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S in i menganailsi s ilrik lagu berjudu l “Maste r o f t
e p p u
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p puppest.
u t s i r a d n a u j u
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il ”melalu i tsud idekonstruksi?
a m a t r e p r e b m u S . i n i i d u t s m a l a d n a k a n u g i d g n a y r e b m u s a u d t a p a d r e T i d u t s i r a
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m adalahteor idar iBarry,Guerine tal ,danBresslertentang i s k u r ts n o k e
d . Pendekatan yang digunakan dalam stud i in i adalah post -. e m s il a r u t k u r t s , s i s il a n a n a k r a s a d r e
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m lam
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h o r g u N d i v a D d n
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g Yohanne sJatmikoYuwono ,S .Pd. ,Danie lAr iWidhiatama , d
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S . ,and Stella Mari sSaraswat iMere ,S. dP . fo rbecoming my t hesi sproo f .s
x
o t s i s e h t s i h t e t a c i d e d o t e k il d l u o w I , y lt s a
L al lMetalheadin t hi swo lrd , y
ll a i c e p s
e Metalilcaf ans .May t hist hesi sspeakonbehal foft hef an Iam . Ialso o
t s i s e h t s i h t e t a c i d e
d Metalilca fort hei rgallan tand i nspiirngmusict hatf li lmy
. e fi l y li a d
i x
S T N E T N O C F O E L B A T
e g a P E
G A P E L T I
T ...……… i E
G A P L A V O R P P
A S.………. ii N
O I T A C I D E
D ………... .. vi Y
T I L A N I G I R O S ’ K R O W F O T N E M E T A T
S ……… v
I S A K I L B U P N A U J U T E S R E P N A A T A Y N R E
P ……… ... .. vi
T C A R T S B
A ……… v ii K
A R T S B
A ……… v iii T
N E M E G D E L W O N K C
A S..………. . xi S
T N E T N O C F O E L B A
T ……….. xi S
E C I D N E P P A F O T S I
L ... . vx i
N O I T C U D O R T N I .I R E T P A H C
.
A Backgroundoft heStudy………... 1 .
B Objecitveoft heStudy ………... 3 .
C ProblemFormulaiton ……… 3 .
D Bene if toft heStudy ……….. 4 .
E De ifniitono fTerms ……… 4
E R U T A R E T I L D E T A L E R F O W E I V E R . I I R E T P A H C
.
A Reviewo fRelatedTheo ire s………. .. 7 .
ii x .
2 P -ost SrtucturailsmApproach………. 8 .
3 Theo ire so fDeconsrtuciton……….. 1 0 .
4 Theoryo fAmbigu tiy……… 1 5 .
B Contex toft heStudy………...………. 1 7 .
1 ReviewonJame sHet ifeldandMetalilca……… 1 7 .
2 Reviewo Mn aste ro fPuppet s……… 81 .
3 ReviewonJ acque sDerirdaandDeconsrtuciton……… 2 0 .
C Theoreitca lFramework ………. 12
Y G O L O D O H T E M . I I I R E T P A H C
.
A Objec toft heStudy……… 2 2 .
B Approachoft heStudy……….. 32 .
C Methodoft heStudy………. 2 5
. V I R E T P A H
C ANALYSIS .
A TheLtiera lMeaningo f“Maste ro fPuppets”……… 62 .
B TheDeepe rMeaningof “Maste ro fPuppets”t hroughDeconsrtuciton . … … … … … … … … … … … … … … … … … … … … … … … … … y d u t
S 63
.
1 Paradoxes/Conrtadiciton………... 41 .
2 Shitfs/Breaksi nTone……… 34 .
3 Shitfs/Breaksi nViewpoin tandPerson……… 4 4 .
ii i x D N A S N O I S U L C N O C . V R E T P A H
C SUGGESTIONS
.
A Conclusions ………. 47 .
B Suggesitons ………... 48
S E C N E R E F E
R ……… 50 ... S
E C I D N E P P
v i x
S E C I D N E P P A F O T S I L
e g a P A
X I D N E P P
A Jame sHetifeld’s“Maste ro fPuppets”... 52 X
I D N E P P
A B CutitngEdgeTeacher :RelfecitngFrerie’ sand s e m a J n o n o it a c u d E f o t p e c n o C s ’ a y a ji w n u g n a M
s t e p p u P f o r e t s a M s ’ d l e if t e
1
I R E T P A H C
N O I T C U D O R T N I
, s tr a p e v if s e d i v o r p r e ti r w e h t ,r e t p a h c s i h t n
I namely Background of t he
d n a , y d u t S e h t f o t if e n e B , y d u t S e h t f o e v it c e j b O , n o it a l u m r o F m e l b o r P , y d u t S
r e ti r w e h t y h w s e b ir c s e d y d u t S e h t f o d n u o r g k c a B e h T . s m r e T f o s n o it i n if e D
g n o s e h t s e s o o h
c and the topic .In the Problem Formulaiton patr ,the wrtie r
e d i v o r
p s formulated problem s tha t wli l be answered and discussed in thi s
e h T . h c r a e s e r s i h t f o l a o g e h t s e b ir c s e d y d u t S e h t f o e v it c e j b O e h T . h c r a e s e r
e d i v o r p y d u t S e h t f o t if e n e
B ssomeadvantage soft hisr esearchbothf ort hewrtie r
D e h t n I .s r e d a e r e h t d n
a eifniiton so fTerms, t hewrtie rprovides somedeifniiton s
.s r e d a e r e h t y b g n i d n a t s r e d n u s i m d i o v a o t h c r a e s e r s i h t n i s d r o w y e k f o
.
A Backgroundoft heStudy
“Maste ro fPuppets”i a s Metalilca’ ssong from t heri t hrid album enitlted
g n o s e h t s a e m a s e h
t . The song’sl y irci sw irtten by Jame sHetifeld ,Metalilca’ s
t s il a c o
v -gutiairst .The song present sthe ideas o fdrug addiciton and alcohoilsm
g n o l
a wtih t hei rconsequences. Ingham ( 2009)i nhi sbookarguest ha t“Maste ro f
o s l a t i ,r o i v a h e b s ’t c i d d a n a g n i v r e s b o n i e s i c r e x e l u f r e t s a m a y l n o t o n s i s t e p p u P
e i k n u j l a c i p y t e h t s n r u
t -state- fo -mind songon ti sheadt o speak f rom t hepoin to f
. ) 5 6 . p ( ” fl e s ti g u r d e h t f o w e i
v Thesongusedt hepoin to fviewo fdrug tisefli n
. n o it c i d d a g u r d f o s e c n e u q e s n o c e h t s y a rt r o p o t r e d r o
g n it s e r e t n i e h
T thingi st ha tJame sHetifelddoesno thaveanyexpe irences
g u r d n
, s y a s d l e if t e
H “I’t spretty i nteresitng ,becauseI ’dbew iritngabou tstuffI ’dneve r
d e ir
t --heroin o rcocaine . B , ut the stuf f Iwa sdeailng wtih Iwasn’ tw iritng
t u o b
a ”(p.30).Hetifeld i st heonlyMetalilca’ smembe rwhodoe sno tusedrugs .By
” s t e p p u P f o r e t s a M “ g n it ir
w ly ircs , he clea lry porrtays othe r people’ s
.s e c n e ir e p x
e Hetifeld and hi s fellow s in Metalilca a lso have alway s been
.l o h o c l a h ti w d e t a i c o s s
a I tbecome spar to fthei rlegend a sthey have go tname
. a c il o h o c l A : s t s il a n r u o j d n a s n a f r i e h t m o r
f Even though “Maste ro fPuppets”
e r a h
s sthe idea about drug addiciton ,the ly ircs ,a sEngelen argues ,“can shed
t s e g g u s y lr a e l c s c ir y l e h t “ t a h t s d d a n e l e g n E ” . m s il o h o c l a n o t h g il e m o s
o t e m o c s l a u d i v i d n i l a n o it a r e s i w r e h t o s y a w e h t n o s t c e f f e s u o i c i n r e p s ’ n o it c i d d a
l e b , t c
a ieve ,and desrie”(p.30 .)From thi sstatement ,i ti sobviou stha tthe song
. e fi l y li a d ’ s t c i d d a g u r d e h t n i n o it c i d d a g u r d f o s t c e f f e d a b e h t s t s e g g u s
o g a e n o d s a h d l e if t e H s e m a
J od work on ltierature through “Maste ro f
Puppets”. He wrote ly irc sa she knew tha tltierature could be the re lfeciton o f
s i h t n i s e c n e ir e p x e s ’ n a m u
h wo lrd .Throughhi swork ,Hetifeldenterst hewo lrdo f
o w n i s e c n e ir e p x e e fi l g n it c i p e d y b y rt e o
p rds .Poerty ,a sa kind o fgenre in
, e r u t a r e ti
l ha saf unciton to re lfect t hehuman’sl fiet hrough word .s Accordingt o
,) 9 6 9 1 ( e n ir r e
P “poerty can be used a sa gea rfo rstepping up the intenstiy and
a s a d n a s e c n e ir e p x e r u o f o e g n a r e h t g n i s a e r c n
i glas sfo rclarfiying ti” (p .554.)
r e h t o e s n e s o t s u g n ir b n a c y rt e o
P people’ sexpeirences and sharpen ou rmind t o
. e fi l f o n o it c e lf e r e h
t Perirne (1969 )add sthat“a shuman being ,we al lhave an
e h t w o n k o t ,s s e n e r a w a r e t a e r g h ti w d n a y ll u f d n a y l p e e d e r o m e v il o t d e e n r e n n i
tt e b w o n k o t d n a s r e h t o f o e c n e ir e p x
r e h t o g n i w o n k d n a s e c n e ir e p x e n w o r u o g n i g g i d n i s u e g d ir b n a c y rt e o p , s d r o w
s e c n e ir e p x e e l p o e
p inordert o ilveourl fiedeeply.
g n it c e l e s n i n o s a e r e h
T “Maste ro fPuppets” i sbecause the ly irc sdepic t
y r o t s d n a e m e h t e h
t w hhic happened in a rea llfie ,especially in the lfie o f
s r e t s g n u o
y . Thel yirc saret hepefrec texample so fhow drug sexisti nourr eall fie
. h t a e d y ll a i c e p s e , s e c n e u q e s n o c y n a m r e g g ir t d n
a The ly irc shave tirggered an
n o it c i d d a g u r d t u o b a n o it a t e r p r e t n
i among t hepeoplesincet hel y irc sclealry state
a t t u o b
a kingdrug sand ti sconsequence sa sstatedabove.Howeve,rt hi sstudyt ire s
g n i y o l p m e y b s c ir y l e h t e z y l a n a d n a e r o l p x e o
t theoryofDer irda’ sdeconsrtuciton .
h ti w s l a e d y d u t s n o it c u rt s n o c e
D meaning. Gueirn , e t a,l (2011) state tha t
y r o t c i d a rt n o c l a e v e r o t g n i n a e m y n a g n i k a t s e v l o v n i n o it c u rt s n o c e d
“ srtucture s
. p ( ” n i h ti w n e d d i
h 177) .In othe rwords ,thi sstudy t ire sto reshape the ly ircs ’
c u rt s n o c e d y B . ti n i g n i n a e m n e d d i h e h t d n if o t r e d r o n i g n i n a e
m itng t he l y ircs ,
r e h t o e h t d n if l li w r e ti r w e h
t poin to fviewi ni nterpreitng“Maste ro fPuppets”.
.
B Objecitveoft heStudy
d n if o t s i y d u t s s i h t f o e v it c e j b o e h
T the meaning o fJame sHetifeld’s
g n o
s “Maste ro fPuppets”songl y ircsthroughdeconsrtucitons tudy.
.
C ProblemFormula iton
s s i h t n
I tudy,t heproblemoft hiss tudycanbef ormulatedi ntot wo quesiton s
.
1 What i st hel tiera lo rsu fracemeaning o fJame sHetifeld’ s“Maste ro f
? s c ir y l g n o s ” s t e p p u P
.
2 Wha ti sthe deeper meaning o fJame sHet ifeld’s“Maste ro fPuppets”
s c ir y l g n o
s tt ha canbeperceivedthroughdeconsrtucitons tudy?
.
D Beneif toft heStudy
ft e H s e m a J f o g n i n a e m e h t s e d i v o r p s i s e h t s i h t e c n i
S ield’s“Maste ro f
Puppets”throughdeconsrtucitonstudy,t hi sstudyi sbeneifcialf ort her eader swho
d e t s e r e t n i e r
a inknowingdeepe raboutt heMetalilca’ ssong .Moreove,rt hist hesi s
n e v e s c ir y l m o r f n o it a ri p s n i d n a g n i n a e m d n if o t s r e d a e r e h t s e g a r u o c n e o s l a
h t m o r f e m o c s c ir y l e h t h g u o h
t e heavy meta lband .Regarding the wo lrd o f
t u o b a e g d e l w o n k s ’t n e d u t s e h t h c ir n e o t l u f e s u s i y d u t s s i h t , e r u t a r e ti l g n i h c a e t
n o it c u rt s n o c e d g n i s
u theorytoanalyzepoerty .Forf uturer esearcher ,st hist hesisi s
. y d u t s n o it c u rt s n o c e d e h t g n it c u d n o c n i e c n e r e f e r a s a l u f e s u o s l a
.
E Deifni iton so fTerms
.
1 “Mastero fPuppets”
“Maste ro fPuppets”int hi sstudyi st he itlteo fMetalilca’ ssongf romt hei r
n e tt ir w s i g n o s s i h t f o c ir y l e h T . e lt it e m a s e h t h ti w 6 8 9 1 n i d e c u d o r p m u b l a d ri h t
t s ir a ti u g r i e h t y
b -vocailst ,Jame sHetifeld .“Maste ro fPuppets”tell sabou tdrug
f o y g o l a n a e h t e r a s t e p p u P d n a s g u r d f o y g o l a n a e h t s i r e t s a M e r e h w n o it c i d d a
s t c i d d a g u r
.
2 Deconstruciton
s e u q c a J y b d e s o p o r p t x e t a g n i d a e r f o t p e c n o c a s i n o it c u rt s n o c e D
i n a e m h ti w s l a e d n o it c u rt s n o c e D . r e h p o s o li h p h c n e r F a , a d ir r e
D ng . Gueirn,
m a h g n il li W d n a , n a m s e e R , n a g r o
M (2011)statet ha t“deconsrtucitondescirbest he
. ) 6 7 1 . p ( ” s g n i n a e m l a n o i s i v o r p y l n o g n i h s i n r u f , e g n a h c f o e g a t s n i s y a w l a s a t x e t
n ir e u G t a h w s a d n a s g n i n a e m k e e s o t s m i a n o it c u rt s n o c e d , e r o f e r e h
T , e tal( 2011 )
.) 7 7 1 . p ( ” n i h ti w n e d d i h s e r u t c u rt s y r o t c i d a rt n o c l a e v e r o t “ , s e t a t
s In thi sstudy ,
s e m a J f o g n i n a e m n e d d i h e h t l a e v e r o t y g e t a rt s g n i d a e r a s a d e s u s i n o it c u rt s n o c e d
.s c ir y l ” s t e p p u P f o r e t s a M “ s ’ d l e if t e H
.
3 Ltiera lMeaning
i w o ll o f s n a e m l a r e ti
L ng the o irgina lwords .Case and Marshal lin Deep
g n i n r a e L n i s e h c a o r p p A e c a f r u S d n
a (2009 )note tha ta ltiera lapproach in
t o n s e o d d n a n o it a z ir o m e m d n a n o it a m r o f n i f o e c n a t p e c c a t i c a t e h t s i g n i n r a e l
e l w o n k f o n o it n e t e r m r e t g n o l r o f g n i d n a t s r e d n u e t o m o r
p dge (pp .9-18) .The
l a n i g ir o e h t m o r f d e c it o n r o n e e s e b n a c t a h t g n i n a e m e h t s n a e m g n i n a e m l a r e ti l
. g n i n a e m c i s a b d e ll a c s i ti s d r o w r e h t o n a n i r o , s d r o w
n e e s e b n a c t a h t g n i n a e m s a d e n if e d s i g n i n a e m l a r e ti l e h t , y d u t s s i h t n I
a f r u s e h t m o r f d e c it o n d n
a ce o f“Maste ro fPuppets” song ly irc .Thus ,atfe r
. s c ir y l e h t f o g n i n a e m l a r e ti l e h t w a r d y lt c e ri d n a c r e ti r w e h t ,s c ir y l e h t g n i d a e r
.
4 Deeper ro TrueMeaning
n i k c ir e d e r
F Adventuresi n Ficiton (1969 )notest ha t“deepe rmeaning i sa
t e n r a B y b d e tr o p p u s s i a e d i s i h T . ) 5 7 . p ( ” s r e d a e r e h t r o f e u l a v s a h h c i h w g n i n a e m
k o o b s i h n i ) 4 9 9 1
e s u a c e b e k a s r u o r o f d l o t t a h t g n i n a e m e h t “ s i g n i n a e
m i ti simp ilcti”(p.28) .
l a c it ir c e h t s e v l o v n i g n i n r a e l r e p e e d , ) 9 0 0 2 ( l l a h s r a M d n a e s a C o t g n i d r o c c A
9 . p p ( e fi l r o f n o it a c il p p a e h t s e t o m o r p d n a a e d i w e n e h t f o s i s y l a n
a -18 .) Fromt he
h t g n i n a e m e h t s i g n i n a e m r e p e e d t a h t d i a s e b n a c t i , e v o b a s t n e m e t a t
s ati si mpilci t
. e fi l r o f n o it a c il p p a e h t s e t o m o r p d n a t x e t e h t n i n e d d i h r o
f o r e t s a M “ e h t n i n e d d i h t a h t g n i n a e m e h t s i g n i n a e m r e p e e d , y d u t s s i h t n I
s i h t n i g n i n a e m r e p e e d e h t , n e d d i h d n a t i c il p m i s i ti e c n i S . s c ir y l g n o s ” s t e p p u P
o l p m e y b d n u o f s i y d u t
7 I I R E T P A H C
E R U T A R E T I L D E T A L E R F O W E I V E R
, s e ir o e h T d e t a l e R f o w e i v e R y l e m a n , s tr a p e e r h t f o s t s i s n o c r e t p a h c s i h T
. k r o w e m a r F l a c it e r o e h T d n a , y d u t S e h T f o t x e t n o
C T he Review o fRelated
. y d u t s s i h t n i d e s u h c a o r p p a d n a s e ir o e h t e h t s t n e s e r p s e ir o e h
T eT h Contex to f
d n a y d u t s e h t f o t c e j b o e h t f o w e i v e r e h t s t n e s e r p y d u t S e h
T thesubjec tmatteri n
k r o w e m a r f l a c it e r o e h T .
ti consist soft hecontirbuiton oft het heo ire sand r eview s
.s n o it a l u m r o f m e l b o r p e h t r e w s n a o t y d u t s s i h t n i d e il p p a
.
A Reviewo fRelatedTheories
s i h t n i d e y o l p m e s e ir o e h t d n a h c a o r p p a e h t s t n e s e r p r e ti r w e h t ,t r a p s i h t n I
e r a y e h T . y d u t
s Decorum, P -ostSrtucturailsm Approach and Theo ire s o f
. n o it c u rt s n o c e
D Thet heoryo fdecorumi susedt oclarfiyt hel y irc sand tisr elaiton
t s o P e h T . y rt e o p o
t -Srtucturailsm Approach and Theo ires o fDeconsrtuciton are
d e t a l e
r ot each othe ra san undelrying approach and theory to thi sstudy .These
n i a m e h t o t d e t a l e r e r a s e ir o e h t e s e h t e s u a c e b d e il p p a e b o t t n a tr o p m i e r a s e ir o e h t
f o n o i s s u c s i
d thiss tudy;t o ifndthemeaningofJ ame sHetifeld’sly irc soft hes ong
“Maste ro fPuppets”throughdeconsrtucitons tudy.
.
1 Decorum
n it a L m o r f s e v ir e d m u r o c e
D whichmean s“tha twhichi sprope rorf tiitng”
n o s p m i S d n a s r e y
M (1989 )statet ha tdecorumi s“thep irncipleo fsuiitngt hestyle
) 7 6 9 1 ( n o s p m i
S cla irifestha t tii si mpo trantf ort hepoetst oconside rdecorum ,o r
. ) 0 1 . p ( ” t c e j b u s e h t o t e l y t s e h t g n it i u s
“ Based on t hi ssentence, t he poet smus t . s m e o p r e h / s i h n i d o o m d n a r e tt a m t c e j b u s e h t t if o t e n o t d n a e l y t s s i h y fi d o m
d n a n o s p m i S . m e o p e h t g n it ir w n i e s o p r u p r e h / s i h s ti f e l y t s s ’t e o p e h t , s u h T
e h t e k a m o t y ti s s e c e n e h t y b d e n i m r e t e d o s l a s i e l y t s e h t “ t a h t d d a o s l a s r e y M
e h t o t e t a ir p o r p p a e b d l u o h s e l y t s e h t t a h t s n a e m t I . ) 0 1 . p ( ” l e e f d n a e e s r e d a e r
. r e tt a m t c e j b u s e h t d n a , n o i s a c c o e h t ,r e k a e p
s Int hiss tudy,t hi sp irnciplei susedt o
.s c ir y l s ’ g n o s ” s t e p p u P f o r e t s a M “ s i h g n it i u s n i m u r o c e d s ’ d l e if t e H s e m a J y fi r a l c
.
2 P -ostStructurailsmApproach n
a t s r e d n
U dingpost-srtucturailsmneed saconsideraiton on ti spredecessor ,
rt
s ucturailsm .I ti scrucial to understand fris tabou tsrtucturailsm .Srtucturailsm
s e g r e m
e from t hesrtuctura l ilnguisitc sand ha safunciton to b irdgethestudy on
n ir e u G . e r u t c u rt s l a u t x e
t e t a l (2011 ) state tha t srtucturailsm “indenitife s
s m e ti r o ) s d r o w , . g . e ( s n g i s w o d n e h c i h w , s p i h s n o it a l e r f o s m e t s y s , s e r u t c u rt s
s w o h s d n a , s g n i n a e m d n a s e it it n e d i h ti w ) s l a u ti r ,s r e n n a m e l b a t ,s r a c , s e h t o l c , . g . e (
ust hewaysi nwhichwet hink”(p.169 .)I tmeanst ha tsrtucturailsmf ocuse sont he
l a u t x e
t srtucturestudy a swha tGueirne . tal add“texti sonlyasystem t ha tpose s
r o f g n i n a e m n i a t n o c n a c e g a u g n a l f o t c u rt s n o c a h c u s w o h f o n o it s e u q e h t
m o r F . ) 9 6 1 . p ( ” .s
u thi sstatement ,tii scleart ha tsrtucturailsmseek swhati svisible
.t x e t e h t m o r
f Srtucturailstst endt o ifndorde randmeaningi nt het ex.t
e h t n
O conrtary ,theapproachoft hi sstudy ,post-srtucturailsmf ocuse son
n a h t r e h t a r l a c ir o t e h r e h
t s o p d n a m s il a r u t c u rt
s -srtucturailsm seek fo rmeaning ,bu tsrtucturailsm focuse s
g n i n a e m w o h n
o si found ou t o f undelrying srtuctures . However , post -t
s o P . ti e s o p p o t o n s e o d m s il a r u t c u rt
s -srtucturailsmonly clair ifest ha tmeaningi s
t o
n produced only from meaning ,bu talso produces mfro othe rfactor sa sCulle r
: w o l e b s n i a l p x e ) 7 9 9 1 (
t s o p , t c a f n
I -srtucturailsmdoe sno tdemonsrtatet hei nadequacie so rerror s c
e j o r p e h t m o r f y a w a n r u t s a h c u m o s m s il a r u t c u rt s f
o to fworking ou t
a d a e t s n i e z i s a h p m e d n a e l b i g il l e t n i a n e m o n e h p l a r u tl u c s e k a m t a h w
s a e s e h t f o h c a e s t a e rt t I . t c e j b u s d n a , y ti l a t o t , e g d e l w o n k f o e u q it ir c
o d n o it a c if i n g i s e h t f o s m e t s y s e h t f o s e r u t c u rt s e h T . t c e f f e l a c it a m e l b o r p
y lt n e d n e p e d n i t s i x e t o
n o fthe subject ,a sobject so fknowledge ,bu tare e c u d o r p t a h t s e c r o f e h t h ti w d e l g n a t n e e r a o h w , s t c e j b u s r o f s e r u t c u rt s
) 1 2 1 . p ( m e h t
p , r e v o e r o
M o -strst ucturailsm i srelated to phliosophy .Barry (2009) state stha t
t s o
p -srtucturailsm “deirve sulitmately from phliosophy” .( p 61) .I tmean stha t
t s o
p -srtucturailsm alway sha srelaiton w tih a discipilne which alway stend s to . s g n i h t t u o b a e g d e l w o n k e r u c e s g n i v e i h c a f o y tl u c if fi d e h t e z i s a h p m
e P -ost
e t e h t n i h ti w a e d i l a c i h p o s o li h p r o g n i n a e m s k e e s m s il a r u t c u rt
s xt .According to
e t a e r c s t x e t w o h “ e b ir c s e d o t s i ti g n i k e e s n i s e r u d e c o r p e h t f o e n o , ) 7 9 9 1 ( r e ll u C
. ) 1 2 1 . p ( ” s e t a c o l s i s y l a n a l a r u t c u rt s t a h t s n o it n e v n o c y n a g n it a l o i v y b g n i n a e m
t s o p r o
F -srtucturailsts , i t i s impossible to descirbe a complete o r coheren t
. p ( ” g n i g n a h c s y a w l a e r a s m e t s y s “ , s e t o n r e ll u C s a , e c n i s m e t s y s g n i y fi n g i
s 121 .)
.
3 Theorie so fDeconstruciton k o o b s i h n i , ) 9 0 0 2 ( y r r a
B Beginning Theory, note s tha t “the post
-x e t e h t g n it c u rt s n o c e d f o k s a t e h t n i d e g a g n e s i c it ir c y r a r e ti l t s il a r u t c u rt
t s o p , y d u t s s i h t n i ,s u h
T -srtucturailsm f ocuse son deconsrtuciton t heory proposed
s ti g n i k a e p S . s c ir y l g n o s ” s t e p p u P f o r e t s a M “ g n i z y l a n a n i a d ir r e D s e u q c a J y b e h t f o t u o s e s ir a n o it c u rt s n o c e d “ t a h t s e t a t s ) 1 1 0 2 ( l a t e , n ir e u G , d n u o r g k c a b c u rt
s turailsm o f Roland Batrhe s a s a reaciton agains t the cetrainite s o f
e b y li s a e t o n n a c n o it c u rt s n o c e d , a d ir r e D o t g n i d r o c c A . ) 6 7 1 . p ( ” m s il a r u t c u rt s r o t c a d n a , s i s y l a n a , ” s e r u d e c o r p e l b a s o p s n a rt s e l u r f o t e s “ a s a r e h t e h w , d e n if e d y o C n i d e ti c s a ( n o it a r e p
o le ,e tal , 1990 , 781) . However , Barry note s tha t
t s o p d e il p p a “ d e ll a c e b n a c h c i h w , n o it c u rt s n o c e
d -srtucturailsm”, i saproces so f
a ‘ s i s s e c o r p s i h t ,) 6 9 9 1 ( n o t e l g a E o t g n i d r o c c A . ) 8 6 . p ( ” t x e t e h t g n it c u rt s n o c e d “ ti s o p p o h c u s h c i h w y b s n o it a r e p o l a c it ir
c ion scan be parlty undermined o rby
l a u t x e t f o s s e c o r p e h t n i r e h t o h c a e e n i m r e d n u o t y lt r a p n w o h s e b n a c y e h t h c i h w f o s s e c o r p a s i n o it c u rt s n o c e d t a h t s e d u l c n o c y r r a B , n o r e t a L . ) 5 1 1 . p ( ” g n i n a e m s ti t s n i a g a t x e t e h t g n i d a e r “ y b ” t x e t e h t g n it c u rt s n o c e d
“ efl ,wtih t he purpose o f
n I . ) 8 6 . p ( ” fl e s ti w o n k t o n n a c t i s a t x e t e h t g n i w o n
k O fGrammatology ,Derirda
: g n i d a e r e v it c u rt s n o c e d d e ll a c s s e c o r p s i h t t u o b a s e t a t s , r e ti r w e h t y b d e v i e c r e p n u , p i h s n o it a l e r n i a tr e c a t a m i a s y a w l a t s u m “ e h t a h w n e e w t e
b command sand wha the doe sno tcommand o fthe t o n e h t e k a m o t s t p m e tt a ] ti [. … s e s u e h t a h t e g a u g n a l f o s n r e tt a
p -seen
.) 9 6 . p , 9 0 0 2 , y r r a B n i d e ti c s a ( ” t h g i s o t e l b i s s e c c a e t a e r c o t m i a n a s a h n o it c u rt s n o c e d f o s s e c o r p e h t , a d ir r e D o t g n i d r o c c A t u o a e d i w e
n oft hefris tone .I tseekst he hidden meaning i n t het ext ,bu tnott o
e h t k e e s o t s n r e c n o c t i ,t r o h s n I . e l b a li a v a g n i n a e m l a n if e h t s a t l u s e r e h t r e d i s n o c s e n if e d ) 7 9 9 1 ( r e ll u C , e li h w n a e M . e n o s u o i v b o e h t n a h t r e h t a r n e e s n u e u q it ir c a “ s a n o it c u rt s n o c e
, g n it ir w / h c e e p s , l a c ir o h p a t e m /l a r e ti l , y d o b / d n i m , e d i s t u o / e d i s n i : t h g u o h t n r e t s e w . ) 2 2 1 . p ( ” g n i n a e m / m r o f , e r u tl u c / e r u t a n , e c n e s b a , e c n e s e r p n e p o “ e r a n o it c u rt s n o c e d n i s t x e
T -endedconsrtucts”t ha talway schange.I t
, l a , t e n ir e u G ( s g n i n a e m r e h t o o t d a e l y l n o n a c t x e t e h t n i g n i n a e m t a h t s n a e m w o l e b d e b ir c s e d s a , ) 6 7 1 . p , 1 1 0 2 : r o t n e r a p p a n a g n i n i m r e d n u y l e v i s r e v b u s a s a s t x e t s w e i v n o it c u rt s n o c e D n o it a c il p x e l a n if y n a s e i n e d t i d n a , g n i n a e m e c a f r u
s o r statemen t o f
n i t n e t n o c r o e r u t c u rt s e v it c e j b o y n a f o e c n e s e r p e h t s n o it s e u q t I . g n i n a e m f o s r e n o it it c a r p e h t ,s e ir e v o c s i d r i e h t t a y a m s i d r o m r a l a f o d a e t s n I .t x e t a fl e s s ’t x e t e h t e t a r b e l e c n o it c u rt s n o c e
d -desrtuciton, t hat i nevtiableseed o f n
w o s
ti interna lconrtadiciton ,a saneve rending freeplayofl anguage .(p .) 6 7 1 m s il a m r o f f o t c e j b o e h t e k il t o n s i n o it c u rt s n o c e d f o t c e j b o e h t , e r o f e r e h T n i , y e s l e B . t x e t e h t n i g n i n a e m l a n if e n o g n i k e e s s i h c i h
w Criitca lPracitce(1990) ,
c e j b o e h t t a h t s e t o
n t o f deconsrtuciton i s “to examine the proces s o f ti s
n o it c u d o r
p --not t he p irvateexpeirence of t he i ndividua lauthor ,but t he mode o f
t I . ) 4 0 1 . p ( ” k r o w e h t n i s t n e m e g n a r r a r i e h t d n a , s l a ir e t a m e h t , n o it c u d o r p e d n i s t x e t e h t t a h t t n e m e t a t s e h t n e h t g n e rt
s consrtucitonareopenendedconsrtuct s n i s y a w l a s a t x e t e h t “ e b ir c s e d o t s i ,s e s i v d a ) 1 1 0 2 ( l a t e , n ir e u G s a , t c e j b o s ti d n a ) 9 0 0 2 ( y r r a B . ) 6 7 1 . p ( ” s g n i n a e m l a n o i s i v o r p y l n o g n i h s i n r u f , e g n a h c f o e t a t s a h s o t “ s i n o it c u rt s n o c e d f o m i a e h t t a h t s d d a o s l
a ow t hedisuntiy which underile s
. ) 9 6 . p ( ” y ti n u t n e r a p p a s ti s e v l o v n i , s e s o p o r p y r r a B s a , n o it c u rt s n o c e d , s e c it c a r p s ti g n i d r a g e R l a n r e t n i g n i k s a m n u f o m i a e h t h ti w g n i d a e r l a n o it i s o p p o r o t n e m s s a r a h l a u t x e t “ t x e t e h t n i s e i c n e t s i s n o c n i r o s n o it c i d a rt n o
, h t u rt e t u l o s b a f o y ti li b i s s o p o n s i e r e h t e c n i s “ t u b ” n i h ti w n e d d i h s e r u t c u rt s o t s n o i s n e t e r p l l a e n i m r e d n u o t k e e s t s i n o it c u rt s n o c e
d authortiy , o r powe r
s e o d n o it c u rt s n o c e d , s e u g r a ) 7 9 9 1 ( r e ll u C s a , s u h T . ) 7 7 1 . p ( ” e g a u g n a l n i ,s m e t s y s . p ( ” g n i n o it c n u f d n a e r u t c u rt s t n e r e f fi d “ e v i g o t r e h t a r t u b , y o rt s e d o t n a e m t o n w n i g e b n a c n o it c u rt s n o c e d “ t a h t d d a ) 7 9 9 1 ( r e k o o r B d n a n o s w o d d i W . ) 2 2
1 hen
r o f p u t e s o t s r a e p p a t i s w a l e h t s e s s e r g s n a rt t x e t a n e h w t n e m o m e h t e t a c o l e w t i :f l e s ti h ti w r a w t a s i t x e t e h t w o h s o t “ , s m r e t ) 9 0 0 2 ( y r r a B n i r o ) 3 7 1 . p ( ” fl e s ti . ) 9 6 . p ( ” d e if i n u s i d d n a d e d i v i d e s u o h a s i rt s n o c e d n i n e k a t s p e t s e h t f o g n i k a e p
S uciton analysis , Barry (2009 ) s e r u s s if , s k a e r b , s p a g f o e c n e d i v e r o f s k o o l t s i n o it c u rt s n o c e d e h t “ t a h t s e s o p o r p e h t t a h t s d d a y r r a B , li a t e d n I . ) 0 7 . p ( ” s d n i k l l a f o s e it i u n it n o c s i d d n a o t n i s k a e r b / s tf i h s , s e x o d a r a p / s n o it c i d a rt n o c “ s k e e s t s i n o it c u rt s n o c e
d ne ,
, s n o i s s i m o / s e c n e s b a , s t c il f n o c ; e d u ti tt a d n a , n o s r e p , e m it , e s n e t , t n i o p w e i v . ) 0 7 . p ( ” y ti n u s i d l a u t x e t “ w o h s o t r e d r o n i ” a ir o p a d n a , s k ri u q c it s i u g n il l a r e v e s n o s e s u c o f t s i n o it c u rt s n o c e d e h t ,) 9 0 0 2 ( y r r a B o t g n i d r o c c a , e r o m r e h tr u F w o ll o f s a s g n i h t s: .
a Reading the tex tagains t tisel fso a sto expose wha tmigh tbe though ta sthe
y lt c e ri d e b y a m h c i h w , d e s s e r p x e e r a s g n i n a e m e r e h w , ’ s u o i c s n o c b u s l a u t x e t‘ .) 0 7 . p ( g n i n a e m e c a f r u s e h t o t y r a rt n o c .
b Fixingupon t hesurfacef eature soft heword s– simliairite sin sound, t her oo t
r o h p a t e m ) g n i y d r o ( ’ d a e d ‘ a , s d r o w f o s g n i n a e
m – and b irnging t hese t o t he
.
c Seeking t oshow t hatt het exti scharacteirzed by disuntiy r athert han untiy( p .
.) 0 7 .
d Concenrtaitngonasinglepassageandanalyzei tsoi ntensivelyt hati tbecome s
o t n i s e d o l p x e e g a u g n a l e h t d n a g n i d a e r ’ l a c o v i n u ‘ a n i a t s u s o t e l b i s s o p m i
.) 0 7 . p ( ’ g n i n a e m f o s e it i c il p it l u m ‘
.
e Looking fo rshi tf sand break so fvairou skindsi n t he t ex tand seeing t hese a s
e h t y b e c n e li s n i r e v o d e s s a p r o r e v o d e s s o l g r o d e s s e r p e r t a h w f o e c n e d i v e
l a c i g o l o e g a , ’ s e n il t l u a f ‘ d e ll a c s e m it e m o s e r a s e it i u n it n o c s i d e s e h T . t x e t
f o e c n e d i v e e v i g h c i h w s n o it a m r o f k c o r n i s k a e r b e h t o t g n ir r e f e r r o h p a t e m
y ti v it c a s u o i v e r
p andmovement( p .71 .)
n i n o it c u rt s n o c e d f o e c it c a r p e h t o d o t d e s u e r a e v o b a s g n i h t l a r e v e s e h T
g n i z y l a n
a “Maste ro fPuppets” song ly irc sin thi sstudy .However ,the step in
y r a n i b e h t g n ir e v o c s i d y b n u g e b s i y d u t s n o it c u rt s n o c e d e h t g n it c u d n o c
n o it i s o p p
o .Bressler( 1997 )arguest ha t“thef ris tstagei nadeconsrtucitver eading
” g n i k n i h t r u o n i s n o it i s o p p o y r a n i b f o n o it a r e p o d n a e c n e t s i x e e h t e z i n g o c e r o t s i
f o r i a p a “ s i , s e t o n ) 2 0 0 2 ( r e l d n a h C s a , fl e s ti s n o it i s o p p o y r a n i B . ) 6 2 1 . p (
y ll a u t u
m -exclusivesigni ifers i n aparadigm setr epresenitng catego ire swhich are
m o r f s e t a n i g ir o n o it i s o p p o y r a n i b f o t p e c n o c e h T . ) 4 2 2 . p ( ” d e s o p p o y ll a c i g o l
e h t g n i s o p o r p y b y r o e h t e h t s p o l e v e d a d ir r e D . y r o e h t m s il a r u t c u rt s s ’ e r u s s u a S
h t s e d u l c n o c a d ir r e D . y h c r a r e i h f o a e d
i a t“western metaphysic si sbased on a
e r e h t , r e t n e c h c a e r o F . s n o it i s o p p o l a u t p e c n o c r o s n o it a r e p o y r a n i b f o m e t s y s
, r e l s s e r B n i d e ti c s a ( ” ) e l p m a x e r o f , d n i k n a m u h / d o G ( r e t n e c g n i s o p p o n a s t s i x e
l s s e r B , n o it i s o p p o y r a n i b h c a e n i , n o it i d d a n I .) 5 2 1 . p , 7 9 9
