Contoh Proposal Skripsi Sastra Inggris

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KANTINPENDIDIKAN.COM - Berikut contoh proposal skripsi Sastra Inggris.

Contoh proposal skripsi Sastra Inggris ini menggunakan novel sebagai objek penelitian.

Novel yang digunakan dalam contoh proposal skripsi Sastra Inggris di bawah ini adalah karya Rick Riordan ''Percy Jackson and the Lightning Thief".

Judul : The Significance of Archetypal Pattern within Percy Jackson’s Journey in Rick Riordan’s Novel Percy Jackson and the Lightning Thief

CHAPTER I : INTRODUCTION

A. Background of the Research

Literature contains many interest and important things to know and study. It tells not only interesting stories, but also messages and wisdoms as wells. 

As addressed by Bressler (1999), the term of literature comes from the Latin "littera", which means "letter", literary meaning more ask on the written words that contain elements of meanings and messages. 

Written works such as a telephone or cook book can no longer be considered literature, being replaced or superseded by poetry, drama, fiction and other imaginative writing (Bressler , 1999: 9-10 ). 

Literature is the important record of human life. As Hudson said in his book entitled  An Introduction to the Research of Literature, “literature is a vital record of what men have seen in life, what they have experienced of it, what they have thought and felt about those aspects of it which have the most immediate and enduring interest for all of us.” (1963: 10). 

It can be concluded that literature is the reflection of human life. By literature an author may communicate his feeling, idea, message and information associated to human life.

Myth criticism is one of several ways to examine literary works. 

According to Guerrin, “myth critic is concerned to seek out those mysterious elements that inform certain literary work and that elicit with almost uncanny force dramatic and universal human reaction” (1979: 147). 

Novel as one of the literary work that presents so many interesting stories of life event, is telling about myth. 

The novel Percy Jackson and the Lightning Thief has the concept of myth which is the hero’s journey.

Percy Jackson and the Lightning Thief is a best-seller novel written by Rick Riordan and is the first book of Riordan's Percy Jackson & the Olympians series. 

Rick Riordan is a former English teacher and a father of an ADHD+D son. 

The novel consists of 22 chapters and tells about the adventure of Percy Jackson in searching for Zeus‟ master bolt because he was accused to be the thief himself. 

First published in 2005, the setting of place of the novel is the United States in this modern era.

This story was born as a bed-time story for Riordan’s first son, Haley, who had just been diagnosed ADHD+D. It explains why Riordan attached those labels into Percy and the other new demigods he created. 

He did this to encourage his kid. Riordan who realized that Haley was mostly interested in Greek mythology began telling great heroic stories from Greek myths. 

When he ran out myths to tell, Riordan made up new stories with Percy Jackson as the main character. 

Rick Riordan cleverly put and “reinvented‟ the Greek mythology into his novel which settings are in our modern and familiar world. 

He also characterized its characters in a quite different way suitable for its setting.

Archetypal study is a branch of structuralism. Thus its application in literary study involves analyzing the structure of a novel. 

One of structuralism principals in analyzing literature is to see literature as part of wider structure. 

Moreover, archetypal study analyzes recurrent patterns or symbols presented within myth and literature. 

Finally, the writer entitles this research “The Significance of Archetypal Pattern within Percy Jackson’s Journey in Rick Riordan’s Novel Percy Jackson and the Lightning Thief.”

1.1 Problem of the Research

    Based on the chosen topic, the writer formulates the problems as follows:

1. How the plot is described in Rick Riordan’s novel Percy Jackson and the Lightning Thief?

2. How is the archetypal pattern being reflected within Percy Jackson’s adventure in the novel Percy Jackson and the Lightning Thief?

1.2 Objective of the Research

The objectives of this research are as follows:

1. To find out the description of plot in Rick Riordan’s novel Percy Jackson and the Lightning Thief?

2. To reveal the reflection of archetypal pattern within Percy Jackson’s adventure in the novel Percy Jackson and the Lightning Thief

1.3 Limitation of the Research

This research uses structuralism approach, in which the writer analyzes the plot structure within the novel and compare it with narrative pattern exists in many stories and myth illustrated in archetypal theory. 

Thus, the main theory which used in this research is archetypal theory which is important to analyze Percy Jackson’s journey to conclude its significance. 

Other theory that which is used in this research is theory of plot, which is used as a tool to analyze the whole plot of the story to help the writer find Percy Jackson’s journey within the plot.  

1.4 The Significance of the Research

Theoretically, this research can be a contribution to the development in myth criticism, so it can be used in further research. 

Practically, this research is expected to generate new information and knowledge about the concept of meaning in life, and how life is surprising sometimes.

1.5 Paper Organization

This research proposal consists of three chapters. The first chapter or introduction presents the background of research, problem of research, objective of research, limitation of research, significance of research. 

The second chapter deals with the numerous approaches to archetypes and provides a brief history of archetypal criticism in literature. 

There are also reasons stated why it is better to choose this kind of approach for the analysis of Rick Riordan‘s work over other types of approaches. 

In addition, this part also deals with Joseph Campbell‘s theory. 

While chapter three or research method is related to the research type, research data, technique of collecting data, and technique of analyzing data.

CHAPTER II : REVIEW OF LITERATURE

2.1 The Definitions of Archetype

In general, archetype is viewed as a recurring pattern, image, character or theme which appears in mythologies and literatures across different cultures and nations. 

However, each critic/scholar has his/her own definition, depending on his/her area of expertise (psychology versus literature), and clings to one of the many possible explanations of the origin of archetypes.

The archetypes as contents of the collective unconscious (a deep layer of psyche not derived from personal experience), and remarked that the first theories regarding archetypes were those of Plato and St. Augustine (although the term itself is of much later origin). 

The archetype as such is only a hypothetical model similar to the patterns of behavior in biology (Jung, 1990: 5).

The archetype is the psychic content that has not been yet submitted to the conscious mind. Most of the archetypes can be found everywhere and at all times. 

However, the archetype is not an unconscious idea for which it is often considered. 

This is because its content is not determined, only its form. “For Jung the archetypes taken as a whole represent the sum of the latent potentialities of the human psyche “a vast store of ancestral knowledge about the profound relations between God, man, and cosmos” (Jacobi, 1968: 49). 

The archetype is changed when it becomes conscious and is perceived; it becomes colored by the person in whose consciousness it appears. 

Owing to his studies of dreams, myths, fantasies and visions, Jung was able to trace certain types of figures and situations that were constantly repeating – these he termed as motifs. 

The human figures in dreams, mythology and literature can be embodiments of one of the series of archetypes, of which the main ones are: the shadow, the wise old man, the child, the mother, anima and animus. 

The approach of Northrop Frye (1912 – 1991) to the archetypes was very different from Jung‘s (owing to the fact that Frye was a literary critic, not a psychologist). 

Frye intended to set a conceptual framework for literature – to discover what were the organizing and containing forms of literature and to create a critical approach which did not work only with sources external to literature (i.e. biographies, historical facts), but also with internal structure of literature. 

Frye considered the archetypes as representations of conventional myths and metaphors and viewed literature as the most important extension of mythology. 

According to him, archetypes were shaped by historical and social factors and were not a priori forms in the human mind. Nonetheless, they retained continuity of form in literature. 

Primarily, they were communicable symbols, which accounted for the fact that the same archetypes can be found across language and cultural barriers (1973: 121). 

The archetypes appear in primitive and popular literature in particular – or in other words, this kind of literature provides an unobstructed view of archetypes. 

However, Frye said that this quality can be found on every level of literature – from myths, fairy tales, The Bible, to Shakespeare and beyond (and also in a large amount of what he termed rubbish‘) (Anatomy: 130). Joseph Campbell (1904 – 1987) was largely influenced by Jung. 

He saw the archetypes as universal themes and motifs of the human mind appearing in mythology, literature and dreams: “Dream is the personalized myth, myth is the depersonalized dream; both myth and dream are symbolic in the same general way of the dynamics of the psyche” (The Hero 18). 

Campbell focused mainly on the archetypal story of the hero‘s journey, for which he started to use the term monomyth. According to him, the standard mythological adventure follows the basic pattern of rites of passage (and vice versa), which is: departure, initiation and return. 

In each stage Campbell identified typical sequence of events and typical motifs (certainly not all of them occur in all the myths and stories).

2.2 Archetypal Approach to Literature

According to Longman Glossary of Literary Terms, archetypal criticism is: A type of literary criticism that focuses on particular archetypes, narrative patterns, themes, motifs, or characters that recur in a particular literary work or in literature in general. 

The Archetypal criticism has its roots in anthropology (James Frazer, Claude Lévi’s Strauss), psychology (C.G. Jung), formalism (Vladimir Propp) and its unique branch consists in the work of Northrop Frye. 

Although archetypal criticism started to emerge only in the 1930s, sometime after Jung began to publish his works, there were earlier attempts to apply this approach to literature and mythology. 

For example the Austrian psychologist Otto Rank (1884 –1939) published in 1909 the book called The Myth of the Birth of Hero, which traces the common aspects surrounding the birth of the hero in mythologies of different cultures(Greek, Persian, Indian, Celtic, Roman and so on).

 In 1934 Maud Bodkin published her Archetypal Patterns in Poetry, which is considered to be the first real piece of archetypal criticism. 

In this book, Bodkin applied the theories of C.G. Jung to literature and examined, for example, the archetypes of rebirth, heaven, hell, hero, etc. 

Since then there was an increasing interest in archetypal criticism up till the end of 1960s, when the interest started to decline. 

Nonetheless, the archetypal approach is a good choice for analysis of Rick Riordan‘s work. Let us now go through the theories which are used in this research to analyze the archetypal journeys of the main hero.

2.3 The Monomyth

As already said, Joseph Campbell focused mainly on tracing the archetypal hero‘s journey in various mythologies and establishing what the common elements of the hero‘s journey were. 

The pattern that he found is cyclical: the hero leaves home, goes through a series of adventures and after achieving his goal returns home: departure, initiation, return. 

Campbell acknowledged that not every heroic myth followed this pattern and many of them enlarge upon one or more of the typical elements of the full cycle, or the characters or episodes can become mixed, or a single element can appear again and again in different shapes. 

Yet Campbell‘s critics accused him of too much simplification, vagueness and of focusing on similarities and not recognizing the differences. 

His work, nonetheless, still attracts the readers, probably because of the very features for which it is criticized – finding unifying elements across many cultures and religions and presenting them with great skill and enthusiasm. 

Each stage of the hero‘s journey consists of several (variable) parts.

The Departure stage may contain the following parts:

The Call to Adventure – a sign that something out of the normal is going to happen. It can be a threat to the peace of hero‘s village, or it can be a seemingly coincidental even tin his/her life. In any case, something unusual starts to happen and the hero awakens to himself. The herald of the call is often a dark loathly figure.

Refusal of the Call – the hero may refuse to take any action and continues in his old way of life, which is wrong because the hero does not become a hero, but a helpless victim who does not lead a full life.

Supernatural Aid – if the hero accepts the call, he meets with a protective figure who gives him magical artefacts and/or advice to help him on the journey.

The Crossing of the First Threshold – passing from the known world to the world of unknown and of danger. Sometimes the threshold is watched by a guardian.

The Belly of the Whale – this is a symbol for a dark place where the hero appears to have died, but in reality he emerges on the other side alive, transformed, and ready for the adventure itself.

The Initiation stage may contain the following parts :

The Road of Trials – the hero has to undergo a series of tests and trials in order to prove worthy of the ultimate boon.

Meeting with the Goddess – the hero meets with a powerful female figure (it does not have to be a real ‘goddess’) with whom he creates a bond of some kind (love, respect, support…).

Woman as Temptress – the hero is tempted by a woman (or by something/someone else) to give up the journey.

Atonement with the Father – the hero has to confront and reconcile with the person/thing which has the ultimate power in his life (which most of often is the father or a father figure) and to come to terms with the male principle in life. 

Apotheosis – transcendence to a higher plane of existence where a greater understanding and new knowledge is achieved. 

The hero becomes ready for the final part of the adventure. During this stage his physical appearance may be changed. The original meaning of ‘apotheosis’ is divinization.

The Ultimate Boon – achievement of the goal of the journey.

The return stage may contain the following parts :

Refusal of the Return – the hero might be so emerged in the newly found bliss that he may refuse to return to the ordinary world with his life changing trophy.

The Magic Flight – the hero has to hurry home because he is pursued by the enemies or because speed is needed to deliver the trophy or return it to its designated place.

Rescue from without – the hero may need to be aided in his return.

The Crossing of the Return Threshold – just as the hero had to cross the first threshold to enter the unknown world, he has to cross the return threshold on the way back to the ordinary world.

Master of Two Worlds – having conquered his fears and doubts, the hero becomes master of inner (spiritual) world as well as the outer (material) world and can pass between them without hindrance.

Freedom to Live – the hero is free to choose which path to follow in life.

The details can be found in Campbell‘s book called The Hero with a Thousand Faces (1949). Although the above classification of the stages of the hero‘s journey is the most popular and most quoted part of Campbell‘s work, there is much more to the book. 

For example, Campbell points out how often does the idea of cosmogonic cycles appear in mythology and religion – the world goes through periodic cycles of destruction and renewal. 

Another very important common aspect of mythologies is the concept of axis mundi/world tree. 

Axis mundi is the spiritual centre of the world, most often in a shape of a tree (e.g. Ygdrasil in Norse mythology) or a mountain (e.g. Mount Olympus).

Owing to his lifetime study of mythology, Campbell came to believe that mythical stories are important for the individuals and the society because they provide spiritual instruction and wisdom for life. “I would even go so far as to say, the soul needs stories. 

In the contemporary western society in which mythology and/or religion are not important parts of life any longer, this desire for stories is directed into other areas, like fantasy literature and films. 

Rick Riordan himself claimed that the fairy stories (this was the term under which he would include what is now called fantasy literature) are fit to be read and studied by adults, because adults can make a greater sense of them than children.

What Campbell proposed as a motto for life was “follow your bliss‖. This however, has nothing to do with hedonism, but with leading the life which one ought to live – a meaningful life. 

The hero‘s journey does not have to consist of outward deeds, but it can be a way of inner transformation, the goal of which is the individuation.

2.4      Plot Pickering and Hoeper

CHAPTER III : RESEARCH METHOD

3.1 Type of the Research

The research belongs to a qualitative-descriptive method which aims to describe the mythical and cultural Archetypes in Rick Riordan’s Percy Jackson and the Lightning Thief. 

The term descry refers to the aims, and the qualitative to the data. 

As Huberman states, in using a qualitative method, the data provided are not about numbers but words and texts. 

The method of challenges the data can be through observations, documentation, recording, interviews and other processes that support for the thesis or research (1992: 14-15).

3.2 Data and Source of the Data

The data of this research aim divided into information about the Primary Data and Secondary Data. The Primary data are taken from the novel. 

The secondary data are taken from essays / critics / articles / journals / documents / and other, especially those relating to the research problem.

3.3 Method of Collecting Data

The method of collecting data of this research uses in-depth reading which aims to understand deeply the research data. 

Depth-reading is done on primary or secondary data. 

It is aimed to find out and understand the content and meaning of the data in details. 

Once in-depth reading method is done, the researcher then chooses the analysis of data from a narratives and dialogues in the primary data (novel) that relate to the analysis to be performed. 

In selecting the data, researchers do it randomly according to the analysis of the existing topics, and the secondary data to strengthen the analysis.

3.4 Technique of Collecting Data

    To collect the data, the research does the following steps:

a. Reading the novel carefully / deeply to understand the content of Percy Jackson and the Lightning Thief.

b. Identifying the data in accordance with the problem statement.

c. Verifying the selected data in the form of dialogue or narration in the Jackson and the Lightning Thief.

3.5 Method of Analyzing Data

In analyzing the data, this study takes several steps to assist in achieving the research goal:

a. Understanding the verified data in order to ease the analysis of research of problem.

b. Analyzing the data through the theory of archetypes.

c. Presenting the discussion from the analysis.

d. Concluding the discussion from the analysis.

BIBILIOGRAPHY

Bressler, Charless E. 1999, Literary Critisism. New Jersey: Prentice-Hall, inc. www.incolor.com/tgannon/BresslerCh1(pp1-18) on March 17,  2015.

Campbell, Joseph. 2004. The Hero with a Thousand Faces. Princeton: Princeton University Press.

Carfax Publishing. www.amazon.com/ Professional-Development-Education-Paradigms-Practices/dp/080773425X on February   15, 2015.

Guerrin L., Wilfred Et. Al.  1979. A Handbook of Critical Approach to Literature 2nd Edition. New York: Harper and Row Publisher, Inc.

Hudson William H. 1963.  An Introduction of the Research of Literature. London: George G. Harrap.

Hourihan, Margery. 1997. Deconstructing the Hero. London: Routledge.

Huberman, A.M. 1992. Professional Development and Teacher Change by Thomas R. Guskey.

Jacobi, Jolande. 1968. The Psychology of C.G. Jung: An Introduction with Illustration. London: Routledge & Kegan Paul.

Longman Glossary of Literary Terms. Pearson Education, n.d. Web. 1 January 2015 http://wps.ablongman.com/long_longman_mylitlabdemo_1/24/6276/1606774.cw/index.html

Rank,Otto. 1957. The Myth of the Birth of the Hero: Psychological Interpretation of Mythology. New York: Robert Brunner.

Skogemann, Pia. 2009. Where the shadows lie: A Jungian Interpretation of Tolkien's The Lord of the Rings. Wilmette, Ill.: Chiron Publications.

SUMMARY

Percy Jackson and the Lightning Thief is a best-seller novel written by Rick Riordan and is the first book of Riordan's Percy Jackson & the Olympians series. 

Rick Riordan is a former English teacher and a father of an ADHD+D son. 

The novel consists of 22 chapters and tells about the adventure of Percy Jackson in searching for Zeus’s master bolt because he was accused to be the thief himself. 

First published in 2005, the setting of place of the novel is the United States in this modern era. 

This story was born as a bed-time story for Riordan’s first son, Haley, who had just been diagnosed ADHD+D. 

It explains why Riordan attached those labels into Percy and the other new demigods he created. 

He did this to encourage his kid. Riordan who realized that Haley was mostly interested in Greek mythology began telling great heroic stories from Greek myths. 

When he ran out myths to tell, Riordan made up new stories with Percy Jackson as the main character.

Twelve-year-old Percy Jackson does not think of himself as special. 

Actually, he thinks he is below average, judging by his grades, the fact that he is in his sixth school in six years, he has trouble reading because of Dyslexia, and the only rays of light in his life are his kind mother and his friend Grover. 

But, on a school field trip to a museum, he finds out that he is unique, although he can’t figure out how exactly. 

At the end of term, it all comes together during a wild flight from an actual Minotaur when his mother tells him he is the son of a Greek God. 

His best friend is actually a satyr assigned to protect him, some of the other gods are trying to kill him, and he’s going to a summer camp for demi-gods. 

It is safe from the monsters of the underworld, and it is where Percy will find out who his father is and how he will have to stop World War III. 

He has ten days to save the world and his mom. But, he may have to choose between the two.

Rick Riordan cleverly put and ‘reinvented’ the Greek mythology into his novel which settings are in our modern and familiar world. 

He also characterized its characters in a quite different way suitable for its setting. 

How did Riordan combine the ancient and the modern within one interesting story? Here, I would like to analyze the mythological and cultural archetypes in the novel.

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