The change of Albus character: phenomenological study in J.K. Rowling's Harry Potter and the cursed child.

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THESIS

Submitted as Partial Fulfillment as the Requirements for the Sarjana Degree of English

Department Faculty of Arts and Humanities UIN Sunan Ampel Surabaya

By:

Ahmad Abdullah Rosyid

Reg. Number A73213079

ENGLISH DEPARTMENT

FACULTY OF ARTS AND HUMANITIES

THE STATE ISLAMIC UNIVERSITY OF SUNAN AMPEL

SURABAYA

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ABSTRACT

Rosyid. 2017. The Change of Albus Character: Phenomenological Study in J.K.

Rowling’s Harry Potter and The Cursed Chil

d, Faculty of Arts and

Humanity. The State Islamic University of Sunan Ampel Surabaya.

The Advisor: Itsna Syahadatud Dinurriyah, M.A.

Key words: phenomenology, experience, character.

In everyday life, someone’s character can be influenced by the experience.

This study examines it through phenomenological aspect which focuses on Albus

’

experience. The experiences which influence him most are based on his family,

his school, and his friendship. In addition, the change of Albus’ character is also

investigated since there are some changes in his personality.

Husserl’s concept of phenomeno

logy is applied. Besides, theory of new

criticism which contains character and characterization is also applied. To

complete the analysis, psychological approach is also used to see the character’s

mental problems from the experience he has got. The data are collected from the

text of J.K. Rowling’s play, by reading and selecting narrations and dialogues,

then analyze it and make the conclusion.

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INTISARI

Rosyid. 2017. The Change of Albus Character: Phenomenological Study in J.K.

Rowling’s Harry Potter and The Cursed Ch

ild, Fakultas Adab dan

Humaniora. Universitas Islam Negeri Sunan Ampel Surabaya.

Pembimbing: Itsna Syahadatud Dinurriyah, M.A.

Kata kunci: phenomenology, experience, character.

Dalam kehidupan sehari-hari, karakter seseorang bisa dipengaruhi oleh

pengalaman. Studi ini meneliti melalui aspek fenomenologis yang tertuju pada

pengalaman Albus. Pengalaman yang paling mempengaruhinya didasarkan pada

keluarganya, sekolahnya, dan persahabatannya. Selain itu, perubahan karakter

Albus juga diselidiki karena ada beberapa perubahan dalam kepribadiannya.

Konsep fenomenologi Husserl diterapkan. Selain itu, teori new criticism

yang mengandung karakter dan karakterisasi juga diterapkan. Untuk melengkapi

analisisnya, pendekatan psikologis juga digunakan untuk melihat masalah mental

dari pengalaman yang dimilikinya. Data dikumpulkan dari teks drama oleh J.K.

Rowling, dengan membaca dan memilih narasi dan dialog, kemudian dianalisis

dan dibuat kesimpulan dari itu.

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TABLE OF CONTENTS

Inside Cover Page ... i

Inside Title Page ... ii

Declaration Page ... iii

Dedication Page ... iv

Motto ... v

Thesis Advisor’s Approval Page

... vi

Thesis Examiners Approval Page ... vii

Acknowledgement... viii

Table of Contents ... x

Abstract ... xiii

Intisari ... xiv

CHAPTER I INTRODUCTION

1.1

Background of the

Study………...

.1

1.2

Statement of P

roblems………

5

1.3

Objectives

of Study………

.5

1.4

Significance of t

he Study………...

.5

1.5

Scope and L

imitations………

.6

1.6

Method

of Study………

..6

1.6.1 Research design ... 6

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1.6.3 Procedure of Data Collection ... 7

1.6.4 Procedure of Data Analysis ... 8

1.7 Definition of Key Term ... 8

CHAPTER II LITERATURE REVIEW

2.1

Theoretical Framework ... 10

2.1.1

Phenomenology Theory ... 10

2.1.1.1

Husserl’s Phenomenology

... 13

2.1.2

New Criticism ... 19

2.1.2.1

Character ... 19

2.1.2.2

Characterization ... 22

2.1.3 Psychological Approach... 25

2.2 Previous Study ... 26

CHAPTER III ANALYSIS

3.1

Albus Potter’s Experience

... 28

3.1.1

The Ex

perience as Harry Potter’s Son

... 28

3.1.2

The Experience as Student in Hogwarts ... 38

3.1.3

The Experience as Friend ... 43

3.2

The Influence of Albus Experience to His Character ... 51

3.2.1

The Influence as Harry Potter’s Son

... 51

3.2.2

The Influence as Student in Hogwarts ... 53

3.2.3

The Influence as Friend ... 55

3.2.4

The Change of Albus Character ... 58

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Conclusion... 63

APPENDIX

... 66

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CHAPTER 1

INTRODUCTION

1.1.

Background of Study

Human have different kind of experiences, including perception, imagination,

thought, emotion, want, wish, and action. Thus, the realm of phenomenology is a

variety of experiences. The experience does not only cover a relatively passive

experience like in vision or hearing, but also in active experience such as running,

hammering nails, or kicking the ball (Lorens 132). Those cases are much related to

phenomenology theory.

Phenomenology is a psychological and philosophical practice that has become

a central influence in European philosophy this century (Owen 1). Phenomenology

theory has been developed into many kinds of literature such as novel, poem, drama,

and prose. Here, the study focuses on one of literary works; it is a play entitled Harry

Potter and The Cursed Child. This play is written by J.K. Rowling.

Joanne “Jo” Rowling, (known as J.K. Rowling), is a British novelist,

screenwriter, and film producer best known as the author of the Harry Potter fantasy

series. She was born in Yate, 31 July 1965, Gloucestershire, England. Rowling was

working as a researcher and bilingual secretary for Amnesty International when she

conceived the idea for the Harry Potter series while on delayed train from

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Harry Potter series have become the best-selling book series in history and

been the basis for a series of film over which Rowling has overall approval on the

scripts and maintains creative control by serving as a producer on the final installment

(Smith 20). This study uses Harry Potter and The Cursed Child play to be the object

of this study. The book was released on July 2016 but the play was performed on

December 2016. This play becomes the most popular and best-selling book in two

days after it has been released. In Cursed Child, Rowling creates a new main

character that is quite phenomenal, he is the son of the main character in the earlier

story (Harry Potter), and his name is Albus. Unlike the stories that Rowling has

described in the earlier stories which is the main character is so smart, strong, and

wise, in this story the main character is described very inversely from the previous

books.

Cursed Child

tells the story of Harry Potter’s son. Albus Severus Potter is the

main character in this story, his friend is Scorpius Malfoy. It is friendship of two

children from fathers who once has uneasy relationship. Both of them have to bear

the burden of his father’s reputation; Scorpius bears unfavorable image that sticks

in

the Malfo

y family name, and Albus, besides his father’s name, Harry Potter. This is

the story of nineteen years after the events of Harry Potter and the Deathly Hollows

and follows Harry Potter, now a Ministry of Magic employee, and his younger son

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The adventure begins from the first year at Hogwarts School. When the

Sorting Hat shouts Slytherin, of course it makes Albus immediately feels excluded,

since almost all of his extended family come from the red dorm or Griffindor. Albus

suffers at Hogwart because of his skills are not good as his father, he is even dubbed

as geeky. Friend he has is only Scorpius. Rose is Albus’ cousin, after knowing that

Albus gets along with Scorpius, their friendship becomes distantly apart because she

thinks that Albus has chosen the wrong friends.

Meanwhile, the Ministry of Magic is being bothered by the presence of

Time-Turner; people in Hogwarts convince that the Time-Turner has been destroyed in the

Second Wizarding War. Hrry, Ron, and Hermione have already occupied the high

position in the Ministry of Magic that time. One day, Harry gets a visit from someone

he never thinks about, hi is Cedric’s father, and Albus hears their conversation about

Time-Turner.

In addition, to consider the job, Harry also gives attention to his children.

Hearing Albus does not feel at home at Hogwarts, Harry tries many times to persuade

and motivate Albus, but basically the relationship between Harry and Albus is bad

because Albus also feels disappointed with himself, and in the day before Albus go

back to Hogwarts for undergoing its 4

th

year, the two of them fight, and Harry

accidently shouts the sentences that sometimes he wishes tah Albus is not his son,

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Hogwarts Express, Albus determines to get Time-Turner, to prove that his father is

not a heroic person, and rescues someone in the past.

There are some cases in Harry Potter and The Cursed Child which much

related to phenomenology the

ory. The idea of phenomenology in J.K. Rowling’s

Harry Potter and The Cursed Child reflect through the main character, Albus himself

experiences some events in his school, Hogwarts. He meets with new friend and

experiences some moments there. Meanwhile, the experiences are very influential to

his character. Such as while he is recruited to Slytherin, become friends with

Scorpius, and he is very ashamed with himself because people are expecting that he is

the good boy like his father.

As a boy, Albus is affected by his environment and also the opposite (he is

affecting the environment) through how he is experiencing the world. According to

Ponty (qtd in Ilham), something is there because something is recognized. Thus an

event or object exists in a reciprocal process that is dialogical relationship in which an

object or objects affect events or other events (25). It means that phenomenology

acknowledges that there is external reality as something that really exists, but it can

only be realized through awareness that we all have.

Considering of explanation above, this study will reveal the influence of

Albus experience to his character. Besides, it will involve new criticism theory since

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criticism is a theory which emphasizes close reading to the text. The purpose is to

understand the structure, examine a piece of literature closely, and look for the use of

language (Gillespie 172).

1.2.

Statement of Problems

Based on the background of the study above, the problems are formulated as

follows:

1.

What are Albus experiences in the play?

2.

How do the experiences change his character?

1.3.

Objective of Study

Dealing with the statement of problems above, this study has an objective as

follows:

1.

To reveal Albus experiences in the play.

2.

To find out the influence of his experiences to his character.

1.4.

Significance of Study

Theoretically, this study hopes that the finding of this study will enrich to the

study and analysis on The Cursed Child play, especially in phenomenology. Besides,

this study hopes that it can develop the new criticism theory in the play. This study

expects to give more knowledge about that to the reader.

Practically, it can also be applied in several side of life, especially to the

common readers. By having well understanding about phenomenology, the readers

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considered as a contribution to the literary study especially for students in English

Letter Department in State Islamic University of Sunan Ampel Surabaya.

1.5.

Scope and Limitation

To avoid a broad discussion, the scope of the study focuses on the play,

entitled Harry Potter and The Cursed Child, and the limitation is focused on Albus as

the main character. Henceforth, the analysis of the experience is the beginning to

provide the idea that will suggest how this study will be carried on further in

phenomenology in the play. Moreover, it is necessary to use the new criticism theory

to support the data analysis. it is also important this study to focus in the interaction

between the main character and also some other minor characters in the play.

1.6.

Method of the Study

This chapter discusses how the research is conducted. It involves four main

sub chapters consisting of research design, source of data, procedure of data

collection, and procedure of data analysis.

1.6.1.

Research Design

This study will use descriptive-qualitative method. Bodgan and Biklen argues

that qualitative method is research in which the data are in the form of text, written

words, phrases, or symbol and not concerned with numbers (28). According to Burns

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it naturally happens. It may be used to justify current practice and make judgment and

also to develop theories.

For the purpose of this study, descriptive research will be used to obtain the

impact of Albus’ Experience to his deed. Based on the problems, this study will use

the theory of phenomenology as a main theory, new criticism as supporting theory,

and also psychological approach to obtain the main character’s mental problem.

1.6.2.

Source of Data

The main source of data for this analysis is the play of J.K. Rowling entitled

Harry Potter and The Cursed Child. This study analyzes the dialogs which are

spoken by the characters in the play which related to the experience, Albus character,

and his personality. It is important to add the supporting data in some e-books and

journals.

1.6.3.

Procedure of Data Collection

To conduct the research properly, the data must be collected effectively. This

study use qualitative method with these steps of collecting the data:

1.

Read the play to get the accurate data. It focuses on the experience of

Albus and his character and personality.

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1.6.4.

Procedure of Data Analysis

The data which have been collected is analyzed using literary theory. It will follow

the following steps:

1.

Analyze the data dealing with the problem. The analysis is divided into two

parts. First is about Albus experience, second is about the impact of his

experience to his character.

2.

Make a conclusion based on the result of analysis.

1.7.

Definition of Key Term

Play

: Play can also be defined as drama. A play is an imitation and

lively image of human nature, representing its passions and

humors and the changes of fortune to which it is subject for

the delight and instruction of mankind (Dryden 170).

Fantasy

: Fantasy deals with otherness of time or place; settings may be

contemporary or historical but something is out of kilter.

Fantasy exists in a world that most people believe never could

be. It frequently takes a familiar story, legend, or myth and

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Experience

: The actual living through an event. It is the real life as sum

total of conscious events which compose an individual life

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CHAPTER 2

LITERATURE REVIEW

2.1. Theoretical Framework

This chapter discusses about theoretical explanation to the related concepts and

materials which are suitable to the literary work. The theories are divided into main

theory and supporting theory. Phenomenology is the main theory for this study. It is

used to prove that the main character in the literary work is affected by his

experience. Meanwhile, new criticism is the supporting theory for this study and it is

used to find out the changing character of the main character in the literary work.

2.1.1. Phenomenology Theory

Phenomenological term comes from the Greek, namely phainomenon (appearance

self) and logos (reason). The term was first officially introduced by Johann Heinrich

Lambert (1728-1777) in the 18th Century, and was subsequently used by Immanuel

Kant and Johann Gottlieb Fichte, and especially by G.W.F. Hegel in his

“phenomenology of spirit”

in 1807. Phenomenology, as the movement inaugurated

by Edmund Husserl (1859-1938), is now become a practical philosophy. It is one of

several strong currents in philosophy prominent at the outset of the twentieth century

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Phenomenology has its roots in the dominant debates about the nature of

knowledge, stemming from the works of Immanuel Kant (1723-1804), and especially

from Kant’s distinction between phenomenon (the world as we perceive it) and

noumenon (the world as it really is). This theory counts as one of the dominant

traditions in twentieth century philosophy. Edmund Husserl (1859-1938) was its

founder, but other prominent exponents include Adolf Reinach (1883-1917), Max

Scheler (1874-1928), Eidit Stein (1891-1942), Martin Heidegger (1889-1976),

Jean-Paul Sartre (1905-80), Maurice Merleau-Ponty (1908-61), et al (Zahavi 3). Husserl is

the founding father of phenomenology but it has often been claimed that virtually all

post-Husserlian phenomenologists ended up distancing themselves from most aspects

of his original program. Thus, according to a second competing view,

phenomenology is a tradition by name only. It has no common method and research

program. It has been suggested that Husserl was not only the founder of

phenomenology, but also was sole true practitioner.

In general, phenomenology is the study of phenomena which is constructed of

consciousness as experienced from the first-person point of view (Cerbone 12). The

main structure of an experience is the intentionality, it is being directed toward

something, as it is an experience of or about some object. An experience is director

toward an object by virtue of its content or meaning together with appropriate

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Phenomenology is best understood as a radical, anti-traditional style of

philosophizing, which emphasizes the attempt tp get to the truth of matters, to

describe phenomena, in the broadest sense as whatever appears in the manner which

appears, it manifests itself to consciousness, to the one who experience (Moran 4). As

Adian states that this is the studies of sightings of the science of what appeared on the

experience of the subject. There are no sightings which are not be experienced. Only

by concentrating on what appears in the experience, the essence can be formulated

clearly. In the context of phenomenological understood as what appears in

consciousness (4).

By seeing what we can experience, phenomenology can furnish the basis on

which genuinely reliable knowledge that can be constructed, as Eagleton states (in

Eagleton) phenomenology provides a method for the study of many discipline such as

psychology, memory, matchboxes, and mathematics (49). It offers itself as nothing

less than a science of human consciousness. Human consciousness conceives not just

as the empirical experience of particular people, but as the very deep structures of the

mind itself. Unlike the sciences, it asks not only about this or that particular form of

knowledge, but also about the conditions which made sort of knowledge possible in

the first place.

Moreover, phenomenology tends to study about the structure of various types of

experience ranging from thought, perception, imagination, memory, emotion, desire,

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linguistic activity (Cerbone 12). The structure of these forms of experience typically

involves the intentionality. It is the directedness of experience toward things in the

world, the property of consciousness that it is a consciousness of or about something.

According to classical phenomenology, our experience is director toward the

represents or intends things only through particular concepts, thoughts, ideas, images,

etc. these make up the meaning or content of a given experience, and are distinct from

the things they present or mean.

2.1.1.1. Husserl’s Phenomenology

Husserlian phenomenology is the first announced in the Logical Investigations

(1900-

1901). Logical Investigations begins with a “Prologomena to Pure Logic”,

which contains a sustained attack on empiricist and psychological conceptions of

logic. As such, the work for

ms a cornerstone of Husserl’s anti

-naturalism. The

“Prologomena” is followed by six “investigations”, devoted variously to such

interrelated concepts as meaning, intentionality, knowledge and truth, as well as a

theory of parts and wholes (Cerbone 25).

Already in Logical Investigations, Husserl conceives of phenomenology as a kind

of pure discipline that lays bare the sources from which the basic concepts and ideal

laws of purelogic flow, and back to which they must be traced. Pure phenomenology

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proceed without the aid of any unexamined assumptions; phenomenology is to be a

“presuppositionless” form of enquiry (Cerbone 25).

The Husserl’s concept of phenomenology is that consciousne

ss is the condition of

all experience, indeed it constituted the world, but in such a way that the role of

consciousness itself is obscured and not easy to isolate and describe (Moran 61). As a

phenomenological description of the symptoms of consciousness, it seems to b a

logical consequence of the idea that the science regarding the phenomenology tries to

establish secure philosophical and scientific knowledge with the consciousness,

without it, nothing mire could be achieved with respect to knowledge.

Hus

serl’s method involves three step: first, assumes the transcendental

phenomenological attitude, second, brings to consciousness an instance of the

phenomenon to be explored, whether actual or fictional, and with the help of free

imaginative variation, one intuits the essence of the phenomenon being investigated,

and third, carefully describes the essence that has been discovered (Husserl in Giorgi

64). With Husserl’s method, the key step is the first one, it is the assumption of the

transcendental phenomenological attitude. To assume the transcendental perspective

means to adopt an attitude of consciousness that transcends the orientation toward the

human mode of being conscious. To be in the phenomenological attitude means two

things: performing the epoche (bracketing) and the reduction, which refrains from

positing the existence of whatever is given. To bracket means to put aside all

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actual instance of this phenomenon. Thus all past knowledge derived from readings

or other secondary sources, as well as one’s former personal experiences with the

phenomenon, are meant to be excluded. The reduction refers to the fact that one has

to refrain from positing the existence of the given that is encountered as normally

happens in the natural attitude.

Husserl is very interested with found of meaning and essence of the fact of the

experience. he argues that there is a distinction between the fact and the essence of

the fact or in another world, the difference between the real and not real. Briefly,

these are the components of conceptual (analysis unit) in Husserl’s phenomenology

or widely known as transcendental phenomenology:

1.

Intentionality

Intentionality is the consciousness of mind to the certain object. According to

Brentano (in Gallagher and Zahavi), intentionality is the process where self

consciousness in human is connected with the object (109). The object itself can

be real or not so the object can be visible into the consciousness of the subject.

The real object is like a piece of wood that is formed with a specific purpose and

we call it a chair. Object that is not real is like a concept of responsibility,

patience and other concepts that are abstract or unreal. Husserl stated that

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intentional or experience is influenced by the factors of pleasure (interest),

preliminary judgment, and expectation of the object.

2.

Noema and Noesis: Constitution

Noema and noesis are the continuity from intentionality. Noesis is the basic

form of mind and spirit of human. Noesis is something which inherent in human

consciousness, it is not an actual object. Noesis is something that people use to

think, feel, and remember. On the other hand, noema is fixed and accompanied by

accurate evidence. Noema is the content of the noesis, something from the

consciousness gets another thing to think, feel, and use to remember something.

Description of noema is an objective description, based on how it appears in our

five senses (Cerbone 32). Noema is something that guides noesis. There will be

no noesis if there is no noema.

Therefore, the description of noema is an objective description based on how

the object appears in our five senses. There is a close connection between noema

and noesis, though in principle both are very different. Noema will guide us on

noesis. There will be no noesis if we have no noema in advance. So the

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3.

Intuition

To connect noema and noesis, human needs something that called intuition.

Intuition is the ability to know or understand something spontantly, it is also

interpreted by the whisper of the heart or the motion of the heart (Koeswarno 45).

The intuition

that goes into this unit analysis is influenced by Descrates’ intuition;

it is the ability to distinguish something pure or not. Intuition guides people to

gain knowledge.

For Husserl, it is the intuition that connects noema and noesis. Such an

intuition mediates noema and noesis, or something that turns noema into noesis.

This is why Husserl’s phenomenology is called transcendental phenomenology,

because it occurs in the individual mentally (transcendent). The ability of intuition

can be seen in some ways; such as the ability of intuition owned by indigo

children is very precise in predicting the occurrence of an event; and the

entrepreneur uses more of his intuition power to make a decision than to use his

logic.

4.

Intersubjectivity

The meaning of intersubjectivity is described by Schutz. It is originally from

social concepts and concepts of action. The social concept is defined as the

relationship between two or more people and the concept of action is defined as

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is not in the private world of the individual cut interpreted in the same way and

together with other individuals. Therefore, a subjective meaning is said to be

intersubjective because it has aspects of commonality and togetherness.

Intersubjectivity is a meaning of agreement based on interaction between

subjects which is subjective (Djamhuri 178). In the component of

intersubjectivity, Husserl argues that the meaning we give to something also

influences our empathy toward it. That is because naturally, human has a

tendency to compare someone experiences with other people experiences.

Koeswarno explains the components of intersubjectivity as follows:

The “other person” is within “me”. “I” and “others” have the same tendency

.

Both are interconnected in intent. Its principles in every human being are infinite

realms that relate to people other than “me”. In short, the perception that we have

is out main perception, but in this perception including the perception of others as

an analogy.

Those four components of conceptual are suitable to Albu’s experiences,

because as Harry’s son, Albus has the different perceptions with the other people

in Hogwarts. While people expect too much of Albus as son of Harry, he hopes

that he never

be born in the Potter’s family instead. This theory is used to analyze

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2.1.2. New Criticism

New criticism is an Anglo-American variety of Formalism that emerged in the

early decades of the twentieth century and dominated teaching and scholarship until

the early 1960s (Habib 202). New criticism emphasizes close reading to the literary

works. Close reading means examine the content of literature very closely to

understand the structure, looking for patterns that shape the work and which related to

the whole text, and searching for the use of language.

New criticism aims to classify, categorize, and catalog works according to their

formal attributes. The formal attributes are the elements that form the literary work.

Those elements include symbol, image, rhyme, metaphor, setting, point of view,

characterization and plot (Tyson 138). So, the reader can interpret the literary work

by reading the text and understand the evidence of the text with those formal

attributes.

2.1.2.1. Character

Characters are the life of literature: they are the objects of our curiosity and

fascination, affection and dislike, admiration and condemnation. Indeed, so intense is

our relationship with literary characters that they often cease to be simply „objects’.

(Bennet and Royle 63). Character has an important role in a story. It is not only as a

pawn that makes the story alive but also viewed as a strategic position to carry a

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the fictional people that become a part of the action in a literary work (Stanford 39).

Usually, character represents a person becomes something interested in the story.

According to Sayuti, character can be described as human beig in the real world and

it should be lifelikeness (68). Even when the characters are animals, they almost

invariably represent human beigs or exhibit human attributes.

Characters also have even become part of our everyday language. For example, a

person like Albus in the play, he is a most different person among hi siblings. His

family consists of the clever people in any kind of matter, even his younger sister is

the clever one in the school, but Albus is not the clever one, his think is dull and

rebel, that is why people in Hogwarts always underestimate with him and called as

him as dumb, stupid, and the other kind of shameful name.

Characters can be divided into some categories. Koesnobroto says that we can

distinguish the types of characters. They are minor and major characters, protagonist

and antagonist, and flat and round (Koesnobroto in Zahroh 10).

The major characters of a story are the protagonist, who is central to the main

plot, and the characters around which the various subplots revolve. The minor

characters are comprised of all the other characters in the story that are of lesser

importance. Minor characters generally serve a purpose as a plot device or as part of

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expect to encounter them again, whereas the reader always expects to encounter

major character again until the resolution of conflict has been achieved.

These major characters are more complex and conflicted than minor characters,

displaying nuanced personalities which evolve over time, rather than the mostly static

and stereotypical personalities of minor characters. Minor characters are often

stereotypical and two-dimensional because this ensures that they do not stand out or

draw too much of the reader’s attention, making them easi

ly forgettable.

Protagonist character is usually identical to a good person in the literary work

which is created by the author. Protagonist character is usually supported by the

reader and called as a hero, as Altenberg an Lewis states that protagonist is a

character who is admired by the readers, which always called as a hero because he or

she always does the ideal role and follows the rules and value in society (59). The

readers often give sympathy to protagonist. While antagonist character, according to

Luxemburg, it is the opposite character of protagonist character in either physically

and psychology (145). Antagonist usually makes conflict with protagonist and causes

the story more complicated.

Furthermore, round and flat characters has been explained clearly by Robert. He

states that round characters are central and the main point of conflict in the literary

work (66). Round character also can be called as a dynamic character; they are both

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process of the story. Meanwhile flat characters are the static one, not a dynamic (66).

They are not individual but rather useful in literary work. They do not change in the

whole story and usually the way they end in the story is same as they begin.

In Cursed Child, by J.K. Rowling, Albus Severus Potter is a main or major

character, because he always appears and has the strong impact and connection in the

story. Besides, Albus has many conflicts in physically and emotionally. He also gets

much attention from the reader who read the play.

2.1.2.2. Characterization

Characterization refers to the way author develops the fictional people populate a

novel. More successful the ability of the writers characterize the character, much

better they are getting the primary good attributes of novelist, dramatist, or short story

writers (Holman 91). The information about the characterization can be divided in

two ways; direct and indirect characterization. Using direct manner means that the

author describes directly about the character. Otherwise, indirect manner means that

the author does not merely tell the characters but showing them to the readers through

how the character appearance and attitude. The reader can understand and get a clear

descript

ion of the character’s personality.

In general, direct characterization is anything that the author tells directly to the

reader, while indirect characterization is anything that is shown to the reader by

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be conveniently separated into five primary categories: description, action, reaction,

thought, and speech/dialogue (Reams 4-13).

1.

Description

Description is a part of the writer creating any character. When we first read

to the description in the story, we can take in the appearance of a person in real

life as a sort of preliminary evaluation. We take in everything from how they are

dressed to the appearance of their skin and facial expression in order to form a

quick, rough estimate of who this person is. Description fulfills more or less the

same roll in literature; it tells us right off the bat what to imagine our character.

2.

Action

Our actions reveal who we are. This case is also same happened to the

characterization of cha

racter, a character’s actions inside a story reveal who they

are. Action here would be defined as anything a character does as a primary act.

Literarily, a character’s actions are typically considered indirect characterization

because what they signify is not given directly to the reader. Though the

significance of an action is typically clear, it is not directly stated and therefore

must be understood by the reader. Action is one of the most efficient methods of

characterization because it is also a necess

ary element of the story’s development;

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3.

Reaction

The way how others character react to the certain character and also the

opposite. It is commonly divided into physical reaction and emotional reaction.

Some reactions are expected. When sad news is given, we expect sadness. When

harm is done, we might expect revenge as a natural reaction. But occasionally,

reaction can be unexpected and make the reader surprised. For example, when

someone chooses to turn the other cheek rather than fight back, it can convey the

shocking depth of his or her resolve to avoid violence. Surprising reaction serve

to make the character stand out.

4.

Thought

In a written story a person’s thoughts can easily be exposed. In plays

monologues can be used and in movies thoughts can be betrayed from self-talk to

conversation and action. Thinking is based on such as beliefs about how the world

works. Decisions also show the rationality of thought, as does the way a person

argues.

5.

Speech or dialogue

This method of characterization in the story is based on what they said and

how they said (the characters). How they communicate with other characters can

establish not only how they feel, but also descriptors such as where they come

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