distance, we will
try to name the range of its daughters. That can cover a longer or less long
story.
Some functions in narrative can be owned by an anachronicst. While analytic
often take the role of explanation, the development of physical characters by
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connecting events from the past, readers can arouse the reader‟s curiosity by
revealing some facts that will emerge later. Pause in this chronology may also
only fulfil a different role, if the writer to disturb the classical representation
of classical novels to some degree. b. Narrative speed
The other effects of reading are able to be received by varying the speed of the
narrative. Genette uses theatre as its basis, where the ideal stories do have the
same duration as the staged narrative. Yet, in the texts of literation, the
narrator is able to speed up or to slow down the narrative in conjunction with
the events which are told. Genette (1980:94) lists four narrative movements
(NT = narrative time; ST = the story‟s time):
1) Pause: NT = n; ST = 0
The movements or events are disturbed to give a special space or room for
narrative discourse.
2) Scene: NT = ST
Narrative time is according to story time and dialogue is good example of
this.
3) Summary: NT≤ ST
Some parts of the story events are summarized in the narrative, creating
acceleration. Summary can be variable length.
4) Ellipsis: NT = 0; ST = n
The narrative says nothing about some parts of the story-event. c. Frequency of Events
Narrative frequency can be a good relationship between the number of times
when a moment happens in a story or narrative and how many times it is
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shown in the narrative. A system of relationships can be built between these
capacities for repetition of two moments or events that are told (from stories)
and narrative statements (from texts) – a system of relationships that we priori
multiplies two possibilities given on both sides: whether the event or moment
is repeated or not, or repeated statement or not. These four possibilities imply
four types of frequency relations, which can be arranged in three categories
(Ganette, 1980:114-116):
1) Singulative narrative: 1N/1S; tells what happened once. narrative/nS:
relates to n times what happens in n times.
2) Repeating narrative: narrative/1S; tells more than once what happened
once.
3) Iterative narrative: 1N/nS; tell one time what happened several times.
2.2 Function of Narrator
In his literary works, the narrator has an important role to decide what is the story about, where and when the story happens, what are the messages that want to be conveyed to the reader, and so on. Genette (1980:255-256) lists five functions of the narrator that also reveal the degree to which the narrator intervenes in his narrative, based on the desired degree of detachment or involvement:
1. The narrative function
This is the basic one, anytime someone has a narrative, this function is
assumed by the narrative event it is in the text or not.
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2. The directing function
The narrator shows directional functional when he interrupts the story to
comment on the organization or text articulation.
3. The communication function
The narrator addresses narrate directly to braid or preserve contact with him.
4. The testimonial function
The truth of the story is ensured by the narrator, the level of narrative
accurance, event determination, the originality of information, and so on. This
function also has a role when the narrator expresses his ideas about the story,
the effective correlation which he has with him.
5. The ideological function
The story will be acquainted by the narrator with the purpose to introduce
educative message or public policy in the story.
2.3 Silent Comics
Gavigan & Tomasevich (2011:6) concludes that comic is a medium of literature that integrates pictures and words and arranges them cumulatively to tell a story or convey information which can be humorous, mysterious, etc. This definition adds the idea of comic being literature and highlights its cumulative nature. McCloud (1993:9) defines comic as juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.
Silent comics, also known as wordless comics, are comics without text in captions or word balloons. Silent comics are not strictly silent, because they often
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include sound effects in various forms such as pictographs in word balloons. One could say that silent comics are soundless in the same way that silent film is soundless, namely that while they do not include verbal dialogue, they show or imply sound in numerous ways because the worlds they represent are not silent
(Postema, 2016:i).
One example of a comic strip in Indonesia is Pak TunTung, which appeared in Analisa Daily on March 23, 1973 and has been published every day since then. Until now people are still very much awaited, both young and old. Pak
Tuntung comic is a pantomime strip (without words) created by Basuki (Hu Wei
Tian). The character of Pak Tuntung was also created very politely. His humor is far from sensitive issues such as religion and race. Pak Tuntung is anti-crime, likes to criticize, cares for the environment and is afraid of his wife.
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Figure 2.3 Pak Tuntung (Source: mantanaja.blogspot.com)
2.4 Related Studies
The writer took some related studies from previous research to find the differences among the researchers, those were:
1. Garcia & Salaverrí (2019): “Multimedia news storytelling: Semiotic
narratological foundations”. Article. Universidad de Valladolid Facultad de
Filosofía y Letras Plaza del Campus Universitario and Universidad de
Navarra Facultad de Comunicación Departamento de Proyectos Periodísticos
Edificio Ciencias Sociales, Spain.
The difference between this article with this research those are this article
analyzes a transdisciplinary foundation of multimedia news storytelling, based
on semiotics and narratology. This article used discipline contributes the
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Genette‟s concept of paratext while this research will use Genette‟s theory
about elements of narrative.
2. Fatihah (2019): An Analysis of Ileana Surducan‟s Silent Comic A
Game of Hide and Seek. The University Institutional Repository. University
of Sumatera Utara.
The difference between this article with this research those are the object this
research is Crop Circles by Jun Chiu. The similities of both are in theory used
(Genette‟s theory) and the kind of comic (silent comic).
3. Panic-Cidic (2018): “Character Analysis and Cognitive Narratology Why You
Cried at the End of the Last of Us”. Article. RWTH Aachen University,
Germany.
The difference between this dissertation with this research those are this article
analyzes narrative elements in the characters of video games by using
blending theory which is developed by Gilles Fanconnier and Mark Turner.
meanwhile this research analyses elements of narrative in silent comic of Jun
Chiu‟s Crop Circles by using Genette‟s theory.
4. Durnajkin (2017): “Narratology and the Representation of Character‟s Mind in
Grief in Simon Stephen’s Sea Wall and One Minute”. Dissertation. Ghent
University, Gent, Belgium.
The difference between this dissertation with this research those are this article
aims to look at the stratagems that generate inferences about character‟s
mental life in plays meanwhile in this research the to look elements of
narrative in silent comic. This dissertation and try to distinguish the different
narratological levels in plays that have an influence on the representation of
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character‟s mind meanwhile this research try to find out the elements of
narrative in silent comic of Jun Chiu‟s Crop Circles.
5. Ahmadian (2015): “A Narratological Study and Analysis of: The Concept of
Time in William Faulkner‟s “A Rose for Emily”. Department of English
Language and Literature, Faculty of Humanities, Arak University, Iran.
The difference between this article with this research those are this article
aims to provide insights about the time shift processes in this short story A
Rose for Emily based on Genette‟s two fundamental dichotomies of „story
time‟ and „discourse time‟ and Genette‟s concept of time which is classified
into categories of order, duration, and frequency. While this research will
analyze the elements of narrative found in silent comic of Jun Chiu‟s Crop
Circles and the functions of the narrator found in silent comic of Jun Chiu‟s
Crop Circles by using Genette‟s elements: narrative mood: (distance);
narrative instance (narrative voice, time of narration, narrative perspective),
narrative levels (embedded narratives, metalepsis) and narrative time (order,
narrative speed, frequency of events).
6. Pavelka (2013): “An Interpretative Model, and A Narrative Analysis as An
Interpretative Key of Basic Teaching Tools in Textbooks and in Data-Video
Presentation-Static Visual Texts”. Faculty of Social Studies, Masaryk
University, Czech Republic.
The difference between this article with this research those are this article
analyses interpretation of static visual image texts-phone, fine-art paintings,
illustration and posters that have become the basic teaching tools in textbooks
or video data presentation. While this research will analyze the elements of
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narrative found in silent comic of Jun Chiu‟s Crop Circles and the functions
of the narrator found in silent comic of Jun Chiu‟s Crop Circles by using
Genette‟s elements.
6.1 Theoretical Framework
This research starts by having some understandings on semiotics and narratology theory or concept. This research analysed the elements of narrative found in silent comic of Jun Chiu‟s Crop Circles and its functions. It shows in the following figure.
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Jun Chiu‟ s Silent Crop Circles Comic
Narratology Analytical Elements Analyzed: (Genette, 1980) categories 1. Narrative Mood: Distance 2. Narrative Instance: a. Narrative voice b. Time of narration c. Narrative perspektive 3. Narrative Levels: a. Embedded nassatives b. Metalepsis 4. Narrative Time a. Order b. Narrative speed c. Frequency of Events
Analysis and Findings
Figure 2.1 Theoretical Framework
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CHAPTER III
METHOD OF RESEARCH
3.1 Research Design
The design of this research was qualitative design. It was reasonable because of the data in this study were qualitative data. According to Miles,
Huberman and Saldana (2014:15), qualitative data are in the form of words rather than numbers. Qualitative data are attractive. They are a source of well-grounded, rich descriptions and explanations of processes occurring in local contexts.
3.2 Data and Data Source
3.2.1 Data
The data of this study were in the form of picture there were 20 pictures found in silent comic.
3.2.2 Data Source
The data source of this study were 20 pictures found in Jun Chiu‟s Crop
Circles that was published in June 4, 2016 (oBORNo, 2016) and taken by running a Google search of various keywords related to Jun Chiu‟s Crop Circles.
3.3 Data Collection
Data in this study were collected from the pictures of Jun Chiu‟s Crop
Circles by the following procedures:
1. Finding out and determining the pictures in Jun Chiu‟s Crop Circles.
2. Grouping the data related to the problem.
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3. Classifying the components of narrative and functions of the narrator in the
pictures of Jun Chiu‟s Crop Circles
4. Separating the pictures of Jun Chiu‟s Crop Circles which included into the
components of narrative and functions of the narrator.
3.4 Technique of Data Analysis
In this research, the data gathered were analyzed by the descriptive method with qualitative analysis by Miles, Huberman and Saldana (2014) with four phases of data analysis. The four thesis phases of data analysis were data collection, data condensation, data display and conclusion which was to draw or verify.
Data Data Collection Display
Data Conclusion: Condensation Drawing/Verifying
Figure 3.1 Component of data analysis: Interactive Model Sources: (Miles, Huberman and Saldana, 2014)
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3.4.1 Data Collection
Data collection means how data were collected in this research that has been explained in the previous subchapter.
3.4.2 Data Condensation
Miles, Huberman and Saldana (2014) state that data condensation refers to the process of selecting data, focusing, abstracting, simplifying and transforming the data that appear in written up field notes or transcription. The data condensation in this research are: a. Selecting
In choosing for the research, a researcher should do it selectively, which
determines dimensions are more important which relationships may be more
meaningful and consequently, what information can be collected and analysed.
For this research, the writer the data related to the problem of this research,
those are elements of narrative and function of the narrator in silent comic, Jun
Chiu‟s Crop Circles (2016). b. Focusing
Focusing the data is a form of pre-analysis. This is step is a continuation of the
data selection. The writer limit the data and only focuses of the selecting data,
that is silent comic entitled Jun Chiu‟s Crop Circles (2106) as the object of the
data. c. Abstracting
Abstracting is to summarize the data of the research to get the important part
of the data mentioned and to get the data with suitable qualifies to be analysed
with the theory proposed by Genette (1980).
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d. Simplifying and Transforming
The data in this research is further simply and transformed in various ways,
such as through rigorous selection, by summary or short description and
transforming the data into a broader pattern.
3.4.3 Data Display
Data display is used to draw the conclusion from the mass of data. The data display of this research is presented in the form of narration.
3.4.4 Verification and Data Drawing
In this research, the writer did the data condensation which is in the forms of pictures in the silent comics. The steps of analysing the data, are:
1. Reading and understanding material and references about the elements of
narrative and function of the narrator.
2. Analysing the pictures in the silent comic based on the theory of Genette
(1980) about elements of narrative and function of the narrator.
3. Classifying the pictures into elements of narrative and function of the narrator.
4. Making conclusion.
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CHAPTER IV
ANALYSIS AND FINDINGS
4.1 Element of Narrative in Jun Chiu’s Crop Circles
Genette (1980) divides elements in narrative into 4 types those are narrative mood, narrative instance, narrative levels and narrative time. The results of this study are based on the type of Genette‟s element described below.
4.1.1 Narrative Mood
All the pictures in Jun Chiu‟s Crop Circles based on Narrative Mood analysis is Distance, that is Transposed Speech-Indirect Style because the narrator tells the story without using text or dialogues. The expressions and acts of the characters which imply their words described in the table below:
Figure 1:
This is the first picture that applies the Transposed Speech- Indirect Style. This is as the opening of the Jun Chiu‟s Crop Circles story. Figure 1 shows the night time atmosphere at a place where a woman stands beside her dog. They were seen staring in astonishment at the bright light in the sky.
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Figure 2: Figure 2 shows the atmosphere is still dark and the little woman who is still accompanied by her dog uses a flashlight to highlight a strange creature that they find out of a kind of plane that looks strange in shape. Figure 3: Figure 3 shows that it turns out that the strange creature found by the little woman and her dog is a type of alien and the alien was injured in the chest. The little woman brought the alien to the house of her friend, a tall, fat adult man and there was a conversation between them. Figure 4: Figure 4 shows the friendship between the alien and the little woman, dog and fat man. They look mingle and touch with pleasure. The alien dialogues with the dog and is seen by the woman while the fat man is lying on his back staring at the blue sky while his lips pinch a blade of grass.
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Figure 5: Figure 4 shows a stocky, black- eyed burly man standing with his right hand showing a letter. This man is a security party who is looking for or rather hunting alien who have become close friends and are at the woman's house. Figure 6: Figure 6 shows the process of capturing alien and their friends. Some men like the security forces handcuffed the woman and her fat friend. The other man put a firearm at the alien who stood up raising their hands in surrender. Figure 7: Figure 7 shows how the dog was very fierce and want to save the alien. The dog immediately ran towards a man who wanted to shoot the alien and bite his shoulder until he was in pain and the pistol he was holding fell.
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Figure 8: Figure 8 shows, the man immediately responded to the dog‟s bite by firing bullets at the dog until the dog lay and bled. The man finally did not shoot at the alien because he wanted revenge against the dog and the dog was the man‟s initial target. Figure 9: Figure 9 shows the woman was very surprised when she saw her dog that was hit by a terrible shot. The eyes and mouth of the woman looked very worried about her dog and she had never tought would happen like that.
Figure 10: Figure 10 shows several men pointing weapons at alien. Their facial expressions were so cruel and violent with the action of getting ready to spew a bullet crashing into the alien's body.
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Figure 11: Figure 11 shows alien‟s expression very angry and his eyes turn red and circle. Because his body is perforated due to being hit by gun fire.
Figure 12: Figure 12 shows the alien who suffered many gunshot wounds stood tall and visible blood from his body scattered in all directions. He seemed to let out his anger and superhuman strength.
Figure 13: Figure 13 shows the woman wept for her dog which was shot dead by a man because he was attacked and bitten by the dog when he shot the alien. Her fat friend is sad and spreading while staring at the dog.
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Figure 14: Figure 14 shows the alien came to them and he saw the dog that had died because it wanted to help him. He gave a life through his shining hand to the dog. The woman and fat man looked at alien with hope her dog would come back to life.
Figure 15: Figure 15 shows the alien moving up into the sky leaving his friends on earth. The departure of the alien was followed by a sincere gaze of the woman and her fat male friend. Especially the woman looked very sad and objected to being left by the alien. Figure 16: Figure 16 shows the woman looking at their photo with her dog, her fat friend and the alien. This moment shows how long the woman missed the alien.
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Figure 17: Figure 17 shows one night the woman sitting alone outside and suddenly visited by the alien. He was so surprised and did not believe it.
Figure 18: Figure 18 shows the woman's dog sitting staring up at the sky, towards the departure of the alien carrying his master. The dog was so sad and seemed unwilling to leave his master. Figure 19: Figure 19 shows the scene of the woman and the alien kissing in the sky floating in the dim light of the night. A scene that shows how happy this couple, the human couple of earth and extraterrestrials from outside the earth.
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Figure 20: Figure 20 shows the last story of this comic. The woman leaned on the shoulder of alien. It seems that they very happy and live together.
4.1.2 Narrative Instance
The narrative instance consist of narrative voice (the one who speaks), narrative time (when it happens) and narrative perspective (by whom we are perceiving).
1. Narrative Voice
Narrative voice is the first element in narrative voice, which talks about who is speaking or who tells the story. The type of narrative voice found in Jun
Chiu‟s Crop Circles is Heterodiegetic Narrator because the characters that appear vary and each character tells everything through their actions and the writer does not appear in the story.
2. Time of Narration
Time of narration talks about when the story happens and it can be classified into four subsequent narrative (what happen in the past); prior narrative
(what happen in the future); simultaneous narration (what happen at the present time); and interpolated narration (combination between simultaneous and subsequent narrative). The type of time of narration found in Jun Chiu‟s Crop
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Circles is Simultaneous because this comic the plot keep moves forwards. It can be proved below.
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3. Narrative Perspective
Narrative perspective tells about the point of view (focalization) and it can be divided into three kinds: zero focalization, internal focalization and external focalization. So, the kind of narrative perspective found in silent comic of Jun
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Chiu‟s Crop Circles is external focalization because the narrator does not tell everything about the story but lets the characters show the story by their action.
4.1.3 Narrative Levels
Narrative levels are divided into two kinds: Embedded Narrative (focus on the levels of the story) and Metalepsis (focus on variations in narrative levels).
Embedded Narrative consists of three levels: extradiegetic level, the intradiegetic level and metadiegetic level. The analysis of embedded narrative and metalepsis presented below:
Elements Analysed
Data Embedded Narratives Metalepsis
Figure 1: In this Metalepsis is the picture found way when the extradiegetic level, character comes because this is into the next level. beginning of story. It So in this figure, is proved from the a doesn't contain woman and her dog metalepsis because see a bright light in It is just a the sky. beginning of story.
Figure 2: This is intradiegetic level. Because the woman looks surprised when she saw something. This step tells the next level position which suitable with intradiegetic level understanding.
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Figure 3 and 4: This is The picture, extradiegetic level. contains metalepsis
This picture is not the the character has beginning of the story, faced the next it seems from the level. narrator shows the characters. The reader can see that the shadow in the first picture is not real human, but Alien. They looks doesn‟t afraid and join with their and they feels very happy.
Figure 9: This is This picture intradiegetic level. contains
Because the picture metalepsis. tell the next level of Because this the story which reader picture keeps move can see the eyes and into the next level. mouth of the woman looked very surprised. Suddenly she saw her dog was shot.
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Figure 14 and 20: This picture still in intradiegetic level. Because this picture tells the next level of the story which the reader can see that who could save that the woman‟s dog. Alien came and gave
life to the dog.
In this picture contains metadiegetic level. Because this last even of this story which told by narrator, as the reader can see that the woman seems very happy and live together.
4.1.4 Narrative Time
Narrative time is how the story presented with respect to the narrative as a whole, with respect to the final result. Narrative time consist of three kinds: order, narrative speed and frequency of events.
1. Order
Order is the relationship between the sequencing of events in the story and their arrangement in the narrative. Order consists of two kinds: analepsis and prolepsis. The kind of Order found in Jun Chiu‟s silent comic Crop Circles is
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analepsis because the narrator introduces the characters, shows the place and tells the events from the beginning of the story. This is evidenced by the following picture.
Through the picture above, the author presents three characters namely a woman, a dog and extraterrestrials namely alien. The author also displays the location of the meeting between the three of them. It can be said that the writer presents the story chronologically from the start.
2. Narrative Speed
Narrative speed is the duration of movement of interwoven events in a narrative. The ideal stories do have the same duration as the staged narrative.
There are four the list narrative movements: pause (there is space or room for narrative discourse), scene (there is narrative time according to story time), summary (there is summarized of the narrative) and ellipsis (there is no explanation about story). The kind of narrative speed found in Jun Chiu‟s silent comic Crop Circles is Ellipsis because the data of this research is silent comic which has wordless and no text. This can be proven in the following figure.
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As the definition of ellipsis, the narrator absolutely says nothing to tell what happened in the story, through the pictures as the representation of the text, the reader can understand what the narrator actually tells about.
3. Frequency of Events
Narrative frequency can be a good relationship between the number of times when a moment happens. A system of relationships can be built between these capacities for repetition of two moments or events. There are four types of frequency relations: Singulative narrative (tells what happened once), Repeating narrative (tells more than once what happened once) and Iterative narrative (tell one time what happened several times). The type of frequency of events found in
Jun Chiu‟s silent comic–Crop Circles is only Singulative Narration, it can be proved from the picture below:
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From the picture above, it can be seen that the Alien found by the woman and he was injured. His action happens in one times, based on this reasons, the writer chooses this picture contains Singulative Narration.
4.2 Function of Narrator
There are five functions of the narrator: The narrative function (this function is assumed by the narrative event it is in the text or not), The directing function (narrator interrupts the story to comment), The communication function
(narrator addresses narrate directly to braid or preserve contact with him), The testimonial function (the narrator expresses his ideas) and The ideological function (narrator introduce educative message or public policy in the story).
The function of narrator in silent comic–Crop Circles is The ideological function because he wants introduce public policy. The narrator, Jun Chiu wants to convey education to the public that there are other creatures outside of humans that deserve to be respected. The author reasoned that a loving relationship can be established between humans, animal and extraterrestrials. It is proved from how
Jun Chiu weaves a love story between a girl and an alien who gets an obstacle from the security forces where this story takes place with a happy ending.
4.3 Findings
After analysing the narrative elements and the narrator's function found in silent comic of Jun Chiu‟s Crop Circles, then, the research findings are summarized as follows:
1. Narrative elements based on Genette's theory found are:
a. Narrative Mood: only Transposed Speech-Indirect Style.
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b. Narrative Instance:
1) Narrative Voice: Heterodiegetic Narrator
2) Time of Narration: Simultaneous narration
3) Narrative Perspective: external focalization
c. Narrative Levels: Embedded Narrative, Metalepsis
d. Narrative Time:
1) Order: analepsis
2) Narrative Speed: Ellipsis
3) Frequency of Events: Singulative Narration
2. The functions of the narrator found in Jun Chiu‟s Crop Circles is the ideological function because he wants introduce public policy.
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CHAPTER V
CONCLUSIONS AND SUGGESTIONS
5.1 Conclusions
Based on the findings of the research about narrative elements and the narrator's function in silent comic of Jun Chiu‟s Crop Circles, it can be concluded:
1. The elements of narrative found in Jun Chiu‟s Crop Circles those are
narrative mood (transposed speech-indirect style); narrative instance
(narrative voice: heterodiegetic narrator, time of narration: simultaneous
narration; narrative perspective: external focalization), narrative levels
(embedded narrative, metalepsis) and narrative time (order: analepsis,
narrative speed: ellipsis, frequency of events: singulative narration)
2. The functions of the narrator found in Jun Chiu‟s Crop Circles is the ideological function because he wants introduce public policy.
5.2 Suggestions
In line with the conclusions of the research results, the following suggestions are proposed:
1. Further researcher is expected to further expand the study of narratology with
different objects.
2. The findings of this study may become input and reference material for those
who need to be associated with narrative studies.
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APPENDICES
CROP CIRCLES BY JUN CHIU
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