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Defamiliarization in Gabriel Garcia Marquez' S One Hundred Years of Solitude

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Defamiliarization in Gabriel Garcia Marquez' S One Hundred Years of Solitude DEFAMILIARIZATION IN GABRIEL GARCIA MARQUEZ’ S ONE HUNDRED YEARS OF SOLITUDE AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By STEPHANIE HARSINTO RUKMI Student Number: 014214104 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 2 DEFAMILIARIZATION IN GABRIEL GARCIA MARQUEZ’ S ONE HUNDRED YEARS OF SOLITUDE AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By STEPHANIE HARSINTO RUKMI Student Number: 014214104 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 i 5 Fernanda, TTHHEE other hand, looked for it vain ALONG the paths of her Every Day without knowing that the search for lost things is hindered by ROUTINE habits and that IS it is so difficult to find them (Gabriel Garcia Marquez, 1998: 265) How Long Before I Get In? Before It Starts, Before I Begin? How Long Before You Decid ? Before I Know What It Feels Like? Where To, Where Do I Go? All That Noise, And All That Sound, If You Never Try, Then You’ll Never Know. All Those Places I Got Found. How Long Do I have To Climb, And Birds Go Flying At The Speed Of Sound, Up On The Side Of This Mountain of Mine? To Show You How It All Began. Birds Came Flying From The Underground, Lo If You Could See It Then You’d Understand, k Up, I Look Up at Night, When You See It Then You’ll Understand. Planets Are Moving At The Speed of Light. Climb Up, Up In The Trees, All Those Signs, I Knew What They Meant. Every Chance That You Get, Some Things You Can Not Invent. Is A Chance You Seize. Some Get Made, And Some Get Sent. How Long Am I Gonna Stand, Birds Go Flying At The Speed Of Sound, With My Head Stuck Under The Sand? To Show You How It All began. I’ll Start Before I can Stop, Birds Came Flying At Before I See Things The Right Way Up. he Underground, If You Could See It Then You’d Understand, Ideas That You’ll Never Find, When You See It Then You’ll Understand. All The Inventors Could Never Design. The Buildings That You Put Up, Japan And China All Lit Up. The Sign That I Could Not Read, Or A Light That I Could Not See,(Speed of Sound by Chriss Martin from ColdPlay) iv 6 This Undergraduate Thesis is dedicated to My beloved Parents, Grandma, & My dear sister, Ck v 7 ACKNOWLEDGEMENTS My greatest gratitude goes to my Lord, Jesus Christ, and to His mother, Virgin Mary, for the health and spirit. I thank for the Lord’s support through the great concerns shown by my beloved family: my father, Martoyo Marcus, my mother, Vincentia Sonny, and my dear sister, Fransiska Jayanti M.A.R. I thank them for the prayers, supports, cares, and the motivation that keep me going on. I am greatly indebted to my advisor, Dra. Agatha Bernadetha Sri Mulyani M. A., for her corrections, helpful suggestion, and attention. An enormous gratitude goes to my co-advisor Gabriel Fajar Sasmita Aji S.S, M. Hum for the corrections, sugestions, and especially for the time. My gratitude goes also to E. Arti Wulandari, M.A., my previous advisor, whose advice has helped me in finding my topic, to Drs. Hirmawan Wijanarka, M. Hum., for his assistance on behalf of miss Sri, and to Dra. Theresia Enny Anggraini, M.A., my examiner, thank you for the helpfull corrections and suggestions. Life in Santa Dharma has united me with friends, whose supports have accompanied me throughout my study. Therefore, I thank my dear friends: X- antie, Imel, Lia, Petriza, Fonny (dear stranger), Deny, Monda, Kristin O2m, Kristin Goprek, Lilian, and to my overseas friends: Desi Mulyani, Fransiska Ika, Lio, and Monique, for the supports, and to my relatives: My Grandmother, Mb Lastri, and cheery Hanol. Last but not least to the generation 2001 of English Letters Department and all the staff at the secretariat and library. Stephanie Harsinto Rukmi vi 8 TABLE OF CONTENTS TITLE PAGE.....................................................................................................…. i APPROVAL PAGE……………………………………………………………… ii ACCEPTANCE PAGE.......................................................................................... iii MOTTO PAGE…….................……………………………………………….… iv DEDICATION PAGE…………...…………………………………………….... v ACKNOWLEDGMENTS……………………………………………………..... vi TABLE OF CONTENTS……………………………………………………….. vii ABSTRACT……………………………………………………………….......... ix ABSTRAK……………………………………………………………………..... x CHAPTER I INTRODUCTION……………………………………………… 1 A. Background of the Study…………………………………………………... 1 B. Problem Formulation………………………………………………………. 6 C. Objectives of the Study……………………………………………….......... 7 D. Definition of Terms…………………………………………………........... 7 CHAPTER II THEORETICAL REVIEW…………………………………... 9 A. Review of Related Studies...……………………………………………….. 9 B. Review of Related Theories…………………………………………….…. 11 1. Theory on Form………………………………………………...……… 11 2. Theory on Defamiliarization……………………………………..……. 12 a. Defamiliarization at the Level of Perception…………………….... 13 b. Defamiliarization at the Level of Language……………………..... 14 i. Metaphor…………………………………………………….… 17 ii. Simile……………………………………………………….…. 19 iii. Parallelism……………………………………………….….… 19 c. Defamiliarization at the Level of Narrative Structure..…….……... 19 i. Foreshadowing..……………………………………………....... 21 ii. Flashback……………………………………………………..... 21 d. Defamiliarization at the Level of Literary Genre………………..... 21 i. Theory on Convention …………………………………….…... 22 ii. Theory on the Convention of Realism……………………….... 23 3. Theory on Literariness…………………………………………….…... 25 4. Theory on Aesthetic....…………………………………………….…... 26 C. Theoretical Framework…………………………………………….……... 28 CHAPTER III METHODOLOGY…………………………………….……. 29 A. Object of the Study………………………………………………….……. 29 B. Approach of the Study……………………………………………….….... 30 C. Method of the Study………………………………………………….…… 31 CHAPTER IV ANALYSIS……………………………………………….….. 33 A. The Form of OHYoS………………………………………………….…... 33 vii 9 1. Defamiliarization at the Level of Perception…………….………….... 33 2. Defamiliarization at the Level of Language.………………….….…... 37 a. Metaphor………………………………………………….…...... 38 b. Simile…………………………………………….……….…...... 53 c. Parallelism……………………………………….……………... 57 3. Defamiliarization at the Level of Narrative Structure……..…….….... 59 a. Foreshadow……………………………………………………... 61 b. Flashback…………………………………………………….…. 67 4. Defamiliarization at the Level of Literary Genre…………………….. 71 B. Literariness and Aesthetic Quality of OHYoS…………………….……... 76 CHAPTER V CONCLUSION……………………………………..………... 94 BIBLIOGRAPHY……………………………………………………..…….. 99 APPENDICES…………………………………………………………..…… 102 1. The Buendia’s Family Tree…………………………………………........ 102 2. Summary of Garcia Marquez’s One Hundred Years of Solitude……..…. 102 viii 10 ABSTRACT STEPHANIE HARSINTO RUKMI (2008). Defamiliarization in Gabriel Garcia Marquez’s One Hundred Years of Solitude. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University. This undergraduate thesis studies the effects of defamiliarization in the novel, One Hundred Years of Solitude (OHYoS) by Gabriel Garcia Marquez to reveal the novel’s literariness and aesthetic quality. This novel, written in 1967, offers new genre of magic realism, in which OHYoS is recognized as pioneer of such genre. This best-selling novel even succeeded in introducing and popularizing the genre of magic realism throughout the world. Being inspired by the prominence received by OHYoS with its use of new genre of magic realism and by previous related studies found in some books and Internet Websites, the writer arranged the problem formulations. The first study is conducted to reveal the effects of defamiliarization on such aspects as perception, language, narrative structure, and genre by focusing on the novel’s form and, particularly, on its constituent devices and conventions. The second analysis is conducted to establish OHYoS’ aesthetic quality and distinctive features as literary text, or its literariness, as produced by the text’s effects of defamiliarization. Library research and Internet Media are used to help the writer answering the problem formulations. The methods that are applied in analyzing the novel are reading the novel intensively, formulating the problems, finding the appropriate theories and approach to be applied, answering the problem formulations and composing conclusions. The approach used in this thesis is a formalistic approach of the Russian Formalism. Thus, the focus of study is placed on the novel’s form, especially on the use of literary devices and conventions. In sum, this approach will enable the writer to study OHYoS’ distinctive quality or its literariness. The result of study on defamiliarization reveals that in its language use, OHYoS employs devices like: parallelism, metaphor, and simile. The use of metaphor and simile in OHYoS may defamiliarize ordinary use of word, familiar perception, and usual expression by deviating from the literal and the straightforward. In its narrative structure, OHYoS employs devices like flashback and foreshadowing that may highlight the plot as construction by disturbing linear chronology of story as material. OHYoS reflects the effect of defamiliarization most prominently with its use of new genre, magic realism, which makes strange traditional realism. With its new genre, OHYoS challenges the established way of representing reality in realism and presents new manner of constructing reality. Thus, OHYoS
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