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t n e m e v o m e h t n i l a t o v i p s e m o c e b h c i h w , e ri s e d l a n o s r e p d n a r e d r o l a i c o s n e e w t e b
s a n a m u h y b d e c n e ir e p x e n e tf o s i t a h t m e l b o r p e h t s t c e lf e r y l e s i c e r p , t o l p e h t f o
l a i c o s d n a l a u d i v i d n i s a e c n e t s i x e s i h f o e c n e u q e s n o c e h
t beinga tonce .
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T ociology deifne shuman being a s
e c n o t a g n i e b l a i c o s d n a l a u d i v i d n
i (Hormer ,2005 :32) . tIf ollowst hatt heset wo
o t d e h c a tt a d n a e l b a r a p e s n i e r a , n o i s n e m i d l a i c o s d n a l a u d i v i d n i , s n o i s n e m i d
e b n a m u h y r e v
e i .ng Thus ,in the attemp to funderstanding wha thuman being
d n a l a u d i v i d n i f o y ti li b i s i v i d n i e h T . d e k o o lr e v o e b n a c m e h t f o e n o n , s i y ll a e r
n o i s n e m i d l a i c o
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h to avoid being misjudged
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s e v ir d e s e h t t a h t s d d a e H . ) 2 2 : 5 0 0 2 ( h tr i b s ’ e n o e m o s f o t n e m o m e h t m o r f t n e s e r p
d n a e v it c n it s n i e h t s e d u l c n i d n a s u o i c n o c n u y l e ri t n e e r
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( est hatt hesed irve sare d irvenby pleasurep irnciplewhich
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n o i s n e t r o y t e i x n a f o e t a t s a s i tl u s e r e h t , y l e t a i d e m m i d e if s it a s t o n e r
a (2005 :23) .
t a h t s y a s e h , r e v o e r o
M theego i st hecomponen to fpersonaltiyt hati sr esponsible
. y ti l a e r h ti w g n il a e d r o
f Theegooperate sbasedont herealtiyp irncipleinwhichi t
s e ri s e d s ' d i e h t y f s it a s o t s e v ir t
s in reailsitcand socially approp irateway s(2005 :
l l a s d l o h t a h t y ti l a n o s r e p f o t c e p s a e h t s a o g e r e p u s g n i n if e d y b s e u n it n o c e H . ) 2 2
s t n e r a p h t o b m o r f e ri u q c a e w t a h t s l a e d i d n a s d r a d n a t s l a r o m d e z il a n r e t n i r u o f o
y t e i c o s d n
a --ours enseo f irgh tandwrong(2005 :23 .)
s i t i s a s i s y l a n a o h c y s p y b y ti l a n o s r e p n a m u h f o g n i p p a m e h t m o r F
e r a e r e h t d n a h e n o n o t a h t n w o h s y lr a e l c s i t i , r e m r o H n a e S y b d e n i a l p x e
s a w e h e c n i s t c e j b u s y r e v e r o f e r e h t y d a e rl a e r a h c i h w y ti l a n o s r e p f o s n o i s n e m i d
t o e h t n o d n a ) d i( n r o
b he rhandt herearealsodimension so fpersonaltiywhichare
s i g n i p p a m e h t f I .) o g E r e p u S ( y t e i c o s o t n i n o it a r g e t n i s ’t c e j b u s e h t m o r f d e tl u s e r
, g n i e b n a m u h t u o b a y g o l o i c o s y r a r o p m e t n o c y b e d a m n o it i n if e d e h t o t d e r a p m o c
n o s r e p e h t s a n e e s e b d l u o c d i e h
t a ldimension o fhuman being wh lie supe rego
s i o g e f o e c n e t s i x e e h T . g n i e b n a m u h f o n o i s n e m i d l a i c o s s a n e e s e b d l u o c
t c i d a rt n o c o t m e e s h c i h w o g e r e p u s d n a d i e li c n o c e r t a h t e g d ir b e h t s a d e v e i c n o c
n a e m t o n s e o d o g e f o e c n e t s i x e e h t ,r e v e w o H . r e h t o h c a
e that t het ension oft he
n o i s n e t e h t ,t c a f n I . e c a e p n i e v il o t g n i e b n a m u h e v a e l d n a r a e p p a s s i d l li w o w t
4
e t a r o b a l e , t s y l a n a o h c y s p h c n e r F t n e n i m o r p a , n a c a L s e u q c s a
J s hi sown
h h c i h w n i y ti v it c e j b u s n a m u h n o y r o e h
t eowe smuch t o t hedivision o fhuman
a rt y b e d a m e h c y s
p diitona lpsychoanalysi swherei tconsist sofi d ,ego ,and supe r
y l p e e d s i y ti v it c e j b u s n a m u h n o n o it p e c n o c s ’ n a c a L . ) d u e r F d n u m g i S ( o g e
e r h t e h t n i d e t a r o b a l
e er egister snamely t heimaginary ,thesymboilca ndthereal .
m r o f e h t d r a w o t r e w o p e v it u ti t s n o c a s a h m e h t f o h c a
E aiton o f human
w a l e h t ( w a l c il o b m y s y b d e n r e v o g s i n o it a l e r l a i c o s t a h t n o it o n s i H . y ti v it c e j b u s
e h t o t t h g i s n i w e n a s e k a m t a h t g n i h t e m o s s i ) e g a u g n a l n r e v o g o s l a t a h t
i s il a n a o h c y s
p s .According to him ,human subjecitvtiy moslty depend son the
e g r a l a t a h t s i e r e h r e if i n g i s y b s n a e m t a h W . y t e i c o s y b m i h o t d e h c a tt a r e if i n g i s
s i l o b m y s l a i c o s a e c n O . e n o e m o s o t d e h c a tt a e r a t a h t s l o b m y s l a i c o s f o t n u o m a
e h y a w e h t , e n o e m o s o t d e h c a tt
a perceive the wo lrd and they way the other s
s i t c e j b u s a , d r o w a n I . l o b m y s l a i c o s t a h t y b d e n i m r e t e d y lt s o m m i h e v i e c r e p
. l o b m y s a y l n o n a h t e r o m g n i h t o n
, c il o b m y s e h t n o a e d i s ’ n a c a L t a h t l a e v e r l li w s i s e h t e t a u d a r g r e d n u s i h T
o t u a n o it it e p e r d n a l a e r e h
t maitsmaremanfiestedt hrought heanalysi soft heplot .
f o y c n e d n e t e h t t a h t l a e v e r o s l a l li w s i s e h t e t a u d a r g r e d n u s i h t , t a h t s e d i s e B
t u o h g u o r h t d e t a e p e r e b o t s m e e s h c i h w ) w a l e h t g n i s s e r g s n a rt ( l a d n a c s g n it i m m o c
s e d l a n o s r e p e h t f o m e l b m e e h t s i y r o t s e h
t rie o f the author . Through the
e h t s i r o h t u a e h t t a h t s l a e v e r t i r o h t u a e h t f o e fi l l a n o s r e p e h t f o n o it a n i m a x e
n o i g il e r t n e r e f fi d m o r f n a m s e ir r a m r e h t o m r e h f o e s u a c e B . r e d r o l a i c o s f o m it c i v
it c e j e r e h t s e o g r e d n u r e h t o m r e h d n a e h s , m i h e c r o v i d n e h t d n
a on from society
n o it a l u m r o F m e l b o r P . B
m e l b o r p e h t n o d e s a b e b l li w y d u t s s i h t , d e z i n a g r o l l e w y d u t s s i h t e k a m o T
w o l e b d e t a t s s a n o it a l u m r o f
.
1 Howi st heplo toft henove l?
.
2 How are the idea o fthe symboilc ,the rea land repeititon automaitsm
? t o l p e h t f o s i s y l a n a e h t h g u o r h t d e t n e s e r p e r
.
3 How i st hepersona ldesrieoft heautho rrelfected t hrough t he i dea oft he
? t o l p e h t n i d e t n e s e r p e r m s it a m o t u a n o it it e p e r d n a l a e r e h t , c il o b m y s
f o s e v it c e j b O .
C TheStudy.
t f o t s i s n o c l li w y d u t s s i h
T h reeobjecitves .Thef ris tobjecitveoft hestudy
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e h h c i h w n i g a ti e r F v a y s u G y b e d a m t o l p e h t f o s t n e m e l e f o n o i s i v i d e h t n o d e s a b
n o
c ceive saplo ta smadeo fsix element snamely exposiiton ,compilcaitngaciton ,
, n o it c a g n il l a f , ) x a m il c ( y t e p ir e
p resoluiton and catasrtophe (denounmen)t. The
l a e r e h t , c il o b m y s e h t f o a e d i e h t w o h t u o d n if o t s i y d u t s e h t f o e v it c e j b o d n o c e s
ti t e p e r d n
a ion automaitsm are represented through the plo to fthe nove l(ti ssix
t u o d n if o t s i y d u t s e h t f o e v it c e j b o d ri h t e h T . ) g a t e ir F y b d e t s e g g u s s a s t n e m e l e
e h t , c il o b m y s e h t f o a e d i e h t h g u o r h t d e t c e lf e r s i e ri s e d l a n o s r e p s ’ r o h t u a e h t w o h
o it it e p e r d n a l a e
r n automaitsmr epresentedi nt heplo.t
.s m r e T f o n o it i n if e D . D
.
6
e h t s i m s it a m o t u a n o it it e p e
R concep ttha tLacan borrow sfrom Freud .Dyla
n i s n a v
E Introductory Dicitonary o f Lacan propose stha t Freud postied the c
c i s a b a f o e c n e t s i x
e ompulsion t o repeat i n ordert o explain cetrain cilnicaldata :
n i a g a d n a n i a g a f l e s m i h e s o p x e o t t c e j b u s e h t f o y c n e d n e t e h t , y l e m a
n to
. ) 1 9 1 : 6 9 9 1 ( s n o it a u ti s g n i s s e rt s i
d He conitnues tha tiit sa basic p irnciple o f
d n o c y l n o s i n o s r e p a t a h t s i s y l a n a o h c y s
p emned t o r epea tsomething whenheha s
n o i s l u p m o c e h t f o s n i g ir o e h t n e tt o g r o
f (1996: 191) .
c il o b m y S e h T .
2 .
s p o l e v e d n a c a L t a h t t p e c n o c a s i
tI from Lev iSrtauss’s t hough tonSymbo ilc
e m a d n u f a s i t I . e g a u g n a l n o t h g u o h t s ’ e r u s s u a S e d d a n i d r e F d n a n o it c n u
f nta l
y r a n o it c i D y r o t c u d o rt n I n i s n a v E n a l y D . n o it a l e r l a i c o s l l a e il r e d n u t a h t s e l p i c n ir p
t a h t s e t a t s n a c a L f
o the symboilc i sthe se to funiversa lp irnciple swhich make
n r e v o g t a h t e r u t c u rt s e h t , e l b i s s o p e c n e t s i x e l a i c o
s al lform o fsocia lexchange
6 9 9 1
( :125) .In t he symbo ilc, t herei san i nsrtumental t erm which i so tfen used ,
e h t r o f r o h p a t e m a s i r e h t a F e h T f o e m a N e h T . r e h t a F e h T f o e m a N e h T y l e m a n
w a l e h t f o y c n e g a e v it a l s i g e l d n a e v it i b i h o r p e h t s a s e v r e s t a h t n o it c n u f l a n r e t a p
a i c o s s e t a l u g e r t a h
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.
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6 9 : 5 0 0 2
( ) .Theexistenceo fthe symbo ilc pressuposes t heexistenceo fa se to f
a h t s n o it i b i h o r
p tregulate human’ sdesrie .The rea li sthe desrie wtihin human
f o m l a e r e h t n i h ti w d e t a l u g e r d n a d e c u d e r e b t ’ n a c t a h t g n i e
8
I I R E T P A H C
REVIEWOFLITERATURE
s e i d u t S d e t a l e R f o w e i v e R . A
The fris trelated study tha twli lbe elaborated in thi spar ti sa thesi s
r e H . ) 8 0 0 2 , n o t g n i m li W a n il o r a C h tr o N f o y ti s r e v i n U ( e l a d k c o t S y li m E y b n e tt ir w
d n u d e t c u d n o c s i s i s e h
t ert he itlte “LanguageAnd TheCreaiton o fCharacters i n
s ’ y o R i t a h d n u r
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t e g a u g n a l e h t r o s r e t c a r a h c n i a m e h
t hatt hemaincharacte ruse swtihint henovel )
o t d e t a l e r y l n o t o n s i w e i v s ’ e g d a l k c o tt S n i e g a u g n a L . s r e t c a r a h c n i a m e h t d n a
d n a d n a t s r e d n u s p u o r g l a r u tl u c y a w e h t o s l a t u b e g a u g n a l n e k o p s r o n e tt ir w
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c tocklade seest hatt he
o s d n a t n e r e f fi d s i r e t c a r a h c n i a m h c a e g n it n e s e r p n i s e s u r o h t u a e h t t a h t e g a u g n a l
s i n o it c n it s i d e h T . y r o t s e h t n i h ti w r e t c a r a h c n i a m h c a e y b d e s u e g a u g n a l e h t s i
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c characte r
e g a u g n a l f o e s u e h t n e e w t e b y ti n if f a g n o rt s a s i e r e h t , y a w r e h t o n a n i ti t u p o T . s i
. c it s ir e t c a r a h c r i e h t h ti w r e t c a r a h c h c a e f o
e h t( l e h a R d n a a h t s E y b d e s u e g a u g n a l e h t g n i y d u t s y b s n i g e b e h S
n a c s n i w t e h t t a h t s n e p p a h y l d e t a e p e r tI . ) s n i w
t no tmakeaboundarybetweent wo
s d r o w o w t f o r e g r e m e h T . d r o w a s a s d r o w o w t e c n u o n o r p n e tf o y r e v y e h T . s d r o w
n o it a l e r l a n o s r e p e h t s e t a c i d n i , e d a l k c o t S o t g n i d r o c c a , s n i w t e h t y b d e t c u d n o c
r ri m s d r o w f o s e ir a d n u o b e h t f o n w o d k a e r b e h T . s n i w t e h t n e e w t e
b o irng thei r
Theconfusionl ayi ndeeper ,mores ecre tplaceI.nt hoseealryamorphou syear s , s d n E o n d n a s g n i n n i g e B f o l l u f s a w e fi l n e h w , n u g e b t s u j d a h y r o m e m n e h w
, r e v e r o f s a w g n i h t y r e v E d n
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s e it it n e d i t n i o j h ti w , e t a r a p e s y ll a c i s y h p , s n i w t e s e m a i S f o d e e r b r a r a e r e w
.) 4 : 7 9 9 1 , y o R (
a r r a n n I . a h t u l e V g n i n i m a x e y b s e u n it n o c e h
S itng Velutha a s a
y l e r a r a h t u l e V . n o it a z il a c o f f o e l y t s t n e r e f fi d t i b e lt ti l a s e s u y o R , r e t c a r a h c
s t s e g g u s e g d a l k c o t S s A . s r e t c a r a h c r e h t o n a h ti w s k a e p s r o t h g u o h t s i h s e s s e r p x e
n o s r e p a n o e n o y n a o t k a e p s o t e c n a h c e h t s t e g y l e r a r e h , e l b a h c u o t n u n a s a
“ a l
s n i w t e h t d n a y li m a f s i h f o e d i s t u o ( l e v e
l – whoetihe rdono tknowo rdono tcare
t o n r e d a e r e h t o t d e t n e s e r p s i y tl a n o s r e p s i H .) 8 : 8 0 0 2 ( ” ) n o it i s o p l a i c o s s i h t u o b a
s k r a m e r s r e t c a r a h c r e h t o e h t y b r e h t a r t u b h t u o m n w o s i h m o r f g n i m o c s d r o w y b
t u o b
a himo rbyt henarrator’ sdescipitonabou thim .I ft her eade rwantst oassume
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t a h w n o s d n e p e d y lt s o m y ti l a n o s r e p s i h h c i h w n i a h t u l e V f o l a y a rt o p e h T . s d r o w
r a h c r e h t o e h
t acter ssayabou thimmriror shi sposiiton ast hemembe ro fmargina l
t o n n a c y e h T . e c i o v n w o r i e h t e c i o v o t e l b a y l d r a h s i p u o r g l a n i g r a M . p u o r g
. p u o r g t n a n i m o d y b d e t n e s e r p e r e r a t u b s e v l e s m e h t t n e s e r p e r
Thenex tcharactert ha tStockdalestudiesi sAmmu t(het wins ’mother) .
h ti w a h t u l e V h ti w y ti r a li m i s n o m m o c a s e r a h s u m m A e l a d k c o t S o t g n i d r o c c A
d n a n a m u d n i H a h ti w e g a ir r a m r e h f o t l u s e r e h t s a , u m m A . e g a u g n a l o t d r a g e r
y n a m n O . n o i n i p o n w o r e h e c i o v o t d e w o ll a t o n s i e c r o v i d r e h e s r o w n e v e
, n o i s a c c
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2 Thei ssueo fhib irdtiy i nArundhat iRoy’ snovel ,TheGod o fSmal lThing , u
Q o t g n i d r o c c
a otka ,could be rtaced f romt hedisordeirng oft he itmewtihin t he
. l e v o n e h t f o e v it a r r a
n The God o fSmal lThing i spresented in a fragmented y ti r a e n il r a e l c a g n i v a h t u o h ti w t n e v e r e h t o n a s w o ll o f t n e v e e n o h c i h w n i r e n n a m
i t a h t e s n e s a n i e m it f o n r e tt a
p tdoe sno tneccessarliyhappent ha tpresen tmomen t
a k t o u q s A . t n e m o m t n e s e r p s e d e c e r p t n e m o m t s a p r o t n e m o m e r u t u f s e d e c e r p
s e u g r
a tha tThe God o fSmal lThings present san o tfen bewlideirng mix o f e
h t m o r f s n o it a s n e s d n a , s e ir o t s , s e g a m i : s e m it t n e r e f fi
d pas tblend t ogethe rwtih
.) 1 1 : 1 1 0 2 ( s e c n e ir e p x e e r u t u f n e v e d n a s t n e m o m t n e s e r p
a k t o u Q , l e v o n r e h f o n o it a r r a n e h t n i e m it s r e d r o s i d y o R y a w e h t h g u o r h T
t s u j s i x if d b a r a e n il s a e m it e v i e c r e p h c i h w w e i v e h t t a h t n o i s u l c n o c e h t o t s e m o c
s i e m i T . n o i s u ll
i alway samixture ,we have t o perceive “ presen tmoment”a sa
s a ” t n e m o m e r u t u f “ d n a . s t n e m o m t s a p f o n o it a it o g e n d n a n o it a m a g l a m a x e l p m o c
.s t n e m o m t n e s e r p f o n o it a it o g e n d n a n o it a m a g l a m a x e l p m o c a
a l n e e w t e b n o o it a l e r e h t s e z il a n a y d u t s t s ri f e h t s a e r e h
W nguage and
s i h t , y ti d ir b y h f o a e d i e h t s e t a r o b a l e y d u t s d n o c e s e h t e li h w s r e t c a r a h c
e z y l a n a l li w s i s e h t e t a u d a r g r e d n
u thei ssueof t he rtansgression oft hel awast he
n o it it e p e r ,l a e r e h t , c il o b m y s e h t f o a e d i e h t h ti w n o it a l e r s ti d n a t o l p e h t f o e r o c
t u
B .Reviewo fRelatedTheorie.s
.t o l P f o y r o e h T . 1
Gustav Freytag ,a German j ournails tand wrtie,r i n hi sbook Technique a
m a r D f
o , a s quoted through Stefanie Lethb irge , idenitife s plo t into six e
m a n s t n e m e l
e ly exposiiton ,compilcaitng aciton ,peirpety (cilmax) ,falilng
n I .) 9 9 : 1 0 0 2 ( )t n e m n u o n e d ( e h p o rt s a t a c d n a n o it u l o s e r , n o it c
a exposi iton,t he
e h T . r e d a e r e h t o t d e c u d o rt n i e r a ) s r e t c a r a h c n i a m y lr a l u c it r a p ( s r e t c a r a h c
v l o v n i s r e t c a r a h c e h t f o n o it c u d o rt n
i e showt hey r elatet o each other ,wha tare
e h t s e d i s e B . e r a y e h t n o s r e p f o d n i k t a h w d n a s e ri s e d d n a s e v it o m r i e h t
r e h ti e , d e c u d o rt n i o s l a s i g n it t e s e h t , n o it i s o p x e n i ,r e t c a r a h c e h t f o n o it c u d o rt n i
a h r e d a e r e h t t a h t o s , d n u o r g k c a b l a i c o s e h t r o e c l p e h
t sa menta lpicture o f
e h t f o y t e i c o s e h t f o d n u o r g k c a b l a i c o s e h t d n a e c a l p g n i k a t s i y r o t s e h t e r e h w
l a r e n e g l l a s n i a t n o c n o it i s o p x e , d i a s e b d l u o c t i , d r o w a n i , o S . y r o t s
r p l li w t a h t s n o it a m r o f n
i ovide the reade r the impo tran t informaiton tha t
t s e m o c e
b hebackground oft hestory. I nexposiiton,t heseed of t heconfilcti s
v i g s i t a h t n o it a m r o f n i l a r e n e g e h T . d e t n i h y ll a m r o
n en i n exposiiton generally
n
i ucl dest hecluet hatmakest her eade rawareoft hemain problemt ha twli lbe
r e t c a r a h c n i a m e h t y b d e c a
f .sI ncompilca itngac iton,t her eade r ifnallyknow s
n o it c a g n it a c il p m o c t a h t s e u g r a e g d ir b h t e L . li a t e d r e t a e r g a n i m e l b o r p e h t
s m e l b o r p r o s e c n a t s m u c ri c r e h tr u f g n i c u d o rt n i y b t o l p e h t s l e p o r p y ll a u s u
o t s tr a t s t c il f n o c n i a m e h T . e u s s i n i a m e h t o t d e t a l e
r developandcharacter sare
e t a e r g n i d e t n e s e r
p rdetali(2001 :100 .)I nt hi spar,tt heproblemort heconfilc t
2 1
d n a n o i s n e t e t a r e n e g t a h t s t n e v e f o n i a h c f o t s i s n o c n o it c a g n it a c il p m o C
s u
s pense. Periphery could be said a sthe most i nteresitng par to fthe story .
y e h t e s u a c e b s e v o m t o l p ( g n i v o m s i t o l p e h t t a h t s e s o p o r p l li G d r a h c i
R e x tiin
( n o it c e ri d n i a tr e c a n i ) e m
it 1985:167) .Heusest het erm rtajectoryt odescirbe
e h t f o t n e m e v o m e h
t plot .Trajectory i st hepath t aken by amoving object .I f
d l u o c t i , y r o t c e j a rt s a t o l p e h t f o e v o m e h t g n i v i e c n o c n i a e d i s ’l li G w o ll o f e w
t a h t d i a s e
b peirpheryist hepar twhent hemoveoft heplotr eache s ti scilmax .
t o n s e o d r e v e w o h x a m il c s ti g n i h c a e
R mean t hatt he plo tachieve s ti send .In
. k a e p s ti s e h c a e r m e l b o r p e h t m o r f d e tl u s e r n o i s n e t e h t t r a p s i h
t Pe irphery
n a s e k a m r e t c a r a h c n i a m e h t n e h w t n e v e f o s t s i s n o
c insrtumental aciton tha t
. y r o t s e h t f o e m o c t u o e h t o t d a e
l Falilng aciton consist so faciton so revent s
y l e t a i d e m m i e m o c t a h
t atfe rcilmax .I tcould be said ast he driec teffec toft he
h c i h w r u c c o l li w n o i s n e t w e n e h t , x a m il c e h t f o e c n e u q e s n o c e h t s A . x a m il c
e g d ir b h t e L . r e t c a r a h c n i a m y b d e m r o fr e p n o it c a l a t n e m u rt s n i e h t m o r f d e tl u s e r
s e u g r
a tha t falilng aciton creates new tension in tha t i t delay s the ifna l
( s t n e v e r e h tr u f y b e h p o rt s a t a
c 2001:100) .Resolu itonist heexpeirencewege t
e h t , y ll a n i F . d e v l o s e r e r a y r o t s e h t n i h ti w s t c il f n o c e h t r o s e u s s i e h t ll a n e h w
o n e d n i d n e s ti s e h c a e r t o l
p uement .Denouementist heconclusionthatt ells the
.s r e t c a r a h c s u o ir a v e h t f o s e i n it s e d l a u d i v i d n i e h t r e d a e r
2 .TheoryofLacan.
e e r h t y d u t s o t e v
