BENI RIYAWATI 107026002727
ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY SYARIFF HIDAYATULLAH JAKARTA
A Thesis
Submitted to Letters and Humanities Faculty
in Partial Fulfillment of the Requirement for
the Degree of Letters Scholar
BENI RIYAWATI 107026002727
ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY SYARIFF HIDAYATULLAH JAKARTA
i
Stories in the Book of Karma and Other Stories By Rishi Reddi. Thesis. English Letter Department: Letters and Humanities Faculty, State Islamic University Syarif Hidayatullah Jakarta, April 2011.
This research is aimed to find how the structural narrative which is in Karma and Other Stories book, short stories collection, that written by Rishi Reddi, Indian immigrant, tell about the various conflicts which occur among Indian immigrant communities. The writer only takes three short stories, The Validity of Love, Bangles, and Devadasi. These stories have the same theme that is the intergenerational conflict, thus the writer wants to know whether each structure from the stories is the same or not.
The research conducted in purpose to examine, understand, and describe actantial and functional structure in the three stories and the relation in each story. This research uses the descriptive qualitative method and the theory used is structural narratology theory by A. J. Greimas.
The result of the research gathered shows that the several parts from the story of The Validity of Love and Devadasi, have similarity of narrative structure, but the story of Bangles does not have similar narrative structure with the previous stories. However, from the differences between those short stories, there is intergenerational conflict on the first and second generation because of their different mindset from each other.
ii
OF THREE SHORT STORIES
IN THE BOOK OF KARMA AND OTHER STORIES BY RISHI REDDI
A Thesis
Submitted to Letters and Humanities Faculty
in Partial Fulfillment of the Requirement for the Degree of Letters Scholar
Beni Riyawati
107026002727
Approved by:
Inayatul Chusna, M. Hum NIP. 19780126 200312 2 002
ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY SYARIFF HIDAYATULLAH JAKARTA
iii
NIM : 107026002727
Title : The Actantial and Functional Structure Analysis of Three Short Stories in the Book of Karma and Other Stories by Rishi Reddi
The thesis has been defended before the Faculty of Adab and Humanities’ Examination Committee on May 25, 2011. It has been accepted as a partial fulfillment of the requirements for the degree of strata one.
Jakarta, May 25, 2011
Examination Committee
Signature Date
1. Drs Asep Saefuddin, M.Pd (Chair Person) _____________ _________ 19640710 199303 1 006
2. Elve Oktafiyani, M. Hum (Secretary) _____________ _________ 19781003 200112 2 002
3. Inayatul Chusna, M. Hum (Advisor) _____________ _________
19780126 200312 2 002
4. Dr. H. Muhammad Farkhan, M.Pd (Examiner I) _____________ _________ 19650919 200003 1 002
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another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgment has been made in the text.
Jakarta, May 2011
v
First of all, the writer would like to thank to Allah SWT for all His favor and guidance in completing this paper. All praises belong to Him, the creator of living things from being nothing to existence. Many salutation and benediction be unto the noblest of the prophet and messenger, Muhammad SAW.
On this occasion, the writer would like to express a special thank to her father Suparto and her mother Suripiyanti who always give her spiritual supports, prays, financial and all the contributions during her study and the process of making this paper. Your advices and rebukes give her strength in living this life. Thanks for always being there for her. And also to her sisters, Ana Yunika Sari and Cicik Fitriyani, who always give her support and prays so make her become more spirit and stay calm to face all the problems.
Then the writer would like to thank her lovely advisor, Inayatul Chusna, M. Hum, for her guidance and contribution in finishing this thesis, thanks for the great patient in giving her advice to finish this thesis and also thanks for the experience that had been given to her so the writer gets new experience to teach the student. Thank you miss.
The writer would also like to thank important people who have helped her finishing this thesis; Dr. Wahid Hasyim, M. Ag. The Dean of Letters and Humanities Faculty, Drs. Asep Saefudin, M. Pd. The Head of English Letters Departments, the Secretary of English Letters, Elve Oktafiyani, M. Hum and also for all of the lecturers in English Letters Department, for had taught and educated her precious knowledge and giving wonderful experience.
The writer also thanks to her aunt, Suyati, and her cousins, M. Helmy Rabbani and M. Hillal Alamsyah, and also to all family members who cannot mention one by one, thanks for all prayers and support that given to her.
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In addition the writer would like to thank for her friend, Kak Ali, who had taught her and helped her during the process of writing this research. And then, thanks for her senior friends, Kak Ayunk, Kak Indah and Kak Joya who had helped and supported her. The writer also would like to thank for all classmate in English Letter class C 2007 and Literature class, Jattu Rimby Salindry, Any Andriani, Melani Shantika, Maya Danastri, Putri Nurul Aisyah, Feni Nuraini, Iis Puspita, Sherly Anggraini, Ines Fitriyani, Eva Wulandari, Rohmah Romadhon, Atika, Winni, and all friends who cannot mention one by one. Thanks guys for the spirit, the motivation, and the support that given to her.
Finally, the writer hopes this thesis can be useful, especially for the writer and the reader. And then, wish all the helping and kindness that have been given to her by many people get the reward from God. Amen.
Jakarta, April 2011
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ABSTRACT ……….. i
APPROVEMENT………. ii
LEGALIZATION………. iii
DECLARATION……….. iv
ACKNOWLEDGMENT………... v
TABLE OF CONTENT……… vii
CHAPTER I. INTRODUCTION A. Background of the Study………... 1
B. Focus of the Study………. 5
C. Research Questions……… 6
D. Objective of Research……… . . 6
E. Significance of the Study………. . 6
F. Research Methodology……… . 7
1. The Method……… . 7
2. The Data Analysis……….. . 7
3. The Instrument of Research……….... 8
4. The Unit of Analysis……… 8
5. Time of the Research……….. 8
CHAPTER II. THEORETICAL FRAMEWORK A. Structural Narratology Theory by A. J Greimas……… 9
A. 1 The Schema of Actant Model……….. 12
A. 2 The Schema of Functional Model……… 16
CHAPTER III. RESEARCH FINDING A. Actant and Functional Structure………. 19
A. 1 Actant……… 19
A. 1. 1 The Validity of Love………... 19
viii
A. 2. 3 Devadasi………... 48
B. The Relationship Between Actans and Functional Structure………. 50
B.1 The Validity of Love………... 50
B. 1. 1 Actant……….. 50
B. 1. 2 Functional Structure………... 51
B. 2 Bangles………... 52
B. 1. 1 Actant……….. 52 B. 1. 2. Functional Structure………... 53
B. 3 Devadasi……….. 54 B. 3. 1 Actant………... 54 B. 3. 2 Functional Structure………... 55
CHAPTER IV. CONCLUSION AND SUGESTION A. Conclusion………... 57
B. Suggestion………... 59
BIBLIOGRAPHY……….. 60
CHAPTER I INTRODUCTION
A. Background of the Study
As one of literary works prose includes roman (novel) and short story. The
short story was, in a sense, discovered in the nineteenth century and it soon
received a definite form in the works of Gogol and Anton Checkhov in Russia,
Guy de Maupassant in France and Edgar Allan Poe in America.1 The
classification and definition of short story have been based on a comparison
between short forms with a longer form, that is, the novel. Boris Eichenbaum who
is cited in Marquard Book (1992) simply defines the novel as the ‗large form’ and
short story as the ‗small form’.2
Besides that, short story also gained a distinct
identity when Poe pointed out that its basic difference from the novel was that the
short story could be read at a single sitting, and thus should convey a unified
impression quite different from principles of unity governing the longer form.3 In
contemporary fiction, a short story can range from 1,000 to 20,000 words.4 From
those definitions of short story, it can be concluded that a short story is fictional work of prose that is shorter in length than a novel.
1
Mawatle Jeremiah Mojalefa, P. S. Groenewald, Rabadia Ratshatsha: Studies in African Language Literature, Linguistics (African: Sun Press, 2007), p.38.
2
Ibid.
3
David Bordwell, The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 (London: Routledge, 2005), p. 167.
4
Because of the shorter length, short story is usually less complex than
novel. The Art of short story and its enchantment placed precisely on the number
of words deliberately restricted. By removing the elements that are usually
embodied in the long story like novel, which consists of complex plot elements,
complication, bumpy story line, specific setting, many characters, whereas short
story focuses on one plot, one main character (with a few additional minor
characters), one central theme, and directly presented the main issue without
background, and clear resolution. So, they make short story unique because short
story can appear more natural, realistic and imaginative.
Short story is generally a form of writing section and the most widely
published is fiction, like science fiction, horror fiction, detective fiction, and
others. Now, short story also includes nonfiction such as travel record, lyrical
prose and variants of post-modern and non-fiction like ficto-critical or new
journalism.
Every literary work including short story has its own structure. Structure
consists of elements which close in relationship and systematic to form the unity
and the wholeness of literary work. Thus, structure is systems which consist of
element. According to Piaget in the Structuralism book, there are three ideas about the element that contained in the structure.5 The first is the wholeness, it
means that all elements which build a text determine its self significant and
determine all significant in intrinsic norm. Also all elements adapt themselves to
5
the other element. So, structure has the intrinsic coherence which is a unity that
cannot stand alone in the outside of its own structure.
The second is transformation. It means that every element in the text
conducts transformation continuity. Every element transforms its self to build its
self significant, every element has possibility to form the new matter, the element
adapts the process changing in the text of story, such as the additional minor
character or the social condition. It intends to build variety interpretation.
The third is self regulation. The structure can govern itself toward another
system; it means that structure has the ability to maintain its transformation
procedure without helping from another one. From Piaget’s idea about structure, it
can be concluded that structure is the most important element in the story whose
existence are interconnected between its elements and cannot be separated. They
are also dynamic since they can undergo transformation and able to govern itself.
So, to comprehend a literary work, we should recognize elements which build the
structure.
This research takes the short stories collection written by Rishi Reddi in
her book Karma and other stories. It is her first book which consists of seven-story collection and she was written it since 1996, contains her oldest seven-story,
Lakshmi and The Librarian.6 Rishi Reddi is one of immigrant Indian writers in America, she was born in Hyderabad, India, and grew up in Great Britain and the
United States. Her work has appeared in The Best American Short Stories 2005
and received an honorable mention in Pushcart Prize 2004; she is also a recipient
6
of an Artist Grant from the Massachusetts Cultural Council. She lives in
Brookline, Massachusetts, with her husband and daughter7. Most of the themes in
Karma address about the intergenerational conflicts, the tension surrounding traditional gender roles, the differing views on sexuality, which all of these occur
among Indian immigrant communities regardless of geographic locale. From the
seven stories in this book, the writer only takes three of them; they are The Validity of Love, Bangles and Devadasi. Each of the three stories has the same theme that is the intergenerational conflict that occurs between first generation8
and second generation9.
The first story, The Validity of love, explores the concept of an arranged marriage and a cross-culture relationship in the lives of two young Indian
American women. The second story, Bangles, tells about a widow who decides to return to her native village to flee her son's off-putting American ways. And the
last story, Devadasi, is set in India, the modern and the urbane jangling with the
7
http://www.harpercollins.com/authors/30744/Rishi_Reddi/index.aspx (accessed on 26th January 2011, 02:15 pm).
8 In the book of New Roots in America‟s Sacred Ground: Religion, Race, And Ethnicit
y in Indian America explains that the first generation is parents who can claim they are Indians because they were born and raised in India, were active members of the Indian society for years or decades, have much of their memories and histories in that society, “think and act Indian,” relate to the Indian culture more than to the American culture, and in many cases still hope to go back to that society someday. (p. 2)
9
The term ofsecond generation encompasses two groups sometimes identified separately by other scholars. The term generally refers both to individuals born in the United States to immigrant
parents and those who arrived here by about age six. Some scholars separately designate a “1.5
generation” or “one-and-a-half generation” of children born abroad who arrived in the United
ugly racial overtones which are far worse than a young dancer from the United
States has ever come to fearin the country she has grown up in.
The three stories have the same theme. They can be more interesting if
they are known from their structure whether each structure from the stories are
same or not. To know the structure of three stories, the writer uses structural
narrative, the theory of A. J Greimas10, by analyzing the actant and functional
structure in three stories, The Validity of Love, Bangles and Devadasi. According to Greimas, actantial first model is a generalization of syntactic structure. No
matter how many variations of story, there is always a configuration of character
type called actant. The function of actant appears in the basic of story sentence.
Greimas not only explained the actantial model, he also showed that there is
another story type as the plot which consists of actions called function. The writer
chooses this structuralism model because the structural narrative of Greimas is
considered to have an advantage in presenting the detail of character life from the
beginning to the ending of the story. In addition, this structuralism model has
clearly been able to demonstrate and differentiate between protagonist and
antagonist character.
B. Focus of the Study
In this research, the writer focuses on the structure of story by using
structural narrative which is developed by A. J. Greimas, describes actant and
10
functional structure and also the relationship to each other in three short stories,
The Validity of Love, Bangles and Devadasi by Rishi Reddi. The focus of this study was made in order to researcher does not extend or even deviate from what
will be researched, so that the intended meaning can be conveyed to the reader
properly.
C. Research Question
Based on the background and focus of the study, the writer would like to
purpose the following research question:
1. What are the actant and functional structures in the three stories, The Validity of Love, Bangles and Devadasi from the book of Karma and Other Stories by Rishi Reddi?
2. How is the relation between actants and functional structure in each
story, The Validity of Love, Bangles and Devadasi from the book of Karma and Other Stories by Rishi Reddi?
D. Objectives of the Study
Based on research question above, the objective of this research is to
describe the actant structure and functional and also to obtain a proper
understanding about the relation between actants and functional structure in three
short stories from the book of Karma and Other Stories by Rishi Reddi.
E. Significances of the Study
The writer hopes this research will increase treasury scholarly field of
provide information and knowledge on structure of story by using structural
actantial and functional model based on A. J. Greimas’ theory in three stories, The
Validity of Love, Bangles, and Devadasi.
F. Research Methodology 1. Method
The method used in this research is qualitative-descriptive method. By
using this method, the writer tries to answer the two questions of the research
above
2. Analysis of Data
In analyzing the data, the writer uses qualitative data analysis method. The
data collected will be analyzed by using the structural theory of A. J Greimas. The
steps in analyzing the data are as follows:
1. Identifying actant structure and functional models in these short stories
by reading.
2. Determining the structure of actants by analyzing the action figures in
the story so that it can be determined role as sender, subject, object,
opponent, helper and receiver.
3. Arranging functional models through the analysis of movement across a
story that consists of three parts, the initial situation, transformation and
the final situation.
4. Identifying the relationship between actants and functional structure
3. Instrument of the Research
The research employs the writer herself as the instrument to get the data
by collecting the qualitative data about actant and functional structure and also
their relation to others by marking, collecting, giving a notes and reading the text
stories repeatedly.
4. Unit of Analysis
The unit of analysis that is used in this research is a short story collection
book Karma and Other Stories by Rishi Reddi that is published in 2007 by HarperCollins publisher Inc. In this book there are seven short stories, and the
writer only analysis three of them with the same theme, they are The Validity of Love, Bangles and Devadasi.
5. Time of the Research
This research has been started on January 2011, in English Letters
Department, Adab and Humanities Faculty, Syarif Hidayatullah State Islamic
CHAPTER II
THEORITICAL FRAME WORK
A. Structural Narratology Theory by A. J. Greimas
Structuralism is an intellectual movement which began in France in the
1950s and is first seen in the work of the anthropologist Claude Levi-Strauss
(1908—) and the literary critic Roland Barthes (1915-1980).11 Definitively,
structuralism is the understanding about the elements as a structure with the
mechanism of its relation. Todorov explains that structuralism does not deal with
the literary text as it presents itself to the reader but rather with an abstract deep
structure.12 Thus, structuralism according to Todorov, is a study which deals with
structure in the literary text without relates with a reader who produces the
meaning of literary text.
Besides that, structuralism is considered as anti-humanist which means
that structuralism is concerned on the work itself, not in its author. Structuralism
is also considered releases the literary work from history and social culture as its
origin.13 So, a fundamental concept of structuralism theory is the own literary
work itself which is an autonomous structure that can be understood as the unity
with the elements of its construction which related. Therefore, to understand the
11
Peter Barry, Beginning Theory; An introduction to Literary and Cultural Theory. Second
Edition, (UK: University Press, 2002), p. 2. 12
Luc Herman and Bart Vervaeck, Handbook of Narrative Analysis, (United States of America: Thomson-Shore, Inc., 2001), p. 41.
13
meaning of literary works, one must look into its own structures, apart from the
historical background, the author and the effect on the reader.
In the context of literary study, there are many structural theory models
that can be used. One of structural theory model is structural narratology.
Narratology is also called by the theory of discourse narrative. Both the
narratology and discourse theory are defined as a set of concepts about stories and
storytelling. It does not confine itself to literary text but the entire text as a human
activity. Narratology is inspired largely by the approaches to folk narratives taken
by Vladimir Propp, the Russian formalist, and Claude Lévi‐Strauss, the structural
anthropologist.14 Propp's work exemplifies the syntagmatic type15 of narrative
analysis with its focus on the plotline, and Lévi‐Strauss's work exemplifies the
paradigmatic type16 of analysis with its emphasis on underlying semantic
14
http://psychology.jrank.org/pages/2108/narratology.html (accessed on 22nd february 2011, 12:35 am).
15
Syntagmatic type is a structural analysis theory which develops from the notion of syntax in the study of language. Syntax is the rules of sentence construction or textual structure. In this structural analysis theory, the structure of folkloristic text is described following chronological order of the linear sequence of elements in the text. The most elementary syntactic division of the
sentence unit is between subject and predicate, for example ‗The knight (subject) slew the dragon with his sword (predicate)’. Evidently this sentence could be the core of an episode or even an entire tale. From this Propp’s approach, it can be understood by comparing the ‗subject’ of a
sentence with the typical characters (hero, villain, etc.) and the ‗predicate’ with the typical actions
in such stories. 16
Paradigmatic type is a structural analysis theory which borrows from the notion of paradigms in the study of language. A paradigm is a set of associated signifiers or signified which are all members of some defining category, but in which each is significantly different. This structural analysis type seeks to describe the pattern (usually binary opposition) which allegedly underlies the folkloristic text. Claude Levi-Strauss analyses the Oedipus myth. He calls the units of myth
‗mythemes’ which is organized in binary oppositions. The general opposition underlying the
structures. So, both Prop’s work and Strauss’ work influenced the works of
Russian formalists; one of them is Algridas Julien Greimas.
A. J. Greimas developed his structural narratology theory by applying
Propp’s analyses of narrative. Vladimir Propp (1895-1970), a 'Russian Formalist'
critic who worked on Russian folk tales, identifying recurrent structures and
situations in such tales, and publishing his findings in his book The Morphology of the Folktale, first published in Russia in 1928.17 In Propp’s work, there are seven spheres of action or roles to the thirty-one functions: villain, donor (provider),
helper, princess (sought- after person) and her father, dispatcher, hero (seeker or
victim), false hero.18 According to Propp, a function is more important than actors
in the structural narrative. A 'function' is an action seen as lending itself to
assimilation to other, comparable actions elsewhere in the corpus of tales.19 So, a
function is an act of character that defined from the point of view of its
significance with the course of the action in the tale.
A. J. Greimas's Semantique structurale (1966), finding Propp's scheme still too empirical, is able to abstract his account even further by the concept of an
actant, which is neither a specific narrative nor a character but a structural unit.20 Structural unit consist of six roles called by actant, they are sender, subject,
object, helper and opponent. Greimas also uses the Saussurean concept of binary
17
Peter Barry (2002), op. cit. p. 147.
18
Raman selder and Peter Widdowson, A Reader‟s Guide to Contemporary Literary theory, (Kentucky: The University Press of Kentucky, 1993), Third Edition, p. 110.
19
John Sturrock, Structuralism Second Edition, (United Kingdom: Blackwell Publishing, 2003), p. 108.
20
oppositions, so he evolved a set of six actants become three pairs of binary
opposition, such as Subject/ Object, Sender/ Receiver and Helper/ Opponent.
In analyzing the structure of literary text with Greimas' theory, the analysis
is start with actantial model analysis and its result is continued by functional
model analysis. The functional model is closely related to the actantial model
because the relation between one actant and the others is determined by their
function. Fossion who is cited by Hacette in his book of Lectures Nouvelles said
that all stories despite of in different forms show that there is the same configuration on the types of actans which is defined by relation and function played in stories.21
Here is a structural theory of narrative developed by Greimas.
1. The Schema of Actantial Model
The actantial model is a device that can theoretically be used to analyze
any real or thematized action, but particularly those depicted in literary texts or
images.22 In the actantial model, its study gives more attention to action than
subject. Subject is an artificial human which is formed by action called actant.
In the Narrative Fiction Book,23 Greimas distinguishes between „acteur‟ and „actant‟, but both are conceived of as accomplishing or submitting to an act
and both can include not only human beings (i.e. ‗characters’) but also inanimate
objects (e.g. a magic ring) and abstract concepts (e.g. destiny). The difference
21
Okke K.S Zaimar dan Apsanti Djokosuyatno, Laporan Penelitian Struktur Cerita Sunda, Aktan dan Fungsinya, (UI Depok, 1992), p. 4.
22
http://www.signosemio.com/greimas/a_actantiel.asp (accessed on 28th January 2011, 03:42 pm). 23
between the two is that actant is general categories underlying all narratives while
acteur is invested with specific qualities in different narratives. Thus, acteurs are numerous, whereas the number of actants is reduced to six in Greimas’s actantial
model. For example, in the sentence ‗John and Paul give an apple to Mary’, John
and Paul are two acteurs, but they are one actant. John and Paul are also senders, Mary is receiver and the apple is the object. On the other hand, in the sentence
„John buys a cap for himself‟ John is one acteur that works as two actants, they
are sender and receiver.
Besides that, Greimas does not give a psyche to the actants. It means that
actant is not defined what kinds of beings, broadly speaking, make up reality but
an actant may correspond to an anthropomorphic being (for example, a human, an
animal or a talking sword, etc.), a concrete, inanimate element, including things
(for example, a sword), although not limited to the concrete or abstract thing (for
example, the wind, the distance to be travelled), and a concept (courage, hope,
freedom, etc.). And also, an actant may be individual or collective (for example,
society). That is why actans and actors have different meaning. And then, one
'actantial' role may be played by several actors or one 'actorial' role by several
actants.24
Actants are purely formal elements in a narrative, equivalent to the subject
and object of a grammarian; they are parties to any action of whatever kind,
personal or otherwise, but they have no names, no qualities and no meaning
24
beyond their grammatical role.25 Actant also does not refer to the actual
manifestation of a character in the text but rather to the specific role a character
plays as an abstract agent in a network of roles on the level of the story.
Remon-Kenan said that actans and acteurs can be an act but not always be a human but
rather a nonhuman26. Borrowing from the term actant, L. Tesniere argues that actants are beings or things that participate in processes in any form whatsoever, be it only a walk-on part and in the most passive way.27From these statements, it can be concluded that actant are being or thing that participated in the story and be
subject to an action in any form even if it merely passive objects.
Actors, on the other hand, are visible components of the narrative, they are
the actual subjects and objects of the actions which occur; they may bear names
and possess distinctive appearances, natures, etc.28 Therefore, actant in Greimas’
theory is observed from aspect of story that shows the different relationship.
Actant is determined by the relationship and function which is played in the story.
Actant is also a structure in the narrative of syntax. In Narrative Semiotics and Cognitive Discourses, Greimas said that the ‗syntactic actant’ is not ‗the person, who is speaking’ (subject ontology) but ‗the person who is speaking’ – the abstract person who is formed by the action of his speaking.29 So, in Greimas’
theory, there is only ‗actants’ which/who produced by the configuration of actions
and actants do not only appear as a human but also as an inhuman. For example,
Algirdas Julien Greimas, Semiotics and Language: An Analytical Dictionary Advances in Semiotics, (United States of America: Indiana University Press, 1982), p. 5.
28 Ibid.
29
in the sentence ‗Romeo wants to marry with Juliet’, Juliet is a person who as object-actants, but in the sentence ‗Romeo wants to be rich’; that as
object-actants is not a person but rich that formed by action. The schema of actantial model can be described as follows:
The Schema of Actantial Model30
Sender Object Receiver
Helper Subject Opponent
In this schema, the axis becomes important element that connects the
syntactical function of each narrative actants. The explanation of this function as
follows:
1. Sender is an actant who/ which has a desire and is an activator of the story.
Sender determines an object which is looked for. And then sender asks subject
to obtain an object that sender wanted.
2. Receiver is an actant who/ which receives an object that is the result of the
struggle by subject.
3. Object is something that is desired by sender, such as freedom, justice, wealth
and so forth.
4. Subject or a hero is an actant who/ which arranges an agreement with sender’s
request. After subject accepts an agreement, subject gets duty to obtain object
which is desired by sender.
30
5. Opponent is an actant who/ which blocks the subject’s effort and struggle to
get an object.
6. Helper is an actant who/ which help subject to get an object.
7. The axis from sender that leads to object implies that sender has a desire to get
an object. The axis from object to receiver means that something which is
searched by subject given to receiver.
8. The axis from helper to subject means that helper gives help to the subject
who struggle getting an object. The axis from opponent to subject means that
opponent obstructs subject’s effort to get an object. The axis from subject to
object means that subject searches an object which is desired by sender.
2. The Schema of Functional Model
In addition actant analysis and actantial schema as described above, in
Greimas’ structural narratology theory there is also a functional model. A
Functional model explains about a model of story as plot of events called by
“function”.31
The function of functional model used to explain the role of the
subject in order to carry out the assignment from the sender which is contained in
the actant. The schema of functional model can be described as follows:
31
The Schema of Functional Model32
The explanation of the functional schema as follows:
1. Begining situation (Equilibrium1st):
The first balancing situation when the sender does not have an object. So, this
situasion still calm and peaceful. (e. g. Peace)
2. Transformation is a sequence of subject’s action that has made a contract with the sender to obtain the object through a series of test. Subjects are
represented in situations which change or to the changes of which they react.
Transformation divided into three, they are:
a) Qualifying Test (Force1st) : a state in which the sender feels disturbed because sender feels lacking something in him/ her/ its self, so sender has
a wish to get an object. Sender finds the subject who/ which can carry out
b) Main Test (Disequilibrium): a state in which the subject got a lot of obstacles from the opponent in the journey of the subject’s duties. So, this
situasion is not balancing. (War happens)
c) Glorifying Test (Force2nd) : a state in which the helper comes then the subject gets an object successfully. But, when he is on the way to go home
giving an object to the sender, the subject gets another obstacle. If the
subject can successfully pass this test as the result the subject will get the
glory. In this situation, the force of helper comes to help the subject’s
effort getting the object. (Enemy is defeated)
3. Ending Situation (Equilibrium2nd):
The second balancing situation when the subject gives an object to the sender
successfully. So, this situation will be peaceful again in new term situation.
CHAPTER III RESEARCH FINDINGS
This analysis will be divided into two parts. In the first part describes an
analysis the actantial and functional structure in three stories, The Validity of Love, Bangles and Devadasi. And then, in the second part describes the relation between actantial and functional structure in each story.
A. Actant and Functional Structure 1. Actant
a) The Validity of Love
The intergenerational conflict that occurs in the Validity of Love story is caused by the differences of opinion and mindset between the first and second
generation in two immigrant Indian family, Lata and Supriya’s family. Lata, the
main character (narrator) and Supriya, the representative of the second generation,
have the same problem that they refuse the obligation from their parents in
arranged marriage.
Generally, the second generations who were born and grow up in the
immigrant land tend to forget their ancestral culture which brought by the first
generation as the result they face identity crisis. According to Hall, identity is “a
matter of „becoming‟ as well as of „being‟”33
. So, identity is something which never stops to form and not only something which ‗being’, but something which
33
continues ‗becoming’. The identity of person leans like a liquid consists of the
elements which will accustom in the surrounding culture and not consist of the
clumsy characteristic which prevent from the little of change. According to Frank
Parkin’s theory of ‗meaning system’,34
there are three responses to the culture;
they are dominant, negotiable, or oppositional. First, a dominant is disposed to
totally accept one of his or her identity. For instance, if person prefers to be an
American, he or she would run all activities based on American culture, ethnic,
and society. Second, a negotiable would not accept the whole of two cultures,
such as Indian or American identities but rather negotiate about. Third, an
oppositional is disposed not to respond and to reject one of the identity he or she
run in which he or she is not comfortable to present the identity. That is why the
problem of identity crisis appears. Identity crisis is characterized by the presence
of in search of identity which includes a kind of ‗project’ over one’s body.
That is why the intergenerational conflict occurs. Lata and Supriya are
more interested with the western culture than their original culture, eastern
culture. They have life styles who adapted with western culture.
“We had a Ganesha that hung on our threshold, and an ample liquor
cabinet to welcome a steady stream of friends that came for late-night parties and weekend brunches or dropped by after work. We had so convinced ourselves that we were free and American, …” (Reddi, 2007: 67)
However the characteristic of Lata and Supriya is different. Lata refuses her
original culture clearly, although she loves to dance. But Supriya accepts her
34
original culture by negotiating; she does not entirely eliminate or even rejects her
original culture.
“I‟d be even more of a rebel because I felt this connection to classical
dance, whereas Su was mostly a model daughter and all the uncles and aunties thought she did everything a good Indian girl was supposed to.”
(Reddi, 2007: 71)
Crisis identity of Lata is also seen as she remembers herself with Luke
together. Lata wants to be American but she realizes that she has Indian identity
which appears on her. We can see from the excerpt below.
“… suddenly the faces of my family would materialize out of the shadowy
corners of the ceiling. I saw us as they would‟ve seen us (Lata and Luke)
with his white hands on my dark body, and realized that it was hopeless.
What I‟d been trying to give my lover was not mine to give anyway; it
belonged to them, to those faces on the ceiling, …” (Reddi, 2007: 84)
Because of there are two characters in this story, so this story has two plots
which differ. The main plot contained by describing of Lata who tries to get her
love with American man, Luke O’Malley back to her. This plot narrated dowdily-
forward, backward and flash back- because this plot refers to Lata’s remembering.
On the other hand, the subordinate of plot describes the love story of Supriya who
marries with Sameer. This plot narrated by linear from the beginning to ending.
Both of two plots run in parallel because the narration of Supriya’s character
overlaps with the memory of Lata’s character.
1) The Actantial Schema
letter Refusal of arranged marriage Supriya
Lata Supriya Parents
As an Indian woman, Supriya’s parents consider that she has had a certain
time to get married. So, her parents send a letter to her about arrange marriage35
with Sameer Murthy who is a smart man and a graduate student at California
Technology Institute. So, letter as a sender which is an activator of the story.
“… The letter came from her father about arranging her marriage…
(Reddi, 2007: 67)
Supriya makes a planning to refuse her parents obligation because she
wanted to do many things before getting married. According to her, marriage is
the most important thing. She assumes that her parents are still traditional who
believe the Indian tradition. Supriya as a subject who tries to get an object, refusal
of arranged married.
“Why can‟t they see? I‟ve told them already. There‟re so many things I want to do before I get married.” (Reddi, 2007: 69)
But, she did not have a choice to refuse this obligation because she is a woman
who bounds with an Indian women tradition. Besides that, she is a good girl who
always obeyed her parents. To get an object, Supriya faces with the opponent, her
parents.
“Women have certain urges, Gopal Uncle had written. These are natural
and part of life”(Reddi, 2007: 67)
35
Supriya was scared to go to the meeting with Sameer, and then she asked
Lata to ride her to the meeting. She hopes Lata helping her to stay connected with
her real life that is American life style. She does not want to get married by this
way. And then Lata becomes a helper who helps Supriya’s effort.
“You‟d help stay connected to my real life, Lat. You‟d help me hold myself together.”
“How could I (Lata) say no to a request like that?” (Reddi, 2007: 74)
In the meeting supriya successfully says to Sameer that she refuses this
arrange marriage and Sameer agrees about that. Then, she is happy that she has
solved her problem clearly.
“We both agreed that the other seemed nice, but that you don‟t mary every
nice person you meet, and that we didn‟t want to get married this way.”
(Reddi, 2007: 80)
But, this agreement makes her parents feeling sad and regret, especially
Supriya’s mother; Amruta expresses her regret feeling by calling Lata. After that,
Supriya and her parents never talked again about an arrange marriage.
telephone Meeting Supriya
sweater Supriya Lata
Shema of Actant 2
After there is no talking about Sameer Murthy, suddenly Sameer calls
Supriya because he wants to return Supriya’s sweater which left in the starbucks
café where she and he met. Sameer’s calling is not only first time even though he
calls Supriya every night and Supriya feels comfort and happy. Then, Supriya
So, the calling from Sameer is a sender that makes Supriya, subject, wants to meet
with Sameer, object.
“She was holed up almost every night in her bedroom with the phone to her ear for more than an hour.” (Reddi, 2007: 83).
That is causes that Lata became feeling lonely and lost her friend. Lata
asks to Supriya that her going is not only to meet her childhood friend but also to
meet with Sameer. And then, Supriya says that she only wants to take her sweater
from Sameer. So, sweater becomes a helper who helps Supriya to pass the
opponent, Lata. And then, Supriya is also a receiver who receives her struggle to
get an object.
“Sameer. He‟s got to get my sweater back to me, doesn‟t he? …” (Reddi, 2007: 83)
love getting married Supriya
Ø Supriya Lata
Schema of Actant 3
Supriya comes back to her apartment after she has been in Los Angeles for a
week. In her apartment she explains to Lata that she falls in love with Sameer and
decides to get married with him. Thus, Love is a sender who makes Supriya,
subject and receiver, decides to marry with Sameer, object.
“I‟m in love with Sameer, and we‟ve decided to get married.” (Reddi, 2007: 85).
Lata shocks after she heard Supriya’s decision which is so soon. She
Lata’s judgment because she naturally falls in love with Sameer without
compulsion or arrangement love. After that, Supriya moves to her parents’ home.
Thus, Lata, who is an opponent, obstructs Supriya marrying with Sameer.
“You don‟t even know what love is, Lata, okay? If you did, you‟d still be with Luke.” (Reddi, 2007: 86)
guilty feeling Plann to attend Supriya’s engagement and appologize
Lata and Supriya
Mature Lata Parents Supriya’s
comment
Schema of Actant 4
Lata feels lonely in her apartment after Supriya leave. She realizes that she
has judged to Supriya’s decision and becomes feeling guilty to her. All along in
the night before Supriya’s engagement ceremony, Lata thinks about Supriya and
she wants to accompany her during her engagement ceremony and apologize. So,
Lata’s feeling guilty becomes a sender. So, the guilty feeling (sender), makes Lata
(subject) planning to attend Lata’s engagement and to apologize (object).
“I realized that she thought I was judging her; she was right…”
“I wanted to be with her during the formal engagement… so I wanted to apologize.” (Reddi, 2007: 87)
But she gets the problems in her mind that is she does not want to meet her
parents who will come there too. Her relationship with her parents is not good
because her parents still feel angry with her decision that is she has refused her
arranging marriage. Besides that, Lata also feels hurtful when she remembered the
comment of Supriya about her love with Luke. These problems become opponent
“my parents would be there and I didn‟t know how they would act. … the comment she made about Luke and my not knowing what love is and I got
angry again…”(Reddi, 2007: 88)
Finally, she realizes that she must not blamed others people for anything.
So, she decides to attend Supriya’s engagement ceremony because she is her best
friend and she wants to with her during her ceremony. So, Lata’s mature helps
herself to get an object.
“… I decided that I would do the thing for which I couldn‟t be blamed by anyone for anything…” (Reddi, 2007: 88)
attending Apologize Lata and Supriya
mature
Lata Self-conscious
Childhood friend
Schema of actant 5
Lata attends Supriya’s engagement by wearing her fanciest chalwar
kameez36. She wants to apologize with her. When she arrives in the ceremony, she gets the problems which makes her feel self-conscious because there is only a few
of her childhood friend in the ceremony, she also feels uncomfortable with her
short hair which is not suitable with her Indian cloth. Then, she thinks that she
should not attend in this ceremony and she wants to come back to her apartment.
Thus, Lata’s attending in Supriya’s engagement as a sender that makes Lata,
subject, ask for apology (object). To get an object, Lata faces problems, her
self-conscious feeling and her childhood friend as the opponet for her.
36
“I realized that very few of my childhood friends would attend, … My
short hair looked ridiculous against the regal violet sweep of my Indian
clothes, …”(Reddi, 2007: 89)
But, she cancels her wanting because she must be brave to face her
problems and she enters to the engagement ceremony. Finally, she finds Supriya
and walks toward her. Lata begs pardon to her but she does not apologize in
return. This matter making Lata becomes feeling annoyance with her. Lata hides
her angry feeling because she respects her. So, it becomes a helper to her getting
the purpose.
“I felt a surge of annoyance that she didn‟t apologize to me in return, then our eyes met and it didn‟t matter. I couldn‟t be mad at her…” (Reddi, 2007: 88- 92)
News Refusal of arranged marriage Lata
Ø Lata Parents
Schema of Actant 6
Lata’s parents explain that they get the good news about Santosh, is a
Canadian doctor and his family from an old line of land-holding zamindars37 in rural Andhra Pradesh accepts to marry with Lata. After she heard about that, she
immediately refuses a marriage. She considers that an arrange married will be an
appropriate marriage to her parents because she was from the correct subcaste and
37
her father was a doctor too. Thus, News becomes a sender which makes Lata,
subject, to refusal of arranged marriage, object. Lata is also a receiver.
“I was from the correct subcaste, … my father was a doctor, so it would be an appropriate marriage.” (Reddi, 2007: 75)
“I „m not interested. I mean no,” (Reddi, 2007: 76)
But her parents, especially her father gives her an offering that is she can continue
her dance lesson if she get married with him because Santosh is an succses man
and has a good earning. So, her parents become opponents that obstruct Lata to
get an object.
“But with his earning capacity you can continue on with your dance as
long as you want.” (Reddi, 2007: 76)
Lata who does not have a helper, becomes angry and go out from her parents’
home. After that, her parents never talk with her again.
“I‟ll dance in my own time and in my own way, thanks Dad. And you can
tell his family I said no.” (Reddi, 2007: 76-77)
Luke Telling Lata’s relationship
to her parents
Lata and Luke
Ø
Lata Parents and
tradition
Schema of Actant 7
Lata remembers her past time, when she was in relationship with Luke.
Luke asks her to tell their relationship to her parents in order that their relationship
getting a progress. So, Luke as a sender who has an object, telling relationship to
Lata’s parents and Lata is a subject. Luke and Lata is a receiver.
“He felt strongly that I should tell my parents about us, …”
But, Lata does not have a braveness to be honest to her parents and she is
afraid with her parents’ obligation that forces her to obey the Indian marriage
tradition which is Indian women always get arranged marriage and marries with
Indian man. Besides that, she realizes that she does not match with Luke, an
American man, because they come from different culture. Thus, tradition and
parents become opponent for Lata and she does not get a help. Then, Luke broken
their relationship and they never met again. As seen from the excerpt below, when
Lata and Luke made love, she saw her parent’s shadow on the ceiling.
“What I‟d been trying to give my lover was not mine to give anyway; it
belonged to them, to those face on the ceiling.” (Reddi, 2007: 84).
fate Rebuild relationship Lata
Supriya Lata Ø
Schema of Actant 8
Unconsciously, fate meets Lata with Luke. She feels happy and they talk
about their life after break up. So, fate becomes a sender that makes a desire.
“After months of not seeing Luke, of dreaming about writing to him, of
thinking that I saw him and being wrong, it finally happened in the
grocery store. …” (Reddi, 2007: 93)
Immediately, Lata says sorry to him, she thinks it can rebuild her
relationship again. Supriya’s comment about her love makes she realize her
mistake so she changes her attitude and her sight, she tries to be wise and mature
and also brave to face all the problems which she get. After that, Luke responses
her words which implies hope or regret to her. So, Lata as a subject who tries to
Lata does not face opponent but she does not appear the successful or failed to get
an object.
I tried to read his answer. I tried to sense if his words had a tiny trace of
hope. Or only regret, “I think it would‟ve been the beginning of everything,” I said. (Reddi, 2007: 94)
b) Bangles38
In this story the conflict between the first generation and second
generation begins when the first generation that starts to accustom in the second
generation country, is American life. Arundhati is a first generation who lives in
America after her husband died. In accordance with Indian custom and duty,
Venu, her only son takes care of her and invites her to live together with his
family. Arundhati feels confused with her new life in her new country and her
mind set different from the second generation who has lived long time in America
so she begins uncomfortable to live together with her son’s family.
This matter raises diaspora identity issue which happens on Arundahti. According to Stuart Hall, “diaspora does not refer us to those scattered tribes
whose identity can only be secured in relation to some sacred homeland to which
they must at all costs return”39
. He also says that, “diaspora defined, not by essence or purity, but by the recognition of necessary heterogeneity and diversity; by a conception of 'identity' which lives with and through, not despite, difference;
38
Bangles are considered to be traditional jewelry in India and are known as "Chudi". They are worn by women of any age group irrespective of race, caste, religion, etc. Besides that, the bangle becomes an important symbol of marriage and wedlock. A newlywed woman and a bride to be never leave their hands bare and wear either red glass bangles or a pair of gold bangles. (http://www.iloveindia.com/indian-jewelry/types-of-jewelry/bangles.html acessed on 30th March 2011, 09:30 pm)
39
by hybridity”40
. From Stuart Hall’s definition, it can be conclude that diaspora
identity produces and reproduces a person through transformation and diversity
constantly. So, when a person is in the foreign country he/ she still keeps her/ his
original culture and tries continually to develop it by transformation. The groups
of diaspora who experience transferring of place have feeling homesick to their
hometown. Their feeling homesick becomes bigger because they feel that they
have lost their origin culture.
Arundahti wants to leave America and go back to India because she feels
that the culture that she brings different from the culture that she lives now.
Before she wants to go back, she tries to adapt and internalization the values in the
new culture. However, Arundhati still does not feel comfortable like in her
hometown.
Diaspora identity which occurs to Arundhati differs from the second and
the next generation which experienced by Venu, Kamlesh, and their children.
Arundhati as a first generation still has the values of her culture which is she
brings from her hometown, but her child and her grandchildren live in the new
country with the new culture and they have adapted the culture in their living so
their identity change. This matter causes there is differentiate the diaspora identity
between the first generation, the second generation and the third generation.
Moreover, the difference between the first generation and the third generation can
cause the third generation does a resistance toward the culture of first generation
because the third generation feels that it is not belonging to them.
40
1) The Actantial Schema
status living Arundhati
Venu Arundhati Ø
Shema of Actant 1
Arundhati is a sixty-nine years old. After her husband died, Venu, her son,
invited her to live in America with him and his family together. And then, she
goes to her new life and she must adaptation with the new tradition in the new
country. Thus, Arundhati’s status who is a widow as a sender that has an object to
live with Venu, helper, in America. Arundhati also becomes a subject and a
receiver.
“He might have said, “This is your new city, new country, new life,”
because he was her only son, her only child and she was a widow…”
(Reddi, 2007: 97- 98)
Venu and Kamlesh take care of Rahul Venu, Kamlesh
and Rahul
Tara, Rina,
Venu and Kamlesh Arundhati
Unaccustomed and Rahul
Schema of Actant 2
After some days living together with Venu and his family, Arundati is
requested by Venu and Kamlesh, his wife to take care of Rahul who is theirs son
and her youngest grandson. Rahul is a naughty boy, spoiled and bold. Arundhati
feels that she has a duty to take care of her grandchild. So, Venu and Kamles as
senders who request Arundhati, subject, to take care of Rahul, object. And then
Venu and Kamlesh sat side by side on the sofa. “Can you take care of
him?” (Reddi, 2007: 101-102)
When Arundhati takes care of Rahul, she is confused and does not know
how to play with him. But, she gets a help from Tara and Rina, her
granddaughters who have a holiday from their school. Then, she learns how
Tara’s way to take care of Rahul and how Rani’s way to make sandwich which is
not Indian food. So, Tara and Rina become helpers who help Arundhati’s
assigment.
“Don‟t worry, I‟ll take care of him,” said Tara. …
“I‟ll make sandwiches,” Rani said… (Reddi, 2007: 102-103)
After that, Arundhati gets the other problems when Rahul cries asking
some juice. And then, Tara decides to buy it but Arundhati who does not know
about the condition in her new city forbids Tara to buy it because she feels
worried to her safety and she must protect her grandchildren, it makes Tara
becomes angry. Few minutes later, Venu and Kamlesh go home, they know about
this condition after Rani told to them. Then, Venu invites Rahul to get some
orange juice in the store and Kamlesh asked Tara to apologize with Arundhati.
Then, Arundhati realizes that she must become accustomed to small children
again. Thus, the opponent is Arundhati’s self who unaccustomed to live in
America and then Venu and Kamlesh become helper too.
“… Suddenly, Arundhati moved forward and hugged her, “I am sorry. I do not know anything here.” (Reddi, 2007: 104-105)
religious Puja Arundahti’s husband
Rukmini Arundhati Brahmin and Venu’s family
Arundhati who is a religious Indian, a sender, has a desire to do a puja
(object). Pujas are performed by priest and lay Hindus through devotional songs and prayer to express faith, gratefulness, love, and offerings to a deity.41 A
receiver is her husband who had died. Arundhati, a subject, asks Venu and his
family to go to the temple.
“All of us. Let us go and do a puja for your father.” (Reddi, 2007: 107)
After arriving in the temple, the Brahmin said that he cannot do puja
because he and all the Brahmins in the temple are busy and also he does not have
all the things that will need. Later, the Brahmin asks her to come back tomorrow
because he is free. But Arundhati realizes that Venu and his family are impossible
to come back to temple again except today. So, Brahmin and Venu’s family are
the opponents.
“Come back tomorrow. At ten o‟clock I am free.”
But Arundhati knew her family would not bring her again the next day.
(Reddi, 2007: 109-110)
This situation makes Arundhati regrets but Venu introduces her to
Rukmini. Every Saturday, Rukmini goes to the temple so Arundhati can go to the
temple with Rukmini without accompanied by Venu. Rukmini becomes a helper
for Arundhati to get an object.
“Rukmini says she comes every Saturday. She‟ll pick you up. She lives
only ten minutes from us.” (Reddi, 2007: 111)
41
Rahul take care Rahul
Venu Arundhati Rahul and Kamlesh
Schema of Actant 4
In the temple, Rahul does not look a good boy. Kamlesh, his mother, is not
unaware of Rahul’s act. Arundhati looks Rahul who is disrespectful with the
goddess, he takes a coconut from the basket and he runs to the alcove then flings
it to the seated devotees into the small chamber where the statue of goddess stood.
Immediately, Arundhati runs to him, and then she catches him and pulls him
toward Venu and kamlesh. Thus, Rahul as a sender that makes Arundhati, subject,
to take care of him, object.
Arundhati ran to her grandson and caught his arm with her right hand.
Rahul screamed. She pulled him toward Venu… (Reddi, 2007: 111)
Kamlesh who sees Arundhati’s act becomes angry and she blames her
because she thinks Arundhati has hurt Rahul. But, Venu forbids Kamlesh to blame
Arundhati and he asks rahul to be quite. So, Kamlesh becomes an opponent but
Venu becomes a helper who support Arundhati’s act.
Kamlesh picked up her son. “Don‟t you think you‟re being little rough?”
she said, looking at Arundhati.
“No, it wasn‟t rough,” Venu said. “He‟s screaming because he knows he acted so badly. Nobody hurt him.”…( Reddi, 2007: 112)
On the way home, Kamlesh does not look to her and speaks only when
Venu asked. After that, Kamlesh’s attitude changes to Arundhati, she shows her
Rahul and Kamlesh go home Arundhati
Rukmini Supriya Venu
Schema of Actant 5
In the kitchen, Arundhati looks Rahul sitting at the counter with his
coloring book and playing tulips which is in the heavy crystal vase. Then,
Arundhati forces him to lift him down from the counter. Unfortunately, Rahul’s
hand catches the vase and then it fall down to the floor and break. All the people
who are in the home, includes Rukmini who has came to pick up Arundhati, go to
the kitchen and look at Arundhati and Rahul. Immediately, Rahul points his finger
and kicks Arundhati’s leg, he accuses Arundhati who has done it. This situation
makes Arundhati shames because her grandson shows disrespectful to her in front
of all Indian people in home.
“She did it!” Rahul swung his foot back and kicked his grandmother in the
leg. (Reddi, 2007: 120-121)
In the night, Arundhati talks to Venu that she wants to go back to India
and lives with her brother. But Venu forbids her because he is only her son who
has a duty to care her mother in accordance with Indian custom and duty.
Arundhati feels that her attending is not expected by Kamlesh so she begs to Venu
to allow her go to India. Venu still refuses Arundhati’s request. Then, Arundhati
feels disappointed because she realized that she cannot go back to India without
Venu’s help. Thus, Rahul and Kamlesh as senders make Arundhati, subject,
feeling uncomfortable and decides to go back to the India, object. But Venu
“But I am in the way here. I am not a help to either you or your wife. And
she does not want me here, either,…”
Venu paused. “No,” he said…. “Your place is here.” (Reddi, 2007: 123)
During the week, Arundhati always thinks about how she can go back to
India without need a help from Venu. And then, she asks Arundhati who picks up
her to the temple as usual on Saturday, to sell her bangles for her in order that she
can go back to India. Rukmini shocks with Arundhati’s request. But in the end,
she understands with her condition and obeys her request. So, Rukmini is a helper
who helps a subject to get an object.
… Rukmini opened her handbag and took out a tissue. Then she wrapped
the bangles, slowly, and put them inside her purse. (Reddi, 2007: 124-125)
c) Devadasi
Devadasi story begins from Uma’s departure to India, her hometown. After Uma is in America for sixteen years, she must go to India because her father
asking her to attend her cousin’s wedding ceremony. Before she goes, she
requests her parents to give her a private dance lesson in India. This story took
place in 1992 when Hindus and Muslims’ riot42 happened.
Despite that Uma who has lived in America for long time feels
uncomfortable since arriving in India; she also feels that there is a distance which
separates her with her family in India. Uma considers herself is not Indian but
American so she does not care with the problem or custom which is in India.
42
Hindu and Muslim’s riot happen on December, 1992. This riot is caused by Hindu mobs who
