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O I T C U D O R T N I : I R E T P A H
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A . Backgroundoft heStudy ........................................................... 1 .
B ProblemFormulaiton ................................................................. 5 .
C Objecitve soft heStudy............................................................... 5 .
D Deifniitono fTerm s ................................................................. .. 5 W
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A Reviewo fRelatedStudie s ......................................................... 7 .
B Reviewo fRelatedTheoire s ....................................................... 9 l
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m e h T f o y r o e h T .
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3TheRelaitonbetweenThemeandSymbo l .............................. 13
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T P A H
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A Objec toft heStudy .................................................................. .. 1 7 .
B Approachoft heStudy ............................................................... 1 8 .
C Methodoft heStudy .................................................................. 19 S
I S Y L A N A : V I R E T P A H
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4 ......................................................................... 3 4 .
B Thethemaitcsigni ifcanceo fmagicmarble ................................ 4 1 N
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i x K A R T S B A . A T I S N A I R A I L
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k yang kedua adalah batu besar . Batu besa r in i s a t n e s e r p e r e
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k yang keitga adalah boneka .Boneka
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m Simbo lutama dalam certia in i
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1 I R E T P A H C
N O I T C U D O R T N I
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A Backgroundoft heStudy
l li w e l p o e P . d e n r a e l e b o t g n it s e r e t n i y ll a e r s i t a h t t c e j b u s a s i e r u t a r e ti L
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d Edga rV.
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n w o r u o y e d e s r e p u s o t s e u q i n h c e t l a c i s u m r o c i h p a r g o t o h p o n , g n it t e s o n , s r o t c a
) 2 : 7 8 9 1 ( ” s a e d i s ’ r o h t u a e h t f o n o it c u rt s n o c e
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a eoplecan showt herif eeilngandemoiton byw iritngo rmakingt he .
e r u t a r e ti l f o k r o
w Edga rV. Robe tr sand Henry E. Jacob salso stated that ,“i t t
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e he arousa l o f interest , concern , tension , d
n a , r e t h g u a l , t e r g e r , r a e f , e p o h , t n e m e ti c x
e sympathy.” (1987:2) I tmean stha t d e t c e p x e s i ti d n a , g n il e e f r i e h t e r a h s n a c e l p o e p h c i h w n i e c a l p e h t s i e r u t a r e ti l
t a h
t peoplecan becomef reef romt hei rpressureofemoiton atfert hey show t hei r t
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f hrought heworkofl tierature . s i e r u t a r e ti l f o s t n e m e l e e h t f o e n
O asymbol .A symboli ssomethingt ha t g
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s have the othe rmeanin g from ti sordinary meaning. sA n
o s n h o J d n a s a m o h
T saysi n he rbook Ltierature :Structure ,SoundandSense, t“I s a h t a h t t n e m e l e r e h t o e m o s r o , n o it c a d n a , n o it a u ti s a , n o s r e p a , t c e j b o n a e b y a m
e s e r p e r r o s t s e g g u s t a h t 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 nt sothe rmeaning sa s
. ) 4 8 2 : 9 0 0 2 ( ” ll e w
. P s n a H o t g n i d r o c c
A Guth andGab ireleL. Rico i n t hebook Discovering 2
,s y a l P , s m e o P , s e ir o t S : e r u t a r e ti
L ndediiton ,Symbol i s“the mind’ seyet akesi n s
e g a m
i -vividly imagined detalis ,shapes ,textures ,bu to tfen there i smore than e
y e e h t s t e e
m ” (1997:189 .)I tmeanst ha tsymboli smoret han wha tpeoplesee. I t e l p o e p t a h t g n i h t y n a n a h t e r o m o s l a t u b , l o b m y s t a h t f o m r o f e h t t u o b a y l n o t o n s i
. w o n k
sA ymboli sno tonlyconsidered t ohaveal o to fmeanings .Asymbo lcan o
t d e k n il e b n a c o s l a t i ,f l e s ti y b d n a t
s theotheri ntirnsicelements .Thewrtie rcan y
b d e t a t s s i tI . e m e h t e h t h ti w l o b m y s e h t e t a l e
r Edga rV. Robetr sand Henry E. n
i s b o c a
J Ficiton :An Introduciton to Reading and Wriitng, “In ltierature ,a p
l o b m y
s ull so rdraw stogethe ra speciifc thing wtih ideas ,values ,persons ,o r e
fi l f o s y a
w ,in a d riec trelaitonship tha totherwise would no tbe apparent” )
9 7 2 : 7 8 9 1
( . tI tellstha tsymbo lcanber elatedt o theotheri ntirnsicelements ,such s
k r o w s i h
T o fltierature i san Asian nove lwhich tell sabou ta gri lwho e
v i g l li w t a h t e l b r a m c i g a m a n i s e v e il e
b luck fo rher .Thi sstory t ake splace i n s
a e m it e m a s e h t t a a i d o b m a
C the Cambodia’ sWa.r Thi snove li s ilke the d
a e r e b n a c t i , r e v e w o H . k o o b s ’ n e r d li h
c by al lages ,such as :adutl ,teen ,and ti
d n a n e r d li h
c no tonly tell sabou tthe chlidren’ sexpeirence bu talso abou tthe .
k o o b s ’t l u d a o t n i d e z ir o g e t a c s i ti , o S . m e l b o r p s ’t l u d a
k o o b e h t n i d i e R b o R o t g n i d r o c c
A Reid’ sRead-Aloud s2 ,“the ifghitng s
n e t n
i i ife sandDarai sseparated f rom herf amliy .Sheeventually ifndst hem wtih a
m e h t s i s e v e il e b e h s t a h
w gico faclay marbleJantu made”( 2011:49). tI mean s t
a h
t symbolisr eally signiifcanti n t hi sstory becausei thelpsthecharacte roft he y
r o t
s to be brave in ifnding the famliy .The hal fo fthe main character’ slfie s
a h r e t c a r a h c n i a m e h T . e l b r a m c i g a m e h t n o s d n e p e
d thesrtength t osurviveand
e s u a c e b y li m a f e h t d n if o
t fo themagicmarble .
s u a c e b g n it s e r e t n i y ll a e r s i l e v o n s i h t t a h t s k n i h t r e ti r w e h
T e tii sno tonly
t u o b
a acommon story ,bu talsot herei ssomethinguniquei nt ha tstory .TheClay e
l b r a
M no tonlyt ell saboutt hechlid’ sexpeirence swtiht hef amliyorf irends ,bu t m
o r f p l e h e h t h ti w r a w f o a r e e h t n i lr i g a f o s tr o f f e e h t t u o b a s ll e t
ti the magic
e h t f o e s u a c e b l a i c e p s s i l e v o n s i h T . e r o f e b d e s o p x e n e e b r e v e n s i ti d n a , e l b r a m
n o it p ir c s e d s ’ r o h t u
a aboutt hemagicmarbleandt heaffectst ot hes tory.
. l e v o n s i h t g n i d a e r r e tf a t e g n a c e l p o e p t a h t s e u l a v e m o s o s l a e r a e r e h T
r f f o s e u l a v e h
T iendship,f amliy ,rtust ,etccanbef oundi nt hiss tory.Thosevalue s l
e v o n e h t e k a
m dfiferen tand make the wrtie rwants to use thi snove lto do a .
e r e h t e s u a c e b h c r a e s e r s i h t f o c i p o t e h t s a l o b m y s e h t s e s o o h c r e ti r w e h T
r a h c i h w s l o b m y s e m o s e r
a e really interesitng to be analyzed .There are some r
e ti r w e h t s e k a m t i , n o it n e tt a s ’ r e ti r w e h t t c a rt t a h c i h w s t c e j b
o wants to analyze
. y r o t s s i h t n i l o b m y
s
l o b m y s n i a m e h t , e l b r a m c i g a m 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
e l b r a m c i g a M . y r o t s s i h t n
i i schosenbecausei tha sani mpo tran taspec torr olet o .
y r o t s e h
t Thewrtie rchoose ssymbo last het opicoft hist hesi sbecausethemain o
t e l o r n i a m e h t s a h ) e l b r a m c i g a m ( y r o t s s i h t n i l o b m y
s the t heme .Themagic
s i h t n i s e l o r t n a tr o p m i e m o s s a h e l b r a
m novel .Many repeititons o fthe word s e
p p a ” e l b r a m c i g a m
“ a rin every chapter ,i tproves tha ta symbo li sgood to be .
d e z y l a n a
s e t a l e r r e ti r w e h
T asymbo landt hemeoft henove lbecauset hoseelement s y
r o t s s i h t n i e l b r a m c i g a m e h T . r e h t o h c a e o t d e k n il e r
a i sbeileved a sa main
o t s e c n e u lf n i e h t s e v i g l o b m y s s i h T . l o b m y
s thet hemeoft hestory .Magicmarble t
p a h c y r e v e n i s r a e p p a s y a w l a h c i h
w e rprovesthatt herei sasomethingsigniifcan t d
e t a e p e r s i h c i h w e l b r a m c i g a M . r e t p a h c s i h t n
i int hi sstoryi susedtoconvey the ,
l o b m y s f o y d u t S . y r o t s s i h t f o e m e h
t the meaning o fthe symbo land the f
o e m e h t e h t o t s e c n a c if i n g i
s TheClayMarblearequtiei nteresitngt obel earned. ‘
s e s u o H g n o f n i
M magic marble ’a sa main symbo lin thi sstory .The e
t s e r e t n i s i r e ti r
w d in analyzing the symbo lo fmarble ,the meaning o f ti ,the e
h t d n a n o it a t n e s e r p e
r signiifcancestot hethemeoft hestory. Tostudy t hi scase , s
e s u r e ti r w e h
t thef ormails tapproach .Thisapproachonlyf ocusesont hei nt irnsic ti
l f o k r o w e h t f o s t n e m e l
.
B ProblemFormula iton
.
1 Whati st hemains ymbolint hes tory? .
2 W hatist hethemaitcsigni ifcanceofmains ymbol inTheClayMarble?
.
C Objecitve soft hes tudy
e h t n i d e t a t s s n o it s e u q h c r a e s e r e h t r e w s n a o t s i y d u t s s i h t f o m i a e h T
h w , n o it a l u m r o f m e l b o r
p ichmakest hewrtie rhaves evera lobjecitves . o
w t s a h h c r a e s e r s i h
T objecitves .The fris tobjecitve i sto if nd the main y
r o t s e h t n i l o b m y
s .To know t hemain symbo,l t hewrtie rneeds t o descirbeand c
il o b m y s e h t s n i a l p x
e a lmeaningoft heothe rsymbol sand thewrtie rhast o show .
m e h t g n o m a n o it a l e r e h
t The second objecitve i sto explain wha tthe themaitc o
s e c n a c if i n g i
s f t he main symbol .I tmeans t o show t hetheme which i sdeirved .l
o b m y s e h t m o r f
.
D Deifni itonoft erms
.
1 Symbol
R . L e l e ir b a G d n a h t u G . P s n a H n
I ico in Discovering Ltierature :Stories , ,s
y a l P , s m e o
P 2nd ediiton . Symbol s are image s tha t have meaning beyond g n i n a e m a s a h t a h t t n e d i c n i n a r o , r e t c a r a h c a , li a t e d a s i l o b m y s A . s e v l e s m e h t
ti d n o y e
b sl tieralr olei nt henarraitve( 1997:189 .) n
I Ltierature :AnI ntroducitont oFiciton ,Poetryand Drama ,X.JKennedy a
i o i G a n a D d n
y e h t , t n i o p y e h t ; e ti n if e d y l e t u l o s b a g n i h t y n a r o f r o
n hint ,o rthey cas tlong
( s w o d a h
s 1999:217 .) i n a s i l o b m y s , o
S magewhich ha smore t han one meaning . tIi sno tonly .f
l e s ti n a h t g n i n a e m e r o m s a h t i t u b , g n i n a e m l a r e ti l a s a h
.
2 Thema itcSigniifcance
o t g n i d r o c c
A Longman Dicitonaryo fContemporaryEngilsh New Ediiton s
r e n r a e L d e c n a v d A r o
f , themaitc mean s relaitng to a paritcula r theme , or
.) 7 2 8 1 : 9 0 0 2 ( e m e h t a o t g n i d r o c c a d e z i n a g r
o Then , according to Perrine’ s n
o it i d E h t n e T 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 ,themei sti sconrtolilngi dea )
1 9 1 : 9 0 0 2 , n o s n h o J d n a s a m o h T ( t h g i s n i l a rt n e c s ti r o
o t g n i d r o c c
A Longman Dicitonaryo fContemporaryEngilsh New Ediiton s
r e n r a e L d e c n a v d A r o
f ,t hesigniifcancemeanst hei mpo tranceo fanevent ,aciton .)
2 3 6 1 : 9 0 0 2 ( c t e
m e h t d n a e c n a tr o p m i e h t s i e c n a c if i n g i s c it a m e h t e h t , o
S eaning o f
l e v o n f o n o it n e t n
7
CHAPTERI I
THEORETICALREVIEW
.
A Reviewo fRelatedStudies
o t g n i d r o c c
A BarbaraFiste,ri nt hebookThirdWorldWomen’ sLtierature : h
s il g n E n i s l a i r e t a M o t e d i u G d n a y r a n o it c i D
A .Minfong Ho usually make sa w
s a h e h S “ . e fi l o t s n r e c n o c d n a y r o t
s irttensevera lnovelsf o ryoung r eadersi na
o g n i s u c o f , x e l p m o c d n a c it s il a e r s i t a h t e l y t
s n lfie in contemporary Thaliand”
) 2 4 1 : 5 9 9 1
( . oH ha smadea l o to fnovel sand mos tof t hem always focu son t he
f o e m e h t e h t o t d e t a l e r s i tI . d n a li a h T n i e fi
l TheClayMarblewhichHomakes. e
y a K r e g r e B n y r h t a
C m also stated t hat ,“Separated from her l oved ones ,
) 9 6 1 : 4 0 0 2 ( ” y li m a f r e h d n if o t e c n e d if n o c d n a e g a r u o c e h t s r e v o c s i d a r a
D . Thi s
n o it a t o u
q also suppo trs t heFister’ squotaiton abovet hatt hemeo fMinfong Ho’ s
t u o b a s i y r o t
s elfi .Thecourageand con ifdenceo fDaraareveryi mpo tran tpoint s
n i o H g n o f n i M f o a e d i e h t o t e s o l c e c n e d if n o c d n a e g a r u o c e h T . y r o t s s i h t n i
g n i k a
m TheClayMarble.
.l o b m y s n i a m e h t t u o b a s i m s i c it ir c r e h t o e h
T Seiwoong Oh in
i d e p o l c y c n
E a o fAmerican Ethnic Ltierature :Encyclopedia o fAsian-American e
r u t a r e ti
L stated ,“The protagonis tmake sfirend swtih Jantu ,who create sgrea t
e l b r a m y a l c ” l a c i g a m “ a g n i d u l c n i d u m f o t u o s y o
t . ”(2007:107) tIt ell saboutt he
y b e d a m s i h c i h w y o t y r a n i d r
o Jantu . Howeve,r t herei sa“magical” i n t he clay
t i s e k a m h c i h w e l b r a
m a sa grea ttoy .I tmean stha tclay marble ha smore
n a s i e r e h
T undergraduate thesi swhich analyzed simlia rtopic .Ernesa
h i s g n i n a y t s i L a ti v o
N analyzed abou ta study o fsymbols i n Andrea Hriata’ sThe s
p o o r T w o b n i a
R .She stated t hat ,“Al lsymbolsi n t henove l if tnaturally i nto t he d e t a l e r s i n o it c e n n o c s i h T . r e h t o n a e n o h ti w n o it c e n n o c l a i c e p s m r o f d n a t x e t n o c
h t e h t o
t emeoft henovel”(2011:39 .) Shealsosaid that ,“Thi ssymbo lenablest he
e h t t a h t s r e d a e r e h t f o n o it o m e e h t e k o v e o t r e ti r
w nove li smainly abou t
e l g g u rt
s ”(2011:40 .) Thoset wo quotaiton shelp t he wrtiert o develop t het opic o f
, y ll a i c e p s E . s i s e h
t the statemen ttha tthe symbo lhas specia lconneciton fo rthe
e m e h
t srtengthens thi sthesis .Related to thi stopic ,the symbo lin he rthesi si s
e h t o t s e c n e u lf n i t n a c if i n g i s s a h h c i h w s i s e h t s i h t n i l o b m y s n i a m e h t o t r a li m i s
n i e m e h
t TheClayMarble.
d e i d u t s o w o b i W a ir a s o R u y a h a R a i n o t n
A abou t reveailng the theme
s ’ g r e b d n ir t S t s u g u A n i e c n a c if i n g i s r i e h t d n a s l o b m y s e h t h g u o r h
t The Ghos t
a t a n o
S .She stated that ,“Thi sresearch will explore the signiifcance o fsome h t , s l o b m y s e m o s f o e c n a c if i n g i s e h t g n i d n if r e tf A . y a l p e h t e d i s n i s l o b m y
s e
e m e h
t oft heplay wli lbef ormulated” (2011:2 .) Tha tquotaitonhelpst hewrtiert o
, c i p o t s i h t o t d e t a l e R . s i s e h t f o c i p o t p o l e v e
d t he way sto if nd the symbo land
e r a e m e h t e h t e t a l u m r o
f simlia rwtih ifndingt het hemeo fTheClayMarble. e
h
T four studie sreviewed above descirbed dfiferen ttopic .s The fris t
y a w e h t t u o b a d e t a t s t I . o H g n o f n i M , y r o t s e h t f o r o h t u a e h t t u o b a d e t n e m m o c
d n a y r o t s a s p o l e v e d o H g n o f n i
M Ho’ sidea in making a story .The second
e h t t u o b a d e s s u c s i
d magicmarble.I tdiscussedaboutthemagicmarblewhich ha s
y r o t s e h t n i t n a tr o p m i s i t i d n a g n i n a e m e r o
e r a y e h T . c i p o t e h t d e b ir c s e
d abou tthe simliart opic stha tare made by the two
. 7 0 0 2 n i s i s e h t e t a u d a r g r e d n u e h t h ti w s r e ti r w
a r g r e d n u s i h t h g u o h t n e v
E duate thesi sha ssimlia rtopic wtih those two
m o r f t n e r e f fi d s i s i s e h t s i h T . w e n g n i h t e m o s s a h t i , s e i d u t
s othe rstudies ,the
t n a c if i n g i
s role of t hesymbol t o t he t hemei n t hi sstudy i sneve rbeen analyzed
. e r o f e b
.
B Reviewo fRelatedTheories
.
1 Symbol
s
A ymboli st het hing whichr epresentst heothert hing .A symbo lhast he
. P s n a H o t g n i d r o c c A . s a h t i n a h t e r o m d n a g n i n a e m r e p e e
d GuthandGab ireleL.
n i o c i
R Discove irng Ltierature :Stories ,Poems ,Play ,s2ndediiton,symbol si “the
mind’ seye take sin image ,vividly imagined detalis ,shape ,s t extures .Bu to tfen
t t a h t e s n e s e
w herei smoret han meetst heeye” (1997:189 .)I tmeanst ha tsymbo l
s e o d l o b m y s e h t f o g n i n a e m e h T . w o n k d n a e e s e l p o e p t a h t g n i h t y n a y l n o t o n s i
o m m o c e l p o e p t a h t g n i h t e h t n o d n e p e d t o
n nly known ,i tha smore meaning
s e o d t I . e g d e l w o n k n o m m o c e h t e d i s t u
o no thaves tandardizaitonbu ttii sbasedon
. y r o t s e h t f o t x e t n o c e h t d n a n o it i d n o c , n o it a u ti s e h t
l a rt n e c a n e tf o “ , l o b m y s l a rt n e c a s i e r e h t t a h t d d a o s l a o c i R d n a h t u G
s e m o c e b l o b m y
s thef oca lpoin to fas tory .Acenrtals ymbolf ocuse sou ratteniton .
u h e h t s e m o c e b l o b m y s l a rt n e c
A b f o rmeaning sand associaiton .s” (1997:192) tI
r a li m i s s i l o b m y s l a rt n e C . y r o t s a n i s e s u c o f e h t s i l o b m y s l a rt n e c e h t t a h t s n a e m
o c c A . l o b m y s n i a m e h t h ti
, n o it i d
E cenrtali sp irmaryi mpo tranceand p irncipal( 2003:221 )and main i schie f
n I .l o b m y s n i a m e h t h ti w e m a s s i l o b m y s l a rt n e c e h t , o S . ) 9 3 8 : 3 0 0 2 ( l a p i c n ir p r o e h t s i l o b m y s n i a m e h t , e s a c s i h
t mos timpo tran tsymboloft hes tory .
. R s a m o h T o t g n i d r o c c
A Arp and Greg Johnson i n Perrine’ sLtierature : e s n e S d n a d n u o S , e r u t c u r t
S ,10th ediiton .“I t may be an object , a person ,a
t a h t 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 t n e m e l e e m o s r o , n o it c a n a , n o it a u ti s t a h t s n a e m t I . ) 4 8 2 : 9 0 0 2 ( ” ll e w s a s g n i n a e m 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 s a h h c i h w t c e j b o n a r o g n i h t a y l n o t o n s i l o b m y s a d e ll a c e b n a c h c i h w g n i h t e m o s e h t e b n a c t I . t c e j b o n a f o t u o g n i h t e m o s e b n a c t i t u b , e p a h s r o e r u t x e t a , y r o t s e h t n i s r e t c a r a h
c thecondiiton andelemen twhich hav e moremeaning ilke
r a h c i h w s e c a l p f o e m o s , o S . y r o t s e h t n i e c a l p f o s g n it t e s e h
t et old byt heautho r
e b t h g i
m symbols o fthe story .Thoma sR .Arp and Greg Johnson also say ,
S
“ ymbo l nea lry alway s signal s thei r existence by emphasis , repeititon , o r
n o it i s o
p ”( 2009:290 .)I tmeanst hats omethingcanbecalledas ymbo lfit heautho r
g n i d a e r y b n e e s e b n a c e c n e t s i x e e h t f o s n g i s e h T . e c n e t s i x e t a h t f o n g i s a s e v i g s u r o h t u a e h t e b y a m r o t c e j b o e h t e z i s a h p m e r o h t u a e h t r e h t e h
w e sa repeititon
a f o r e t p a h c y r e v e n i d n a t x e t n o c e m o s n i d e r a e p p a s i t i o s t c e j b o e h t h g u o r h t . y r o t s s a h o s l a e v o b a n o it a n a l p x e e h
T a simlia rview wtih t he t heory o fSlivan
n i n i a C . E m a il li W d n a o tr u B m a il li W , t e n r a
B Ltierature fo r Composiiton : F , s y a s s
E iciton ,Poetry ,andDrama.
p l e h s r e ti r w o d w o H … e v i e c r e p o t s r e d a e r t n a w y e h t ,l o b m y s e s u s r e ti r w f I m e h t g n i z i s a h p m e y B ? s g n i h t e s e h t e v i e c r e p o t s
u -fo r instance , by
m e e s t o n t h g i
m stirclty necessary , o r by calilng atten iton to them 1
6 3 : 1 1 0 2 (. y l d e t a e p e
r )
t u o b a e v o b a y r o e h t e h t o t r a li m i s s i t
I a symbo ltha tthe existence o f
: s a h c u s , r o h t u a e h t y b n e v i g e r a t a h t s l a n g i s e h t m o r f n e e s y ll a u s u s i l o b m y s
t m o r F . s i s a h p m e d n a n o it it e p e
r hi squotaiton , ti i salso told t ha tthe autho ralso
s i g n i h t e m o s t a h t r e d a e r e h t o t l a n g i s a s e v i
g asymbo lby atrtacti ng thereader’ s
n i d l o t s i g n i h t e m o s f i , o S . h t g n e l n i t c e j b o n a t u o b a n o it a n a l p x e e h t n i n o it n e tt a
.l o b m y s a e b t h g i m t i , h t g n e l
w o n k o
T more speciifc abou ta symbo land wha tkind o fsymbol t hat i s
o t g n i d r o c c A . l o b m y s f o s e p y t e h t t u o b a y r o e h t a s e s u r e ti r w e h t , y r o t s s i h t n i d e s u
n o m r a H d n a n a m l o
H in A Handbook to Ltierature Fitfh Ediiton ,there are two s
i e p y t t s ri f e h T . l o b m y s f o s e p y
t thepubilcsymbol .Thi ssymboli sused widely
. g n i n a e m f o n o it s e g g u s l a s r e v i n u a s e i d o b m e d n a e l p o e p y n a m y b n w o n k s i d n a
s e it il a u q m o r f t o n e r a s s e n e v it s e g g u s s ’l o b m y s s i h T . l o b m y s e t a v ir p s i d n o c e s e h T
s i ti h c i h w n i y a w e h t m o r f t u b f l e s ti n i t n e r e h n
i used i nagivenwork.( 1986:494 )
b m y s e h t s i l o b m y s c il b u p e h t t a h t s n a e m t
I o lwhichi susually usedbypeoplei n
e h t , n e h T . ti w o n k e l p o e p e h t f o t s o m d n a l o b m y s r a il i m a f e h t s i t I . y r o t s e h t
o b m y s s i h t d n a r a il i m a f n u s i h c i h w l o b m y s e h t s i l o b m y s e t a v ir
p li susedonlyi n
.f l e s ti e r u t a r e ti l f o k r o w e h t
t e r p r e t n i o t s n o it u a c e m o s e r a e r e h
T a symbo lfrom Thoma sR. Arp and
n i n o s n h o J g e r
G Perrine’ sLtierature :Structure ,SoundandSense,10thediiton.
.
1 Thes tory tisel fmustf urnishacluet ha tadetalii st obetakens ymbo ilcally.
.
2 Themeaning o fal tierary symbo lmus tbe estabilshed and suppo tred by t he
.
3 Tobecalledasymbol ,an tiemmus tsugges tameaningdfiferenti nkindf rom
h t n a h t e r o m g n i h t e m o s s i l o b m y s a : g n i n a e m l a r e ti l s
ti e representaitveo fa
. e p y t r o s s a l c
.
4 A symbo lmay have more than one meaning .I tmay sugges ta cluste ro f
.s g n i n a e
m (2009 :289-291)
t I .l o b m y s a s i t c e j b u s a t a h t t e r p r e t n i o t s y a w r u o f e r a e r e h t t a h t s n a e m t I
e k a m r o h t u a e h t t a h t e u l c e h t m o r f n e e s e b n a
c sin the story .I talso ha smore
t n e r e f fi d g n i v a h n e h w l o b m y s a d e ll a c e b n a c t c e j b u s A . fl e s ti n a h t g n i n a m
e h t f o t x e t n o c e h t o t s e t a l e r o s l a g n i n a e m e 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
.
2 Theme
r o t s h c a E . y r o t s e h t n i t n e m e l e t n a tr o p m i n a s i e m e h
T y alway sha sthi s
o t g n i d r o c c A . t n e m e l e c i s n ir t n
i X . .J Kennedy and Dana Gioia in the book
7 , a m a r D d n a y r t e o P , n o it c i F o t n o it c u d o r t n I n A : e r u t a r e ti
L thediiton ,“Themeo f
i r o a e d i l a r e n e g r e v e t a h w s i y r o t s
a nsightt heentriestory r eveals”( 1999:175). tI
e h t d n a t s r e d n u y ll a u s u s r e d a e R . y r o t s a f o t n i o p l a rt n e c a s i e m e h t t a h t s n a e m
d e ll a c o s l a s i s l a e v e r y r o t s e h t t a h w f o g n i d n a t s r e d n u e h T . ti g n i d a e r r e tf a y r o t s
. e m e h
t “I tmay be wha tthe happening sadd up to ,wha tthe story i sabou.t”
s n a e m t I ) 5 7 1 : 9 9 9 1
( thatt hemef ocuse sonwha thappensi nt hes toryandwhatt he
.t u o b a s ll e t y r o t
s So,t hemei st hesigniifcan telemen twhichi susedi nt heworko f
e h t r e tf a n w o n k s i y r o t s a f o e m e h T . y lt c e ri d d l o t t o n s i y r o t s a n i e m e h T
a e r o t s e h s i n if r e d a e
r d a story .A sThoma sR.Arp and Greg Johnson stated in
0 1 e s n e S d n a , d n u o S , e r u t c u rt S : e r u t a r e ti L s ’ e n i r r e
P th ediiton ,“More o tfen ,
n o it a n a l p x e s u o i v e r p e h t s tr o p p u s t I ) 3 9 1 : 9 0 0 2 ( ” . d e il p m i s i e m e h t e h t ,r e v e w o h
d e il p m i s i e m e h t t a h
t .Thet hemei snott old byt heauthori nt hestory .Ther eade r
e m e h t e h t d n if o t s a
h and the reade rcanno tknow the themeo fa story drieclty .
r e h
T eade rhast or eadt heentries toryt oknowt het hemewhicht heautho rmake .s
.
3 Rela itonbetweenSymbo landTheme
c
A cording to Edga r V . Robetr sand Henry E. Jacob sin Ficiton :An d
n a g n i d a e R o t n o it c u d o r t n
I Wriitng ,“Inastory ,mostt hing shappenonlyast hey d n a , s l o b m y s , s t n e m e t a t s , s r e t c a r a h c , s n o it c a , s u h T . a e d i e h t n o g n ir a e b a e v a h
t y l e s o l c w o h f o s m r e t n i d e g d u j e b y a m e u g o l a i
d heyr elatet ot hei deaort heme.”
(1987 :319 ) tI meanst hatt hemehasi mpo trantrelaitoni nsomei nt irnsicelements .
. l o b m y s s i s t n e m e l e e s o h t f o e n
O To know t he themeo fa story, t he reade rcan
t n i e h t f o e n o e z y l a n
a irnsic elements ,such a ssymbo lbecause the symbo lha sa
. e m e h t e h t o t n o it a l e r e s o l
c
s b o c a J d n a s tr e b o
R alsos aidt hat “Int hi ssense ,at hemer unst hroughou ta
a e r h t s u o u n it n o c a e k il h c u m r e h t e g o t s g n i h t s e it d n a y r o t
s ds .A sar eader ,wecan
e tt a p e h t ll a h ti w , s d a e r h t h c u s e c a rt o t t p m e tt
a rn so rva iraitons t ha twrtier smay
m e h t n o p u k r o
w ” (1987:319). I tmean stha tthe intirnsic element so f ifciton ,
s i l o b m y s g n i d u l c n
i analyzed to convey t hetheme o fa story .Reader scan rty t o
a e d i l a r e n e g e h t w o n
. e m e h t e h t w o n k o t y r o t s e h t f o s l o b m y s e h t e it n a c r e ti r w e h
T So,t hesymboli s
e d u l c n o c o t l u f e s
u thet hemeo fas tory .
t a h t d e t a t s o s l a s b o c a J d n a s tr e b o
R theme can be drawn by a ltierary
e l b a ir a
v ,such a ssymbol .“To ifnd idea sin ifciton ,one mus tread the work
h c u s g n it a u l a v e d n a n o it c a d n a s r e t c a r a h c n i a m e h t g n ir e d i s n o c , y ll u f e r a c
s e l b a ir a
v ast one ,setitng and symboilsm”(1987:321). Symbo lcan help t o show
h t s p l e h t a h t l o o t a e k il s i l o b m y S . y r o t s a f o e m e h t e h t e b ir c s e d d n
a ereader t o
, g n i n a e m e h t e b ir c s e d d n a l o b m y s e h t g n i w o n k y B . y r o t s a f o e m e h t e h t t u o t n i o p
r e d a e r e h
t cans ummairzet het hemeo fwhatt hes toryi st alkingabout .
n i a i o i G d n a y d e n n e K o t g n i d r o c c
A Ltierature :AnI ntroducitont oFiciton , a
m a r D d n a y r t e o
P , 7th ediiton ,“An object ,an act ,o ra characte ri s surely
d e l h c i h w m e ti t a h t s a w t i t a h t e z il a e r e w , y r o t s e h t h s i n if e w n e h w , f I ; c il o b m y s
t a h t s n a e m t I . ) 9 1 2 : 9 9 9 1 ( ” . g n i n a e m l a it n e s s e e h t , e m e h t s ’ r o h t u a e h t o t s u
ll a y r o t s e h t n i n w o h s s i h c i h w l o b m y
s ow speoplet o know t het hemet ha tautho r
e l o h w e h t g n i d a e r h s i n if y e h t r e tf a e m e h t e h t e d u l c n o c n a c r e d a e r e h T . s e t a e r c
g n i b ir c s e d y b y l n o y r o t
s thesymbo landanalyzingthemeaningo fsymbolin t he
. y r o t
s So,t her eade rwli lgett het hemeoft hes tory.
.
C Theoreitcal Framework
s i y d u t s s i h t f o s u c o f e h
T theanalysi soft hesigni ifcanceo fmain symbo l
, h c r a e s e r s i h t y d u t s o t d e s u e r a t a h t s e ir o e h t e m o s e r a e r e h T . e m e h t e h t r o
f the
s f o y r o e h
t ymbol ,theory o ftheme ,theory o fthe relaiton between symbo land
h
n i n o it s e u q t s ri f e h t r e w s n a o t d e s u e r a l o b m y s f o s e ir o e h t e h
T theproblem
s ll e t h c i h w n o it a l u m r o
f abou tthe main symbo lin the story and the theo ire so f
e h t r e w s n a o t e s u e r a e m e h t d n a l o b m y s n e e w t e b n o it a l e r e h t d n a e m e h
t second
e h t t u o b a s k l a t h c i h w n o it s e u
q themaitcs igniifcanceo fas ymbo .l
. P s n a H f o y r o e h
T Guth and Gab irele L. Rico i sused to know the
n a c e l p o e p t a h t t c e j b o n a y l n o t o n s i l o b m y s e h T . y r o t s e h t n i l o b m y s f o n o it i n if e d
. e r o m e b n a c t i t u b , e e
s I tmeansthatt hemeaning oft hesymboli sno tonly f rom
. g n i n a e m r e h t o n a e v a h n a c t i t u b , g n i n a e m y r a n i d r o e h t
. R s a m o h
T Arp and Greg Johnson’s t heory i sused t o know t he vairaiton
t c e j b o n a y l n o t o n s i l o b m y s A . l o b m y s e h t f o s m r o
f ,bu ti tcan be the othe r
e m e l
e nts .Asymbo lcan beasetitng place ,character ,condiiton andstiuaiton i na
. y r o t s
n i a C . E m a il li W d n a o tr u B m a il li W , t e n r a B n a v li
S ’ sview inLtieraturef o r a
m a r D d n a , y rt e o P , n o it c i F , s y a s s E : n o it i s o p m o
C i sused t o know t ha tan objec t s
i asymbo lo rno.tI texplainstha tautho ralway sgive ssomeclues toshowt ha tan
.l o b m y s a s i t c e j b
o Thist heory t ell saboutt hesigns t o know t ha tsomething i sa
.l o b m y s
. d e s u o s l a s i l o b m y s f o s d n i k o w t t u o b a y r o e h t s ’ n o m r a H d n a n a m l o H
e r a e r e h t t a h t y a s y e h
T twokind sofs ymbol .Thewrtie ronlyusest hes econdkind ,
.f l e s ti k r o w e h t m o r f n w o n k s i t a h t l o b m y s e h t t u o b a s ll e t h c i h w , l o b m y s e t a v ir
p tI
. e l p o e p e m o s y b n w o n k y d a e rl a s i h c i h w l o b m y s e h t t o n s
i Thist heory helpst he
s i l o b m y s f o d n i k h c i h w e z y l a n a o t r e ti r
f o y r o e h
T symbo lbyThoma sR.ArpandGregJ ohnsoni susedt oi nterpre t
f o n o it a t e r p r e t n i e h t w o n k o t s y a w e m o s e r a e r e h T . l o b m y s f o g n i n a e m e h t
.l o b m y s
t r e b m u n n o it a l u m r o f m e l b o r p f o n o it s e u q e h t r e w s n a o t , n e h
T wo ,the
s e ir o e h t e m o s s e s u r e ti r
w fo theme .Thewrtie rusest het heoryf romX . .JKennedy
k o o b e h t n i a i o i G a n a D d n
a Ltierature :An Introduciton to Ficiton ,Poetry and 7
, a m a r
D th ediiton ,to know the deifniiton o fthe theme and to show wha tthe e
m e h
t look silkeint hes tory.
. R s a m o h
T ArpandGregJ ohnson’ sopinionstatedi nPerrine’ sLtierature : 0
1 e s n e S d n a , d n u o S , e r u t c u r t
S thediitoni susedt oknowhowt her eade rwli lknow .
y r o t s a f o e m e h t e h
t tIi salsousedt or elatet hef uncitonofs ymboli ndeifningt he
. y r o t s e h t f o e m e h t
. V r a g d
E Robe tr sand Henry E. Jacobs ’poin to fview in Ficiton :An d
n a g n i d a e R o t n o it c u d o r t n
I Wriitng and the theory o fKennedy and Gioia in a
m a r D d n a y r t e o P , n o it c i F o t n o it c u d o r t n I n A : e r u t a r e ti
L Seventh ediiton are
o b m y s d n a e m e h t n e e w t e b n o it a l e r e h t ll e t o t d e s
7 1
I I I R E T P A H C
Y G O L O D O H T E M
.
A Objec toft heStudy
, e r u t a r e ti l f o k r o w e h t s e s u h c r a e s e r s i h
T The Clay Marble by Minfong
o
H . MinfongHoi st heautho rofl tieratureandhasr eached al o to fawardsf rom n
e h t , d n a li a h T n i d o o h d li h c r e h f o t s o m t n e p s e h S . k r o w r e
h shes tudiesi nTaiwan
. k r o Y w e N , a c a h tI n i y ti s r e v i n U l l e n r o C t a d n
a TheClaymarbleisf ris tpubilshed
8 9 9 1 n
i byFarrar ,S rtau sandGrioux ,NewYork(MinfongHo ,2006:4 .) n
i o z z i R t e r a g r a M d n a d i e w J n n a s o R o t g n i d r o c c
A Buliding Characte r
l u c it l u M h g u o r h
t tura lLtierature :AGuidef o rMiddleSchoo lReader,MinfongHo .
s d r a w a f o t o l a d e v e i h c a s a
h She get s Naitona l Counci l fo r the Socia l
k o o B s ’ n e r d li h C / s e i d u t
S Counci lNotableCh lidren’ sBook i n t he ifeld o fSocia l
. s e i d u t
S The Clay Marble wa schosen a sthe Bes tBook sSeleciton fo rParent s e
n i z a g a
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o
f TheClayMarble. Shealso getsTheNaitona lCounci lo fTeacher so fEngilsh )
3 5 : 4 0 0 2 ( .s tr A e g a u g n a L e h t n i s k o o B e d a r T s ’ n e r d li h C e l b a t o N
e h
T Clay Marble book consist so feighteen chapters .I tha sonehundred w
t y tf if d n
a opage .sI nt hi sbook,t herei sanexplanaitonaboutt heauthor ,preface ,
. o H g n o f n i M y b s k o o b r e h t o e h t t u o b a n o it a n a l p x e d n a d r o w r e tf a , y r o t s
e l b r a M y a l C e h
T wa sawork abou tagri lwho ilvedi n erao fCambodian f o r e b m e m a s i l ri g d l o s r a e y e v l e w t , a r a D s a w r e t c a r a h c n i a m e h T . r a W
. e fi l r e h m o r f e v i v r u s t s u m o h w y li m a f n a i d o b m a
o r p l l a s s a p n a c e h s t a h t e r u s s i e h s , r e h r o f s e k a m d n e ir f r e h t a h
t blems inherl fie .
s i g n i w o ll o
F Seiwoong Oh in Encyclopedia o f American Ethnic Ltierature : n
a i s A f o a i d e p o l c y c n
E -AmericanLtierature m
y a l c e h
t arble depict s the challenge sface s by Dara , a 12-y - earold e
e g u f e r a o t e g u o R r e m h K e h t s e e lf o h w l ri g n a i d o b m a
C campj us tacros s
o h w , u t n a J h ti w s d n e ir f s e k a m t s i n o g a t o r p e h T . d n a li a h T n i r e d r o b e h t
. e l b r a m y a l c ’ l a c i g a m ‘ a g n i d u l c n i d u m f o t u o s y o t t a e r g s e t a e r c
) 7 0 1 : 7 0 0 2 (
r e ti r w e h t , n o it a t o u q s i h t m o r
F can seet ha tMinfong Ho descirbe saboutl fiea sa
t f o t n i o
p hiss tory .Thel fiewhichi st oldi nt hiss toryi srelatedt ot hei n lfuence so f
s m e l b o r p e h t m o r f e v i v r u s o t r e t c a r a h c e h t s p l e h e l b r a m c i g a m e h T . e l b r a m c i g a m
. e fi l n i
.
B Approachoft heStudy
h h c i h w h c a o r p p a n a s d e e n r e ti r w e h t , k r o w y r a r e ti l a y d u t s n
I elp sthe
l e v o n e h t e z y l a n a o t r e ti r
w .To analyzet hei mpo tran toft hemain symbo ltoward
e h
t theme,t hewrtie rchooset hec iritcismwhichi sapprop iratet obeused.
o t g n i d r o c c
A Slivan Barnet ,Wliilam Bu tro and Wliilam E . Cain in
it i s o p m o C r o f e r u t a r e ti
L on :Essays ,Ficiton ,Poetry ,and Drama ,“thi skind o f e h t f o m r o f e h t n o s i s i s a h p m e e h t e s u a c e b m s i c it ir c t s il a m r o f d e ll a c s i y d u t s
s tr a p e h t n e e w t e b s p i h s n o it a l e r e h t , k r o
w -theconsrtucitonoft heplo,tt hecon rtast s
r f o n o it c n u f e h t ,s r e t c a r a h c n e e w t e
b hyme ,s t hepoin to fview ,and so on”( 2011 :
. ) 9 4 3
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s t n e m e l e c i s n ir t n i e h t f o s tr a p e h
t .Therei snoi n lfuencef romanyothers ourceou t
t x e t e h t f
s i h
T approach i schosent oanalyzeTheClayMarbletoseet hedevelopmen t e
h t f
o storyint henovel .Thec iritcismi ss utiablebecauset hef ocu soft heanalysi s g
n i b ir c s e d n o e b l li
w how the symbo lrelated to the theme and w hat i sthe
e c n a c if i n g i
s o fsymbol to t het heme.In addiiton, t hestudywillf ocu son t het ex t
r o F . y l n
o theser eason ,st heformails tapproachiss utiablet os tudyt hist opic .
.
C Methodoft heStudy
z y l a n a o
T et hisr esearch,t hewrtie rused ilbraryr esearch. I tmeantt hatt he
e w h c i h w s e c r u o s o w t e r e w e r e h T . s e c r u o s n e tt ir w e h t d e s u y l n o r e ti r
w reused t o
o t d e t a l e r t a h t n o it a m r o f n i t e
g thes tudy .Thep irmarys ourcewa sTheClayMarble
e c r u o s y r a d n o c e s e h T . o H g n o f n i M y b k o o
b s were from the book s and
u d a r g r e d n
u ate thesis .The book swere aboutt he t heory o fsymbo,l t he t heory o f
h
t eme ,the theory o fthe relaiton between symbo land theme ,the theory o f
t s il a m r o
f approach , and the ciritc abou t the autho r Minfong Ho . The
d a h s i s e h t e t a u d a r g r e d n
u simliart opict ot hisr esearch .
e w s k o o b e s e h t f o e m o
S re Han s P. Guth And Gab irele L. Rico
2 ,s y a
