Wednesday, January 16, 2013
KAEDAH KRITIKAN ARKETAIPAL 1. Pendekatan ini membicarakan dari sudut isi karya iaitu : premis karya 1. 2.
permasalahan
3.
ideologi
4.
persolan
5.
pemikiran
6.
falsafah
menurut andre hardjana dan maud bodkin ada beberapa tema dalam karya yang bercorak arketaipal. PREMIS persoalan kelahiran 1. 2.
perjalanan
3.
pengembaraan
4.
kematian
5.
penjelmaan
6.
percintaan
7.
keajaiban
8.
peperangan
9.
berbentuk misteri dan fantasi
ema ema pokok atau permasalahan dasar arketaipal! perlu dilihat dari konteks pengaplikasian! samada diungkap secara sedar atau tidak. ujuan analisis arketaipal perlu mentafsirkan penggunaan unsur"unsur unsur"unsur itu dalam karya. terdapat makna tersirat dan tujuan yang penting adalah fungsi psikologi. #$%$&%'E : sengaja menghidupkan semula unsur unsur lama untuk dihayati oleh generasi baru. dalam pada itu juga! inspirasi di dorong oleh rasa kebanggan terhadap masa silam. (. Mengkaji unsur pengulangan kerana pengulangan itu mempunyai motif motif yang tersembunyi. kebiasannya! kebiasannya! sejarah! tradisi akan berulang dalam dalam penulisan kreatif. menurut )R'E " )R'E " how similar problems are returned to again and again ". contohnya : Noordin Hassan menggunakan persoalan kemiskinan pak andak dan mak andak dalam " bukan lalang di tiup angin" •
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memenuhi jiwa orang melayu yang kosong dan sepi. papa kedana di tanah tanah air sendiri. kesengsaraan kesengsaraan yang di alami oleh orang melayu. puncanya ialah menyerah menyerah kalah kepada kepada nasib. sebuah analisis akan kelihatan kabur jika pengarang tidak memahami masalah dalaman ataupun keji*aan +psikoanalisis,. +psikoanalisis,.
-. rketaipal menganalisi aspek lambang ataupun simbol yang terdapat dalam naskah ataupun persembahan. Menurut carl jung! beliau telah meletakkan dasar yang kukuh dalam konteks perlambangan! tetapi )R'E telah mengembangkan aspek ini.
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frye menekankan kajiannya pada konsep mimpi dan mengaitkan dengan sastera. dalam buku / anatomy of criticsm/ 102! frye menjelaskan genre sastera ditentukan oleh struktur arketaipal seperti : eks romantik
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ragik
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3omik
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Ironik + keadaan yang bertentangan, 4alam kajian! frye menganalisis : 1.
Imej mitos
2.
simbol"simbol
3.
signifikasi uni5ersal
4.
&ubungan teks 6 unsur unsur dalam ji*a 6 masa silam pembaca.
Menurut frye / sastera tidak terbuai dengan perasaan sahaja tetapi perlu ada kemanusian dan pengembangan keji*aan/. sumber rujukan : teori sastera dan kontemporari- mana sikana
Pendekatan Arketaipal Menurut Scott (1963), pendekatan arketaipal adalah sebuah pendekatan yang bertumpu pada analisis yang bersifat mengkaji tindak tanduk manusia, bukan untuk mengkaji unsur estetik dan instrinsik sebuah karya sastra !endekatan ini erat hubungannya dengan psikologi manusia karena setiap perilaku manusia dalam berkebudayaan dan berkesenian tidak dapat dipisahkan dengan "aman di mana manusia hidup !endekatan ini menegaskan bah#a di dalam karya sastra terdapat suatu kumpulan simbol, gambar, karakter, dan motif yang pada dasarnya akan membangkitkan respon yang sama terhadap semua orang Menurut psikolog $arl %usta& 'ung (1*+1961), arketaipal berhubungan erat dengan alam ba#ah sadar ni&ersitas Sumatera tara manusia !endekatan -rketaipal mengidenti.kasi pola+ pola dasar yang dimaksud dan menjelaskan bagaimana hal+hal tersebut difungsikan dalam karya sastra /alam hal ini, psikoanalisis 'ung membahas tentang proses ketidaksadaran kolektif (yang disebut juga sebagai kritik tipikal) 0etidaksadaran kolektif adalah simbolisasi persepsi yang dipicu oleh sejumlah pikiran ba#aan, perasaan, naluri, dan kenangan yang berada dalam ketidaksadaran semua manusia, yakni serangkaian pengalaman yang datang dengan sendirinya seperti takdir
/ata elemen arketaipal, secara relatif, dimanfaatkan sebagai sarana untuk memahami konsep pemikiran, #atak, aspirasi, harapan masyarakat, serta nilai+nilai yang diharapkan oleh pencipta karyanya /ata elemen arketaipal dalam penelitian ini dikelompokkan menjadi (1) tokoh, (2) situasi, dan (3) pencitraan arketaipal /ata tokoh arketaipal merupakan tokoh legenda yang memiliki sifat tipikal, misalnya pahla#an, monster, robot, penguasa, budak, dsb Situasi arketipal berkenaan dengan peristi#a+peristi#a esensial dan tipikal dalam alur cerita, misalnya pencarian, pelarian, petualangan, pelayaran, pengasingan, diskriminasi, dsb !encitraan arketaipal berupa imagi+imagi tipikal yang menimbulkan asosiasi pada makna tertentu, antara lain gejala alam, pergantian musim, nama tumbuhan, nama he#an, #arna, dsb Salah satu kegunaan pendekatan ini adalah sebagai pendekatan uni&ersal yang menyoroti hal+hal apa saja yang menjadi penyebab sebuah karya sastra dapat bertahan begitu lama /i lain sisi, !endekatan -rketaipal cenderung mengabaikan unsur seni ni&ersitas Sumatera tara dalam karya sastra, dan lebih menyoroti hal+ hal simbolis dalam cerita, yang mana biasanya berkaitan dengan kehidupan manusia
-rchetype /e.nition
In literature, an archetype is a typical character, an action or a situation that sees to represent such uni!ersal patterns o" huan nature. #n archetype, also $no%n as uni!ersal sy&ol, ay &e a character, a thee, a sy&ol or e!en a settin'. (any literary critics are o" the opinion that archetypes, %hich ha!e a coon and recurrin' representation in a particular huan culture or entire huan race, shape the structure and "unction o" a literary %or$. )arl Jun', *%iss psycholo'ist, ar'ued that the root o" an archetype is in the +collecti!e unconscious o" an$ind. -he phrase +collecti!e unconscious re"ers to eperiences shared &y a race or culture. -his includes lo!e, reli'ion, death, &irth, li"e, stru''le, sur!i!al etc. -hese eperiences eist in the su&conscious o" e!ery indi!idual and are recreated in literary %or$s or in other "ors o" art. -rchetype 4amples in 5iterature
/elo% is the analysis o" coon archetypes that eist in l iterature.
-rchetypes in $haracters
Example #1 The Hero e or she is a character %ho predoinantly ehi&its 'oodness and stru''les a'ainst e!il in order to restore harony and ustice to society e.'. Beowulf, Hercules, D’artagnan "ro +-he -hree (us$eteers etc. Example #2 The Mother Figure *uch a character ay &e represented as airy (other %ho 'uides and directs a child, (other arth %ho contacts people and o""ers spiritual and eotional nourishent, and *tepother %ho treats their stepchildren rou'hly. *oe eaples are •
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In iterature Lucy and Madame Defarge "ro ic$ens +# -ale o" -%o )ities, Disely "ro aul$ners +-he sound and -he ury, Gladriel "ro +ord o" the in's, Glinda "ro the +Wiard o" : etc. In airy -ales )haracters such as the stepother in +)inderella, fairy godmothers, Mother Goose, Little Red Riding Hood etc. In (ytholo'y -he ytholo'ical "i'ures o" Persephone, Demeter, Hecate, Gorgon, Medusa
Example #3 The Innocent Youth e or she is ineperienced %ith any %ea$nesses and see$s sa"ety %ith others &ut others li$e hi;her &ecause o" the trust he or she sho%s in other people. icholas >ic$el&y, oseph "ro ieldin's +Joseph #ndre%s etc. Example #4 The Mentor is or her tas$ is to protect the ain character. It is throu'h the %ise ad!ice and trainin' o" a entor that the ain character achie!es success in the %orld e.'. Gandalf in +-he ords o" in's, Parson !dams in ieldin's +Joseph #ndre%s, and "ene# in n'les +# Wind in the oor etc.
Example #5 Doppelganger It is a duplicate or shado% o" a character that represents the e!il side o" his personality. aples are in popular literary %or$s such as *ha$espeares Hamlet , (ary *helleys $ran%enstein, ?oes &illiam &ilson, *te!ensons Dr' e%yll and Mr' Hyde etc. Example #6 The Scapegoat # character that ta$es the &lae o" e!erythin' &ad that happens e.'. "now(all in :r%ells +#nial ar etc. Example #7 The Villain # character %hose ain "unction is to 'o to any etent to oppose the hero or %ho the hero ust annihilate in order to &rin' ustice e.'. "here )han "ro @iplin's +-he Jun'le /oo$ stories, Long ohn "il*er "ro *te!ensons +-reasure Island etc -rchetypes in Situations
Example #8 The Journey -he ain character ta$es a ourney that ay &e physical or eotional to understand his or her personality and the nature o" the %orld. or eaple, antes +-he i!ine )oedy, ieldin's +Joseph #ndre%s, *%i"ts +=ulli!ers -ra!el etc. Example #9 The Initiation -he ain character under'oes eperiences that lead hi to%ards aturity. We "ind such archetypes in no!els li$e ieldin'As +istory o" -o Jones, a oundlin', *terneAs +-he i"e and :pinions o" -ristra *handy, =entlean, Boltaires +)andide etc. Example #10 Good Versus Evil It represents the clash o" "orces that represent 'oodness %ith those that represent e!il. aples o" this archetype are in "aous literary %or$s li$e *ha$espeares +@in' ear, )onrads +eart o" ar$ness etc.
Example #11 The Fall -he ain character "alls "ro 'race in conseCuence o" his or her o%n action e.'. +edipus "ro *ophocles +:edipus e, Lear "ro *ha$espeares +@in' ear etc. unction of -rchetype
-he use o" archetypical characters and situations 'i!es a literary %or$ a uni!ersal acceptance, as readers identi"y the characters and situations in their social and cultural contet. /y usin' coon archetype, the %riters attept to ipart realis to their %or$s, as the situations and characters are dra%n "ro the eperiences o" the %orld.
Introduction to Literature Michael Delahoyde
Archetypal Criticism Archetypal criticism argues that archetypes determine the form and function of literary works, that a text's meaning is shaped by cultural and psychological myths. Archetypes are the unknowable basic forms personified or concretized in recurring images, symbols, or patterns which may include motifs such as the quest or the heavenly ascent, recognizable character types such as the trickster or the hero, symbols such as the apple or snake, or images such as crucifixion (as in King Kong, or Bride of Frankenstein)--all laden with meaning already when employed in a particular work.
Archetypal criticism gets its impetus from psychologist Carl Jung, who postulated that humankind has a "collective unconscious," a kind of universal psyche, which is manifested in dreams and myths and which harbors themes and images that we all inherit. Literature, therefore, imitates not the world but rather the "total dream of humankind." Jung called mythology "the textbook of the archetypes" (qtd. in Walker 17). Archetypal critics find New Criticism too atomistic in ignoring intertextual elements and in approaching the text as if it existed in a vacuum. After all, we recognize story patterns and symbolic associations at least from other texts we have read, if not innately; we know how to form assumptions and expectations from encounters with black hats, springtime settings, evil stepmothers, and so forth. So surely meaning
cannot exist solely on the page of a work, nor can that work be treated as an independent entity. Archetypal images and story patterns encourage readers (and viewers of films and advertisements) to participate ritualistically in basic beliefs, fears, and anxieties of their age. These archetypal features not only constitute the intelligibility of the text but also tap into a level of desires and anxieties of humankind. [Whereas Freudian, Lacanian, and other schools of psychological criticism operate within a linguistic paradigm regarding the unconscious, the Jungian approach to myth emphasizes the notion of image(Walker 3).] Works Consulted Abrams, M.H. "Archetypal Criticism." A Glossary of Literary Terms. 7th ed. Fort Worth: Harcourt Brace College Publishers, 1999. 12-14. ---. "Psychological and Psychoanalytic Criticism." A Glossary of Literary Terms. 7th ed. Fort Worth: Harcourt Brace College Publishers, 1999. 247-253. Biddle, Arthur W., and Toby Fulwiler. Reading, Writing, and the Study of Literature . NY: Random House, 1989. Lynn, Steven. Texts and Contexts: Writing About Literature with Critical Theory . 2nd ed. NY: Longman, 1998. Murfin, Ross, and Supryia M. Ray. The Bedford Glossary of Critical and Literary Terms. Boston: Bedford Books, 1997. Walker, Steven F. Jung and the Jungians on Myth. NY: Routledge, 2002.