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Sari 10
CHAPTER II
LITERATURE REVIEW
2.1 Theoretical Framework
This chapter discusses the theoretical explanation about the related materials
and concepts which are suitable with the chosen literary work. The theories are
divided into main theory and supporting theory. The main theory is phenomenology,
to prove the main character conflict and her reason of being matchmaker. Meanwhile,
the supporting theory is new criticism focuses on character, to help finding out how
the character in the story is characterized. Those theories are explained as follows:
1. Phenomenology
Phenomenology is a method of literary criticism which inspects the text
without presuppositions about ontology or epistemology. (Ontology is the theory of
the nature of being, Epistemology that of nature of knowledge). To the
phenomenologist any object, although it has existence in time and space, achieves
meaning or intelligibility through the active use of a consciousness in which the
object registers. Phenomenology finds reality in the physical realm of awareness. To
accomplish the analysis of the object as it registers in the consciousness, the
phenomenologist suspends all presumptions, inferences or judgments about the object
outside the consciousness. Phenomenological criticism sees the work of art as an
Sari 11
Edmund Husserl (1859-1938) is widely known us as the founder of modern‟s
phenomenology, a highly influential movement in 20th century western philosophy.
Husserl was one of the prominent European thinkers of 20th century and the
movement has inspired from different streams (Nellickappilly, 1). In common with
many other researchers working at the end of the nineteenth century, for example
William James and Henri Bergson, Husserl was fascinated both by the ever-changing
stream of conscious experience and by its apparent seamless unity. Furthermore,
consciousness is the basis of all experience and its mode of appearing seemed to be
inextricably linked to the nature of the time itself. Indeed, no experience would be
possible without time consciousness; it enters into every experience. Somehow, out
of this living flux of consciousness come the „achievements‟ of ideal, timeless
meanings, the grasping of transcendent objects and truths (Moran, 60).
In developing the concept of phenomena, Husserl is influenced by Brentano,
who make a distinction between psychological phenomena from physical phenomena.
Brentano found that psychological is different form physical, as the former is
characterized by what is known as intentionally. Brentano says that mental
phenomena exist intentionally in acts consciousness, a phenomenon which is known
as intentional in-existence. Brentano and Husserl maintain that every mental
phenomenon, or act of consciousness, is directed toward some object. They are about
Sari 12
psychological phenomena, Husserl replaces psychical phenomena with experiences or
intentional experiences (Nellickappilly, 3).
Husserl conceives phenomenology in three important ways. Firstly, it is
conceive as the sciences, which endeavored to discover the basis of consciousness, in
the second view, phenomenology is conceive as a first philosophy and therefore, it is
coextensive with philosophy, as traditionally it is the latter which had been enjoying
the status of first philosophy. The third conception of phenomenology is the most
important one, where it is conceived as a transcendental idealism. This view
conceives the transcendental ego as the source of all meaning (Nellickappilly, 1-2).
Phenomenology is a return to „phenomena‟. phenomenon as „what appears as
such‟; in other words, everything that appears, including everything meant or thought,
in the manner of its appearing, in the „how‟ (Wie) of its manifestation (Moran, 127).
Phenomenology is the idea of phenomena, which according to Husserl, refers to
ourselves, other people and the object and events around us, it also includes the
reflection of our own conscious experiences, as we experience them. Phenomena
constitute the things as they are given to our consciousness, whether in perceptions or
imagination or thought or volition. There are two types of phenomena; mental and
physical. Mental phenomena constitute of what occur in the mind when we
experience something. It also included the acts of consciousness, or its contents. On
the other hand, physical phenomena include the objects of external perception starting
Sari 13
Phenomenology is not confined to mere philosophical doctrine about the nature
of consciousness and the essences that are directly given to it. Instead, it proposes a
method to isolate the essences. Everything perceived is bound up with the essence of
perception which is different form the object that exists in nature (Nellickappilly, 5).
Then phenomenology as the pure, presupposition less sciences of consciousness. The
claim, as we have seen, means first of all that phenomenology cannot assume or
utilize the result of any other science in it investigations (Moran, 126).
Besides, every intentional experienced gives meaning. In other words,
intentional experiences have the essential characteristic of giving some meaning. The
various mental processes like remembering, imagining, judging, willing, describing,
feeling, perceiving etc. have their own essence. The phenomenology method
examines these essences, by excluding what do not lie in the mental act itself
(Nellickappilly, 5). In discussing the need for wide ranging theory of knowledge of
the phenomenology is the experience of thinking and knowing, beside
phenomenology is best understood as a radical, anti-traditional style of
philosophizing, which emphasize the attempt to get the truth of matters, to describe
phenomena, in the broadest sense as whatever appears in the manner in which it
appears, that is as manifest itself to consciousness, to the experiencer.
Phenomenology first step to seek to avoid all misconstruction and imposition placed
on experience advanced, whether these are drawn from religious or cultural traditions,
Sari 14
Then the process of reduction has two broad phases: phenomenological and
transcendental. The phenomenological reduction attempts to focus on pure
consciousness and it describes object not in their natural causal relations, but as they
appear in the consciousness. Hence it is called phenomenological. Transcendental
reduction on the other hand deals with the conditions that make any knowledge
possible (Nellickappilly, 6). There are three types of reduction:
1. The phenomenological-psychological reduction is conceived as the gateway
to the right form of phenomenological attitude from the natural attitude.
2. Eidetic reduction is the individual existence of the object in question is
bracketed, since phenomenology is interested only in the essence. The idos
or essences are evaluated at this stage. The focus here is on properties, kind,
or types and ideal species that entities may exemplify. This process
involves a free variation of the individuals in our imagination with this it
finds out what characteristic these things have in common. It locates the
variant forms which are essences.
3. Transcendental reduction proceeds with bracketing of the ego and its
intentions. This stage ceases to affirm the existence of the ego as a
psychological reality. With this we may get access to the transcendental
subjectivity or the transcendental ego.
From the three types above, the first type is suitable to the conflict in the novel
Sari 15
people around her. This theory is used to analyze the conflict in the novel Emma and
how we can see clearly what the things that influences the occurrence of conflict in
the novel.
2. New Criticism
New criticism is a formalist movement in literary theory. It emphasizes close
reading and focuses on objectively evaluating the text. Readers‟ feelings or opinions
about a text produce by some personal association from past experience rather than
by the text (Tyson 135). By reading the text human may change their perceptions
about literary work, human may assume, critic and conclude, but the literary text is
same. Readers have an authority to interpret the literary text based on their experience
and imagination as their creativity.
New critics did not ignore the obvious psychological, sociological, or
philosophical dimensions of the text, they aestheticize them. They treat
psychological, sociological, and philosophical content the same way they treat the
text‟s formal elements, to learn what these elements contribute to the aesthetic
experience created by the work‟s organic unity (Bressler 58). By using New
Criticism, interpretations of the reader stay within the context created by the text
itself. When the reader reads the text they not only get new expansion of knowledge
from the text, but also from the content of written text to engage aesthetic experience.
In addition the reader‟s personal life or background will affect his or her assumption
Sari 16
Tyson has mentioned that formal elements of new criticism are elements forming
the literary text. Those elements include images, symbols, metaphors, rhyme, meter,
point of view, setting, characterization and plot (138). The ways knowing the
evidence of author‟s intention or give reader‟s interpretation is by reads the text and
understands all the evidence provided by the language of the text: its images,
symbols, metaphors, rhyme, meter, point of view, setting, plot, and characterization.
From new critical perspective, a reader begins the journey of discovering a text‟s
correct interpretation by reading a literary work and its relationship to the text. Since
new criticism relates with characterization, this research is focus on the character
development which can be noticed from several ways: showing character‟s
appearance, displaying character‟s action, revealing character‟s thought, letting the
character speak and knowing the character from other‟s reaction toward the character
base on the text.
2.2Character
In some studies, a story cannot exist without character; an author‟s success in
presenting this idea often depends on his ability to create characters that are both
interesting and functional. (Hurtik and Yarbe 37). A story exposes around its
characters‟ life so that reviewing them becomes very interesting. Burhan
Nurgiyantoro claimed that talking about characters of one story, in many ways is
more interesting than discussing on other elements (164).Character has an important
Sari 17
a strategic position to carry a message or something that the author wants to convey
in the story, so character which represents a person becomes something interested in
the story.
In fiction, a character may be defined as a verbal representation of a human being.
Through action, speech, description, and commentary, authors portray character that
are worth caring about, rooting for, and even loving, although there are also
characters you may laugh at, dislike, or even hate.
Characters may be flat, minor characters; or round and major. The main character
in a story is generally known as protagonist, the character who opposes him is the
antagonist. Character is revealed by how a character responds to conflict. Every
stories hinges on the actions undertaken by its main character, or protagonist, a term
drawn from ancient Greek tragedy that is more useful in discussions of fiction than
such misleading terms as hero or heroine. Additionally, stories may contain an
opposing character, or antagonist, with whom the protagonist is drawn into conflict.
Abram (1981: 76) says that “Character is people who are appeared in a narrative
prose or novel and it is interpreted by the readers as a person who has moral quality
and certain tendency such as being expressed in what they say and what they do”.
Character is the people in a novel are referred as characters. We asses them on the
basic of what the author tells us about them and on the basic of what they do and say.
Sari 18
members of a society, and the author distinctive view of who people relate to society
will be reflected in the presentation of every character.
1. Main and peripheral character
The main characters the actors which appear the most in the story and always
have connection with other actors. The main characters are the most dominant
told in the story either do an action. Main characters really determine the
development of plot. The main character in a novel could be more than one in the
different major quality.
Peripheral characters are the actors who have part in supporting the story. The
presence of the peripheral characters in whole story is smaller. In other words,
peripheral characters in the whole story are limited and they are usually only
related to the main characters.
2. Protagonist and Antagonist Character
Protagonist is identical with all the good character inside the actors which had
been chosen and created by the author. According to Altenberd and Lewis (1966:
59) that protagonist is a character who is admired by the readers, which always
call as a hero because he always does ideal role and follows the rules and value in
Sari 19
The character shows hope and value can be supposed as protagonist character.
Yet, sometimes there is character who does not give us the morality value.
According to Luxemburg (1992: 145) antagonist is the opposite character of
protagonist either physically and psychologically. The antagonist character
usually causes conflict for protagonist. Although there are other things such as
disaster, accident environment and society, social rules, moral values, authority
and etc. can cause conflict but if it is not done by a character, they are called as
antagonist force.
In this novel Emma by Jane Austen, Emma Woodhouse is the main character
in this novel, because Emma always appears in the story and always has
connection with other actors in the novel.
2.3Characterization
Characters and method of characterization are part of fictional contract and
must be judged by their effectiveness within the story. The characters making
comments may be imperceptive and this not understands to other character, or the
feelings of the commenting character may influence these remarks. (Kirkland.
120). Avoiding these methods, the writer of story may force readers to interpret
for themselves by giving them nothing more than the characters dialogue and
Sari 20
Character and characterization cannot be separated, but it is difference each
other. In other definition, characterization is the creation of these imaginary
persons, so that they exist for the reader as real within the limits of the fiction and
have ability to characterize the people of one‟s imagination successfully is a
primary attribute of good novelist, dramatist or short story writer (Holman 75).
In a fiction, the word „characterization‟ refers to certain of images of
imaginary person which are do conceiving that they exist for the readers as real
within the limits of fiction. (Holman.72). Characterization is the technique that an
author uses to reveal the personality and character of imaginary person.
Characterization also plays important role in defining the habit of the
character and enable the reader to dwell with the story. Characterization also
helps the reader to comprehend the character of the person in the text.
Characterization can be divided in two parts, round character and flat character.
Round character means that he or she has a complex character. His character
seems changing periodically. It can be said that the character unpredictable. While
flat character means that he or she has predictable character and his or her
character is not changing as the time being (Delahoyde 3).
Commonly in characterizing the characters, there are two ways that an author
usually used. Those are direct and indirect characterization. Using direct manner
Sari 21
the qualities of characters in direct description. Otherwise, in indirect manner of
characterization the author does not merely tell the characters but showing them
to the readers through how the character looks, what the character does, what the
character says, what the character thinks, and how the character affects other
characters (Baldick 37). From these five things, the reader can understand and get
a clear description of the character‟s personality.
The way how the author characterizes the character in the story has a big
influence to the reader (Kennedy. 106). The reader will drift away into the story
as if he or she is the character that exists in the story, and also the reader can feel
what the character feels.
In this case, the study uses the theory of characterization to analyze the
character of Emma Woodhouse in order to get her personality descriptions which
further it can help the study to find out the conflict that happens of Emma in
matchmaking the several characters in novel.
There are six methods which are used by the author to reveal the personality
of the character (Josip Novakovich77-87).
2.1.3.1. Summary of the story
By telling the summary of the story, the author can describe the fictional
person and its personality. The reader can focus to the main conflict which
Sari 22
know. It will also make the reader understands the personality of the character
easily if the writer can write the summary well.
2.1.3.2. The repetition or habitual action
This is the common concept that what the person has done for many times,
it is possible that is the person‟s habit.
2.1.3.3. Self-delineation
It is also possible that the writer tries to explain the character through the
character itself. This method is simple enough because the characters can portray
themselves by introducing directly.
2.1.3.4. Appearance
It is almost same with the self-delineation method, but here the author
describes the character through the character‟s appearance, so the reader can
guess the personality of it.
2.1.3.5. Action
In the scene, the author can make the character moves. Here, the author
can show the character from the voice, appearance, and its action without make
the summary or depict them as general. However, it is possible for the writer to
Sari 23
2.1.2.6. Combination of some techniques
This method covers all the previous methods. The author has many
chances and different style in describing the characters by combining some
methods. Absolutely, it will also make the reader feels no bored in reading the
story.
2.2 Review of Related Studies
This analysis is based on the previous analysis which has been done earlier. A
study about the woman position19th century in Jane Austen novel Emma has been
written in 2008 by Mufah Himah Aini from The State Islamic University of Maulana
Malik Ibrahim Malang under the title Women’s Position in 19th Century English
Social Life in Jane Austen Emma. That previous research focuses on two significant
problems. She tries to find out woman role in Britain in 19th century and the woman
position in 19th century. In her analysis, she uses theory of feminism.
Another study comes from Lucia Dwin Puspita Sari (2001), the student of Sanata
Dharma University Yogyakarta who wrote down her thesis on the title Jane Austen
Women’s Positions in Marriage of the 19th
century as reflected in Emma Woodhouse
Character in Jane Austen Emma. The study is identifies the descriptions of the main
characters, then give the explanations about the aspect of marriage through Emma
Woodhouse character and the last description of Jane Austen‟s view toward women
Sari 24
previously research. Because both of them are analyzes the woman position in 19th
century of Jane Austen‟s Emma.
The last is a study from Eko Budi Setiawan (2012), Catholic University of
Widya Mandala Madiun under the tittle Potraits of Class-Conciousness of Victorian
Society through Main Character in Jane Austen Emma. This study focuses on two
objectives. Firstthe analysis will be concentrated on Portrait of Class-Consciousness
of “Victorian Society” through Main Characters in Jane Austen‟s Emma. In order to
make this writing focus on the main problems, issues of social status in Emma are
covered. Secondly, he also interprets the contestation of class interest of Victorian
Society as portrayed on the characters through their dialogues or conversations and
all statements stated by the narrators in Emma. Consequently, the effect of
class-consciousness and class interest will arise the changes of social status. Those aspects
will be analyzed in this research. Although the dialogues and conversations in the
novel indicate colloquialism and their local color, all of these linguistic features will
not be analyzed as an independent aspect since they belong to certain class of society,
which in this research will be included in the analysis of cultural aspects. This study
uses Marxism theory.
Those literary reviews and this analysis are not completely same in the whole
aspect. First from the theory that uses this study the study used phenomenology
theory but in those reviews uses Marxism and feminism theory. Then, focused
Sari 25
conflict on the story but in those reviews focuses on woman role and position in
marriage in 19th century and portrait of class-consciousness of Victorian society
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