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S I M E D A K A N A G N I T N E P E K K U T N U H A I M L I A Y R A K I S A K I L B U P
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s , n a u h a t e g n e p u m li n a g n a b m e g n e p i m e
D aya membeirkan kepada Perpustakaan :
l u d u jr e b g n a y a y a s h a i m li a y r a k a m r a h D a t a n a S s a ti s r e v i n U
S ’ O H G N O F N I M N I D E L A E V E R S L O B M Y
S THECLAYMARBLE
n a a k a t s u p r e P a d a p e k n a k ir e b m e m a y a s n a i k i m e d n a g n e
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n a k h il a g n e m , n a p m i y n e m k u t n u k a h a m r a h
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a l o l e g n e
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e m n u p u a m a y a s i r a d n ij i a t n i m e m u lr e p a p n a
t mbeirkan royalit kepada saya
l e
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S T N E M E G D E L W O N K C A
y m s s e r p x e o t e k il d l u o w
I deepes t grattiude to those who helped , r
a c d n a , d e t a v it o
m edf ormedu irngthe ifnishing fo thist hesis . t
s ri
F o fall ,mygreates tgrattiudegoest oJ esu sCh irs tandMothe rMary rfo e
h
t blessing and the srtength s o tha t Ican ifnish thi sthesis and Ican face the h
t d n a s e it l u c if fi
d el azinessi ndoingt hist hesi .s e
k il d l u o w
I to expres smy grattiude fo rmy adviso rHenny Herawait , r
e h r o f m u H . M , . d P .
S paitence ,kindness ,and suggesiton and also he ratteniton d
n
a correciton in ifnishing thi sthesis .In addiiton , Ithank Adest iKomalasair , .
A . M , . d P .
S , Fr. Lucianu sSuha jranto ,SJ, Drs .Balr iBram ,M.Ed. ,Ph.D. ,and .
t S . s n a r T . M , . d P . S , i n r a m u S a it n e r u a
L fort hei rhelpandt hei rkindnes stobemy r
e d a e r f o o r
p s .Fu trhermore , Iwould ilke to thank my beloved fam liy. My father, n
i k i d a g N s u i n o t n
A , my mother ,Ch irsitnaKusumastuit , for t hei rpaitence, love , y
d u t s y m g n ir u d e r a c d n
a and also theprayert oward me . tIi s l ate ,bu t ifnally I h
s i n
if ti. Iwould also ilke t o thank my sister ,MbakNana ,and my brother ,M sa e
r d n
A , fo ralway saskingabout t heprogres so fmy t hesisand always t easing me .
s i s e h t y m t u o b
a tI sw a sopainful ,bu tatl east ti forcedmyseflt o ifnish ti . t
x e
N , Iwould ilketo t hank my f irend swho have moitvated me t o ifnish p
l e h d n a s i s e h t s i h
t ed medu irng my study .My specialt hank sgo toDhtia ,Rean , a
k s ir P , h a e
T fort hebeautfiu lfirendship du irng t hi sitme. Ialso t hankNak ,Saka , ,
n a ir B , e n il u a
P Frate,r I von ,Yus ,Anggi ,Tiyus ,Eilz ,andChu f o rsupporitng me .
y d u t s s i h t h s i n if o
ii i v r
o f z e n
I he rhelp .I would ilke to t hank my firends :d ke Lisa ,Chandra ,Ttia ,and d ke Puput , Ithankthemf orthebeautfiulf irendship wehavemadeandkep tunit l
. e m it s i h
t If eelr eallygrateful rfo havingal loft hem . e
r g y m t n e s e r p o s l a
I a tgrattiudet oal lPBIlecturer swhohaveguided me e
h t r o
f pas t ifveyears . Iwouldalso ilket ot hankall et h ilbrarystaf fand PBIstaf f g
n ir u d p l e h e h t r o
f mys tudyandm ysrtugglei n ifnishi ngthist hesi .s t
u b t s a
L tn o least , Iwould ilke to expres smy sincere grattiude to al l o
h w e l p o e
p m c I anno tmen itononebyonefort hesuppor tandmo itvaiton du irng .
y d u t s y m
i x
S T N E T N O C F O E L B A T
E G A P E L T I
T ... i E
G A P L A V O R P P
A ... ii 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 ... vi N
O I T A C I D E D F O E G A
P ... 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 ................................................. v i S
T N E M G D E L W O N K C
A ... iiv T
C A R T S B
A ... x.. i K
A R T S B
A ... x T
N O C F O E L B A
T ENTS ... ix S
E C I D N E P P A F O T S I
L ... xii
N O I T C U D O R T N I :I R E T P A H C
y d u t S e h t f o d n u o r g k c a B .
A ... 1 n
o it a l u m r o F m e l b o r P .
B ... 5 y
d u t S e h t f o s e v it c e j b O .
C ... 6 .
D Benefti soft heStudy ... 6 i
n if e D .
E itono fTerms... 6
F O W E I V E R : I I R E T P A H
C RELATEDLITERATURE
w e i v e R .
A o fRelatedTheo ires... 9 .. l
o b m y S f o y r o e h T .
1 ... 9 e
r u tl u C f o y r o e h T .
2 ... 12 .
3 SociologicalApproach... 5.... 1 f
o w e i v e R .
B RelatedStudies ... 6.... 1 v
e R .
C iewont heHisto irca lBackgroundo fCambodia... 61 l
a r u tl u c o i c o S e h t n o w e i v e R .
D Condiiton ni Cambodia... 17 .
ii x 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 ... 20 .
B Approachoft heStudy ... 22 .
C Methodoft heStudy ... 23
S I S Y L A N A : V I R E T P A H C
A .TheClayMarble... 24 1 .TheClayMarble sa a Symbol ... 24 2. TheMeaningo ftheClayMarbl e ... 27 a .Symbo lo fDara’sI nne rSrtength ... 27 c
i R .
B e ... 32 .... 1 .Ricea saSymbol ... 32 2 .TheMeaningo fRice ... 36 ..
.
a Symbo lo fHope ... 37 s
s e n r e h t e g o T f o l o b m y S .
b ... 93 .
C RiceSeed ... 43 1 .RiceSeeda saSymbol... 43 2 .TheMeaningo fRiceSeed ... 46
.
a Symbo lo fFutureLfie ... 47 y
a l C e h T .
D Dolls ... 50 e
h T .
1 ClayDollsa saSymbol ... 50 f
o g n i n a e M e h T .
2 ClayDolls ... 55 f
o l o b m y S .
a FamliyValues... 55
D N A S N O I S U L C N O C : V R E T P A H
C SUGGESTIONS
s n o i s u l c n o C .
A ... 60 s
n o it s e g g u S .
B ... 62
S E C N E R E F E
R ... 64 S
E C I D N E P P
ii i x
S E C I D N E P P A F O T S I L
i h c a e T r o f n a l P n o s s e L e h T . 1 x i d n e p p
A ngReadingi nSenio rHighSchool .... 66 f
o y r a m m u S e h T . 2 x i d n e p p
A TheClayMarble... 75 o
H g n o f n i M f o y h p a r g o i B e h T . 3 x i d n e p p
A ... 77 a
i d o b m a C f o p a M . 4 x i d n e p p
1 I R E T P A H C T N
I RODUCTION
, s tr a p e v if f o s t s i s n o c r e t p a h c s i h
T namely background o fthe study ,
n o it i n if e d d n a , y d u t s e h t f o s ti f e n e b , y d u t s e h t f o s 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
n a c i p o t e h t f o n o it p ir c s e d e h t s t n e s e r p 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 dt he
e h T . c i p o t e h t g n i s o o h c f o n o s a e
r problemf ormulaitonformulate sproblemst o be
. y d u t s s i h t n i d e s s u c s i d e r a t a h t s m e l b o r p o w t e r a e r e h t d n a d e s s u c s i
d The nex t
. y d u t s e h t f o s e v it c e j b o s i t r a
p Here ,the purpose so fthe study undetraken in
w n o it a l e
r tih the problem formulaiton are stated .The beneftis o f the study
e if it n e d
i which parite s gain the beneif t from the conducted study . Laslty,
m r e t f o n o it i n if e
d s deifne some paritcula r term s in orde r to avoid the
s s i h t f o n o it p e c n o c s i m d n a g n i d n a t s r e d n u s i
m tudy.
.
A Backgroundoft heStudy t o n n a c e r u t a r e ti
L bedeifned a severythingi np irntbecausei tha sagreate r
ti n a h t g n i n a e
m i sstated .Robetr sand Jacobs(1987) ,state tha t“ltierature i sa
n g i s e d n o it i s o p m o c ) n e k o p s o s l a d n a ( n e tt ir
w e d to tel l sto ire ,s dramaitze
o t , y lt n a tr o p m i e r o m , o s l a d n a , s n o it o m e d n a s t h g u o h t l a e v e r d n a , s n o it a u ti s
e t a l u m it s , n i a tr e t n e , t s e r e t n
i ,broaden ,andennobler eaders”( p.1)
o s l a s i e r u t a r e ti
L ablet ogivean enjoyment ,pleasureandhappinesstot he
. s r e d a e
r Accordingt oHoracea sctiedbyWellekandWarren(1962), “ltieraturei s
e c l u
t u o b a s g n i h t y n a m n r a e l n a c e w , e r u t a r e ti l h g u o r h T . s r e d a e r e h t r o f e u l a v l a r o m
s a h c u s , e fi
l educaiton ,personaltiy ,cutlure ,symbol ,gender ,and moitvaiton .
) 0 3 . p ( .
f o s d n i k y n a m e r a e r e h
T ltierary work ;novel ,poerty ,prose ,and shor t
. y r o t
s Song can be a ltierary work ,because ltierature can be w irtten and also
. n o it i s o p m o c n e k o p
s Ltieraturei salsoaf orm co f ommunicaiton .Fort heexample
t s
i hrough novel ;one o fthe ltierary work ;wrtier sare able to tel lo rto convey
.s l o b m y s d n a , s e u l a v e fi l ,s e u l a
v Frank Nor ir s(1970 )states “the communicaiton
l a c it e h t s e s e il p m i s y a w l a s r e d a e r s ti d n a k r o w y r a r e ti l n e e w t e
b message ,even
l a c i h p o s o li h
p and i ntellectua lvalue” ( .p237.) I tmeanst hatt hei nterpretaiton, t he
t I .t n e r e f fi d e b n a c s r e d a e r g n o m a k r o w y r a r e ti l e h t f o g n i n a e m e h t d n a , e g a s s e m
d a e r e h t f o s e c n e ir e p x e d n a , n o it a c u d e f o l e v e l , y ti v it c e j b u s e h t n o s d n e p e
d e r .s
r u t a r e ti l g n i d a e r f o s e g a t n a v d a y n a m e r a e r e h
T e .Based on Robetr sand
s b o c a
J (1987 ,) through reading ltierature ,people wli lhave deep understanding
r e d n e g d n a , n o i g il e r , e r u tl u c s a h c u s , s t c e p s a y n a m n o e g d e l w o n k d n
a . Secondly,
e
p oplewli lhave cetrain emoiton ilke happiness ,sadness ,fear ,and i nterest atfe r
y e h
t readal tierature .Thridly, theywli lalsoappreciate ilvingt hings .Fo rexample
d o o lf r o t n e m n o ri v n e e h t f o s e g a m a d e h t t u o b a y r o t s
a because o fthe illega l
g n i g g o
l teache speople to keep the envrionmen tand forests in orde rto avoid
. d o o
lf Fou trhly, people are able to develop thei rgoal sand value so flfie .In
r o w y r a r e ti
e fi l f o s e u l a v e s o h t m o r f n r a e l n a c e l p o e
P so t hattheymo itvatet hemselvesto be
. e fi l ri e h t n i r e tt e b
s ’ o H g n o f n i M e z y l a n a o t s e s o o h c r e ti r w e h
T TheClayMarblebecauset he s
t n a w r e ti r
w to know abou takind o fsymbols and the meaning or t he value o f
those symbol .s TheClayMarbles si a irch novel sa s een i n thet heme, l anguage .
s e u l a v e h t d n a , s l o b m y s , r e ti r w e h t y b d e s u s i t a h
t Thi snove ltell sabou tthe
e v i v r u s o t e l g g u rt
s inar efugee campdu irngawa.rOu tofmanyt hingst ha tcanbe
e z y l a n
a danddiscussedf romt hi snovel, t eh wrtie rchosetoanalyzet hesymboli n
. e l b r a M y a l C e h T
r e v
E y counrty ha s ti s own symbo land they can be in form so fcolors ,
e c n a
d s , languages , things , food s o r rtee .s Al l o f those symbol s have more
l o c e h t y rt n u o c r u o n I . w o n k e w n a h t g n i n a e m d e d n e t x
e o ro fou r lfag i sred and
, e ti h
w in which red symboil zes braver y and whtie symboilzes purtiy . I n
y ti n a it s ir h
C ,red symbo ilzes braver y and victory .The colo ro fwhtie symboilze s
d n a y ti r u
p glory.Theothe rexampleofs ymboli schai,ri tcanbeaplacet os ti ,but
ti can also be symbo lo fsomeone’ s posiiton in a cetrain organizaiton .Those
w o h s s e l p m a x
e tha tthe meaning o fsymbol scan be d fiferen tfrom one anothe r
ti d n
a depend sonhowweanalyze ti .
. y tr a p g n i d d e w a n i e c ir s u o n it u l g e b t s u m e r e h t , e s e n a v a J n
I Gluitnou s
e c
ir i u sc tlura lsymbolf o rJavanesepeople .A sweknow, t het extureo fgluitnou s
y tr a p g n i d d e w a n i e c ir s u o n it u l g , e r o f e r e h T . y k c it s s i e c
ir symboilzeshope .Hope
f o l o b m y s e h T . e i d l it n u r e h t e g o t e v il d n a y k c it s d l u o c y e h t o s e d ir b e h t r o
o h s s ’t u n o c o C s
i ot .TheCoconutshoo tha sa deep meaning .Coconut i sauseful
e e
rt becauseal loft hepar toft hecoconu trteecanbeused,f romt her oo tuntlit he
, y h p o s o li h p t a h t m o r F . e e rt e h t f o p
it al lo fthe scout sare hoped to be usefu l
e l p o e
p .In Borneo especially fo rDayak ethnictiy ,the existence o fbrid called
c i n h t e k a y a D r o F . d e r c a s d n a y l o h s i ” g n a g g n E
“ tiy ,Enggang i sthe symbo lo f
. y t s e j a m d n a y tl a y o l , h t g n e rt s
y l p m i s l o b m y s t a h t n w o n k e b n a c t i , e v o b a s e l p m a x e e s o h t f o l l a m o r F
w d n a s g n i n a e m t n e r e f fi
d ehavet o r espec tal loft hedfiference so fthesesymbols .
y a w e h
T toanalyzet hemeaningo fallthesymbol sdependsonmanyaspects .We
e z y l a n a n a
c them through ou rown knowledge ,through the cutlure and the
. h c r a e s e r n w o r u o h g u o r h t o s l a d n a , y t e i c o s
k n i
W leman (2006) ,explains more abou tthe impo trance o fsymbol ,he
t a h t s y a
s symbo lhas an impo tran trole in human’ slfie .He add stha tsymbo li s
n e h w d e e n e w t a h t g n i h t e m o s s i t i t u b , y d a e rl a e u l a v e w t a h t s g n i h t n a h t e r o m
ti a
f h o rnaitonailsm have falied us(para .4) .Ast he wrtie rha sexplained before ,
s a h y rt n u o c y r e v
e ti sown symboland cutlure .Each counrty canno tbeseparated
m o r
f symbol ,and symbo l tisel fcanno tbe separated from cutlure .I thappen s
e s u a c e
b cutlurecani n lfuencet hekindofs ymbolsi ncetrainarea.
g n i z y l a n
A symbolsi n l tierary work i sno teasy becauseeach peoplewli l
f o n o it a t e r p e t n i n w o r i e h t e v a
h the meaning o fsymbol .I tcan bebased on t hei r
n w
o expe irence and educaiton. The ab litiy to recognize ,analyze ,and identfiy
q e r s l o b m y
r u o f e r
a cauitons t hatt he reader sshould alway sbealer tfo rsymbo ilc meanings .
F tri ,s therei sacluefrom t hestory t hat t hestory symbo ilc .Second ,themeaning
l o b m y s y r a r e ti l e h t f
o mus tbesuppo tredbyt heentriecontex toft hestory. T dh , ri
o
t eb called a sasymbo;lan tiemmus tsugges tameaningthati sdfiferenti n kind
s i l o b m y s A . g n i n a e m l a r e ti l s ti m o r
f somethingmoret hant her epresentaitveo fa
y lt s a L . e p y t r o s s a l
c , asymbo lmay havemoret hanonemeanings .I tmaysugges t
s g n i n a e m f o r e t s u l c
a (p 2. 98 )
s l o b m y s g n i z y l a n
A in other uco ntire scan be interesitng. We are able to
e s o h t f o e c n a tr o p m i e h t f o n o s a e r e h t d n a s l o b m y s r i e h t d n a t s r e d n u d n a w o n k
a t s r e d n U . s l o b m y
s ndingsymbolsf rom othe rcutluresalsohelps ust obeanopen
-t c e p s e r d n a n o s r e p d e d n i
m fu lofthedfiference soft hes ymbol sandcutlures .
r e ti r w e h t , y d u t s s i h t n
I focuse sont hesymbolsf ound inTheClayMarble . r
e ti r w e h
T wantst o know w hatsymbol sarerevealed in Minfong Ho’ sTheClay e
l b r a
M andt hemeaningofthosesymbolsint henove.l
.
B ProblemFormula iton
, e v o b a y d u t s e h t f o d n u o r g k c a b e h t n o d e s a
B therearet wo quesitons tha t
e b n a
c formulated:
t a h W .
1 aret hesymbolsr evealedi nMinfongHo’ sTheClayMarble? e
r a t a h W .
2 the meaning so fthe se symbol sin Minfong Ho’ sThe Clay ?
e l b r a
.
C Objec itve soft heStudy
o t e r a y d u t s s i h t f o s e v it c e j b o e h
T identfiy symbolsi n Minfong Ho’ sThe e
l b r a M y a l
C andrevealthemeanings oft hoses ymbols .
.
D Benefti soft heStudy
e n e b e m o s e d i v o r p o t e r a y d u t s s i h t f o s ti f e n e b e h
T ifcial i nformaiton fo r
s e it r a p e h
t who read thi sstudy especiall y the readers ,the lecturer ,and student s
. y d u t s e m a s e h t e k a t o h
w F orther eaders ,thi sstudyhelpst hemt o understandt he
m y
s bolsi nTheClayMarbleandmakes themr eailzetha tasimplet hingi nourl fie s
u o i c e r p y r e v e b n a
c i n othe rcountires .Hopefully, they are also morei nterested
y r a r e ti l n
i works;in t hi scaseMinfong Ho’ sTheClayMarbles. Fo rlecture,r thi s e
b n a c y d u t
s used a sone o f the mateirals in teaching-learning acitvtiy ,fo r
g n i d a e r n i s e l p m a x
e ,bookr epor,tandprose .F orthes tudent swhowantt oworki n
. s e c n e r e f e r ri e h t f o e n o s a d e s u e b n a c y d u t s s i h t , k r o w y r a r e ti l
.
E Deifniitono fTerm s e t e m o s e r a e r e h
T rm sin t he study tha t should be cla irifed to avoid
. n o it a t e r p r e t n i s i m d n a g n i d n a t s r e d n u s i m
1. Symbol
According to Edga r and Sedgwick (2002) , symbo l communicate s a
g n i h t e m o s r o f s d n a t s t i e s u a c e b g n i n a e
m else; atlhough there i sno necessary
Based on A Dicitonary o fCu tlura land Criitca lTheory(1996) ,symboli s s
d n i
k o fcommunicaiton which si ablet o pervasiveamong humans ,forming t he
m u h l l a y ll a u tr i v o s l a t u b , e fi l l a i c o s t s o m f o y l n o t o n s i s a
b an cutlure sand
y ti v it a e r
c .
d e lt it e l c it r a s i h n i ,r e y a
M Symbo lo fPoetry(2005), statest ha tsymbo lcan ,
n o s r e p a e
b an object ,a word ,o ran even ttha tevoke sa range o faddiitona l
. ti n a h t t c a rt s b a e r o m y ll a u s u d n a d n o y e b g n i n a e
m Ltieraryo rcontextualsymbo l
e m a n , t c e j b o , n o it c a , r e t c a r a h c , g n it t e s a e b n a
c ,o ranything else i n a work t ha t
.s g n i n a e m r e h t o g n it s e g g u s e li h w e c n a c if i n g i s l a r e ti l s ti s n i a t n i a m
h t m o r
F ede ifniiton so fcutlureabove, a symbo lha svairousmeanings and
t
i depend son t he context .In t hi sstudy, t he wrtie rde ifnes theword symbo la sa
h c i h w n o it a c i n u m m o c f o d n i
k ha sthe relaiton no tonly among human bu talso
. d n u o r a e r u tl u c e h t d n a n a m u h n e e w t e
b Fu trhermore ,in thi sstudy ,a symbo li s
a s a d e n if e
d kind o fcommunicaiton ,suchas word ,st hing ,st oys ,acitons ,objects ,
e m a n r
o s, whichhavear elationwtihhumanand thesociall fie.
2 .Society
o t g n i d r o c c
A Longman Dicitonary o fEngilsh Language and Cutlure , s w a l e r a h s o h w e l p o e p f o p u o r g d a o r b r a l u c it r a p a s i y t e i c o s , ) 2 9 9 1 (
i n a g r
o zaitons ,custom ,andetc,.t ha tmakest hempossiblet o ilvet ogether .
n o d e s a
B Hillegasi n hisaritcle itlted Cutlureand SocietyDeifned (2012) , a
h s o t y a w a h c u s n i t c a r e t n i o h w e l p o e p f o p u o r g a s i y t e i c o
y t e i c o S . e r u tl u
c also hasageograp hicmeaning ,which i sa group o fpeople who
n o m m o c a e r a h
s cutlure in a paritcular locaiton .There i sa relaiton between
n a e r u tl u
c d society, a cutlureconsist soft heobjec toft hesociety ,whliesocietyi s
o h w e l p o e p
a sharet hecommoncu tlure( para. )3 .
e e g u f e r f o p u o r g a o t s r e f e r y t e i c o s , y d u t s s i h t n
I s who interacts one
y e h t d n a r e h t o n
a sharew hattheyhaveso t hatt heyareablet o ilvet ogetheri n t he
e e g u f e
r camp .
9 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 i h
T chapte rconsist so f ifve patr ,s namely review o frelated theo ires , f
o w e i v e
r relatedstudy,r eviewon t hehisto irca lbackgroundo fCambodia,r eview l
a r u tl u c o i c o s e h t n
o condiiton o fCambodia ,and theoreitca lframework .F ris,t w
e i v e
R o fRelated Theo ire sexplain stheo ire sused to answe rproblem ssuch as d
n a , e r u tl u c f o y r o e h t ,l o b m y s f o y r o e h
t sociologicalapproach .Thesecond patri s o
w e i v e
R f RelatedStudy .Thi spar texplainst her elatedstudyon t hesamet heme. T dhri ,Review on the Histo irca lBackground o fCambodia show sthe history o f
d n a a i d o b m a
C geographica llocaiton o fCambodia .Fou trh ,the Review on the l
a r u tl u c o i c o
S Condiiton o fCambodiaexplains thesociocutlura llfieinCambodia d
n
a surroundingareas .Laslty ,Theoreitca lFrameworkexplainst hecontirbuitono f e
h
t theo ire sgivenandt heappilcaitono fthoset heo iresi nt hiss tudy .
s e i r o e h T d e t a l e R f o w e i v e R . A
t r a p s i h
T t lle s aboutt het heo ire sandapproach used t oconductt hi sstudy . h
t , y d u t s s i h t n
I e wrtie r use sthe theory o fsymbo,l theory o f cutlure ,and l
a c i g o l o i c o
s approach.
l o b m y S f o y r o e h T . 1
m o r f g n i n a e m t n e r e f fi d s a h t a h t g n i h t a s i l o b m y s t a h t e t a t s s e ir o e h t y n a M
. g n i n a e m l a r e ti l s
’ s r e d a e r e h t n i s n o it o m e d n a s a e d i e s e h t e k o v e t a h t s li a t e d l a u t c a f s i l o b m y s “ t a h t
m y S . y r o t s e h t f o m r o f y n a d n a g n i h t y n a e b n a c l o b m y S . ” d n i
m boli sno talway sa
I . g n i h t t a e r
g tcan be a simple thing tha tappear sin the story bu tha sa greate r n
i n a e
m g than the rea lthing .He explain sfu trhe rtha t“symbo lm ay be anything ,
t c e j b o e l g n i s a : g n it t e s s ’ y r o t s e h t o t g g e n a m o r
f a repeated type o fobject ,a
a , e p a h s a , e c n a t s b u s l a c s i y h
p gesture ,acolor ,asound ,af ragrance”(p.31) . tIi s t
s o m l
a thesamewtih Per irne( 1969) ,statest ha t“symboli ssomethingt ha tmean s o
t s r e f e r tI . s i ti t a h w n a h t e r o
m anobject ,aperson ,as tiuaiton ,anaciton ,ors ome r e h t o s t n e s e r p e r r o s t s e g g u s t u b y r o t s e h t n i g n i n a e m l a r e ti l a s a h t a h t m e ti r e h t o
” ll e w s a s g n i n a e
m ( 8p. ) 6 Simlialry ,Hasim and Aziez(2010) ,state that ,symbo l r
o s t n e m e t a t s r e h t o f o e s u e h t o t s r e f e
r insrtumentst o r emind thecetrain concept . l
o b m y s
A which i sshor tand concretei sablet o beagoodsubsttiutefo racetrain )
7 7 . p ( n o it c a rt s b a r o t p e c n o c
, ) 7 8 9 1 ( s b o c a J d n a s tr e b o
R state tha tthe meaning o fsymbo li sbeyond I
.f l e s
ti tcan besomething whichi sbiggert han tisefl( p.69) .Fu trhert hey explain g
n i n a e m g n i d n e t x e e h t ll e t o t d e n g i s e d s i m s il o b m y s t a h
t o fsomething (p.279) .
d d a y e h
T tha t“symbol connect sa speciifc thing wtih ideas ,values ,person so r n
e r a p p a e b t o n d l u o w e s i w r e h t o t a h t p i h n o it a l e r t c e ri d a n i e fi l f o s y a
w t .I tcan
e t u ti t s b u
s theelemen tbeings igniifed”( p.279 .) n a m l o H d n a n o m r a H o t g n i d r o c c
A (2009) ,there are two broad type sof t s e g g u s l a s r e v i n u g n i y d o b m e s i l o b m y s t a h t s i t s ri f e h T . s l o b m y s y r a r e ti
l ion o f
,s e l p m a x e r o F . g n i n a e
m avoyagesuggestsl fie ,wate rsuggest seterntiy ,and r oad y
e n r u o j s t s e g g u
v it s e g g u s e h
t enes so fsymbolsi snotf romquailitesi nherent ,butf romt hewayt he .
) 9 3 5 . p ( . ti s t n e s e r p r o h t u
a According to Rober t and Jacob s a s ctied by ,)
1 1 0 2 ( h i s g n i n a y t s i
L there are two type so fsymbols. The fris tis cutlura lo r d
n a s l o b m y s l a s r e v i n
u the second is p irvate o rcontextua lsymbols .Cutlura lo r s
l o b m y s l a s r e v i n
u are “generally o runiversally recognized and author sreferirng n
o m m o c s i h t n o y l e r m e h t o
t understanding” .P irvateo rcontextua lsymbol sare a
e m c il o b m y s r i e h t n i a g t a h t s n o it p ir c s e d d n a t c e j b o
“ ning wtihin thecontex to f
r o , l a r u tl u c , l a c ir o t s i h n o m m o c m o r f t o n d e v ir e d d n a n o it c if f o k r o w c if i c e p s e h t
. ) 9 . p ( ” d n u o r g s u o i g il e r
ri e h t n o d e s a
B funcitons ,Stanton (1965) ,state stha tone way to give a k
r o w e r u t a r e ti
l the“vividnes so frealtiy” (p.31) is t he usesymbol .s Through t he n
i n a e m s i h s e k a m r o h t u a e h t “ , l o b m y s f o e s
u g visible” (p.31) .Stanton addstha t e
e r h t e r a e r e h
t kind so feffec tinsymbols .Thef risti st ha t“asymbolt ha tappear s g
i s e h t s e n il r e d n u y r o t s e h t f o t n e m o m t n a tr o p m i n a g n ir u
d ni ifcane o f the
f o s u s d n i m e r s e m it l a r e v e s d e t a e p e r l o b m y s a “ s i d n o c e s e h T . ) 1 3 . p ( ” t n e m o m
n i s t n e m e l e t n a t s n o c e m o
s the story’ swo lrd” (p.31) .The las ti s“a symbo ltha t .
) 2 3 . p ( ” e m e h t e h t y fi r a l c r o e n if e d o t s p l e h s t x e t n o c g n i y r a v n i s r u c e r
, r e h tr u
F Stanton (1965 )suggest ssome methodsi n i ntepreting symbolsi n .
s k r o w y r a r e ti
l The ifrs tmethod i snoitng the symbo lwtih the connotaiton ,fo r e b n a c d o h t e m s i h t ,t e Y . ) 2 3 . p ( ” e r u t a N d n a , lr i g , e v o l t s e g g u s s r e w o lf “ e l p m a x e
a c l o b m y s e n o e s u a c e b g n i d a e l s i
m nbeha smoret han onemeanings, f o rexample if
“ re suggest sboth dange rand friendly hea trh” (p.32) .Another method si o“ t .
) 2 3 . p ( ” t x e t n o c s ti o t l i a t e d e h t e r a p m o
e r a p m o c o t h g u o n e t o n s i ti t u b , d o h t e
m the detali t o ti scontext .Therefore ,we f o l l A . ) 3 3 . p ( ” r e h t o n a e n o o t d e t a l e r e r a s t x e t n o c e s e h t w o h “ e z i n g o c e r o t e v a h
s o h
t e method scan be used to intepre tsymbo lin a ltierary work .However , it
e r p e t n
i ng a symbo li srathe rd fiifcul;t i ti s“ilke solving a complex puzzle” e
s u n a c e w , e r o f e r e h T . ) 3 3 . p
( othe rsource ,si tcanbe“ou rpreviou sacquaintance t o l p e h t f o e g d e l w o n k r u o , e v o b a e b ir c s e d s ’ d o h t e m e h t , k r o w s ’ r o h t u a e h t h ti w
. ) 3 3 . p ( ” e m e h t e h t f o w o n k e w t a h w , s r e t c a r a h c d n
a Fu trher , he adds tha t
c il o b m y
s a l momen s t can be the key momen to fthe story ,“a single simbo ilc g
n i n a e m s ’ y r o t s e h t p u s m u s t n e m o
m -ort o speak more t echnically, i trepresent s )
4 3 . p ( ” t c il f n o c n i a m e h t f o n o it u l o s e r e h t
n o s n h o J d n a p r A n o d e s a
B (1976), i n i nterpreitng symbol ,s t here aref ou r cauiton sshould beaware by t he readers .The fris tcau iton i st hat t here i sa clue
d n o c e s e h T . ) 2 1 . p ( ” y ll a c il o b m y s n e k a t e b d l u o h s l i a t e d a “ t a h t y r o t s e h t m o r f
e h t f o e l o h w e h t y b d e tr o p p u s e b t s u m l o b m y s y r a r e ti l f o g n i n a e m e h t s i n o it u a c
ri h t e h T . y r o t
s di st heremus tbeadfiferen tmeaningf rom tisl tiera lmeaning .The .)
2 1 . p ( ” g n i n a e m e n o n a h t e r o m e v a h y a m l o b m y s a “ s i n o it u a c t s a l
e r u tl u C f o y r o e h T . 2
( n a m l o H d n a n o m r a H o t g n i d r o c c
A 2009) , “in a state o f nature , g
u r s y lt c e ri d y b s e v i v r u s d n i k n a m u
h gilng wtih the envrionment ;in itme ,the t
n e m e l
e so f tha tsruggle-pracitces ,habtis ,customs ,beilefs , rtadiitons-become .)
4 4 1 . p ( ” e r u tl u c s a n w o n k s i h c i h w f o y d o b e h t ,s n o it u ti t s n
. d e t a r g e t n i s i e r u tl u c s i e r u tl u c f o c it s ir e t c a r a h c t s a l e h
T Inordert oachieve
p e h
t ropelry funcitoning o f cutlure, “tota l harmony o f al l element s i s y
l e t e l p m o c n a h t r e h t a r d e t a m i x o r p p
a achieved”( p.52) .
h c a o r p p A l a c i g o l o i c o S . 3
a y d e n n e K o t g n i d r o c c
A nd Gioia (1999) , there are eigh t criitca l T
. e r u t a r e ti l o t s e h c a o r p p
a hey are formailst , biographical , histo ircal , l
a c i g o l o h c y s
p ,gender ,sociological ,reader-response ,and deconsrtucitonist .Thi s y
d u t
s i srelated to the interaciton among human and between human and the c
o
s iety which produce some symbols .Since symbo land ti ssigni ifcance in the ,
y d u t s s i h t n i d e r o l p x e s i y g o l o i c o
s the wrtie r choose s to use sociologica l d n a , c i m o n o c e , l a r u tl u c e h t n i e r u t a r e ti l s e n i m a x e “ h c a o r p p a s i h T . h c a o r p p a
l a c i g o l o i c o S . ) 5 5 9 1 . p ( ” d e v i e c e r r o n e tt ir w s i t i h c i h w n i t x e t n o c l a c it il o p
h c a o r p p
a also explore sthe relaitonship between atrs and society .Kennedy and p
a s i h t t a h t d d a a i o i
G proachl ook satt hesociologyoft heauthort o evaluatehow a
f o n o i s s e f o r p e h
t wrtie r in a paritcula rmiileu affected wha twa s wirtten . “
o s l a h c a o r p p a l a c i g o l o i c o
S analyze s the socia l contex t o f ltierary works” t x e t r a l u c it r a p a n i s e u l a v l a c it il o p r o , c i m o n o c e , l a r u tl u c e r a y e h t , ) 5 5 9 1 . p (
x e h c a o r p p a l a c i g o l o i c o s t a h t d d a y e h T . s e t o m o r p y lt i c il p x e r o y lt i c il p m
i amine s
n i e c n e i d u a e h t e l o r e h
f o w e i v e R .
B RelatedStudies
s e s e h t e t a u d a r g r e d n u l a r e v e s e r a e r e h
T int heEngilshLanguageEducaiton ,
m a r g o r P y d u t
S Sanata Dharma Universtiy ,which dea lwtih symbols .However , a
s a h t a h t s i s e h t e n o y l n o s i e r e h t , r e ti r w e h t r o
f relaitonship wtih the issue
s i s e h t e h T . y d u t s s i h t n i d e s s u c s i
d w as w irtten by Ernesa Novtia Listyaningsih . s
i s i s e h t e h t f o e lt it e h
T A Study o fSymbol sin Andrea Hirata’ sThe Rainbow s
p o o r
T .I n hert hesis ,Listyaningsih ,ha sgivendetalie dexplanaitonabou tsymbol ; s
f o s g n i n a e
m ymbols ,funciton so fsymbols ,and how to analyze symbol .s He r li
a t e
d edexplanaitonabouts ymbo lhelps thewrtiert oanalyzesymbolsi nTheClay l
e b r a
M , ewh the rtii sr eallyasymbo lo rnot.
.
C Reviewont heHistorica lBackgroundo fCambodia
o g n it t e s e h
T fThe Clay Marble wa sin Cambodia ,the counrty that si d
e t a c o
l i ntheI ndochinesepeninsula ni SouthEas tAsia .Thi scounrtyi sbordered f l u G e h T d n a , h t u o S d n a t s a E e h t n o m a n t e i V , h tr o n e h t n o s o a L d n a d n a li a h T y b
, n r e t s e w h t u o S e h t n o d n a li a h T f
o in t he middle, t herei sa TonleSap Lake .Thi s n
o it i d n o c d o o g a s a h e k a
l .The ag ircu tlure and ifshery around this l ake are very e
h t f o e n o o s l a s i e k a l s i h T . d o o
g setitngs o fthe story in The Clay Marble . t
u o r e d a rt r e v ir d n a d n a lr e v o t n a tr o p m i d i m a s e il a i d o b m a
C e s ilnking Chine to
d e c n e u lf n i s i a i d o b m a C . a i s A t s a e h t u o S d n a a i d n
I b y many Asian cu tlures ,
, a i d o b m a C f o l a ti p a c e h t n i n e e s e b n a c t i ; s e t a t S d e ti n U d n a , h c n e r
F PhnomPenh .
a t a d e h t n o d e s a
t n a n i m o
d ethnicpopulaitonand t hel anguageo fCambodiaarecalledKhmer .The h
n e P m o n h P s i a i d o b m a C f o y ti c l a ti p a
c ; whichist hel arges tctiyi nCambodia . e
h t n o d e s a
B EnsiklopediI ndonesia ser iGeograif: Asia (1990 )statest ha t t he governmental system in Cambodia i smulitpa try ilbera ldemocracy unde ra
l a n o it u ti t s n o
c monarchy .In the ealry 1970’s ,there wa sa civi lwa rthere .From e
h t , 9 7 9 1 o t 5 7 9
1 KhmerRougei mplemented oneoft hemos tradicaland bruta l w
s i h t g n ir u D . d e t p m e tt a r e v e y t e i c o s f o g n ir u t c u rt s e
r ar ,a tleas t1.5 mliilon
n a i d o b m a
C s were killed o rdied ,a monumenta l rtagedy from which t he counrty y
r o t s e h t f o d n u o r g k c a b e h t f o e n o s a w r a w s i h T . s r e f f u s l li t
s The Clay Marble .
s d n a s u o h t , r a w s i h t f o e s u a c e
B o fCambodian people lf ed to the Thaliand -m
a
C bodiabordert os avet heril fie .
mFro 1979 t o 1989 ,Cambodia began the proces so frecovery unde rthe m
a n t e i
V -backed regime o fthe People’ sRepubilc o fKampuchea .In the 1990s , n i n o it i d n o c g n i v il e h t d n a y m o n o c e e h T . y m o n o t u a l a c it il o p e h t t o g a i d o b m a C
Cambodiaha ssteadliy i mproved, t hecounrty seemst o be ilving by ti sproverbs , f
e h t t o n r a e F
“ uture ,weepnotf ort hepast” .
l a r u tl u c o i c o S e h t n o w e i v e R .
D Condiitono fCambodia
n i d e t a c o l s i a i d o b m a
C Asia ,exaclty in South Eas tAsia .In South Eas t a
i s
A , ag ircutlure i s the bigges t income fo r the countire s there , including o
s l a s i tI . a i d o b m a
C stated ni theEncyclopedia o fWorldCu tlure sVolumeV Eas t a
i s A t s a e h t u o S d n
a (1993 ,) tha t Cambodia ha s a predominanlty ag ircutlura l
u r e r a m e h t f o t s o m d n a y m o n o c
y
b EnsiklopediI ndonesias er iGeograf iAsia(1990 ,)whichstatest ha teconomyi n t
s e r a i d o b m a
C s on t heag ircu tluralsector .Thi ssecto rpervade sapproximately 75 t
n e c r e
p from al lof t he l abors .Thi sency ocl pediaalso states t ha t irce dominates e h t g n it a v it l u c e r a e l p o e p n a i d o b m a C e h t f o h c u M . a i d o b m a C n i e r u tl u c ir g a e h t
.) 9 2 1 ( . e c ir
a i s A t s a e h t u o S d n a t s a E V e m u l o V s e r u tl u C d l r o W f o a i d e p o l c y c n E ,) 3 9 9 1
( also add stha tin Cambodia ,people obtain addiitona lfood from rtee ,s .
g n i h s if m o r f o s l a d n a , n e d r a
g There are also ifshing village salong large irver s e
k a L s i h t , p a S e l n o T e k a L d n
a i slocatedi nt hemiddleo fCambodia( p.136) .Lake e
h t f o e n o s e m o c e b o s l a p a S e l n o
T setitngsint henove lTheClayMarble . n
I Asia ,there i salso an acitvtiy called “YORA” .YORA stand sfo rthe .
s n o it c A e c i R f o r a e
Y The las tYORA happened on 2010 .I twa swhole yea r e
c ir e v a s o t d e t a c i d e d s e it i v it c
a i n Asia .There are 14 countire sin Asia which d
e t a r b e l e
c thi sacitviites ,they are :China ,Japan ,Korea ,Cambodia ,Vietnam , , l a p e N , n a t s i k a P , a i d n I , a k n a L i r S , s e n i p p il i h P e h t , a i s e n o d n I , a i s y a l a M , d n a li a h T
r e d n u s i ti d n a a i s A f o e fi l e h t s i e c ir e s u a c e b d e d e e n s a w A R O Y . h s e d a l g n a B d n a
e r e h t 4 0 0 2 n i , g n o h t g n a u R n o d e s a B . t a e r h t e r e v e
s wa san acitvtiy , called
. ” e fi L s i e c i R “ s a w y ti v it c a s i h t f o o tt o m e h t , ) R Y I ( e c i R f o r a e Y l a n o it a n r e t n I
g n i h t t n a tr o p m i t s o m e h t ll it s s i e c ir , e m it s i h t li t n u t a h t w o h s s e it i v it c a o w t e s o h T
i t s o m d n
e r o e h T .
E itca lFramework
y d u t s s i h
T focuses on the discussion about symbol sand the meaning o f s
l o b m y s e s o h
t in Minfong Ho’ s The Clay Marble. There a re t wo reaserch m
e l b o r
p s t in hi sstudy ,they ea r wha tsymbol sarer evealed i n Minfong Ho’ sThe e
l b r a M y a l
C and the meaning so fthose symbol sin Minfong Ho’ sThe Clay .
e l b r a M
e t a ir p o r p p a e h t e s u o t s d e e n r e ti r w e h t , k r o w y a r e ti l a e z y l a n a o t r e d r o n I
s e s o o h c r e ti r w e h t , y d u t s s i h t n I . e r u t a r e ti l f o h c a o r p p
a sociologicalapproach by
i o i G d n a y d e n n e
K a .Thi sapproach i sapprop irate to be used in t hi sstudy since y
d u t s s i h
t examine sand analyzes l tierature i n t he cutlura lcontext in which ti i s .
d e v i e c e r r o n e tt ir
w Thi sstudyalsoanalyzest hes ocia lconten to fthenovel ,which o
s e u l a v l a r u tl u c t a h w s
i fa symbo lin a paritcula rtex timpilcilty o rexpilcilty .s
e t o m o r p
y r o t s i h e h t f o e m o s d n a n o it a c o l e h t w o n k o t r e d r o n
I o fCambodia ,the
s e s u r e ti r
w review o fhisto ircal background o fCambodia and review on the l
a r u tl u c o i c o
s condiiton o fSouth Eas tAsia. Thedeifniiton so fsymbo lwhich are y
b d e t s e g g u
s Stanton ,Perirne ,Eilas ,and Rober tand Jacob shelp the w irte rto .
l o b m y s e h t e n if e
d Stanton’ sand Arp and Johnson’ stheory help the wrtie rto .
s l o b m y s e s o h t f o g n i n a e m e h t t e r p e t n
i Havliand’st heory abou tcharacte irsitc so f o
t d e s u s i e r u tl u
0 2
I I I R E T P A H C
Y G O L O D O H T E M
s i h
T chapte rconsist sof t hreepatrs ,namely objec toft hestudy ,approach .
y d u t s e h t f o d o h t e m d n a , y d u t s e h t f
o The objec to fthe study descirbe sthe f
o s n o it p ir c s e d l a c i s y h
p t he novel and the b ire fsummary o fwha tt he nove l n
e
g erallyt s alk about .Theapproachoft hes tudypresentst heapprop irateapproach .
n o it c e l e s s ti f o n o s a e r e h t d n a y d u t s s i h t n i d e s u s i t a h
t Laslty,t hemethodoft he
y d u t
s descirbe s the step s taken in analyzing the work , from reading up to if
e h t g n it r o p e
r nding .Thi spar talso meniton sand elaborate sthe p irmary source d
n
a thes econdarys ourcest ha tareused .
.
A Objec toft hes tudy
d e lt it n e l e v o n a s i y d u t s s i h t f o t c e j b o e h
T TheClay Marble .The novel
s a
w wirttenbyMinfongHoin1991.I twasf ris tpublishedi n1992byTime sBook l
a n o it a n r e t n
I and rep irnted in 2004 by Time sEdiitons-Marshal lCavendish ,and e
r o p a g n i S , s n o it i d E h s i d n e v a C l l a h s r a M y b 6 0 0 2 n i d e t n ir p e
r .Thenove lconsist s
. s r e t p a h c 8 1 o t n i d e d i v i d s i d n a s e g a p 0 5 1 f
o TheClayMarbleha sbecomeoneo f l
e v o n t s e b e h
t s fo rch lidren . y
r o t s e h
T gb an in e 1980whent heautho rworked a sanutiritonis twtih an o
it a z i n a g r o l a n o it a n r e t n
i natt heThai-Cambodianborde rwhereawarbrokeout in .
a i d o b m a
d n if o t e l g n u
j a safe rplacef ort hem .Finallyt heyf oundar efugeecamp,locatedi n i
a h T f o r e d r o b e h
t -Cambodia. I n t hatr efugeecamp, theya erea bl to getf ree irce d
n a d e e
s otherf reef oods .There ,theym et e wtih othe rCambodianf amiile swh ich d
n u o r g k c a b e m a s e h t e v a
h a s Dara’ sfamliy .When they arirve a tthe refugee e
r e h t , p m a
c i sonef amliy who sharet hei rplaceandt hei r ircet o Dara’sf amliy. I t s
i Jantu’sf amliy.J antu’sf amliyi sverykindwtihDara’sf amliy . s
A it megoe sby, Darafi sn d anew famliy there ,which i sJantu’ sfamliy . a
r a D d n a u t n a
J becomef irends .Jantui sacreaitvegilr .Shei s ba let ocreatemany m
o r f s y o
t clay .One day ,Jantu’ stoy is damaged by hi sfirends .I tmak es Dara ll
a e
r yangrywtihhim ,bu tJantusay stha tis ko .Shewi llmakenewt oys rf o them , s
u f e r a r a D t u
b e is t .Fo rDara, t heprevioust oyi smeaningfu.lEveryday Daraand a
m u t n a
J k etoysf romclay .Theymakedollso fSarun andNea .Theyi maginet ha t w
a e N d n a n u r a
S i llmarryandt heywi llbecomeonef amliy. p
m a c e e g u f e r ri e h t , y a d e n
O i sbombedandal loft herefuge sa re rtyingt o a
s vet heril fie,i ncludingDara’ sandJantu’sf amliy .Suddenly ,Darado esno twan t ,
p m a c e e g u f e r e h t m o r f e v o m o
t shei sno tsuret ha tshewi nll if d thesamef amliy n
i s
a thatr efugee .Yet ,Jantu f orces Darat o go f romt her efugeecamp and Jantu g sive a clay marble fo rDara .She say s tha tthe marble i sa magic clay marble ,
e l b r a m y a l c t a h t h ti
w she wi ll be a srtong gilr .Then ,Jantu beileves ni Dara’ s t
n a w e h s d n a d r o
w s tomovef romt her efugeecamp . a
s o t y e n r u o j ri e h t n
I ve t heri l fie ,Darai sseparated from he rfamliy ,and a
h u t n a
J s to go t o t hehosptia lbecause he rbrothe rwa sshooitng .Jantu mak esthe r
e h t
s e v e il e b a r a D . u t n a J d n a y li m a
f tha tthe clay marble w as really magica lclay e
l b r a
m s andablet os aveherl fie. ,
y ll a n i
F a tt heend o fthenovel, oneo fDara’ sclay marblesf ell .I tmake s e
v e il e b e h S . h t g n e rt s r e h e r a s e l b r a m y a l c e s o h T . d a s y r e v a r a
D st hats hei sablet o
e v i v r u
s so fa rbecause of t hoseclay marbles .Those clay marble sarealso agfi t r
e h m o r
f bestf irend ;Jantu .Darawantstoge the rmarbleagain ,bu tNeat ellshe r y
r r o w o t t o
n aboutt hat .Shedoesno tneed t o t aket ha tclay marbleanymore . tIi s i
c i g a m e h t e s u a c e
b n the marble ha smoved to Dara .A tferward ,s Dara reailzes a
h
t tnowshebecom s e asrtong gilr ,evenwtihoutt hoseclaymarbles .Shei sready e
fi l w e n r e h e c a f o
t wtihoutt hoseclaymarblesf romJ antu .
t S e h t f o h c a o r p p A .
B u dy
s e s u r e ti r w e h t , y d u t s s i h t n
I as ooci logica lapproachpurposedbyKennedy e
z y l a n a o t a i o i G d n
a symbol sandt hemeaningoft hosesymbolsi nMinfongHo’ s e
l b r a M y a l C e h
T .Based on Kennedy and Gioia (1999 ,) t hi sapproach examine s u
tl u c e h t n i e r u t a r e ti
l ral ,economic ,and poilitcal ,and sociologica laspect soft he ,
n o i s s e f o r p s ’ r o h t u
a analyze sthe socia lcontex to fltierary works ,and examine s h
c a o r p p a s i h T . e r u t a r e ti l e h t g n i p a h s n i e c n e i d u a e h t f o e l o r e h
t i ssutiable to be
e s
u di n t hi sstudy becauset hi sstudy analyzes et h relaitonship among humanand n
e e w t e
b human a nd thesocietyi n which producesomesymbols .Thi sstudyalso o
s l a r e ti r w e h t , y d u t s e h t n I . n o i s s e f o r p s ’ r o h t u a e h t t a s k o o
l analyze s the
l e v o n e h T . l e v o n e h t f o d n u o r g k c a
e h s t a h w s t c e f f a r a w e h t g n ir u d d e c n e ir e p x e e h s t a h w t a h t d e m u s s a s i tI . r a w e h t
. e t o r w
.
C Methodoft hes tudy
t n
I hi sstudy, thewrtie ruse silbraryr esearcht oanalyzeMinfongHo’ sThe e
l b r a M y a l
C .There w ere two kind so fsources ,namely p irmary and secondary .
e c r u o
s The p irmary source of t hi sstudy wa sobtained from t he nove lThe Clay e
l b r a
M w irttenbyMinfongHo .Thesecondarysource swereobtainedf rombook s d
n
a aritcle son the interne twhich related to the theory o fltierature ,theory o f d
n a , e r u tl u
c theory fo symbols .The other source swere taken from dicitonary .s
l o b m y s d n a e r u tl u c , m r e t y r a r e ti l o t d e t a l e r
n i s p e t s e m o s e r e w e r e h
T ifnishing thi sstudy .Frist, the nove lThe Clay e
l b r a
M by Minfong Ho wa sread ast heprimary source .Here, t he wrtie rdid t he e
r d n a g n i d a e r l u f e r a
c -reading .The wrtie ralso t ired to pay atteniton to some h c i h w a t a d e h t g n it c e ll o c s a w p e t s d n o c e s e h T . l e v o n s i h t n i r a e p p a t a h t s l o b m y s
e h t y r a r e ti l e h t o t d e t a l e r s
i o iress ucha stheo ire sofs ymbo landt heo ire so fcutlure. r
e ti r w e h
T reads omes ourcesf romt heinterne tast hesecondarys ource . g
n i z y l a n a s a w p e t s d ri h t e h
T t henovel to answert he problem saboutt he l
o b m y
s s in The Clay Marble .In orde rto ge tthe deep analysi so fthe second o
r
p blem o n the meaning o fthe symbols ,the wrtie r used both p irmary and s
a w p e t s t s a l e h T . s e c r u o s y r a d n o c e
4 2
V I R E T P A H C
S I S Y L A N A
n i s l o b m y s e h t s s u c s i d d n a e z y l a n a o t g n i o g s i r e ti r w e h t ,r e t p a h c s i h t n I
o H g n o f n i
M The ClayMarble and the meaning o fthose symbols .Thi schapte r s
t s i s n o
c fo ananalysi soft hesymbol sandt hemeaning soft hoses ymbolsr evealed
n
i TheClayMarble.
s ’ o H g n o f n i M n i d e l a e v e r s l o b m y s e m o s e r a e r e h
T TheClayMarble .The r
e ti r
w i sgoingt oanalyzether eals ymbol sandt hemeaningsoft hoses ymbols.
A .TheClayMarble
l o b m y S a s a e l b r a M y a l C e h T . 1
e h
T f ristsymbol, whichappearsi nthenovel, ist heclay marble .Basedon
) 5 6 9 1 ( n o t n a t
S , symbo li sfactua ldetalist ha tevokei dea sand emoitons .Headd s
a t a h
t symbo lappear sdu irng an i mpo tran to ra crucia lmomen ti n thestory and
a m y a l c e h T . l e v o n e h t n i g n i h t t n a tr o p m i e h t s e n il r e d n
u rble appear sin some
. l e v o n e h t f o s t n e m o m l a i c u r c d n a t n a tr o p m
i BasedonArpand Johnson( 1976) ,a
g n i h
t mus thaveadfiferen tmeaningf rom tisl tiera lmeaninginordert obecalled
.l o b m y s a s
a In the novel ,the clay marble ha sd fiferen tand wide rsense o f
s i l o b m y s y r a r e ti l f o g n i n a e m e h t , d ri h T . g n i n a e m l a r e ti l s ti m o r f g n i n a e m
. y r o t s e l o h w e h t y b d e tr o p p u s
t u o b a s i s y l a n a s u o i v e r p e h t n
I the clay dolls ,the wrtie rdiscussed the
e h t f o n o it i d n o
y r e v e r a p m a c e e g u f e r e h t d n u o r a s y o t e l p m i s r o s g n i h t e l p m i s t a h t s e b ir c s e d o s l a
n e r d li h c e h t r o f e l b a u l a v d n a g n it s e r e t n
i there .Theclaymarblei soneoft herit oy s
t d n
a hiss implet hingi sablet ob irnghappinessf ort hem .
n i n e v e r e h t o e h
T g ,a s Iwa ssrtolilng along t heMekong Riverj us teighty e h t n o g n i y a l p n e r d li h c f o p u o r g a w a s I , a i d o b m a C m o r f m a e rt s p u s e li m
d n a d e p p o t s I d n a , y a l c p m a d f o t u o s e l b r a m g n il l o r e r e w y e h T . k n a b r e v ir
ll it s , e l b r a m y a l c a t u p y e h t , g n il i m S . e n o r o f s k s
a coo land damp, i n my d
e h c r e rt s t u
o hand .
e h
T preface aboveshows tha tclay marble sareone of t hei rfavortie toy s
h c i h
w b irng happiness t o t he chlidren .In t henove,l t he clay marble i smerely a
r e p e e d s i e l b r a m y a l c e h t f o g n i n a e m e h t t u b g n i h t e l p m i
s than a marble made
. y a l c m o r f
e h t ,l e v o n e h t n
I claymarblewa smadebyJantuwhosemood determined
F . s s e c o r p e h t n i l a it n e u lf n i ,s e t a t s l a n o it o m e o w t e r a e r e h T . s s e c o r p e h
t ri , st when
d a s s l e e f a r a
D andt hesecondi swhenDaraf ace sdfiifcul tstiuaitons .Thef ris tone
n e h w s
i Jantu make sdolls ,and t hen suddenlyChnay breakst hei rdoll .s I tmake s
m l a c u t n a J , t e Y . ti e k a m o t e m it h c u m s d e e n u t n a J e s u a c e b y r g n a d n a d a s a r a
D s
s e k a m e h s d n a n w o d r e
h theclaymarble .Hodescirbe showJantumakest heclay
r a
m b le, “She smoothed the bal lwtih quick ifngers ,then rolled i tbetween he r
n w o r b l l a m s a s a w e r e h t , e m o t t u o t i d l e h d n a m l a p r e h d e n e p o e h s n e h W . s m l a p
d e p p u c d u m f o l l a
b in ti .“Fo ryou,” she announced” (p.44) .In the beginning ,
c a o t t n a w t o n s e o d a r a
D ceptt heclaymarblebecause tii sj us tilkeamudball ,bu t
e c n i v n o c o t s e ir t u t n a
J Darat hatt heclaymarblei samagicmarble ,“No,i ’t snot .
a s ’t i w o N ! e r e h T “ . ti n o w e l b e h s , g n il k r a p s s e y e r e H . d i a s u t n a J ” , e l b r a m a s ’t I
D r o F . ) 4 4 . p ( ” . e l b r a m c i g a
s e v e il e b a r a D , e l b r a m c i g a m a s
i i tand wants to accep t ti .She also feel sbette r
c i g a m e m o s t u p d i d e h s e b y a m , t h g u o h t I , e b y a M “ , e l b r a m y a l c e h t g n i d l o h r e tf a
o w e s l e y h w , ll a r e tf A . e l b r a m e h t n
i uldI f ee lbette,rj us tholding ti?”(p.44) .The
e l b r a m y a l c e h t d n a r e tt e b l e e f a r a D s e k a m e l b r a m y a l c e h t t a h t w o h s s e c n e t n e
s i s
d e t a l e r o s l
a tot heDara’ semoitons .
d n o c e s e h
T stiuaiton i swhen Jantu make stheclay marbleandgive s ti t o
a r a
D when shef ace sdfi ifcul tstiuaiton .Att ha t itme ,Darai salonebecauseJantu
e h t h ti w l a ti p s o h e h t o t o g o t s a
h ba by.Darahast ol ookf o rherf amliyandJ antu’ s
y li m a
f .Shefeel safraidands caredt ol ookf o rherf amliywtihoutJ antu .A tfert hat ,
n a s e k a m u t n a
J othe rclay marble fo rDara ,“I’m making you anothe rmarble ,
r e g n o rt s e v a h l li w t I . l u f r e w o p e r o m e b l li w e n o s i h t t p e c x E “ . d i a s e h s ” , a r a D
n i d e p p u C . d n a h r e h d e n e p o e h s d n a , g n i v o m d e p p o t s s r e g n if r e H ” .t i n i c i g a m
n u o r y lt c e f r e p a s a w m l a p e n
o d ,perfecltys moothclaymarble”( p.68) .Darai ss tli l
o l a d lr o w e h t e c a f o t d i a r f
a ne ,bu tJantut irest oconvincethatt heclaymarblewli l
, g n o rt s u o y e k a m l li w t I “ . d e d d o n u t n a J y l n m e l o S “ , y li m a f r e h d n if o t a r a D p l e h
i l li w t u B “ . d i a s e h s ” ,t n e it a p d n a , e v a r b d n
a thelp me ifnd my mother?” Jantu
r e tf A . ) 9 6 . p ( ” . d i a s e h s ” , u o y p l e h l li w t i ,t i n i e v e il e b u o y f I “ . h t a e r b p e e d a k o o t
e l b r a m y a l c e h t s t p e c c a a r a D , t a h
t .The clay marble make sDara srtonge rand
.r e v a r
b Theclaymarblei salsoablet ocalmhe rdown.
h
T oset wostiuaitonsshowt hatt heclaymarblei soneoft hes ymbolsi nt he
. l e v o
n Int henovel, t heclay marblei sno tonlyamarblemadef rom clay ,bu tfo r
, a r a
D the main characte rof t henove,l the meaning oft heclay marblei sdeepe r
s i ti n a h t r e d i w d n
e l b r a m y a l c e h
T i salso usedast he itlteoft henove.l I tmeanst hatt herei s
. ” e l b r a m y a l c e h t “ d r o w e h t n i d e n il r e d n u e b o t g n i h t e m o
s In t henovel, t heclay
l e v o n e h t f o s e m e h t e h t f o e n o s t c e lf e r d n a s e n il r e d n u e l b r a
m besidesfamliy. sA
c s i
d ussed in the previou sparagraph sand a ssuppo tred by Stanton’ stheory and
s a d e z ir o g e t a c s i e l b r a m y a l c e h t , y r o e h t s ’ n o s n h o J d n a p r
A asymbol .
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h the contex tand the setitng o fthe novel .The
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