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m age on sitgmaitzed identtiy .In thi sparitcula rwork ,Coelho ciritcize sthe o h l e o C . d e t n a r g r o f e k a t e l p o e p y n a m t a h t y t e i c o s s y a d a w o n n i s n o it a z it a m g it s y b y t e i c o s d e z il a n i g r a m e h t o t n o it a z it a m g it s h c u s f o s t c e f f e e h t d a b w o h s li e v n u a h c n i a m e h t g n it t e
s racte r being constanlty sitgmaitzed fo r he r idenitites , f o e u s s i e h t n o e g a s s e m s ' o h l e o C p s a r g o t r e d r o n I . y ti t n e d i y s p y G e h t y ll a i c e p s e s ' o h l e o C g n it e r p r e t n i n i h c r a e s e r y r a r b il f o d o h t e m e h t d e y o l p m e I , n o it a z it a m g it s o ll e b o t r o P f o h c ti W e h
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S ................................................................. iv .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. S T N E M E G D E L W O N K C
A vi
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T NTENTS....................................................................................vii T
C A R T S B
A .................................................................................................. x....i K
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A .......................................................................................................... x
I R E T P A H
C INTRODUCTION ....................................................................... 1 1 .Backgroundoft heStudy ... 1 2 .Signiifcanceoft heStudy ... 5 3 .ResearchQuesitons ... 11 4 .Scopeoft heStudy ... 21 5 .ResearchMethod ... 13 6 .Chapters Outilne ... 14
I I R E T P A H
C LITERATUREREVIEW ........................................................ 16 1 .Reviewo fRelatedStudies... 16 2 .Theoreitca lFramework ... 21
.
1 Pau lRicouer’ sConcep to fSuspicion ... 21 .
2 ErvingGoffman’ sConcep to fSitgma ... 26 .
3 DavidMayal’l sConcep tofGypsyI dent y ti ... 03
E F I L S ’ A N E H T A N I S N G I S E H T I I I R E T P A H
C ........................................ 36 e
h T .
1 DeadWtich ... 37 .
2 TheOirginoft heWtich ... 04 .
3 TheLegacyoftheWtich ... 68
E C N A T S I S E R S ’ A N E H T A V I R E T P A H
C .................................................... 76 .
1 TheEalryResistance... 76 .
2 SitgmaResistancet hroughGeneraitons... 82 .
3 SitgmaResistancea saWtich ... 84 .
ii i v V
R E T P A H
C CONCLUSION......................................................................... 93 .
1 Achievemen tandSigni ifcance ... 93 .
2 Relevance ... 98
Y H P A R G O I L B I
B .......................................................................................... 01 2
.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. X I D N E P P
A .......................105
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A :Biographyo fPauloCoelho... ... 106 .. 2
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A Anggoro(2016 .) S itgma itza itonandS itgmaResistanceinPaulo s ’ o h l e o
C The Wtich o f Portobello. Yogyakatra : Engilsh Language Studies , . y ti s r e v i n U a m r a h D a t a n a S , y d u t S e t a u d a r G s ' o h l e o C o l u a P s e s u y d u t s s i h
T TheWticho fPo trobellotor evea lCoelho' s s
s e
m age on sitgmaitzed identtiy .In thi sparitcula rwork ,Coelho ciritcize sthe o h l e o C . d e t n a r g r o f e k a t e l p o e p y n a m t a h t y t e i c o s s y a d a w o n n i s n o it a z it a m g it s y b y t e i c o s d e z il a n i g r a m e h t o t n o it a z it a m g it s h c u s f o s t c e f f e e h t d a b w o h s li e v n u a h c n i a m e h t g n it t e
s racte r being constanlty sitgmaitzed fo r he r idenitites , f o e u s s i e h t n o e g a s s e m s ' o h l e o C p s a r g o t r e d r o n I . y ti t n e d i y s p y G e h t y ll a i c e p s e s ' o h l e o C g n it e r p r e t n i n i h c r a e s e r y r a r b il f o d o h t e m e h t d e y o l p m e I , n o it a z it a m g it s o ll e b o t r o P f o h c ti W e h
T by presenitng the sitgmaitzaiton s received by the .t c a e r y e h t w o h d n a s r e t c a r a h c s ' o h l e o C n o n o it a z it a m g it s f o s e u s s i e h t h ti w s l a e d s i s e h t s i h
T TheWticho f
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r gwtihsuchi ssues ,theinterpretaitonoft het exti sessenital.I n g n it e r p r e t n
i The Wtich o f Portobello , thi s study employ s Pau l Ricoue'r s s a n o i c i p s u s f o s c it u e n e m r e h d e lt it h c a o r p p a l a c i h p o s o li h
p t heframeworkoft hi s
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t Addiitonally ,Erving Goffman’ sconcep tof sitgma and David Mayal’l s f o t p e c n o
c Gypsy idenitites are employed to suppor tthe arguments. Ricouer’ s l a c it ir c f o l e d o m a s a o s l a t u b k r o w e m a r f e h t s a y l n o t o n s t c a s c it u e n e m r e h y d u t s s i h t n e p r a h s o t g n i k n i h
t .Meanwhlie ,Goffman and Mayal’l sconcept sare n o i c i p s u s e h t e t a r o b a l e d n a y fi t n e d i o t d e s
u . Ther esistance soft hecharacter sare e u s s i e h t e m o c r e v o o t n o it u l o s s ' o h l e o C t n e s e r p o t r e d r o n i d e z y l a n a r e h tr u f o s l a . n o it a z it a m g it s f o o h l e o C y b d e y a rt r o p s i o h w , a n e h t A t a h t s w o h s y d u t s s i h
T inTheWticho f
o ll e b o t r o
P ,constan ltyexpe irencess itgmaitzaitonsi nanurbanwo lrd .Athenadoe s e h t n i s r e t c a r a h c r e h t o y n a M . fl e s r e h y b l l a a m g it s e h t r a e b o t e v a h s y a w l a t o n n o it a z it a m g it s e s e h T . s y a w s u o ir a v n i r e h d n e f e d y r o t
s expeirences ,along wtih
y ti t n e d i d e z it a m g it s e t a m it l u r e h o t r e h d a e l , s ti a rt d n a s e it il i b a l a u s u n u r e
h — a
h c ti
w .Fu trhermore ,Athena resist sthe sitgmaitzaiton sshe receive sin va irou s .
s y a
w Theser esistance sareconstanltychanging ,whichshowAthena’ swisdomi n s e r a m g it s r e
h istance .Thi swisdom in resisitng sitgma thus become Coelho' s t e g a s s e
m ot hevicitm sofs itgmaitzaiton.I nt heend ,thist hesi sarguest hatt hrough
o ll e b o t r o P f o h c ti W e h
T Coelho expect shi sreaders to develop sympathy ast he m g it s e h t d n e f e d o t p e t s t s ri
f aitzedi ndividual .s
f o e m e h t e h t n o e r o m e r o l p x e n a c s r e h c r a e s e r e r u t u f , y ll a n i F s a l l e w s a s k r o w s ' o h l e o C r e h t o n a n i n o it a z il a n i g r a
m deconsrtuctsthemi nordert o s u h t d n a n e p p a h n a c n o it a z il a n i g r a m h c u s w o h n o r e w s n a t e
g provide et h b est
. n o it u l o s o w y e
x
K
A
R
T
S
B
A
1 0 2 ( o r o g g n A o t e S s u n a ir dA 6 .) S itgma itza itonandS itgmaResistanceinPaulo s
’ o h l e o
C TheWticho fPortobello. Yogyakatra :Magiste rKaijan BahasaI ngg irs , .
a m r a h D a t a n a S s a ti s r e v i n U , a n a jr a s a c s a P m a r g o r P
ti l e n e
P ian i n imenggunakan nove lPaulo Coelho yang bejrudu lTheWtich o
ll e b o t r o P f
o untuk mengungkap pesan Coelho dalam menyikap iidenttia syang m
a l a D . n a k a m g it s i
d novelini ,Coelhomengk irits ipembe iransitgmayangbanyak r
a j a w p a g g n a i
d sampa i saa t ini . Coelho menunjukkan buruknya efek dar i t
a k a r a y s a m a d a p e k a m g it s n a ir e b m e
p terutama kaum margina l dengan cara s u r e n e m s u r e t a i d a n a m i d i s i s o p m a l a d a y n a m a t u r e t k a r a k n a k k a t e l e m
i a g a b e s i k il i m a i d g n a y s a ti t n e d i a n e r a k n a k a m g it s i
d Gypsy .Untuk menangkap
o h l e o C n a s e
p dalampermasalahans itgmasisas,is ayamenggunakanmetodekaijan n
a k ri s f a n e m m a l a d a k a t s u
p nove lini dengan menunjukkan sitgmaitsas iyang r
e t k a r a k i m a l a i
d -karakternyadanbagaimanamerekabereaks.i m
e m i n i s i s e
T baha spermasalahan sitgmasisas idengan solusinya diilha t ir
a
d pelrawanan karakter-karakte rd idalam novel .Dalam menginterpretas i The o
ll e b o tr o P f o h c ti
W ,thesi sin imenggunakan pendekatan flioso if skarya Pau l l
u d u jr e b r e u o c i
R hermeneuitc so f suspicion sebaga ikerangka berpiki rdalam i
n i s i s e h
t . eS baga itambahan ,konsep sitgma karya Erving Goffman dan konsep s
a ti t n e d i g n a t n e t l l a y a M d i v a
D Gypsy digunakan sebaga ipendukung argumen . i
r o e
T hermeneu itcsRicoue rberperan sebaga ikerangkaberpikri nd a jugasebaga i m
a j a tr e p m e m k u t n u s it ir k n a ri k i m e p l e d o
m peneilitan .Konsep Goffman dan n
a k s a l e j n e m n a d i s a k if it n e d i g n e m k u t n u n a k a n u g i d l l a y a
M suspicion tersebut .
n a s e p n a k k u j n u n e m a k g n a r m a l a d a s il a n a i d a g u j r e t k a r a k a r a p i r a d n a n a w a lr e P
i s a s it a m g it s n a h a l a s a m r e p i s a t a g n e m k u t n u o h l e o
C .
k u j n u n e m i n i n a it il e n e
P kan bahwa Athena yang secara teru smeneru s a
m g it s g n u g g n a n e m m a l a d n a ir i d n e s u l a l e s k a d it i s a s it a m g it s i m a l a g n e
m -sitgma
t u b e s r e
t karena karakte rlain membelanya dengan berbaga icara .Pengalaman -t
u b e s r e t i s a s it a m g it s n a m a l a g n e
p , bersama dengan kemampuan sfia t dan a
s a i b k a d it g n a y a n e h t A n a u p m a m e
k ,membawanya pada identtia syang pailng a
m g it s t a p a d n e m k a y n a
b —seorang wtich .Athena melawan sitgmaitsas itersebu t a
r a c i a g a b r e b n a g n e
d . Cara-cara yang selalu berubah in i menunjukkan a
n a s k a ji b e K . a n e h t A n a a n a s k a ji b e
k a n tersebu tmenjad ipesan Coelho untuk para i
s a s it a m g it s n a b r o
k .Akhrinya ,thesisi n iberpendapa tbahwamelalu iTheWtich o f o
ll e b o t r o
P Coelho menginginkan pembacanya untuk bersimpaitsebagail angkah i
s a s it a m g it s n a b r o k p a it e s a l e b m e m k u t n u l a w
a .
t a k r i h k
A a ,parapenelti id imasayang akan datang dapa tmengeksploras i a
m e
t -temamarginailsas idalamkarya-karyaCoelho yangl ainsetramembedahnya t a p a d t u b e s r e t i s a s il a n i g r a m a n a m i a g a b s a t a n a b a w a j h e l o r e p m e m a k g n a r m a l a d
n a d i d a jr e
t membe irkansolus iyangt erbai k. i
c n u k a t a
1
I
R
E
T
P
A
H
C
N
O
I
T
C
U
D
O
R
T
N
I
.
1 Backgroundoft heStudy
y ll u f t o n e r a y e h t e s u a c e b r e f f u s s y a w l a s e it ir o n i m r e h t o y n a m d n a s e i s p y G
t e i c o s t s o h r o j a m e h t y b d e t p e c c
a ies .Manyhisto ircal events r ecordthe brutaltiy t ha t
y e h t e s u a c e b y l n o e v i e c e r o t e v a h y e h
t are different from common people .Thei r
, s e it it n e d
i ort heatt irbute swhichmakethemdfiferent, areperceivedast hreat samong
. e l p o e p r e h t
o Thus , sitgma i s “an att irbute tha t i s deeply discrediitng”1 whlie
f o n o it c a e h t o t s r e f e r n o it a z it a m g it
s labeilng an att irbute wtih sitgma . sA a resutl ,
a m g it s e h t f o e s u a c e b r a e f n i e v il s y a w l a y e h
t driected t o t hose i denitites. Many o f
s e it it n e d i r i e h t e d i h o t d e c r o f e r a e l p o e p e s e h
t ,causing them to suffer .Sadly ,such
e r a s n o it a z it a m g it
s stli lqutiecommon i nt hist wenty-fris tcentury .Thedeclaraitono f
e h t h ti w g n i h t e m o s s e o d y l d r a h s t h g ir n a m u
h sitgmaitzaitons tha thappen around t he
. d lr o w
k r o w s i h n i n o it a z it a m g it s f o e u s s i h c u s s e s i a r o h l e o C o l u a
P The Wtich o f
o ll e b o t r o
P .Athena ,the main protagonis to fthe story ,i sa woman who constanlty
a m g it s e h t f o e s u a c e b s r e f f u
s she receives .Athen 'a sstoryi s t old by her l ove racitng
r o t a r r a n d e m a n n u s i h t , y r o t s e h t f o g n i n n i g e b e h t n I . y h p a r g o i b r e h f o r o t a r r a n a s a
n i p o n w o y m e s o p m i o t n o it n e t n i y m t ' n s a w t i e c n i S “ s e t a t
s ion sont her eade .r.. Isoon
h c a o r p p a t s e b e h t t a h t d e d i c e d d n a y h p a r g o i b t h g i a rt s a g n it ir w f o a e d i e h t d e n o d n a b a
” e m d l o t d a h e l p o e p t a h w e b ir c s n a rt o t y l p m i s e b d l u o
w 2 .The Wtich o fPortobello
h t a e d l a t u r b s ’ a n e h t A h ti w s tr a t
s —mutliated and burned .Soon a tfer ,the plo tset s
y a d e h t o t k c a
b when a Ch irsitan couple from Beriu tadopt she rwhen she i sstli lan
h c i h w , t n a f n
i reveal stha the rbi trh mothe ri sa Gypsy .Athena’ schlidhood i san
. e r u t u f e h t t c i d e r p d n a s g n i h t e e s o t e l b a s i e h s e s u a c e b e n o l a u s u n
u A sshegrow sup ,
s e it it n e d i r e h o t d e t c e ri d s n o it a z it a m g it s s u o ir a v s e c n e ir e p x e a n e h t
A . However ,
.s n o it a z it a m g it s h c u s t s i s e r o t y a w a s d n if s y a w l a a n e h t
A sA anadul tshet irest o ifnd
t u
o he rreali denttiy ,whichl ead shert ohe rbi trhmother .Theencounte rw tihhe rbi trh
c , a n a il i L , r e h t o
m hange she rlfie forever .She become smore aware o fhe rGypsy
s n r a e l e h S . r e w o p r e h d n a y ti t n e d
i abou thowt ousehe rpower f rom awomannamed
s A . r o t n e m s ’ a n e h t A r e h s e k a m h c i h w , a d d
E a resutl ,Athenai sablet o rtansformi nto
. a if o S a i g a H d e ll a c e s l e e n o e m o
s Int hisf orm,s hei sablet operformva irou smriacle .s
h ti w m e h t p l e h n a c r e w o p r e h k n i h t y e h t e s u a c e b r e h w o ll o f o t e m o c e l p o e p y n a M
h t t a t l u c c i n a t a S e h t “ s a m e h t d e s u c c a k c u B n a I d n e r e v e R , r e v e w o H . s m e l b o r p r i e h
t e
( ” d n a l g n E f o t r a e
h TWP 224) .He then gather shi spa irshioner sto protes tthem .In
e fi l r e h e u n it n o c d n a h t a e d r e h e k a f o t s a h a n e h t A , 't n u h h c ti w ' s i h t e p a c s e o t r e d r o
. y lt e r c e s
o h l e o
C “seldom use scomplex allego ires ,metaphors ,or i dioms .Al lhi swork
s i h f o s tr a e h e h t o s l a t u b n o it a n i g a m i e h t y l n o t o n s e r u t p a c e l y t s s i h .. . e l p m i s s i
2 Paulo Coelho ,The Wtich o fPortobello (A Bruxa de Po trobello ) rtans .Margare tJul lCosta (New :
k r o
s e v l e s r u o g n i d n if n i s e il s s e n i p p a h .. .s i e g a s s e m s i H . s r e d a e
r ”3. In The Wtich o f
, o ll e b o t r o
P Coelhoconsistenltyuses t he samestyle . tI i sastoryo fa woman named
w a n e h t
A h o t ire sto ifnd happines sby ifnding hersefl .However ,before ifnding
r e h e s u a c e b t s ri f g n ir e f f u s h ti w l a e d o t s a h a n e h t A s s e n i p p a
h idenit ites ea r
sitgmaitzedbadlybyt hesocietyeveni nanurbansetitng.Throught hi snovel ,Coelho
a h t e z i s a h p m e o t s t n a
w tmany innocen tvicitm ssuffe rbecause they expe irence
r a li m i
s sitgmaitzaitona sAthena’s.
o h l e o
C ha sar easont ochoose urban setitng .A ssuggestedbyPete rH .Mann ,
e h
t idea lform o fsocial l fie should be present i n t he ciite sbecause “tolerance o fo r
avoidance o f eccent irc behaviou r i s much more ilkely in the ctiy than the
e d i s y rt n u o
c ”4 .One o fthe reasons behind thi stolerance i sbecause ci ite sand othe r
a h s a e r a n a b r
u v e bette raccess t o socia lservice ssuch a spoilce depa trment .In othe r
c a y n a , s d r o
w t sofi ntolerancet ha thappeni nside t heseurbanarea sarepunishableby
y a w r e tt e b a n i w a
l . A sar esul,tt her esident so furbanarea sareconsideredt obemore
.s a e r a l a r u r n i g n i v il e r a o h w e s o h t o t d e r a p m o c d e z il i v i
c Urbanarea sarealsoknown
i e h t r o
f r seculartiy . “Compeititon among town s sitmulated speciailzaiton and
l a c i h p a r g o e g d n a s ll i k s g n it n u o c c a , y c a r e ti l r o f d e e n e h T . n o it a v o n n i l a c i g o l o n h c e t
” n o it a c u d e r a l u c e s n i t s e v n i o t s n w o t e h t e s u a c e g d e l w o n
k 5 .Thi ssecular tiyi sone o f
e h
t reasons why people in urban area sare considered modern .I ti sbeileved that a
3 Glauco Otrolano & Paulo Coelho, “An Interview wtih Paulo Coelho :The Coming o fAge o fa n
o n e m o n e h P n a il i z a r
B ”, World Ltierature Today 77 , 1 (Apr-Jun 2003): 75 , W , eb 6 May 02 31 <http://wwwj.sto.rorg/stable/40157785>.
4Pete rH .Mann,AnApproacht oUrbanSociology(London :Roultedge&KeganPaul ,1970) 1 09. 5Kingsley Davis ,“TheUrbanizaitonoft heHuman Populaiton”, Urbanismi n World Perspecitve :A
r e d a e
d n u o r a n o i n i p o d n a e d u ti tt a f o y ti s r e v i d e h t f o s s e n e r a w a e r o m s w o h s “ n a m n r e d o m
, d n a e k il a s k n i h t e n o y r e v e t a h t f e il e b e h t n i f f o f l e s m i h g n i s o l c n a h t r e h t a r , m i h
m i h e k il t s u j , d e e d n
i .”6
l a i c o s n a m u h f o m r o f l a e d i e h t s a n e e s s i e fi l n a b r u , d e n o it n e m y l s u o i v e r p s A
. r e h t e g o t e fi l n r e d o m a e fi l d n a s e it i s r e v i d e h t t p e c c a n a c e n o y r e v e e r e h w e fi
l T his
l a e r e h t h c t a m t o n s e o d , r e v e w o h , m s il a e d
i -lfiecondiiton .Desptiet he modernizaiton ,
a e r e h
t res tli lmanyurbanr esident swhocannotacceptt hediversiite samongt hem .A s
a resul ,tt heybecomet heculprtist hats itgmaitzemanyi nnocen tvicitm .s
s k r o w r e h t o s i h n i n e e s e b n a c a m g it s f o r e g n a d e h t f o s s e n e r a w a s ’ o h l e o
C .I n
s e t u n i M n e v e l
E ,Coelhot ellst hestoryo faprosttiutenamedMaira .Sinceprosttiuiton
s a k r o w o h w e s o h t e z it a m g it s o t d n e t e l p o e p , n e m o w r o f s b o j t s r o w e h t f o e n o s i
e t u ti t s o r
p s .Int hi snovel ,Coelhogoesf romdiscussingt hesitgmaoft heprosttiutest o
n e m o w e h t f o a m g it s e h
t in general. A s the narrato r o f thi snovel ,he state s
d n a , a m g it s a e t a e r c o t y l n o s e v r e s m r e t e h t d n a , d lr o w e h t l o rt n o c n e m , s y a d a w o n “
” e t u ti t s o r p a d e b b u d y ll a c it a m o t u a s i e n il f o t u o s p e t s o h w n a m o w y n
a 7 . InTheWtich
o ll e b o t r o P f
o ,Coelho develop sthe sitgmaitzaiton issue in a much broade rway .
t a h t w o h s o t s t n a w o h l e o C , a n e h t A h g u o r h
T everyone can be the vicitm o f
. n o it a z it a m g it
s
, y ll a it i n
I Athena seem s ilke anorma lperson who t irest o make a ilvingi n an
a e r a n a b r
u .However ,Athenaalwaysf eelst hatshei sl ackings omething .Event hough
6AlexInkeles, “TheModernizaiton o fMan”, Urbanismi n World Perspecitve :AReader ,E d.Sylvia a
v a F s i e l
F (NewYork :Thoma sY .Crowel lCompany ,1968)363.
7PauloCoelho, ElevenMinutes( OnzeMinutos )tran .sMargaretJ ul lCosta (NewYork :HarperColilns , )
3 0 0
r e h o t g n i d r o c c a e fi l l u f s s e c c u s a s a h e h
s adopitve mother ,she decide sto ifnd he r
g n o l r e h e c a r b m e d n a r e h t o m h tr i
b -forgottenGypsyidenttiy.
h , y e n o m n r a e o t y ti li b a r e h , s s e c c u s l a n o i s s e f o r p r e h l l a f i s a s a w t
I er j oya t
n o s r e h h ti w d e y a l p e h s n e h w t n e m t n e t n o c r e h , e m o h w e n a d n u o f g n i v a
h —
n o s d n a r g y
m —had al lbeen relegated to second place . Iwa squ tie simply h tr i b r e h f o h c r a e s n i o g o t d e d i c e d d 'e h s t a h t e m d l o t e n ir e h S n e h w d e if ir r e t
.r e h t o
m (TWP 48 - )8 5 o
H wever , embracing he r Gypsy identtiy also mean s expe irencing simlia r
, e n o y s p y G e h t y ll a i c e p s e , s e it it n e d i r e h f o h c a E . s r o t s e c n a r e h s a n o it a z it a m g it s
. y t e i c o s e h t o t n o it a l e r n i s m e l b o r p t n e r e f fi d s t n o r f n o c
.
2 Signi ifcanceoft heStudy
h t n i n e e s e b n a c s
A e b ire fsummary ,Athena’ sGypsy i denttiy i sone o fhe r
t a h t s e it it n e d
i i sheavliys itgmaitzed .TheGypsiest hemselve shavebecomeoneoft he
a s a m e h t e z it a m g it s s l a i c if f o e h t n e v E . o g a e m it g n o l e c n i s s e it e i c o s d e z il a n i g r a m
g i s e b o t r a e p p a e r e h T “ . e c a n e
m ni ifcan tsimlia ir ite sbetween of ifcia land ltierary
o t e ri s e d a d n a e c a n e m d n o b a g a v e h t r e v o n r e c n o c l a e r a g n i w o h s h t o b h ti w , s e c r u o s
d lr o w r e d n u e v i s r e v b u s d n a t n a r e n it i e h t f o e c a f e h t n i r e d r o n i a t n i a
m .”8 Gypsy’ s
s u j s i e c a n e m d n o b a g a v s a n o it a z it a m g it
s toneoft hes itgmat hatt heyhavet or eceive .
s e ti r w e h s k o o b e h t n i r e t c a r a h c y s p y G s t u p s e m it e m o s o h l e o
C such a s The
t s i m e h c l
A .
n
I The Alchemist, Gypsy appear sa sa mino rcharacte rwtih an ablitiy to
. s m a e r d t e r p r e t n
i The Alchemist tisefl t ell sastory o fa boy namedSanitago who ha s
n e d d i h a o t m i h s d a e l ti e s u a c e b m a e r d t a h t s w o ll o f n e h t e H . e c i w t m a e r d e m a s e h t
o t p l e h r e h r o f k s a o t y s p y G a o t s e m o c e h , y r o t s e h t f o g n i n n i g e b e h t t A . e r u s a e rt
s w o h s y s p y G e h t h ti w r e t n u o c n e s i H . m a e r d t a h t t e r p r e t n
i how people alway s
. e p y t o e r e t s g n i v i g y b m e h t e z it a m g it s
t a h t d i a s o s l a s a w t I .s r e h t o g n i k c ir t s e v il r i e h t t n e p s s e i s p y G t a h t d i a s e l p o e P
g n i k a t , d n a n e r d li h c d e p p a n d i k y e h t t a h t d n a , li v e d e h t h ti w t c a p a d a h y e h t
d a m , s p m a c s u o ir e t s y m e h t o t y a w a m e h
t e t hem t hei rslaves .A sa chlid, t he y b d e r u t p a c e b d l u o w e h t a h t h t a e d o t d e n e t h g ir f n e e b s y a w l a d a h y o b
s i h k o o t n a m o w d l o e h t n e h w d e n r u t e r r a e f d o o h d li h c s i h t d n a , s e i s p y G
.s r e h n i s d n a
h 9
a s a t c a s e i s p y G e h t t a h t n e e s e b n a c t i , n o it a t o u q e h t m o r
F bogeyman to scare
a s a s n o it c n u f h c ti w A “ . n o it c n u f e m a s e h t e v a h s e h c ti w , y lr a li m i S . n e r d li h c
, r e h t o n a n i e li h w ; y ti m a l a c d e n i a l p x e n u y n a r o f n o s a e r a s e d i v o r p o h w n a m y e g o b
e ll i k d n a d e s u c c a e r a e l p o e p l a e r , m s a t n a h p a y l n o y lr a li m i s s i h c ti w e h t h g u o h tl
a df o r
. o d t o n d l u o c y e h t s d e e
d ” 01 I tdoe sno tmean tha tCoelho himsel fsitgmaitze sthe
y r a n i d r o a rt x e s a y s p y G s d n a t s r e d n u o h l e o C t a h t s w o h s y l n o t i , d a e t s n I . s e i s p y G
y ll a e r o g a it n a S , y r o t s e h t f o d n e e h t n I . y r e c r o s r o e l c a ri m m r o f r e p n a c o h w e l p o e p
t s d n
if he rteasure ,whichmeanst hatt heGypsy' sprophecyi sactually irgh.t
e li h w n a e
M ,history record san Indonesian wtich hun tin 1998. Du irng tha t
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y ,SouthMalangt urns i ntoabloodyl andbecause t hosewho areaccusedo fblack
b m u n e h T . d e r c a s s a m e r a c i g a
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m massacre sarleady begin in 1998 and conitnue sunit lyea r2000 .
9 Paulo Coelho ,TheAlchemis t(O Alquimista )rtans .Alan R .Clarke(San Fransisco :HarperColilns , 1
) 3 9 9
1 2.
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. e l p o e p p l e h o t r e w o p r i e h t g n i s u y ll a u t c a e r a s m it c i v e h t f o y n a
M “People visti s
e h t e v a h , d e l a e h e b o t e e f a s y a p d n a s n a m a h
s ri f uture r ead ,begiven l uckymanrtas ,
s a n w o n k s r e r e c r o s ,r e v e w o H . n o o s d n
a dukuns antet ro tukangs ante tarebeilevedt o
e c it c a r
p limugaib”11 .The r elaiton betweenethnic and r eilgion i n t hi sattack i squtie
. d e t a c il p m o c
a tt a e h t e r e h w s e g a ll i v e h t n
I ck soccurred the majortiy o fpeople are ethnic o n d e y a l p s i d s k c a tt a , r e v e w o H . e g a u g n a l y li a d e h t s i e s e r u d a M d n a , e s e r u d a M
s m it c i v r i e h t d n a s r e k c a tt a s a , y ti r o n i m e s e n a v a J e h t h ti w t c il f n o c f o n r e tt a p
e s e r u d a M d n a e s e n a v a J h t o b d e d u l c n
i .Ther eilgioni nt hef ou rdist irct swhere (
m a l s I e s e n a v a J. .. y lt n a n i m o d e r p s i d e r r u c c o s k c a tt a r u o
f Islam-Jawa .)12
d e r e d i s n o c s i m a l s I e s e n a v a J , m a l s I e r a s m it c i v d n a s r e k c a tt a e h t h t o b h g u o h t n e v E
a h t e r o m s e v l o v n i k c a tt a e h t t a h t t c a f e h t e ti p s e D . s r e k c a tt a e h t y b g n o r
w n hundred
n e h w , s k c a tt a r e h t o n a n I . d e t s e r r a g n i e b e r a m e h t f o e m o s y l n o , n e
m “three loca l
s t n e d i s e r l a c o l y r g n a , e s n o p s e r n i , d n a , s g n il li k e h t r o f d e t s e r r a e r e w s t n e d i s e r
( s n o it a t s e c il o p l a c o l e h t d e y o rt s e
d mapolsek )anddemandedt herir elease”13 .tIs how s
l a c o l e h t w o
h authortiy i shelples sagainst t he mobs .Some Islamic l eader salso t ake
. 'l li k o t e s n e c il a' m e h t g n i v i g y b s k c a tt a e s e h t n i tr a
p “In1993Ma lruk ihadallegedly
y li m a f s' d e s a e c e d e h t h c i h w r e tf a , t n e d i s e r l a c o l a r e d r u m o t c i g a m k c a l b d e s
u wentt o
a m o r f n o i s s i m r e p l a n o it i d n o c e v i e c e r y e h t e r e h w , a r u d a
M kia i(Islamic t eacher) t o
e c n a e g n e v k e e
s ”14 .
e s e h
T dukun sante talso allegedly associated wtih PK I(Communis tPatry o f
m e h t e k a m h c i h w , ) a i s e n o d n
I “consrtucted both a s(un)natura labominaiton sa swel l
1
1 Chalres .A Coppel, Violen tConfilctsi nI ndonesia(NewYork :Roultedge ,2006 )90. 2
1 Coppel, 19 . 3
1 Coppel, 29 . 4
e r e w m e h t t s n i a g a s e r u s a e m e v it i n u p l a t u r b e c n e h d n a , y ti n u m m o c e h t o t a m e h t a n a s a
d e if it s u
j ”15 .Theseattacker salsoattackapoilcestaitonbecauset heybeilevet hatt hey
h s i n u p o t t h g ir e h t e v a h o h w s e n o e h t e r
a “alleged thieve sand petty c irminals” t .I
t a h t s w o h
s “the kliilng so fallegeddukun sante tmus tbesimlia lryunderstooda sact s
e c it s u j y ti n u m m o c f
o ”16 .Sadly ,many of t he i ndividuals i nvolved i n t he attack sare
e h t t s n i a g a e g d u r g o n g n i v a
h dukun santet .“Acommonexplanaitonoft heattack son
d e g e ll
a dukun sante ti s tha tpeople j'us tjoined in '(cuma ikut-ikutan) , wtihou t
n o it a g it s n
i ”17 . The ones who actually responsible a re the “provocateur s o r
y c a ri p s n o c a f o t r a p a e r e w o h w s d n i m r e t s a
m ”18.
s i h l l a t a h t d i a s o h l e o
C work sare “committedt oanewpoil itca latttiude :man
y ti t n e d i n w o s i h f o h c r a e s n
i ”19.I n t hecase o fThe Wticho fPortobello ,Athenai s i n
. r e h t o m h tr i b r e h d n if o t y e n r u o j r e h y b y ti t n e d i e u rt r e h r o n i g ir o r e h f o h c r a e s
e s u a c e b t s i x e y ll a e r t o n s e o d y ti t n e d i e u rt , r e v e w o
H on 'e so irgin i sa consrtucted
e h s y a d e h t e c n i s d e t c u rt s n o c s i y ti t n e d i s' a n e h t A . y ti t n e d
i wa sborn .Ass hegrow sup ,
n I . a m g it s e v it c e p s e r n w o r i e h t r a e b y ti t n e d i r e h f o h c a e t a h t e t a c i d n i s n o it c a r e h l l a
c e b r e h s e k a m y ti t n e d i y s p y G r e h g n i d n if , d n e e h
t omea vicitmo fsitgmaitzaitonj us t
. t s a p e h t n i s e i s p y G y n a m d n a r e h t o m h tr i b r e h e k
il Coelho' sawarenes soft hedange r
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o TheWticho fPortobello.I nVeronikaDecidest oDie20 ,
5
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1 Coppel, 79 - 89 . 7
1 Coppel, 99 . 8
1 Coppel, 11 .0 9
1 Otrolano& Coelho ,5 .8 0
2 PauloCoelho, VeronikaDecidest o Die(Veronika DecideMorrer )rtans .Margare tJul lCosta (New :
k r o
m e h t o t n o it a z it a m g it s f o e u s s i e h t s e s i a r o h l e o
C entally handicapped people by
. m u l y s a n a e d i s n i e fi l e h t g n it n e s e r p
t u o b a n o it s e u q e h t r e w s n a o t y r a s s e c e n t i s e k a m e d u ti tt a l a c it il o p s ’ o h l e o C
s n a m u h t a h t f e il e b s ’ o h l e o C h ti w e e r g a o t s m e e s m u t a T l e i n a D y lr e v e B . fl e s ti y ti t n e d i
e h t d n if o t d e n it s e d e r
a i r rtue sefl .In he rw iritng “The Complextiyo fIdenttiy :Who
a m o r f s e m o c y ti t n e d i r e h r o s i h g n i d n if n i t s e u q s ’ e n o t a h t s n i a l p x e m u t a T ” ? I m a
n o it s e u q e l p m i s e h t s e t a r o b a l e r e h tr u f m u t a T ? I m a o h w : n o it s e u q e l p m i
s broade r
s n o it s e u
q . Theanswer soft hesequesiton scan bef oundi n t hei nteraciton swtihothe r
. s e it it n e d i t n e r e f fi d e v a h o h w e l p o e
p She meniton stha t“integraitng one’ spast ,
n i s n i g e b t a h t k s a t x e l p m o c s i fl e s f o e s n e s d e if i n u , e v i s e h o c a o t n i e r u t u f d n a , t n e s e r p
r o f s e u n it n o c d n a e c n e c s e l o d
a a lfieitme”21 .In the end ,she emphasize son how
. s t n e m g d u j n o m m o c s ’ y t e i c o s e h t f o e s u a c e b k s a t h c u s e v a h o t s i t i t l u c if fi d
n i e li h w n a e
M The Wtich o fPortobello ,Athena also encounter ssimlia rdfi ifcutly
. y ti t n e d i y s p y G r e h t u o d n if o t s e ir t e h s n e h w
i h
T sstudy i sconducted wtih hope tha treader scan have more angle sand
n o e v it c e p s r e p r e d a o r
b The Wtich o f Portobello . I t i s hoped tha t the theo ire s
. l a o g h c u s g n i v e i h c a n i p l e h n a c y d u t s s i h t n i d e y o l p m
e Ihope Athen 'a sporrtaya l
n o s a n e e s y l n o t o n s i e r e
h es'j ourneyt o ifndheri denttiybu tmoreonhowt hesociety
I , s r e d a e r n a i s e n o d n I h ti w y lr a l u c it r a P . n o it a z it a m g it s f o t c e j b u s a s a y ti t n e d i r e h s e e s
, s u h T . s i n o it a z it a m g it s s u o r e g n a d w o h f o s s e n e r a w a r i e h t e s i a r n a c y d u t s s i h t e p o h
1
2 Bevelry Danie lTatum, “The C mo plextiy o fIdenttiy :“Who am I?”, Reading sfo rDiverstiy and
Socia lJusitce :AnAnthologyonRacism ,Sexism ,A itn -semiitsm ,Heterosexism ,ClassismandA ebl ism , .
d
E Mau iranneAdams ,Warren J .Blumenfeld ,Carmeltia (Rosie )Castañeda ,Heathe rW .Hackman , ,
s r e t e P . L e n il e d a
y d u t s s i h
t can en irch them wtih plurailsm values .Anothe rhopei s t o grasp Coelho' s
c it ir c d n a s e g a s s e
m ism sdeilvered to society through hi sreaders .Coelho once fea r
n e tt o g r o f e b y a m s k o o b s i h t a h
t 22,t hat i swhy Ialso hope t hat t hi sstudycan alway s
e o C f o s r e d a e r e h t d n i m e
r lho andhi smessagesf o rus .Finally , Ihopeby conducitng
m o r f s r a l o h c s n a i s e n o d n I y b d e r o l p x e y d u t s e r u t a r e ti l e h t h c ir n e n a c I y d u t s s i h t
. e c n e i c s n o c d n a , n o i s s a p m o c , e c n e t e p m o c d li u b o t y ti s r e v i n U a m r a h D a t a n a S
n it c u d n o c e r a s r e h c r a e s e r , y lr a l u c it r a
P g thei rstudies on magica l reailsm
. s l e v o n s ' o h l e o C n o s t n e m e l
e One oft hemi sStephenM .Har.tI nhi sstudy“Cutlura l
s' o h l e o C o l u a P n i c i g a M f o e g a u g n a L e h t d n a , m s il a e R l a c i g a M , y ti d ir b y
H The
t s i m e h c l
A ” ,he explore sthe magica lreailsm elemen to fThe Alchemist .Har talso n
e e w t e b e c n e r e f fi d e h t s e if it n e d
i the rtadiitona lapproach t o magica lreailsm and t he
t a h t s e v e il e b t r a H , d n e e h t n I . h c a o r p p a s e i d u t s l a r u tl u c w e
n Coelho' s ifcitondoe sno t
e s u y l e r e
m thet echnique so fmagicalr eailsm ,bu talsoendowst hemwtih“avisionary
s u f o h c a e t a h t , e r u s a e rt r o f d e n it s e d s i s u f o h c a e t a h t n o it o n e h t g n it o m o r p , y ti l a u q
e h t h c r a e s o t s u o t p u s i ti t a h t d n a , s u n i h ti w n w o d p e e d d e ir u b m a e r d l a c i g a m a s a h
c i g a m e h t e r e h w r e v o c s i d y ll a n if e w l it n u s u d n u o r a y ti l a e
r i .”s 23
it l u m a s
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. e c n a r e l o t e s i a r o t r e d r o n i s r e d a e r n a i s e n o d n I y ll a i c e p s e , s r e d a e r e h
t Desptie t hef ac t
m , a i s e n o d n I n i t s i x e t o n o d s e i s p y G t a h
t anyethnic mino iritesi nI ndonesiaare being
. s e i s p y G e h t e k il t s u j d e z it a m g it
s Thes toryo fhowAthenai smarginailzedbecauseo f
2
2 Morais, 43 .1 3
2 Stephen M .Hatr . “Cutlura lHyb irdtiy ,Magica lReailsm ,and the Language o fMagic in Paulo t
s i m e h c l A e h T s ' o h l e o
a s i a i s e n o d n I e c n i s s n a i s e n o d n I g n o m a y ti l a u q e e t o m o r p l l a h s n e v i g a m g it s e h t
ti ri p s e h t r e d n u d e ti n u e b n a c y e h t ,s u h T . s e it it n e d i s u o ir a v h ti w e l p o e p f o l l u f y rt n u o c
y s p y G r e h o t r e h s d a e l a n e h t A y b d e c n e ir e p x e n o it a z it a m g it s e h T . m s il a n o it a n f o
e r y d u t s s i h T . y ti t n e d
i -read sTheWticho fPortobello
