CHAPTER II

REVIEW OF LITERATURES, CONCEPTS, AND THEORETICAL

FRAMEWORK

2.1 Introduction of Literature

Literature is piece of art, not a science, because it is the manifestation of

human's through the language as its media. Literature is an expression of aesthetic

and imaginative fact of human life, because it is arranged through a great unity of

concept, expression form, emotion, and language which is integrates in daily life

of society. It also conveys to the audience some messages and values of life.

Review of literature consists of review from previous studies about

characterization. In this case the special terms have been used to help the process

of analyzing the definition of characterizationand how the characterization can be

analyzed based on the data found in the movie Twilight Saga: New Moon.

Theoretical framework consists of theories that will be used to analyze the data.

To analyze and determine the characterization of character we can use

the theory of Pickering and Hoeper in Minderop explain about the two methods of

characterization. One method is telling and the other method is the indirect, the

dramatic method of showing. With showing, much of the burden of the character

analysis is shifted to the reader, who is required to infer character on the basis of

the evidence provided in the narrative.

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2.1.1 Review of Literatures

In this part of section some previous works and journal done related

to the conflict oncharacters analysis which inspired this thesis were

summarized sequences asFollow:

Three previous studies are reviewed in this chapter. The first is an analysis

of Hamlet's characterization on Shakespear's "Hamlets" by Siahaya (2005). In her

work, she tried to find out about Hamlets as the major character presented in

Shakespear's Hamlets, and find out the characterization of Hamlets as the major

character in Shakespear's Hamlet. The data, which had been collected and

classified, were qualitatively and descriptively analyzed based on theory proposed

by Reaske (1966) entitled How To Analyze Drama.

The second one is the characterization of the main and supporting

characters in Alice In Wonderland by Agustini (2007) as follows : The aims of

her study are to know the way of presenting the main and supporting character in

Alice In Wonderland by Lewis Carrol from the perspective of telling and showing

method. Second arms is to know the relationship between the main character and

the supporting characters hi Alice In Wonderland by Lewis Carrol. The data,

which had been collected and classified, were descriptively and qualitatively

based on the theory of Characterization by Pickering and Hoeper in

Minderop(2005).

The third one is the study of characterization on the "Famished Road By

Ben Oky", by Suarini (2007). The data, which had been collected and classified,

were descriptively analyzed based on William Kenney's theory of literature in

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How to Analyze Fiction. In her writing, she tried to discuss the genre of magical

realism through the analysis of its main character with respect to TheFamished

Road by Ben Okri. And also how the main character set forth by the writer in Ben

Okri's The Famished Road.

The differences between this study and the three previous studies that is in

the study explain about what are the analysis character with the other character.

The data, which will be collected and classified, will descriptively analyzed based

on Reaske's theory of literature in how to analyze characterization.

1.1.2 Journal Review

Journal of Psychotherapy Integration. Reviews the book, Cognitive

psychodynamics: From to character by Mardi J. Horowitz. It has been said that in

forging a common ground between psychoanalysis and cognitive science, Mardi

Horowitz has gone where others fear to tread. A masterful integration of all of his

previous theoretical work, Cognitive psychodynamics represents his most

ambitious attempt to map this prohibited terrain in which these two often-

opposing domains of inquiry are joined. His goal is to build an integrated,

cognitive-dynamic model of personal identity, interpersonal relationships, and

individual character. His means of accomplishing this integration is to interweave

three basic theoretical concepts: (a) states of mind that mark the experience of

heightened emotional ; (b) unconscious defensive control processes that mediate

shifts between states of mind and most important, (c) person schemas, which for

Horowitz are his role relationship models (RRMs), which organize the states of

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mind as interactive, self-other configurations. The strength of this book is its clear

and coherent presentation of each of these three theoretical concepts.

2.2 Concepts

The concepts and the theories of literature and the methods which

concerned to the characterizations of characters in the Twilight Saga: New Moon

"directed by Chris Weitz from a screenplay by Mellissa Rosen felt which was

published on 20 November 2009, and literature were combined in writing this

under graduated thesis.

There are some definition that can be presented is relation to the focus of

this study the concepts are :

2.2.1 Character

Nurgiyantoro (2012:177) states that from the role aspect and the

important level of character of the story, main character is categorized as

the most important one and appears continually therefore it seems to

dominate almost the whole part of story. The analysis of character is

started identifying main character, secondary character and supporting

character. Character is one of the most important aspects of literary works,

which is very interesting to be analyzed because it can guide us to the

author's thought expressed in his or her work however characterization is

the author’s presentation and development of the traits of characters.

However; characterization is the process of describing or portraying

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human character in a story, because an individual states himself through

speech and action, therefore the characterization could be recognized

through those instruments.

2.2.2Characterization

Characterization is also the method by which an author creates the

appearance and personality of imaginary persons and reveals their

characters. The story, whether the character seems designed to fit the plot

or the plot is derived from the character. Wellek and warren (1962:219)

state that the simplest form of characterization is naming. Each appellation

is a kind of vivifying, amazing, and individualizing.

In the real world we know that human as people, however in the novel

human called as a character.Robert (1993:20) also explains that characters are the

persons presented in dramatics of narrative work, who are interpreted by reader as

being endowed with the moral and dispositional qualities that are expressed in

what they say and what they do in action.Characterization is the process of

presenting characters by providing it with particular characteristic. Character is

different from but much related to dependent on characterization. Monner and

Rausch (1991:31) explain that character is a person in a literary works who is

unlike a person in real life. A literary character's personal qualities and action are

limited by his or her function in the story. While characterization is themethod by

which an author creates the appearance and personality of imaginary persons and

reveals their character.

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2.2.3Movie

Movie is motion picture or a series of still images which when shown on a

screen, creates the illusion image.Recognition of movie as a work of art takes

place through the achievements in the history of art and strengthened by the birth

of the movie artists from various countries. All movies can be said to have one

target that is to draw attention to the problems that exist in it. In the order hand,

the movie can be grouped into two, namely the category of feature movies and

non-stories. Another opinion rather subsume into fiction and nonfiction movies.

Surname (1996:10) explains that feature movie is a film produced by the

fabricated story, and played by actors and actresses. Generally match the movie

story of a commercial nature, meaning theatres was performed with a specific

ticket or played on television with the support of sponsor specific ads. Non-story

the movie is the movie that takes the category of reality as a subject. So, record

the fact on fact rather than fiction. In its development, affect each other and gave

birth to various kinds of movies that have the characteristic, styles and patterns

respectively.

2.3 Theoretical Framework

There are two main theories applied in writing this under graduated thesis

that focused on thetheory of literature proposed by Kenney (1966) How to

Analyze Fiction) and the theory of literature proposed by Reaske (1966) How to

Analyze Drama.Those theories were applied to analyze the characters and

characterization; investigation about two methods of characterization, one is

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telling and methods indirect, the dramatic method of showingin the movie

'Twilight Saga New Moon.That is the characterization through appearances, and

characterization through dialogue and action.Besides, this study is limited to

analyzing how the main character characterized in the movie.

2.3.1 Type of Characterization

Characterization is the creation of imaginary persons so that they seem

lifelike. Good characterization should be realistic, that is to say, it must be shown

in details, set again situations, so that it can show the person's natural temperam

1. Robert (1993:20) explains that characters are the persons presented in

dramatics of narrative work, who are interpreted by reader as being endowed with

the moral and dispositional qualities that are expressed in what they say and what

they do in action. Characterization is the process of presenting characters by

providing it with particular characteristic. Character is differentbut it is much

related to dependent on characterization.

2. Monner and Rausch (1991:31) explain that character is a person in a

literary work who is unlike a person in real life. A literary character's personal

qualities and action are limited by his or her function in the story. While

characterization is the method by which an author creates the appearance and

personality of imaginary persons and reveals their character.

3.Surname (1996 :10) explains that feature movie is a film produced by

the fabricated story, and played by actors and actresses. Generally match the

movie story of a commercial nature, meaning theatres was performed with a

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specific ticket or played on television with the support of sponsor specific ads.

Non-story the movie is the movie that takes the category of reality as a subject.

So, record the fact on fact rather than fiction. In its development, affect each other

and gave birth to various kinds of movies that have the characteristic, styles and

patterns respectively.

4.Reaske (1966:45)explains that there are three important roles in drama;

those are protagonist, antagonist and confidant. Protagonist, according to him, is a

term of the main character in plot of any drama. The tragic hero and the

protagonist are the same in a tragedy for they constitute the central character. The

opponent of protagonist is known as the antagonist. Another important role in

drama is that of the friend or confidant feminine, confidante of the major

character. Often both the hero and heroine have a confidant or confidante. A

confidant may be main or whoever fills the role. The function of confidant is to

give the hero someone in whom to confide on stage. Thus the audience knows his

true feelings.

To analyze and determine the characterization of character we can use

two main theories applied in writing this under graduated thesis that focused on

thetheory of literature proposed by Kenney (1966) How to Analyze Fiction) and

the theory of literature proposed by Reaske (1966) How to Analyze

Drama.explain about the two methods of characterization. One method is telling,

which relies on exposition and direct commentary by the author. In telling method

preferred and practiced by many older fiction writers the guiding hand of the

authors is very much evident. We learn and look only at what theauthor calls to

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our attention. The other method is the indirect, showing method, which involves

the author's stepping aside, as it were, to allow the characters to reveal themselves

directly through their actions. With showing, much of the burden of the character

analysis is shifted to the reader, who is required to infer character on the basis of

the evidence provided in the narrative.

Pickering and Hoeper also say that Direct method (telling) includes

characterization through the use of names, characterization through appearance,

and characterization by the author Hoeper in Minderop( 2005:8). Since this is the

focus of the analysis in this paper, more elaboration will be given about this

method of characterization.

2.3.1.1 Telling method

Telling method, which relies on exposition and direct commentary by the

author. In telling a method preferred and practiced by many older fiction writers

the guiding hand of the authors is very much evident. We learn and look only at

what theauthor calls to our attention.

a. Characterization through the use of names

Kenney and Reaske say that the name of the character in

literary work is usually used to give an idea and to describe the

characteristic quality and this will make the character different from the

other characters. The name focuses on the dominant characteristic of

the character. For example, Edward Murdstone character in David

Copperfield by Charles Dickens, the word stone in his name

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 (Murdstone) figures his hard hitting characteristic. Indirect Method

(showing) includes the characterization through dialogue and action.

The also say that the readers need to be careful with the irony used of

names characterized byinversion. For example : Fortunate character in

The Cast of Amontillado by Edgar Allen Poe. 'Fortunato' means

fortune but in the story he is unfortunate of men.

b. Characterization through appearance

"The factor of appearance is very important in the analysis of

characterization. The character's appearance may include the dress that

is put on by the character for his or her expression. The appearance

may also represent the age, physical condition/health and prosperity of

the character to the reader". in Minderop (2005:10).

c. Characterization by the author

This method gives a wide and free place to the author or

narrator in fixing his/her story. The author gives comment about the

character's tendency and behavior to the point that through the

character's mind and feeling. therefore, the author supervises

continuously the characterization of the character. The author does not

only drivers the reader's attention to his/her commentary of the

characteristic of the character but also tries to create the reader's

perception about the character in his/her story.

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2.3.1.2 Showing Method

Indirect showing Method includes the characterization through dialogue

and action, in Minderop (2005: 22).

a. Characterization through dialogue

Characterization through dialogue generally comprises such aspect as

explained below:

1. The substance of the dialogue

"To begin with, the reader must pay close attention to the substance of the

dialogue itself. Is it small talk, or is the subject an important one hi the

developing action of the plot? In terms of characterization, if the speaker

insists on talking only about himself or only on single subject, we may

conclude that we have either antagonist or a bore. If the speaker talks only

about others, we may merely have a gossip and busybody",in

Minderop(2005:23).

2. Character's identity

"Character's identity is the statement or information that is brought by the

protagonist(central character) that is usually considered more important than

what is said by the minor character, although the minor character usually gives

the hidden crucial information about the characteristic of the other characters".

in Minderop(2005:25).

3. Location and situation of the dialogue

"In real life, the individual dialogue in a night is usually more serious and

more clear than a dialogue in pubic place in a noon. Conversation in a private

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 room is usually more significant than conversation in a street pr theatre".in

Minderop (2005:28).

4. Character's identity as describe by author

" The talk that is said by a certain character about another character ( dialogue

between the characters about another character) can explain the character's

identity"in Minderop (2005:31).

5. Mental quality of the characters

"The mental quality of the characters can be recognized through the dialogue

when the characters make a conversation. For example, the characters who are

involved in a discussion suggest that they have open-minded mental behavior.

There are also characters who are full of secret or close-minded." in

Minderop.(2005:33).

6. Voice tone, accent, dialect, and vocabulary

a. Voice tone

"Voice tone, although it is expressed explicitly or implicitly, can figure the

characteristic of the character. Is he confident, does he believe on himself

or is he diffident when the character talks with other characters. “in

Minderop (2005:34).

b. Accent

"Accent in voice gives an important figure about the character because it

shows the real characteristic of the character, and can even reflect the

education, profession and from which class the character comes."in

Minderop (2005:36).

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 c. Dialect and Vocabulary

"The dialect and vocabulary can give an important fact about character

because both of them show the real characteristic of the character and can

even reflect the education, profession and social status of the characters."

in Minderop (2005:36).

b. Characterization through action

Characters and behaviors are the two sides of the same coin. Action and

behavior reflect logically the physiological and personality growth; this shows

how the characteristic of the character appears along with his/her action. in

Minderop (2005:38).

1. Through the behavior

To set up the characteristic based on behavior, it is also important for the

reader to see specifically the events in the story because the events can reflect

the characteristic of the character, his emotion and psychic condition that

followed him. in Minderop (2005:38).

2. Face expression

Gestures the face expression usually is not significant compared to the action;

but sometimes action can give figure to the reader about the mind condition or

character's feeling spontaneously. It is necessary to know that face expression

characterization includes in character's tendency."in Minderop (2005:42)

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3. Basis of motive

In either case, whether the action is large or small. Conscious or unconscious,

it is necessary to identify the common pattern of conduct and behavior of

which each separate action is part. One helpful way of dialog so is on the basis

of motive, the attempt to trace certain effect back to their underlying causes. If

we are successful in dialog so, if a consistent pattern of motivation appears,

then it is fairly safe to assume that we have made some important discoveries

about the character. in Minderop (2005:45).

Every dramatist has at his fingera relatively large galaxy of differing

devices of characterization. Some of these devices such as follows:

1. The appearance of the character

In the prologue or in the stage direction the playwright often describes the

character in the physical sense. We learn from thestage directions what a

character walks onto the stage, it is obvious from his appearance whether he is

a meticulous or sloppy person, attractive or unattractive, old or young, small

or large, ect. In other words, in the mere appearance of character we locate our

first understand of him.Reaske (1966:46)

2. Aside and Soliloquies

All of the further characterization is of course established through dialogue.

We learn about the character as they speak. And, specifically, we are apt to

understand the characters best when they speak in short aside or in longer

soliloquies. On these occasions the character is, in effect, telling the audience

of his specific characteristic; if he is a villain, he usually explains his evil

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 intention or at least his malicious hopes; if a lover, he offers us poetic

statement of devotion; if a hero torn between love and duty, he tells us about

his conflict, ad his resulting agony. The use of soliloquies and asides is one of

the most expert device of characterization. Reaske (1966:46)

3. Dialogue between characters

The language of the character speaking alone characterize him, but his

language when speaking to others also sheds a great deal of light on his

personality, if there is a wide disparity between the kind of language used in

soliloquies and the kind of language used when talking to others, we are

presented usually with a host of implications. Reaske (1966:47)

4. Hidden narration

A character in a play is never directly describe by the playwright himself,

there are nevertheless descriptions of the characters. One of the devices of

characterization frequently employed is having one character in play narrate

something about another character. There is a great interplay between the

playwright's characterization of certain people in the play through then* own

words and actions, and the characterization through the use of hidden

narrations made by one character about another.Reaske(1966:47)

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5. Language

The language of any given character is extremely central to his personality

attributes. Not only must we pay close attention to the kind of words which

the character uses, but also we must be careful to remember how the character

speaks. This aspect of characterization is without doubt the most important

and the playwright as well as the critic is well aware of this truth.

6. Character in action

For once a playwright chooses to have a character act in one way rather than

another. Motivation usually translates into action in the real world and there is

no reason to assume that the same does not hold true in the world of characters

on the stage.

7. The development of the character

Our central ask when analyzing character is to delineate and describe the

character's development within the play. Our main concern is to analyzed his

motivation for acting as he does concernedly on the devices of

characterization employed by the dramatist to "educate" us with regard to the

nature of the characters.

8. The character's relationship to other characters

Art of the character's development is based on the changing nature of his

relationship with other characters. The character's relationship to other

characters emerges in both speech between them, speeches about each other,

and most evidently, in the actions which they share or cause one another to

take. Kenney (1966:33) states the author must choose not only what kind of

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characters he would present, but also by what methods he would present them.

There are five methods of characterization.

Kenney (1966) also proposes some methods can be used by the authors in

presenting them. They are:

1. Discursive Method

The author who chooses the discursive method simply tells us about his

characters. He enumerates their qualities and may even express approval or

disapproval of them. The advantages of this method are simplicity and

economy. This method, like the others, has its disadvantages. It is relatively

mechanical and discourages the reader's imaginative participation. The reader

is not encouraged to react directly to the characters, to make up his own mind

about them, as he much react to and make up his own mind about the real

people he meets. Modem writers and critics have tended to regard the

discursive method of characterization as intrinsically inferior to other method.

2. Dramatic Method

In the dramatic method, the author allows his characters to reveal

themselves to us through their own words and actions. This method is

showing rather than telling. This, of course, is how character is revealed to us

in drama; that is why we call this method dramatic. The advantages of this

method should be obvious. Compared to the discursive method, the dramatic

is more lifelike and invites the reader's active participation in the story. This

method also has its disadvantages. It is less economical than the discursive,

since to show takes longer than to tell. It also increases the possibility of his

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misjudging the character. When vividness of presentation is more important

than economy, the writer will choose the dramatic method.

3. Characters on Other Characters Method

In this method, the other characters define the characterization of the

character under concern. The reader must remember that information received

in this way is not necessarily reliable. What A says of B may tell us more

about A than B.

4. The Contextual Method

By the contextual method we mean the device of suggesting character by

the verbal context that surrounds the character, if the character is constantly

described in terms appropriate to a beast of the author is trying to tell him

something.

5. The Mixing Method

Mixing method means applying all the method (or more than one method)

in accordance with the effectiveness of their application. It is rare that a

fiction.

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