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y a w l a r o f t s ir h
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o special t hanks and awards si dedicated fo rmy adviso r i
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i s e h t e t a u d a r g r e d n
u . Ialso would ilket o t hankAnnaFti irait ,S.Pd. ,M.Hum,.f o r n
i g n i y d u t s d e tr a t s I e c n i s e c n a d i u g r e
h Sanata Dharma Universtiy. My
f o f f a t s e h t d n a s e r u t c e l e h t f o l l a o t s e o g o s l a t n e m g d e l w o n k c
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L mytwobrothers, Ch irsitanMulyawanandEkaPutera, andmy e
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l sister, F sran iska Angeilna, and my uncle, Kustand i Widjaja, fo r thei r .
e v o l l a n o it i d n o c n
u The expression o fthankfulnes salso goe sto Natail sYapto , ,
y d n i C , S L a o G r e t e P n h o
J Ayu Ningsih Sutanto ,who haveshared unforgettable g
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m my study a tSanata DharmaUniverstiy , a n a N , i p m i R , a n n A , y ll i w a tf e J ( m a e t N K K y m o t s k n a h t s m r a w l a i c e p s y m d n a
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d n a h n i e m p l e h o h w e n o y r e v e r o f s k n a h
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s g n i h t t s e b e h t ll a e r a u o Y . e r e h d e n o it n e m t o n n a c I t a h t r e t h g u a l d n a y o j h ti w
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U D N I W S U N I T R A
x i
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 E
G A P E C N A T P E C C
A …………………………………………………………………i ii E
G A P N O I T A C I L B U
P ……………………………………………………………….. i v Y
T I L A N I G I R O F O T N E M E T A T
S …………………………………………………… v
E G A P O T T O
M ……………………………………………………………………… …v i E
G A P N O I T A C I D E
D ……………………………………………………................... v ii G
D E L W O N K C
A EMENTS…………………………………………………………. v ii i N
O C F O E L B A
T TENTS……………………………………………………………… i x T
C A R T S B
A …………………………………………………………………………….. x … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … K A R T S B
A xi
: I R E T P A H
C INTRODUCTION………………………………………… ..… … …… .. 1 .
A Backgroundoft heS dtu y................................................................................... 1 .
B ProblemFormulaiton……………...…………………………………… …. 4 .… .
C Objecitve soft heStudy……………...…………………………………… . 5 .… .
D Deifniitono fTerm s………………...……………………………………. ... 5 … H
C APTERI I :THEORETICALREVIEW………………………………………. ... 7 .
A Reviewo fRelatedStudie s………....……………………………………. ... 7 … .
B Reviewo fRelatedTheoire s…………………...…………………………... .... 9 .
C Theoreitca lFramework…………………………………………………… ... 18 M
: I I I R E T E P A H
C ETHODOLOGY……………………………………………….. 19 .
A Objec toft heStudy…………………………………………………… .. .... 19 ... .
B Approachoft heStudy .................................................................................... 2 0 .
C Methodoft heStudy................................................................................... .. .. 2 1 N
A : V I R E T P A H
C ALYSIS…………………………………………………………. 24 .
A T Mhe ainCharacter’ sReilgiou sLfiea sDesc irbedi nt heNovel.......... 24 .
B Wiese’l sStage so fFatiha sRelfectedi nt heDynamic so f e
h
t M a Cin haracter’ sReilgiou sL efi .…………………………………..3 2 .
C Wiese’l sId Aea bou tSurviva la sRelfectedi nt heDynamic soft heM ain Character’ sReilgiou sL fie……………….…………………………... 4 1
. … … N O I S U L C N O C : V R E T P A H
C ….……….…………………………….. 48
.. . Y H P A R G O I L B I
i x
K A R T S B A s
u n it r a
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’l e s e i W e il E n i e fi L s u o i g il e R f o s c i m a n y
D Night .Y yog aka tra :Jurusan Sasrta s
a tl u k a F , s ir g g n
I Sasrta ,UniverstiasSanathaDharma, 2014.
i s p ir k
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h g i
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n a t n e
1 1 R E T P A H C
N O I T C U D O R T N I
.
A Backgroundoft heStudy
n r o
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if many Jewish chlidren .Growing up i n a smal lvillage i n Romania, shi s i h t e Y . d o G d n a y ti n u m m o c , y d u t s s u o i g il e r , y li m a f d n u o r a d e v l o v e r d lr o w
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e fi l n i s g n i h t d o o
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e d a e l e h t d n a s e it r a p i z a N d e h s il b a t s
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u ga schambe rands omewe resho tbygun .
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I the German’ spubilc
s w e J m p 0 0 . 1 2 t a d n a n o it a t
s weren’ tallowed to hang around .I fsomeonebrok e w
e h , e l u r s i h
t ould beshot .Eileand othe rJew swe redepo tred by rtain acrossthe d
n a r e it n o r f n a ir a g n u
H taken in charge by the Gestapo .The Jew sin Budapes t e
w re ilvingi nanatmosphereoff ea randt erro .r e
r e h
T wereanit-Semiitci ncident severydaybothi nt hesrtee tand rtains . k
c a tt a t s i c s a f e h
T e d Jewish shop sand synagogues .Day by day the stiuaiton e
b o t d e n r u
t w t ors than before .The German sarrested the leader so fthe Jew s y n a r o d l o g e s u o h n i p e e k o t t h g ir e h t d a h r e g n o l o n s w e J d n a , y ti n u m m o c
t s ri f e h t , u a n e k ri B e h t o t d e tr o p e d e r e w s w e J n i a rt y B . e u l a v f o s t c e j b u s
d n o c e s e h t , p m a c n o it a rt n e c n o
i v f o t n i o p n w o r i e h t t u o b a s i t
I ew toward thei rlfie ,the lfie tha tthe .
s e v l e s m e h t d a e r y e h t li t n u w o n k t o n t h g i m s r e d a e r
l e v o n s i h
T i sactuallytheremains fo wo lrdwart wo ,a sthewrtierknowa t s
’t i e m it t a h
t thebigges twart ha teve rhappen d e in t hewo lrd .Wa r ifelds covered t
s o m l
a all t errtiori esin Europe and someareas o fUnisoviet .The wa rhappen d e a
v n i s p o o rt i z a N n e h
w d ed Poland ,atfe rtha tsome counrti es declared wa rt o .
y n a m r e G
s i d e z y l a n a e b o t l e v o n s i h t e s o h c r e ti r w e h t y h w n o s a e r n i a m e h T
s r e d n u o t e l b i s s o p s i ti e s u a c e
b tand an autobiography novel t hrough t he l tierary .
s n e l
s u c o f r e ti r w e h
T e ns o the proces so fthe main characte rt hat lose shi s g
n ir u d d o G o t h ti a
f the itme in theconcenrtaiton camp .The wrtie rof t het hesi s s
ll e t e r l e v o n e h t f o r o h t u a e h t w o h e e s o t s t n a
w theproces sofl osingf atiht o ifnd .l
a v i v r u s t u o b a a e d i s i h t u o
.
B Problemsf ormula iton:
.
1 Howarethecharacters andconfilcts desc irbedi nt hes tory? t
c il f n o c d n a r e t c a r a h c e h t o d w o H .
2 relfectt hemaincharacter’sr eilgiousl fie? 3 .How do the dynamics o fthe main character’ sreilgiou slfie re lfec thi sidea
l a v i v r u s t u o b
.
C Objec itve soft heStudy
m i a e h
T o fth e study i sto answe rthe formulated problem sabove a s .
e l b i s s o p s a y lr a e l
c Frisltyt o ifnd t hecharacteirsitcoft hemaincharacte rthrough t
c il f n o
c wli lbe analyzed from t he way t hey aredescirbed i n t he story, t he way ,
t c a y e h
t and the way they speak .Secondly to ifnd Wiesel’ s reilgiou slfie i s e
b ir c s e
d d int henove.lThewrtie rwants to showt ha tEileWiese lwa sar eilgiou s n
o s r e
p , bu tdu irng hi sjourney in depo traiton to concen rtaiton camp he wa s e
c n e t s i x e e h t g n i n o it s e u
q o fGod tisel .f iH sreilgious lfiei sbecome fading .Thi s e
v it c e j b
o wa sneeded to show u sin wha tway hi sfatih wa schanging and how e
h s i e fi l s u o i g il e r p e e
d .
i h
T r dly to ifgure outt he dynamics oft he main character’ sreilgiousl fie t
i w o h e e s o
t re lfects his l osing o ffatih a sseen in his srtuggle t o survive. Thi s d
n if o t d e d e e n s a w e v it c e j b
o h owhisr eilgiousl fierelfectshisi deaabouts urviva.l
.
D Deifni itono fTerms
x e e m o s e d i v o r p l li w s i s e h t s i h
T planaitonr elatedt ot het opic.
.
1 Fatih
g n i d r o c c
A to Wolski ,fatih i sa norma lhuman expe irence and no ta ) d e t a t n e ir o e c n e ir e p x e ( l a it n e t s i x e s i n o it i n if e d s i H . y ti v it c a n a it s ir h C r a l u c it r a p
d e t o o r t o n ( c it s i v it a l e r d n
a int heabsolute so fScirpture) .Fatihi speopl 'e sevolved t c u rt s n o c y e h t s a ( d lr o w e h t d n a s r e h t o , fl e s g n i c n e ir e p x e f o s y a w g n i v l o v e d n a
y e h t s a ( e c n e t s i x e f o s n r e c n o c e t a m it l u e h t y b d e t c e f f a d n a o t d e t a l e r s a ) m e h t
r i e h t g n i p a h s f o d n a ) m e h t t c u rt s n o
e h t g n i n i m r e t e d r e w o p d n a e u l a v , g n i e b f o r e t c a r a h c f o t h g il e h t n i , s e it l a y o l
s e g a m i e v it a r e p o r i e h t n i d e p s a r g s a ( e c n e t s i x e f o n o it i d n o c e t a m it l
u – consciou s
s u o i c s n o c n u d n
a - o fthem) .(Wolski, Joann ,Conn (ed. ,) Women’ sSpritiualtiy : t
n e m p o l e v e D n a it s i r h C r o f s e c r u o s e
R .New York :Pau ils tPress ,1996 .pp .226 -.
2 3 2
.
2 Surviva l
d r o f x O o t g n i d r o c c
A AdvancedLearner’ sDicitonary,s urvivali s “thes tate f
o conitnuingto ilveo rexist ,o tfendesptiedfiifcul to rdang ” er (2014:605 .)
.
3 Confilct
r e h n i e n ir r e P m o r f n e k a t s i h c i h w t c il f n o c s i m r e t e h
T bookof Ltierature :
,t r e s s A e s n e S d n a , d n u o S , e r u t c u r t
S “Confilc t tisel fi sa clash o faciton ,ideas , m
a l a u d i v i d n i o w t n e e w t e b l li w r o , s e ri s e
d ong people i n t he story” (2006 :1 -04 .)
4 0 1
.
4 Character
’ m a r b A . r e t c a r a h c e h t s i l e v o n a r o y a l p a f o s t n e m e l e t n a tr o p m i e h t f o e n O
n i r e t c a r a h c t u o b a y r o e h
t AGlossaryo fLtierar yTerm smenitonedt ha tcharacteri s “the person presented in a dramaitc o rnarraitve work who naturally possesse s
s i d , l a r o
m posiitonal ,and emoitona ltha tare re lfected in t he dialogue and aciton s
n o s r e p e h t n e e w t e
7
I I R E T P A H C
W E I V E R L A C I T E R O E H T
s i h t n i d e s u e r a t a h t s e ir o e h t e h t g n i z y l a n a n o s u c o f l li w r e t p a h c s i h T
e h t n O . s m s i c it ir c r o , s t n e m m o c , n o it a m r o f n i n o s w e i v e r e m o s n i a t n o c d n a , y d u t s
l e v o
n somet heo irest ha tareusedi nt heanalysi saresummairzedi nt het heoreitca l .s e ir o e h t e s o h t e s u l li w s i s e h t e h t f o r e ti r w e h t ,s i s y l a n a e h t tr o p p u s o T . k r o w e m a r f
.
A Reviewo fRelatedStudies
A research examined yb thewrtie roft het hesi sto bereviewe sd i awork d
e lt it n e n a it s ir h C y
b Eile’ sMoitvaiton in Achieving Freedom Revealed in the s
’l e s e i W e il E n i n e e s s a s t c il f n o c s ’ r e t c a r a h c n i a
m N hi t g (2009 :)i.
Ch irsitan’s ds y stu i aboutEile’ smoitvaiton o fsurvival t ha t si revealed i n a
h c n i a m e h
t racter’ sconfilcts i n t henove.l How thecharacter saredescirbed in s
’l e s e i W e il E e h
t Night. nI wha tway the interna land externa lconfilct srevea l l
a v i v r u s f o n o it a v it o m s ’ e il
E . The study reveal stha tthe confilc tinvolved Eile e h t t s n i a g a e h d n a r e n o s ir p r e h t o e h t t s n i a g a e h , fl e s m i h t s n i a g a l e s e i W
e r u t a
n (2009 :x )i. n e r e f fi d e h
T c e between Ch irsitan thesi sand thi sthesi si sthat :Ch irsitan s u c o f s i s e h t s i h t f o r e ti r w e h t t u b , l a r e n e g n i s r e t c a r a h c e il E s e b ir c s e d y l n
o e son
f o n o it a v it o m s ’ e il E s e b ir c s e d y l n o n a it s ir h C , d n o c e S . e fi l s u o i g il e r s ’ e il E
.
B Reviewo fRelatedTheories
y d u t s e h t n i d e s u e b l li w s e ir o e h t e m o
S a sthe guidance to answe rthi s .s
i s y l a n a e h t f o s u c o f e m o c e b t a h t n o it a l u m r o f s m e l b o r p
.
1 Theoryo fCharacter
s ’t i e s u a c e B . s i s y l a n a o d o t d e d e e n s i r e t c a r a h c f o y r o e h t k n i h t r e ti r w e h T
e h t w o h s o t e l o r t n a c if i n g i s s a h t a h t l e v o n a n i s ’t n e m e l e n i a m e h
t quailitesi nt he
g n i d r o c c A . l e v o
n to Abram scharacte ri sthe person presented in dramaitc o r t a h t l a n o it o m e d n a , l a n o it i s o p s i d , l a r o m s e s s e s s o p y ll a r u t a n o h w k r o w e v it a r r a n
e r
a allr elfectedi nt hedialogueandacitonbetweenthepersons (1981 :20 .) s
m a r b
A also statedt ha tcharacteri n nove laredividedi ntot woelemen’t s .
r e t c a r a h c r o n i m d n a r e t c a r a h c r o j a
m The majo rcharacte ri sthe main characte r e h t n i r e t c a r a h c n i a m e h t s i r e t c a r a h c r o j a m e h T . r e t c a r a h c r o n i m s i d n o c e s d n a
t n a tr o p m i s y a l p t i d n a y r o t
s ands igni ifcancepatri nt hes tory .
d e ll a c s i r e t c a r a h c a s e t a e r c r o h t u a n a h c i h w y b s s e c o r p e h T
y h p r u M . n o it a z ir e t c a r a h
c (1972 :161– 173 ,) point soutt hatt heCharacteirzaiton si e l b a d n a t s r e d n u s r e t c a r a h c s i h s e k a m o t s t p m e tt a r o h t u a n a h c i h w n i y a w e h
t and
e m o
c clealryof ther eaders .Hereares omemethod so fCharacte irzaiton. s
i d o h t e m t s ri f e h
T persona ldesc irpiton .Byusingt hi smethodtheautho r c
s e d n a
c irbeaperson’ sappearance ilke :hand ,ss kincolo ,rf ace ,hari ,andclothsi n e
z il a u s i v o t r e d r
o thecharacte rand t o understand hi scharacte irsitc (1972 :161 – .)
n o c e s e h
T d methodi scharacte ra sseen another .Instead o fdescirbinga r e h t o n a d n a s e y e e h t h g u o r h t m i h e b ir c s e d n a c r o h t u a e h t y lt c e ri d r e t c a r a h c
. n o i n i p
o Thi smethodcan givet he i mpression oft heshape ,cleanilnes ,s f rimnes s s
s e n h t o o m s d n
a (1972 :161– 173.) s i d o h t e m d ri h t e h
T speech .Theautho rcan givet her eadersi nsightsi nto a f o s r e t c a r a h c e h T . s y a s n o s r e p e h t t a h w h g u o r h t n o s r e p e n o f o d n a r e t c a r a h c e h t
o r f n e e s e b n a c n o s r e
p m wheneve rhe o rshe speaks ,having conversaiton wtih n
o i n i p o r e h r o s i h d e t a t s d n a s r e h t
o (1972 :161– 173 .)
s i d o h t e m h tr o f e h
T pastl fie .Byl etitngt her eaderl earnsomethingabou t t
a h t t n e v e o t e u l c s r e d a e r e h t e v i g n a c r o h t u a e h t e fi l t s a p s ’ n o s r e
p have help t o
n o s r e p e h t n o d e s a b t n e m m o c t c e ri d s ’ r o h t u A . r e t c a r a h c s ’ n o s r e p a e p a h s
n o it a s r e v n o c s i h h g u o r h t ,s t h g u o h
t (1972 :161– 173 .)
h tf if e h
T method i sconversaiton to others .People talk abou tothe r u
l c a s a e v i g n e tf o y a s e h t s g n i h t e h t d n a e l p o e
p et o t hecharacte roft he person t
u o b a n e k o p
s (1972 :161– 173 .) h
t x i s e h
T method i sreaciton .s Thi saciton are related to hi so rhe r h
g u o h t d n a s e v it o
m (1972 :161– 173 .) s i d o h t e m h t n e v e s e h
T direc tcomment .In thi sway the autho rcan n
e m m o c r o s e b ir c s e
d tonaperson’ scharacte rdriecltybasedonhi so rhe rpoin to f w
e i
v (1972 :161– 173 .) s i d o h t e m h t h g i e e h
T thought .sTheautho rcan giveu sdriec tknowledge n i o d t ’ n a c e w t a h w o d o t e l b a s i e h , t c e p s e r s i h t n I .t u o b a g n i k n i h t n o s r e p t a h w f o
e fi l l a e
s i d o h t e m t s a l e h
T mannerism . The autho rcan desc irbe a person’ s o
, s ti b a h , m s ir e n n a
m ridiosyncrasie swhich may also tel lthe reader ssomething .
r e t c a r a h c s i h t u o b
a Someoft het heo ire sabovecanbeusefult ohelpt hewrtiert o n
a y fi t n e d
i d understandingthecharacte ratttiudesi nt henovelf o ranalysis(1972 : 1
6
1 – 173 .)
.
2 Theoryo fConfilctinLtierature
t i e r o m r e h tr u f , “ t h g if r o e l g g u rt s “ s n a e m e s n e s t s e d a o r b s ti n i s t c il f n o C
s i h t g n i z y l a n a n I . c t e e ri s e d , n o i n i p o f o h s a l c r o , s e c n e r e f fi d , n o it i s o p p o “ s n a e m
n i s t c il f n o c f o s e ir o e h t y n a m s e s u r o h t u a e h t , l e v o
n Perirne book o fltierature :
, d n u o S , e r u t c u r t
S and Sense Asse tr. “Confilc t tisel fi sa clash o faciton ,ideas , y
r o t s e h t n i e l p o e p g n o m a l a u d i v i d n i o w t n e e w t e b l li w r o , s e ri s e
d ” (2006 :103
-.) 4 0 1
o n
I ne of t he p s atr o fhe rbook “Plo tand Srtucture”Perirne shows tha t m
o s t s n i a g a d e tt i p e b y a m s r e t c a r a h
c eothe rpersons o rgroupo fpersons (Confilc t n
o s r e p t s n i a g a n o s r e p f
o ) ,w ho may bei n confilc twtih someexterna lforce ilke e
t a f r o y t e i c o s , e r u t a n l a c i s y h
p (2006 :103- 41 ). 0 C
( onfilc to fperson agains tenvrionment) ,they may be in confilc twtih e
m o
s elements i n t hei rown natures .(Confilc to fperson agains thim o rhersefl) , t
c il f n o c e h
t maybephysical ,mental ,emoitonal ,o rmoral .
c it e h t a p m y s n u r o c it e h t a p m y s r e h t e h w t c il f n o c n i r e t c a r a h c l a rt n e c e h T
m r e t e h T . t s i n o g a t o r p e h t d e ll a c s i , n o s r e p a s
a “hero”o r“heroic”i mp ilest hatt he .
e s a c e h t t o n n e tf o s i h c i h w , s e it il a u q c i o r e h s a h r e t c a r a h c l a rt n e
l a n r e t x e d n a l a n r e t n i e h t ,s r o t c a f o w t e d u l c n i s r o v i v r u s s n o it u b ir tt a e h T
e k il s r o t c a f e d u l c n i s n o it u b ir tt a l a n r e t n I . n o it u b ir tt
a determinaiton , hope and
f o e s n e s g n o rt s , h tl a e h d o o g , e c n e g il l e t n i ,l u f e r a c g n i e b , s s e n e v it e r c e s , e c n e t s i s r e p
g n o m a , y ti t n e d
i others .Externa lattirbu iton include sfactor stha tunrelated to :
s a h c u s l a c i g o l o h c y s p s ’ r o v i v r u s e d i s t u
o socia lsuppo tr ,chanc ,e fate, l uck ,God , g n o m a , e c n a r a e p p a n a y r A d n a , e g a , g n i d i h , s e li t n e G m o r f p l e h , y li m a f m o r f p l e h
s r e h t
o .
s ’ d l e f d e u S n i s r o t c a f e m o s e r a e r e h t t a h t d e t a t s s i s e h t s i h t f o r e ti r w e h T
. y r o t s e h t n i d n u o f t o n e r a y e h t e s u a c e b , e l b a c il p p a t o n e r a h c i h w y r o e h
t T he
t a h t s n o it u b ir tt a l a n r e t x
e areappileda rehelpo fother ,sl uck ,andmriacle. Externa lattirbuitons:
.
1 Help o fother swhich i sacategory which i nclude srelaitves ,firends , .
s e li t n e G d n a .
2 Luck includes the Yiddish word ,maze,l connoitng “in the stars” p
m i n e tf o h c i h
w ile sanoutsidef orce . .
3 Mriacle which doesn’ talway simply a Detiy ,bu tcan be ,in some s
e s a
c si merely a ifgure o fspeech .Also included in thi scategory m
o h
w aredead r elaitvest hesurvivorf eel sarewatchingove rhim or g n a d n a m a e r d r o n o it i n o m e r p a n i g n i m o c s e v it a l e r d a e d , r e
h el .
l e g n
A i s desc irbed a sbeing in humanform , who step s into the survivor’sl fiei nordert odriec thim/hert o safetyandt hen disappear s
t h g i s m o r
r e h t o n
A factoro fsurviva li sinterna lattirbuiton .T h nei terna latt irbuiton s t
a h
t areappli edareAgency ,andNor eason . Interna latt irbuitons:
.
1 Agency include smaking decisions ,taking irsks ,claiming a tleas t . s r e h t o f o l a v i v r u s r o f r o l a v i v r u s n w o s ’ e n o r o f t i d e r c l a it r a
p One
s i h c i h w , y c n e g A s i y r o t s e h t n i d n if e b n a c t a h t n o it u b ir tt a l a n r e t n i
g n i m i a l c , s k s ir g n i k a t , s n o i s i c e d g n i k a m s e d u l c n
i a tleas t parita l
.s r e h t o f o l a v i v r u s r o f r o l a v i v r u s n w o s ’ e n o r o f ti d e r c .
2 No reason ,etihe rbecause i ti sno tfound in the narraitve o rthe .
” d e v i v r u s I w o h w o n k t ’ n o d I “ d i a s y ll a u t c a t n e d n o p s e r
.
4 Theoryo fStage soff atih
o t g n i d r o c c
A (Fowler in Wolski:1986) . There are six catego ire s to .
e fi l n a m u h n i h ti a f p o l e v e
d Frist,I ntuiitveandprojecitvestage 3( -7 years)Thisi s e
g a t s e h
t o fpreschoo lchlidren in which fantasy and realtiy o tfen ge tmixed k c i p y ll a u s u e r a d o G t u o b a s a e d i c i s a b t s o m r u o e g a t s s i h t g n ir u D . r e h t e g o
t e d up
t n e r a p r u o m o r
f s andors ociety.
fl e s t s ri f f o s e g a t s e h t s i s i h
T -awareness . The “sefl-aware” chlid i s o
g
e centirca sregardst he perspecitve so fothers .Here we ifnd fris tawarenes so f s
o o b a t g n o rt s e h t f o d n a x e s d n a h t a e
d by which cutlure sand famiile sinsulate .
n a n o it c e lf e r l a c it ir c r o f y ti c a p a c a s w o r g e n o e r e h w e g a t s a o s l a s i t I . y ti t n e d i
, h tf i
F Conjuncitve fatih u( nusual before mid-lfie)thi sstage st irve sto d
n a d n i m n i s e ti s o p p o y fi n
u expeirence .I tgenerate sand maintain svulnerablitiy d n a t n e r e f fi d e r a h c i h w t a h t o t s s e n e s o l c r o f y d a e R . s h t u rt e g n a rt s e h t o t
k o o lt u o d n a f l e s o t g n i n e t a e r h
t , t hi sstage’s commtiment t o j usitce i sfreed from n
u m m o c s u o i g il e r , s s a l c , e b ir t f o s e n if n o c e h
t tiy o r naiton . Can appreciate
n i , d e p s a r g n e e b s a h t i e s u a c e b ) 's r e h t o d n a n w o s ti ( s l a u ti r d n a s h t y m , s l o b m y s
s n o i s i v i d e h t s e e s o s l a t I .r e f e r y e h t h c i h w o t y ti l a e r f o h t p e d e h t y b , e r u s a e m e m o s
d e d n e h e r p p a n e e b s a h t i e s u a c e b y l d i v i v y li m a f n a m u h e h t f
o byt hepossib litiy fo
. y ti n u m m o c e v i s u l c n i n
a In thi sstage people aremore wliilng to dialogue wtih n w o r i e h t o t n o it c e r r o c d n a n o it a m r o f n i r e h tr u f g n i k e e s , h ti a f s r e h t o f o e l p o e p
. h ti a f n w o r i e h t f o o g g n it t e l t u o h ti w s i h t o d o t e l b a e r a d n a s f e il e b
x i
S th ,Universailzing Fatih (a tfe rmid-lfie) ,The person sbes tdescirbed e t a m it l u n a f o e s n e s t l e f r i e h t h c i h w n i s n o it i s o p m o c h ti a f d e t a r e n e g e v a h t i y b
d n a s n o it a n r a c n i e m o c e b e v a h y e h T . g n i e b l l a f o e v i s u l c n i s i t n e m n o ri v n e
e z il a u t c
.
D Theoreitca lFrameworks
e r a s e ir o e h t e m o
S neededt o answert heproblem f ormulaiton .Thereare s i h T . e r u t a r e ti l n i t c il f n o c f o y r o e h t d n a n o it a z ir e t c a r a h c n o r e t c a r a h c n o s e ir o e h t
h c r a e s e r y r a r b il s e s u y d u t
s methodsi n analyzing data . Beside susingt henove la s d n a e c r u o s t e n r e t n i , s l a n r u o j s e s u o s l a y d u t s s i h t , a t a d f o e c r u o s y li r a m ir p
. h ti a f f o s e g a t s f o y r o e h t h ti w s l a e d t a h t l a n r u o j y g o l o h c y s p
t f o n o it a z ir e t c a r a h c e h t n o s e s u c o f s i s e h t e t a u d a r g r e d n u s i h
T he main
e s e h T . e v it c e p s r e p s ’ y h p r u M J . M d n a e v it c e p s r e p s ’ m a r b A m o r f r e t c a r a h c
t s ri f e h t r e w s n a n o it a z ir e t c a r a h c d n a r e t c a r a h c n o s e ir o e h
t and the second
. s m e l b o r
p Thesecond problem i sanswered using t he t heory o fstage so ffatih . s
e s u r e ti r w e h
T theory o fstage soff atih to seet heproces sofl osingf atih i nEile .
s r e t c a r a h c l e s e i
W
. y g o l o h c y s p n i n o it u b ir tt a f o y r o e h t g n i s u d e r e w s n a s i m e l b o r p d ri h t e h T
m e l b o r p s i h
T wa sneeded t o ifnd outhow hisr eilgiousl fier elfect shisi deaabou t .l
9 1
I I I R E T P A H C
Y G O L O D O H T E M
s r e ti r w e h t tr a p t s ri f e h t n i ,s tr a p e e r h t o t n i d e d i v i d e b l li w r e t p a h c s i h T
n o it a m r o f n i e h t d n a l e v o n e h t f o n o it p ir c s e d e h T . y d u t s e h t f o t c e j b o e h t s e b ir c s e d
f
o sti pub ilcaiton areclealry presented.I n t hesecondpar,tt hewrtier sexplaint he
it a c il p p
a on o fthe approache sused fo rstudy .Finally in the las tpatr ,the wrtier
l e v o n e h t g n i z y l a n a n i n e k a t e r a t a h t s d o h t e m e h t s e b ir c s e
d Night.
.
A Objec toft hes tudy
s ’l e s e i W e il E s e k a t s i s e h t s i h t , t c e j b o e h t s
A Nigh.t Which i sfrislty n
a W & l li H y b d e h s il b u
p g . New York on Septembe r1960 .The wrtie rused
. 2 8 9 1 n i k r o Y w e N s k o o B m a t n a B y b d e h s il b u p t a h t y d u t s s i h t f o e c r u o s y r a m ir p
l e v o n s i h
T w as rtanslated from French by Stella Rodway and ti consists fo 109
. s e g a
p A ttha t itme copy irgh twa sheld by Macbibbon&Kee (1960 )and then
. ) 8 8 9 1 ( p u o r G g n i h s il b u P s n il l o C e h T y b d e w e n e
r EileWiese lw asasurvivo ro f
f o e n o s i e h , e z ir P e c a e P l e b o N e h t f o r e n n i w e h d n a s p m a c n o it a rt n e c n o c i z a N e h t
f o s r o h t u a d e m i a l c c a t s o m e h
t Holocaustltieratureandan eloquen tspokesperson
. m s i a d u J y r a r o p m e t n o c r o f
, h s i d d i Y n i n e tt ir w t s ri f s a w t h g i
N Und ivel tho tgesivgn( 1956 ;AndThe t
n e li S d e n i a m e R d l r o
W ) ,then rtanslated into French ediiton a sLa Nui t(1985 ; t
h g i
s a n w o n
k Nigh.t The second rtanslaiton from the French version by Mairon .
e fi w s ’l e s e i W e il E , l e s e i
W A sa correciton to some impo tran tdetali sand the
s ’l e s e i W e il E f o n o i s r e v h s il g n E h g u o r h t e t a r u c c a t s o m e h t f o n o it a t n e s e r p
. y h p a r g o i b o t u a
l e s e i W e il
E i sthe autho ro fmore than fo try internaitonally acclaimed
f o l a d e M l a it n e d i s e r P e h t d e d r a w a n e e b s a h e H . n o it c if n o n d n a n o it c if f o s k r o w
h c n e r F e h t , l a d e M d l o G l a n o i s s e r g n o C a c ir e m A f o s e t a t S d e ti n U e h t , m o d e e r F
r o n o H f o n o i g e
L . AtlhoughWieself ocusess tronglyont heexpeirenceofJ ews ,hi s
. fl e s ti y ti n a m u h r o f d n a e l p o e p d e t u c e s r e p l l a r o f s k a e p s o s l a k r o
w Thi snove l
s w o h
s the dynamic so fthe main characte rreilgiou slfie relfect shi sidea abou t
.l a v i v r u s
r e b il r e tf
A ated in 1945 ,Eile Wiesel ilved i n Parir sand studied a tthe
. r e p a p s w e n i l e a r s I d n a h c n e r F r o f r e tr o p e r s a d e k r o w d n a e n n o b n r o
S Hewent t o
w e N f o e g a ll o C y ti c e h t t a t h g u a t e H . 3 6 9 1 n i d e z il a r u t a n s a w d n a 6 5 9 1 n i S U
d n a k r o
Y in 1976 wa sappointed ou t Andrew W . Mellon Professo rin the
n a m u
h iite sa tBoston Universtiy .Now he wa san i nsrtumentali n t hecreaiton o f
. m u e s u M l a ir o m e M t s u a c o l o H S U
.
B Approachoft hes tudy
y l a n a o t r e d r o n
I z e the nove lNight ,the wrtie ruse sthe psychological h
c a o r p p
a to be appiled in thi sstudy because thi snove lshow sthe dynamic so f
e fi l s u o i g il e
e m o
s bookofthesisf romGavrliutawork sonGodand Holocausti n eE Wil iese’ls k
r o
w inEruopean Journa lo fScienceandT ohe logy, Ch irsitant hesi senitltedEile’ s s a s t c il f n o c s ’ r e t c a r a h c n i a m e h t n i d e l a e v e R m o d e e r F g n i v e i h c A n i n o it a v it o M
s ’l e s e i W e il E n i n e e
s N tigh, theory o fconfilc tin ltierature Perrine book o f r
e s s A e s n e S d n a , d n u o S , e r u t c u r t S : e r u t a r e ti
l t i n he rpar tof t he book“Plo tand 3
0 1 : 6 0 0 2 ( ” e r u t c u rt
S - 410 ) ,theory o fcharacte rEnitlted A Glossary o fLtierary s
m r e
T (1981:20),theoryo fAttirbuiton i pn sychology bySued ifeld(2014) ,journa l h
ti a f f o s e g a t s f
o by Jame s Fowler in Joann Wolsk i Conn (ed). , Women’ s t
n e m p o l e v e D n a it s i r h C r o f s e c r u o s e R : y ti l a u ti r i p
S .New York :Pauils tPress , 6
2 2 . p p . 6 9 9
1 -232 .Thewrtie rused ilbrary research i n collecitng t hedata .Some
e r e w s k o o
b A Glossaryo fLtieraryt erms form sAbrams ,an Introduciton t o The e
r u t a r e ti L f o y d u t
S fromW.HHudson ,UnderstandingUnsees :AnIntroducitont o a
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E nd TheEngilsh Nove lFo rOversee sStudent sby M .J .Murphy , :
n o it c i
F AnI ntroducitont oReadingandWriitngbyEdga rV .Robet sandHenryE .
s b o c a
J Human communicaiton by Miche l Burgoon and Maicheal Ruffner ,
n o it c if g n o l f o y e v r u s l a c it i r
C byFrankMaggli , g
n i n r e c n o
C the following are the step staken .The step stha tthe wrtie r
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t c il f n o c d n a r e t c a r a h c n i a m e h t n o s e s u c o f r e ti r w e h T . y d u t s e h t f o a t a
d .The
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4 2
V I R E T P A H C
S I S Y L A N A
r e w s n a e h t d n a s k r o w y r a r e ti l e h t f o s i s y l a n a e h t f o s t s i s n o c r e t p a h c s i h T
l e s e i W e il E f o h ti w s l a e d s i s y l a n a t s ri f e h T . s n o it a l u m r o f m e l b o r p e h t f
o ’ s
t c a r a h
c e rand confilc tasdescirbed i n t hecharacteirzaiton t as he main character s
l e v o n e h t n
i . The second analysi s i s analyzing the dynamics o f the main
l a v i v r u s t u o b a a e d i s i h t c e lf e r e fi l s u o i g il e r s ’ r e t c a r a h
c .The t h rid analysi si sthe
r e ti r
w et s ir tos howt hemaincharacter’ slosingoff atihdu irngi nt heconcenrtaiton
p m a
c unit lhego tilberaiton.
.
A ThemainCharacterandConfilc ta sDescribed int heStory
g n i d r o c c
A to Abram’s theory abou tcharacte rEnitlted A Glossary o f
s m r e T y r a r e ti
L , characte ri sthe person presented in dramaitc o rnarraitve work
, l a r o m s e s s e s s o p y ll a r u t a n o h
w disposiitonal ,andemoitona lthoseareallr e lfected
n o it c a d n a e u g o l a i d e h t n
i betweenthepersons (1981 :20) .Abram salsos tatedt ha t
r e t c a r a h
c s in nove lare divided into two elements, majo rcharacte rand mino r
n i a m e h t s i r e t c a r a h c r o j a m e h T . r e t c a r a h
c characte r and second i s mino r
. r e t c a r a h c
0 2 : 1 8 9 1 ( s m a r b
A )statedt hatt herearet wot ypes fo twoelemen’t smajo r
r e t c a r a h c r o n i m d n a r e t c a r a h
c .Themajo rcharactert akest hei mpo trantr olef rom
l l a , y e n r u o j e h t f o y a d h tr o f e h t n
O Jew saremoving outt o anothe rconcenrtaiton
l e s e i W . s r u o h w e f n a h t e r o m r o f n i a rt a g n it i a w d n a t u o g n i v o M . p m a
c ha slose s
. e fi l f o e u l a v f o
.
B Wiese’l s Stage s o f Fatih a s Re lfected in the Dynamic s o f the M ain
Character’ sReilgiou sL .fi e
.
1 Beforeenteringt heconcentra itoncamp :
o t g n i d r o c c
A Wolski (1996 ,) t herearesix catego irest o develop fatih i n
. e fi l n a m u
h Fris,tI ntuiitveandprojecitvestage( 3-7years) ,Second ,Mythicl tiera l
6
( -12years,) Thrid ,Syntheitc-Convenitonalf atih(adolescencet oealryadutlhood ,
e d u l c n i ) y lt n e n a m r e p n i a m e r e l p o e p e m o
s s a person' sexpeirence o fthe wo lrd
, h tr u o F , y li m a f e h t d n o y e b s d n e t x e w o
n Individuait -veRelfecitve fatih i(n the
, ) d o o h tl u d a y lr a
e Fitfh ,Conjuncitve fatih (unusua lbefore mid-lfie)thi s stage
, e c n e ir e p x e d n a d n i m n i s e ti s o p p o y fi n u o t s e v ir t
s Sixth ,Universailzing Fatih
d i m r e tf a
( -lfie) .
l e s e i
W i scatego irzed i n stage2Mythicl tiera l(6-12 years) ,which ist he
il e b , s e ir o t s e h t fl e s r e h r o m i h r o f n o e k a t o t s n i g e b n o s r e p e h t h c i h w n i e g a t
s ef s
l o b m y s e h t s e v r e s b o d n
a belonging t o hi so rhe rcommuntiy. Thisi st hestageo f
n a d n a s s e n ri a f l a c o r p i c e r n o d e s a b d lr o w a s e s o p m o c t a h t d li h c l o o h c s e h t
o t g n i d r o c c
A Wolsk i(1996) ,quotaiton above showst ha tWiesel’ sstage o ffatih
e b n a
c catego irzed a sThrid stage ,Syntheitc-Convenitona lfatih (adolescence to
d u l c n i ) y lt n e n a m r e p n i a m e r e l p o e p e m o s , d o o h tl u d a y lr a
e i ng a person' s
. y li m a f e h t d n o y e b s d n e t x e w o n d lr o w e h t f o e c n e ir e p x
e “Fatih mus tprovide a
f o e g n a r e s r e v i d d n a x e l p m o c e r o m e h t f o t s d i m e h t n i n o it a t n e ir o t n e r e h o c
d n a s t n e m e v l o v n
i synthesizevalue sandi nformaitont oprovideabasisf ori denttiy
k o o lt u o d n
a ” .Aperson ha san “ideology”amoreorl es sconsisten tcluste irngo f
a n i d n a n o it a n i m a x e r o f t i d e if it c e j b o t ’ n s a h e h s r o e h t u B . s f e il e b d n a s e u l a v
i g n i v a h f o e r a w a n u s i e s n e
s t .
l e s e i
W may no thave an i ndependen tperspecitve ,and hei snot ciritca l
n o s r e
p towardother sperspecitveandonlyt aki ng somevalue swtihou texamini ng
.
ti Transiitona litmef roms tage2t os tage3 ,becauseheha sverycloser elaitonship
tI . e h c s o M h ti
w ’si mageo funfiyingvalueandpowe rde irvef romt heextensiono f
ir e p x e s e it il a u
q enced in persona l relaitonship . “authortiy i s located in the
n i r o ) y h tr o w y ll a n o s r e p s a e v i e c r e p f i( s e l o r y ti r o h t u a l a n o it i d a rt f o s t n e b m u c n i
o t d e r r e f e r y ti r o h t u a s i h t n O . ” p u o r g e c a f o t e c a f , d e u l a v a f o s u s n e s n o c e h t
e v i g o h w e h c s o
M Wiesel much in lfuenced from who Wiesel think have an
r o h t u
a ti y .
s i h f o t r a p r e h t o n
A stageoff atih h si seen i nt heway tha thei si nvolved
n
i hi scommuntiyi nSighe:t
t h g i n t a , d u m l a T e h t , y a d y B . s e i d u t s y m o t fl e s y m e t o v e d o t d e u n it n o c I
h ti w r a e Y w e N e h t e t a r b e l e c o t e m o c d a h r e h t a f d n a r g y M . a l a b b a C e h t
o s , s
u tha thecould attend t he service soft he famou srabb io fBorsche. )
