“
ȏͳȐǡȏʹȐǡȏ͵Ȑ
ǣȀȀǤǤȀǦȀʹͲʹͲȀǦǦǦǦǦǦ ǦǦǦǦ ǦǦǦǦǤ
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Ǧmedia learning materials for distance learners: Lessons learnt from Indonesia’s
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ǡ Ǥǡ Ƭ ǡ Ǥ ȋʹͲͳʹȌǤ
ǤJournal of Education and Learningǡ6ȋ͵Ȍǡͳ–ͳǤ
Nafi’a, M. Z. I., Degeng, I. N. S., & Soepriyanto, Y. (2020). Pengembangan Multimedia Interaktif Materi
ǤJKTP: Jurnal Kajian Teknologi Pendidikanǡ3ȋ͵Ȍǡʹʹ–ʹͺͳǤǣȀȀǤȀͳͲǤͳͻȀͲ͵ͺ͵͵ʹͲʹͲʹʹ
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Ǥ
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ǡ Ǥǡ ǡ Ǥǡ Ƭ ǡ Ǥ ȋʹͲͳͻȌǤ
ǤInternational Journal for Educational and Vocational Studiesǡ1ȋͶȌǡ
͵ʹʹ–͵ʹͻǤǣȀȀǤȀͳͲǤʹͻͳͲ͵ȀǤͳͶǤͳͶͷͶ
ǡǤǡǡǤǡƬǡǤȋʹͲʹͲȌǤ
ʹͳ ǫInternational Journal of Instructionǡ13ȋ͵Ȍǡ͵ͷ–͵ͲǤǣȀȀǤȀͳͲǤʹͻ͵͵͵ȀǤʹͲʹͲǤͳ͵͵ʹͷ
Susanto, A., Oktavia, Y., Yuliani, S., Rahayu, P., Haryati, & Tegor. (2020). English lecturers’ beliefs and
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ǡ ǡ Ƭ Ǥ ȋʹͲʹ͵ȌǤ Ǧ
ǤInternational Journal of Education and Researchǡ
11ȋȌǡ͵͵–ͶʹǤ
ȏͳȐǡȏʹȐǡȏ͵Ȑ PERSONALITY DYNAMICS OF THE MAIN CHARACTER IN HUDA BARAAKAT’S BARIID AL-
LAIL
Maulana Muhammad Fikri [1], Dina Desvita Pramesti Putri [2], Abdul Muntaqim Al Anshory [3]
ȏͳȐʹͲͲ͵ͲͳͳͳͲͲͶͺ̷ǤǦǤ Ǥ
ȏͳȐǡȏ͵Ȑ
ȏʹȔǡ
ȏͳȐǡȏ͵Ȑǡ
ȏʹȔǡ
Abstractǣ a person’s
Ǧ Ǥ
corresponding research to understand more about oneself’s actualization aspect.
̵
Ǥ Bariid Al-Lail
Ǥ ǡ
scrutinized through the perspective of Carl Rogers’ personǦ Ǥ
ǡ
Ǥ ǡ
Ǧ
Ǥ Ǧ ǡ the main character’s personality
ͳǤǢʹǤǢ͵ǤǦ ǢͶǤ
Ǥ ̵
Ǥ
Keywordsǣ ǡǦ ǡBariid Al-Lailǡ
INTRODUCTION
̵ Ȁ Ȁ Ǥ
Ǥ
ǡ
Ǥ
ȋǡʹͲͳͲȌǤ
Ǧ Ǥ
̶ ̶Ǥ
Ǥ
̶̶ǡ ̶̶Ǥ Ǧ ̵
ǡǦ Ǥ
Carl Rogers’ humanistic psychology
ǡ Ǥȋ ǡ ʹͲͲͺȌǤ
Ǥ ǡ ǡ ǡ
“
ǡ ǡ ǡ Ǥ ǡ
ȋǡʹͲͲͶȌǤ
ǡ
ǡ
ǤȋǡʹͲͳͲȌǤ ǡ
Ǥ ̵
ȋǡʹͲͲ͵ȌǤ
ǡ ليللا ديرب/Bariid Al-LailȋȌ Ǥ
Bariid Al-LailǦʹͲͳǡ
Ǥͳͻͷʹǡ
ǤǡʹǡǡǤʹͲͳͻǡ
Bariid Al-LailʹͲͳͻ ȋ ȌǤ
Ǥ ǡ
ǤǦǤ
Ȁ
Ǥ
Ǥ
ǤBariid Al-Lailǡ Ǥ
ǡ
Ǥ
Ǥ
Ǥ ǡ ȋ Ǥǡ ʹͲʹʹȌ provides analysis on Matt Haig’s The Midnight Library
ǤȋƬǡʹͲʹͳȌ
Kerumunan TerakhirǤ
ǤǡȋǤǡʹͲʹʹȌ
ǡ Ǧ
Ǥ ǡȋƬǡʹͲʹʹȌ
Ǥ ǡ
̵ǤǡȋǡʹͲʹͲȌ
Ǥ ̵
Ȁ Ǧǡ
ǡǤ
Ǧ ǡ
ǡǦ
Ǥ ȋǡ ʹͲͳͶȌǤ ʹ ǣ ͳȌ
ǡ Ǧ ǡ
ǢʹȌ
Ǥ
Ǥ
ǡ ǡ Ǥ
Ǥ ǡ
ȋǡʹͲͳȌǤ
ȋ ǡ ʹͲͲͶȌ Ǥ
ǡǦ
ǡǡ Ǥ
ǡǡ ǡ Ǥ
ǣ ǡ ǡ
“
ȏͳȐǡȏʹȐǡȏ͵Ȑ
ǡ ǡ ǡ Ǥ ǡ
ȋǡʹͲͲͶȌǤ
ǡ
ǡ
ǤȋǡʹͲͳͲȌǤ ǡ
Ǥ ̵
ȋǡʹͲͲ͵ȌǤ
ǡ ليللا ديرب/Bariid Al-LailȋȌ Ǥ
Bariid Al-LailǦʹͲͳǡ
Ǥͳͻͷʹǡ
ǤǡʹǡǡǤʹͲͳͻǡ
Bariid Al-LailʹͲͳͻ ȋ ȌǤ
Ǥ ǡ
ǤǦǤ
Ȁ
Ǥ
Ǥ
ǤBariid Al-Lailǡ Ǥ
ǡ
Ǥ
Ǥ
Ǥ ǡ ȋ Ǥǡ ʹͲʹʹȌ provides analysis on Matt Haig’s The Midnight Library
ǤȋƬǡʹͲʹͳȌ
Kerumunan TerakhirǤ
ǤǡȋǤǡʹͲʹʹȌ
ǡ Ǧ
Ǥ ǡȋƬǡʹͲʹʹȌ
Ǥ ǡ
̵ǤǡȋǡʹͲʹͲȌ
Ǥ ̵
Ȁ Ǧǡ
ǡǤ
Ǧ ǡ
ǡǦ
Ǥ ȋǡ ʹͲͳͶȌǤ ʹ ǣ ͳȌ
ǡ Ǧ ǡ
ǢʹȌ
Ǥ
Ǥ
ǡ ǡ Ǥ
Ǥ ǡ
ȋǡʹͲͳȌǤ
ȋ ǡ ʹͲͲͶȌ Ǥ
ǡǦ
ǡǡ Ǥ
ǡǡ ǡ Ǥ
ǣ ǡ ǡ
ȏͳȐǡȏʹȐǡȏ͵Ȑ
Ǥ ǡ
ǦǤ
Ǥ
ȋǡʹͲͳȌǡ Ǧ
ǡ Ǧ Ǥ
̵ Ǧ Ǥǡ
Ǥ ǦǤ
ǡ
Ǥ ȋ Ȍ
ǡ Ǥ
ǡǡ
ǡǡ Ǥ
ǡ ǡǤ ǡ
Ǥ
Ǥ
ǡ Ǥ
ǡ
Ǥ ̵ǡ
Ǥ
Ǥ
ȋǡʹͲͳͳȌ Ǧ
ȋǦ ȌǤǦ ̵ǡ ǡ
ǡǤ Ǧ ǡ
ǡ
Ǥ
Based on the previous studies above, it seems significant to utilize Carl Rogers’ theory of
Ǥ
by utilizing Carl Rogers’ thepry of personality, readers wi
application in analyzing literary texts, especially Huda Baraakat’sBariid Al-Lail.
Ǥǡ ’s
Ǧ
Baraakat’s ليللاديربȀBariid Al-Lail.
METHODS
Ǥǡ ǡ
Ǥ ǡ
̵Ǧ
Bariid Al-LailǤ Bariid Al-Lail
ǡ entitled “The Book of Isa”Ǥ
the main character’s
Ȁ ǡ Ǧ
Ǥ
Ǥ
ǡ
ȋǡʹͲͳͳȌǤ Ǥ
ȋ Ȍ̶̶ Ǥ
ȋ Ȍ ȋǡʹͲͳͳȌǤ FINDINGS AND DISCUSSIONS
The Main Character’s Sad Outpour as the evidence of the Personality Dynamics
“
Bariid Al-Lail
̵ Ǥ
Ǥ
Ǥ
ǡͷBariid Al-Lail
ȋǡʹͲʹʹȌǤ
ͳ
بي غارفلا في دعقي نم .ة يربك نّاعمو ةيييهمأ اله ينأك ضارغلأا عبتاأو نياعأ ينّأ لأإ ،هب ىيلستأ ام دجأ لا ةفرغلا هذه في ينّأ عم ثح
.ةياكح وأ نااكم يدنع اله ينأ ،اهفرعأ،اتهركاذ عجترسأ ينّأك .ضارغلأل يذلا نىعلمبا هل ةلص نع ييّدارإ لا
“All I do is pay attention to the things around me as if they have great value and meaning. I like repeating memories of those items as if I recognize them, or as if those items have a place and story in my life. ȋǡʹͲͳͺǡǤ͵ͳȌ”
ͳ ǤǦ
Ǥǡ
ǡ
Ǧ Ǥ
ʹ
،يماه وأ نيعأ ،بصلخا ليايخ ينب ةلوهسب حجرتأأ ،اذكه امئاد ناأ ،حيحص وه امو ٌمهو وه ام ينب ايرثك طلخأ .عقلولاو
.ايرثك نيييلسي ةقيقلحا في هينإ ،نيقلقي لا كلذ ينكل ،ةقيقح
“It's true, I've always been like this: I easily vacillate between wild imagination and reality, without really knowing what I'm doing. I often mix fantasy and reality, even though it doesn't bother me. I am amused.ȋǡʹͲͳͺǡǤ͵͵Ȍ”
ʹ
Ǥ
ǤǤǤ
͵
روملأا يطلخ في ذإ .يسأر في ناأ اهطلخأ ينح ،ةحارص ،يسأر في روملأا طلتخ ينح حرفأ ،كل تلق امكو ،تحبصأ اذكه ةقلاع كلذل ينأ دقتعأو .رظتنأ انه ينّأ عم ،تيتأ نأ ليجتسم كينأ ديدرأ هسفن تقولا فيو ،انه يرغص قدنف في ادعوم كتيطعأ .نلاا هيلإ تلصو يذلا رمعلبا
“This is how I am now. As I told you, I like it when things get mixed up inside my head;
or to be honest, When I mix things up in my head. Between fantasy and reality, I promise you to meet at this small hotel. And at the same time, I keep convincing myself that you won't come, Even though I've been waiting for you here, I'm sure it has something to do with my age now.ȋǡʹͲͳͺǡǤ͵Ȍ”
͵ǡ
Ǥ
ǡ Ǥ
ǡ ǡǤ
Ͷ
ييرغتأ نلأ ،ييأر ييرغأ نلأ لاامج لي كتري لا وه ذإ ،رعذلبا نّرعشي .))دبلأا لىإ(( هيببح نّدعي لاجر عسمأ نأ نييذؤي راص ،لاثم ،ناأ ،
.))؟دبلأا لىإ(( هيبح نع ناأ تففك ول اذام .ديبئلما نجسلبا مكلحاك
“I, for example, will feel hurt when I hear a man's promise to love me forever. I was horrified because he didn't give me room to change my mind, room to clean up. It was
“
ȏͳȐǡȏʹȐǡȏ͵Ȑ
Bariid Al-Lail
̵ Ǥ
Ǥ
Ǥ
ǡͷBariid Al-Lail
ȋǡʹͲʹʹȌǤ
ͳ
بي غارفلا في دعقي نم .ة يربك نّاعمو ةيييهمأ اله ينأك ضارغلأا عبتاأو نياعأ ينّأ لأإ ،هب ىيلستأ ام دجأ لا ةفرغلا هذه في ينّأ عم ثح
.ةياكح وأ نااكم يدنع اله ينأ ،اهفرعأ،اتهركاذ عجترسأ ينّأك .ضارغلأل يذلا نىعلمبا هل ةلص نع ييّدارإ لا
“All I do is pay attention to the things around me as if they have great value and meaning. I like repeating memories of those items as if I recognize them, or as if those items have a place and story in my life. ȋǡʹͲͳͺǡǤ͵ͳȌ”
ͳ ǤǦ
Ǥǡ
ǡ
Ǧ Ǥ
ʹ
،يماه وأ نيعأ ،بصلخا ليايخ ينب ةلوهسب حجرتأأ ،اذكه امئاد ناأ ،حيحص وه امو ٌمهو وه ام ينب ايرثك طلخأ .عقلولاو
.ايرثك نيييلسي ةقيقلحا في هينإ ،نيقلقي لا كلذ ينكل ،ةقيقح
“It's true, I've always been like this: I easily vacillate between wild imagination and reality, without really knowing what I'm doing. I often mix fantasy and reality, even though it doesn't bother me. I am amused.ȋǡʹͲͳͺǡǤ͵͵Ȍ”
ʹ
Ǥ
ǤǤǤ
͵
روملأا يطلخ في ذإ .يسأر في ناأ اهطلخأ ينح ،ةحارص ،يسأر في روملأا طلتخ ينح حرفأ ،كل تلق امكو ،تحبصأ اذكه ةقلاع كلذل ينأ دقتعأو .رظتنأ انه ينّأ عم ،تيتأ نأ ليجتسم كينأ ديدرأ هسفن تقولا فيو ،انه يرغص قدنف في ادعوم كتيطعأ .نلاا هيلإ تلصو يذلا رمعلبا
“This is how I am now. As I told you, I like it when things get mixed up inside my head;
or to be honest, When I mix things up in my head. Between fantasy and reality, I promise you to meet at this small hotel. And at the same time, I keep convincing myself that you won't come, Even though I've been waiting for you here, I'm sure it has something to do with my age now.ȋǡʹͲͳͺǡǤ͵Ȍ”
͵ǡ
Ǥ
ǡ Ǥ
ǡ ǡǤ
Ͷ
ييرغتأ نلأ ،ييأر ييرغأ نلأ لاامج لي كتري لا وه ذإ ،رعذلبا نّرعشي .))دبلأا لىإ(( هيببح نّدعي لاجر عسمأ نأ نييذؤي راص ،لاثم ،ناأ ،
.))؟دبلأا لىإ(( هيبح نع ناأ تففك ول اذام .ديبئلما نجسلبا مكلحاك
“I, for example, will feel hurt when I hear a man's promise to love me forever. I was horrified because he didn't give me room to change my mind, room to clean up. It was
ȏͳȐǡȏʹȐǡȏ͵Ȑ like being imprisoned for life. What if I stop loving him forever?ȋǡʹͲͳͺǡǤ ͶͲȌ”
Ͷǡ ̶̶ǡ
Ǥ
Ǥ Ǧ Ǥ
ͷ
.بتكأ هيلع ةسلاج ناأ يذلا ييسركلا ىلع وأ ،ريريسلا ىلع ،ةسلاج نوكأ نبأ ،لخدت ينح فقأ يلابأ ،تيتأ نإ ،لاتحأس .تيرظن نم افئاخو ،هتئيه في افوشكم نوكيس نم تنأ ذإ ،يرثكب كعضو نم لضفأ يعضو نوكيس
“I will think of a way - if you do come - so that I am not standing when you enter this room, perhaps sitting on the bed or chair where I am now writing. My position has to be better than yours, because it's your physique that has to be exposed, you're the one who gets nervous when I look at you.ȋǡʹͲͳͺǡǤͶȌ”
ͷ
̵ Ǥ̵
esn’ǡ
Ǧ Ǥ
The Main Character’s Personality Dynamics
Ǧ
Ǥ
̵ ǡ Ǥͷ
̶ ̶ Bariid Al-Lail
Ǥ Ǥ Ǥǡ“T”
Ǥ ͵“This is how I am now. As I told you, I like it when things get mixed up inside my head; or to be honest, When I mix things up in my head.” This saying gives the impression
Ȁ ǡ Ǥ
ǡ
ǡ ͳͲͲΨǤ
Ǥ
ǡ Ǥ
’s Ǥǡ
Ǥ
ǡ ͵ Ǥ
͵ǣ“And at the same time, I keep convincing myself that you won't come, even though I've been waiting for you here, I'm sure it has something to do with my age now”. ͵
ǡ Ǥ
ǡ
ǡ
Ǥ
ʹǣ“It's true, I've always been like this: I easily vacillate between wild imagination and reality, without really knowing what I'm doing. I often mix fantasy and reality, even though it doesn't bother me. I am amusedǤ” Datum 2
ǡ
Ǥ ǡ ǡ
ǡ Ǧ Ǥ
ǡ Ǧ
Ǥ
“
͵ǣ“I, for example, would feel hurt when I heard a man's promise to love me forever. I was horrified because he didn't give me room to change my mind, room to clean up. It was like being imprisoned for life. What if I stop loving him forever?”. ͵
ǡ
Ǥ Ǧ ǡ
̶̶͵Ǥ
͵ Ǥ
Another part of the main characters’ personality dynamics is Ǥ
ǡ ǦǤ
͵“As I told you, I like it when things get mixed up inside my head; or to be honest, When I mix things up in my head.”
ǦǡǦ Ǥ
Ǧ Ǥ ǡ
ǡ ǡ
Ǥ
Ǥ another main character’s ǡ
Ǥǡ ǡ
Ͷǣ̶ I was horrified because he didn't give me room to change my mind, room to clean up. It was like being imprisoned for life.” The main character slightly refuses that
Ǥ
ǡ Ǧ ǡ
ǡǡ
ǡ̵Ǥ Ǥǡ
ǡ Ͷ Ǧ ǡ
ǡ ǡǡǦǤ
Based on the findings above, based on Rogers’ personǦ ǡ
ǡ ͷ
Ǥ ǡ
ǡ ǡǡ Ǥ
ǡ ǡ ǡ
Ǥǡǡ
ǡ Ǥǡ
Ǥ
Ǥǡ
Ǥ
ǡ Ͷ
Huda Baraakat’sBariid Al-LailǤ ǡ
ȋǡʹͲͳͻȌ
ǡ ǡ Ǥǡ
Ǥ
ǡ Ǥ
Ǥ ȋ ǡʹͲͳͺȌ
ǦǤ
ǡ Ǧ ǤǦ
ȋǡʹͲͳȌǤ ǡ
Ǥ Ǥ̶ ̶
ǡ Ǥǡ
Ǥǡ
Ǥ
Ǥ