Dr.AL.Meenakshi sundaram MD DA Prof of Anesthesiology, Thanjavur Medical College
Da Prof Muis Badulu
Transcript of Da Prof Muis Badulu
1. INTRODUCTION
1.1. Background
There are many languages in the world and to be able to communicate with
each other we need to know the system, because language is systematic. Every
language has its own system which is different from other language. English for
example, which is the subject of our study has its own system that it different
from Indonesian language.
Language is a tool of communication, deliver information, knowledge,
expression and though. But, we life with different nation. Until, we need one of
language that is used to communicative with foreigner for example English.
English is begun from junior high school to university and even from
elementary, learning English included grammar, vocabulary; structure is one of
cases that must be learned to get good English.
English is one of the most important languages in the world and becomes
the first language of international communication. Indonesian government has
put it the curriculum as a subject to learn. It is thought a foreign language and a
compulsory subject of educate, even now it is also taught in elementary school
as an optional subject.
A lot of have been able to using good or right English until part of
researchers do research for errors in grammar , structure, verb, clause or
sentence, but in this case, the writer has not find researcher do research about
analyze story or folklore where I will research a story or one of narrative
descriptive in using a good English.
We know that a lot of people able to speak English, read English
newspaper, writing composition, but, there is not able to analyze story or sentence
or paragraph. In this case, analyzing story can be begun from sentence. And it can
make easy in story sentence.
It is therefore important that students who want to develop their
knowledge should have ability in reading and comprehending some books,
magazines, leaflets, brochures, journal, newspaper and other reading materials in
which they can enlarge their knowledge in many field of science.
There are some advantages of using story in teaching reading
comprehension such as easy to find and use it. The teacher can stimulate students
to learn and arouse the pay more attention to comprehend the reading material.
Analyzing story can be begun by identification title of story, where is
happened. Besides, fill of story can be determined through identification with
determine dependent clause and independent clause.
By using this analysis, we can find all of happed in the story or fill of
story begin from the title, sentence to paragraph. So, to find about that, the writer
will be take story or analysis story about ADVENTURE OF THE MOUSE
DEER.
1.2 Problem Statement
a. How life the Mouse deer in the jungle
b. What happen with Mouse deer in his adventure
1.3 Objective Research
Objective of the research is to know feel of the story accurately began from
the title by identification or to group clause, sentences and paragraph in English.
1.4. Significant of the Research
This research is hoped to increase our knowledge or add or knowledge until
we ability to know the feel of the story accurately either from clause, sentence, or
paragraph.
1.5 Scope of the Research
This research have limitation, so that, this research can be directed, until, this
research can be do suitable by what is hoped. This research is limited at analysis
this story by identification every sentence or identification of sentences into
independent and dependent clause, event, setting, background, evaluation,
collateral and performative.
II. REVIEW OF RELATED LITERATURE
2.1 Theoretical Framework
2.1.1 What is Discourse Analysis
According to Keith Johson (1999: 99-105), discourse analysis is the
study of how stretches of language used in communication assume meaning,
purpose and unity for their users namely, the quality of coherence.
Coherence derives from an interaction of text with given participants,
and is thus not an absolute property, but relative functionally, the three
utterance relate coherently to each other as request, refusal, acceptance
Example:
That is the telephone (request)
I am in the bath (refusal)
Ok. (Acceptance)
There are number of difference approaches to discourse analysis and
there is often some disagreement and confusion about the meaning of both
term “discourse” and “discourse analysis” the approach describe above may
be characterized as the British American school (penny Cook,1994), and has
been the most significant in applied linguistics and in language teaching. It is
broadly speaking, an approach which has emerged for detailed study of
language.
Discourse analysis has been influential in communicative language
teaching as a source of principles for the detailed description of the resources
other than language knowledge which are needed in communication
( Widdowaon, 1979, 1984; Mc Carthy, 1991 ).
In other word, according to Cristal, discourse is a term used in
linguistic to refer to continuous stretch of (especially spoken) language larger
than a sentence-but within this broad nation, several different application may
be found.
Discourse could be classified into six part, namely,
1. Narrative discourse is a story told to entertain the listener, and sometimes to
teach social more, example legendary narrative, folktales, act.
2. Expository discourse is aimed at instructing the listener, explaining something
new, presenting one’s ideas and viewpoint, no matter how emotion-voden it
may be.
3. Procedural discourse is discourse aimed at changing the behavior of the
listener.
4. Dramatic discourse is narrative discourse told only in quoted material without
quotation formulas.
5. Epistolary discourse, is the discourse of letters and of radio telephone
communication
Based on classify of discourse above, so, the writer just one of them is
narrative discourse where the writer will analyze one of story or folklore, so, the
writer will explain about narrative discourse.
Narrative discourse is the easiest discourse to acquire. A narrative discourse is
a story told to entertain the listener, and sometimes to teach social mores.
There are at least three varieties of narrative discourse. The easiest one to find
is legendary narrative, folktales; tales told so often that everyone knows them.
These stories are important to anthropology, but they often contain a minimum of
per formative material, such as names, places, time and any other identificatory
items. Folktales are familiar to everyone that the teller can leave so much out that
the outsider studying the language cannot follow or understand the story and
some analysts have found that legendary narrative is a distinct discourse type.
The second kind of narrative, and the most valuable kind, is the narration of
past event in the speaker’s life or family. Here we get account of the time I (or
someone) get lost or got hurt badly, or got, or got denounced before the low; what
happened when we move or got married, or went to school, etc. these stories have
been told a few times, but they are not common knowledge, so, they will include
more details, more cohesion.
The third kind of a narrative is an episodic narrative; the story of a trip, for
example, where there is not one overall plot but a series of scenes, each with
descriptive material and a few event. After one scene, the action goes one another
place an another scene. The resulting narrative is like a sting of beads, and isn’t to
interesting to the analyst.
Content wise, narrative discourses do not consist of only narration. Most
cultures like to have the narration broken up by quoted conversations. English is
like this: a straight narrative is heavy and dull. We like more conversation to
break the monotony and liven it up. Some analysist have found narrative
discourses in which there is a narrative block, then a conversation block, another
narrative block, another conversation block, and so on. Some have found that
quoted conversation is important to getting story started. To highlighting certain
events, to marking the climax of the story properly.
The array of structure of a narrative discourse is as follow:
Narrative discourse = + Title:cl/sent/phr + Aperture:sent/par/cl + stage:
par/disc/sent + Narrative episode: par/disc/sent + narrative peak: par/disc/sent +
narrative
Post peak: par/disc/sent + closure: sent/par + finish: cl/sent/phr.
A narrative discourse consist of the optional title slot filled by a clause,
sentence or phrase followed by the optional aperture slot filled by a sentence,
paragraph, or clause, the optional stages lot filled by a paragraph, or sentence, the
optional narrative episode slot filled by a paragraph, discourse, or sentence, the
optional narrative post peak slot filled by a paragraph, and the optional finish slot
filed by a clause, sentence, or phrase.
Explanation:
The title is expounded by a short clause, phrase or sentence fragment such as,
‘the time I got lost’, the time was planted corn’, and so on;
The aperture is expounded by a clause or sentence, such as, ‘my brother or
sister here has asked me to tell about the animals in the woods’, or I am going
to tell about the animals in the woods’ or I am going to tell about when I was
young and I went to school’, or something similar. The exponent of the
apertures fuller and less cryptic than the exponent of the title. It is a sentence
or paragraph that helps get the story started.
the stage is expounded by a sentence or paragraph containing descriptive
clauses, clauses with past completed action, identification clauses or noun
phrases. Example might be: there was a man. He had two sons. He worked on
and his son helped him’ or one upon a time there was an animal that come up
and ate our sugar cane’, or far away in another land, there are people who…’,
or’ log ago when I was young and went to school’, etc. the main point is that,
in general, the exponent of the stage sets the scene by pinning down time and
events, but in a few cases, people have found the narrative of some
background events in the stage;
the episodes are expounded by paragraphs and embedded discourses, episodes
are the major chunks of the discourse and the breaks between episodes are
signaled by majr changes in time, place, cast of characters or event chains;
In a well-constructed story,, the episodes are chosen and constructed to build
up the interest, tension, and or suspense, until the peak episode is reached. The
peak episode’s exponents are often marked by a change in sentence length, a
change in the number of characters, etc;
Some narratives in some languages end with the peak plus a closure and finis,
but in some cases, a post peak is necessary;
Closure is expounded by a sentence or paragraph that sorts or winds
everything up and the story;
Finis is expounded by ‘that’s all’, ‘that’s all my talk’, finished’, etc.
2.1.2 Event and Non-Event
Events
The first distinction made in the analysis of discourse is between
events and non-events. In Garner, the halfback, made six yard around end
we are told two kinds of things: a particular person did something (that is,
an even took place) and furthermore, the particular person is named
Garner and is a halfback (neither of which is an event). Sometimes entire
paragraphs are devoted to non-events, as in the description of a scene or a
person. At other time, especially in language like Anggor, long stretches
of speech may be devoted to nothing but event information, the rules of
the reference system being such that the hearer always knows by
dedication who is doing what.
Gleason, who pioneered in explaining the difference between events
and non-events, pointed out that difference languages approach the time
sequences between neighboring events in different ways. In kate, for
example, events that are contiguous in time are distinguished from those
that are separated by lapse during which nothing of significance for the
story happens. The lapse may be long or short; but if it is noticeable in
term of the stream of notion of te narrative, it must be mentioned.
Ronald Huisman finds a similar situation in Angaatha with regard to
both time sequence and logical sequence. Cromack, on the other hand,
finds that Cashinawa requires a distinction between completing one
eventbefore the next beginand continuing the earlier event on into the
next. In term of kate, a Casinawa completion might be either withor
without lapse; but Cashinawa speakers are not required to report
contiguity or lapse unless they want to call attention to a Chasonawa
continuation, on the other hand, would undoubtedly be equated with
contiguity.
We can evision logical possibilities for temporal relations between two
events that are reported as a sequence. If we take as the earlier of the two
events and B as the later, we can distinguish several cases: A finishes
significantly long before B begin, A finishes by the time B begins, A
finishes just as B begins, and A does not finish by the time B begins. In
the last case we might have to specify further whether A ends when B
ends or A contains all of B and continues on ofter B is finished.
The time sequence of a narrative is rarely expressed as though events
simply followed one another like beads on a string. Instead, there is
usually a grouping of event into smaller sequences as a unit is put together
with other sub-sequences of the same kind. Time structuring can be
carried on through several levels of partitioning, so that the grouping of
sub-sequences of events can be diagrammed as a tree over the whole
narrative, however, a single index in Litteral’s sense can be constructed.
The moving finger of time moves on from event; yet from another point of
view the events them selves are clustered together.
In asserting the independence of temporal sequences from the
hierarchical grouping of linguistic elements, litteral has eliminated the
erlier notion of temporal sequence as one of several rhetorical relations.
Instead he has moved temporal sequences into the area of reference.
The clumping together of a series of events which are also in temporal
sequence with one another turns out to be based on organizing factors
which probably are part of the rhetorical structure. For example, all the
events that take place at a particular setting tend to be treated as a unit.
When a rhetorical organization and temporal sequences match, the order
of elements can be considered normal or unmarked.
A sequences of events is distinguished from a later part of the same
time sequence in that all the action in each part involve uniform relations
among their participants. Alton Becker speaks of this as one of the bases
of paragraphing in English. Sheffer finds something similar but more
explicitly communicated in her manuscript on manduruki.
There the patient or goal of an action is singled out at the a beginning
of each paragraph. It defines the characteristic orientation of the
participants for that paragraph, in that the rest of the actions in the
paragraph are implicitly taken to be directed toward that patient or goal.
Uniformity of participant orientation will be discussed and is related to
thematization.
Besides common setting and orientation, some event sequences appear
to be grouped together by the way they relate to plot structures. In our
study of Saramaskan, Glock and I had questioned whether plot structure
was actually part of linguistics at all. I suggest it might rather be a
perceptual template whereby a discourse could be rendered interesting by
casting the more prominent referents I it in standard role like hero and
villain.
Not all events, of course, are in sequences. Language is capable of
communicating forked action as in you take the high road and I’ll take the
low road, which is not a descriptive of a sequences of events. Forked
action may be different sides of a single complex action as in the dog
chased the fleeing cat or they got the car started by h im pulling and her
pushing.
In other case, a language may mark certain strtches within which
sequence is irrelevant. Janet Briggs cites part of an ayore text in which
many things jungle encampment. Although all the events, which involve
several individual fighting and others getting killed or being captured,
took place in some real sequence, they are explicitly marked in ayore by
the particle jeque as part of a single hurly-burly in which attention to
sequence, normally a prominent part of ayore discourse structure is
suspended.
Non-Event in Discourse
In discourse, to analysis story or to find non- event in story, there are
several part that include into non- event and they will used to analyze
story, they are:
1. Setting
Setting is important in the study of discourse not only because it is a
common basis for segmentation of sequential text into their component
parts.
There is difference between the setting of part of a text and the
underlyng relation of an action to its surroundings called the range role.
Range is part of the definition of every action. For example, with the
English word climb, the surface on which the climbing is done is an
essential semantic element of the action; if reference to it is omitted, it is
because the range is readily deducible from the context, never because it is
irrelevant to the action. other action like think and say, on the other hand,
do not have a range element as part of their semantic because range is not
part of the normal semantics of those actions. So, a true setting is capable
of extending over of sequence of actions and is independent o the meaning
of any one of their meaning: While I was in Phoenis I had agreat idea
Setting information can be paraphrased naturally in the form of a
separate sentence or block of sentences: finally, we arrived in London. It
was ten in the morning. Range information, on the other hand, cannot be
separated: when he was at the street corner, he climbed does not give for
the range for climb; it is necessary to make range part of the same clause,
as in e climbed the flagpole or he climbed the path that led from these.
Setting in space are frequently distinguished from setting by
description, spatial setting may be redefined during the course of a text
either by describing where each new setting is located, as seems normal in
English, or by a relative redefinition that takes the most recent setting as
its point of departure. When a setting is established in one paragraph,
certain other points are related to that setting, yet standing outside it.
The paragraph may end with one of the participants going to one of
those peripheral points. A new paragraph that begins with the signal that
the setting is to be change may than pick up the peripheral point at which
the action of the last paragraph ended and make that into the setting for the
next paragraph Oksapmin of Papua New Guinea does something similar,
except that the setting of the shifting does not seem to be related so closely
to the division of the text into paragraph as in Maxacaly.
A setting is established; then verb of motion like “go” and “come
back” are used for excursions out from that setting and back. If a “go” is
not matched by a corresponding “come back”, however than a following
“arrive” or similar verbs established a new setting. On the other hand, a
“come back” or return that is not preceded by a corresponding “go”
switches the setting back to whatever setting as defined at the beginning of
the text.
The scope of a spatial setting may be broad or narrow. Oksapmin, for
example, takes as the firs setting of a narrative the place where the person
stood from who spatial viewpoint the story is told.. The setting also
includes his immediate surroundings. The extent of those surroundings,
however, may take in as little as part of a room or it may include part of a
country. There is not explicit indication of where the boundaries of an
Oksapmin setting lie; it must be deduced by the hearer from the speaker’s
pattern of use of prefixes like ma- ‘here’, or more exactly ‘within the
setting are’, as opposed to a- ‘there, outside the setting area.
Setting in time are equally important. Temporal setting, like spatial
setting, must be distinguished from the temporal properties inherent in a
particular action.
Whether an action followed its predecessor immediately or after a
lapse, whether it is viewed as having an extension in time or taking place
as a single unit, whether its effects or said to persist, all are independent of
the general time framework of the narrative, just as the place where an
action followed it predecessor immediately or after a lapse, whether it is
viewed as having an extension in time or taking place as a single unit,
whether its effect or said to persist, all are independent of the general time
framework of the narrative, just as the place where an action or serious of
action happens is independent of those elements of location (range) that
are integral part of the definition of the action.
Description definition of time is usually with reference to some kind
of calendared system. the term is used broadly to include but only explicit
calendric reference like Longfellow’s “I was the eighteenth of April in
seventy-five… but also reference to unmodified but culturally recognized
temporal events like at the first new moon after the solstice or when the
corn developed its second joint or event the old Testament’s at the time
when the kings go forth to bottle.
As with spatial setting, temporal setting within a narrative can be
established relative to earlier temporal setting. this is usually done by
mentioning the amount of time that intervened between the erlier group o
actions and later group: “after three years”, “the next day”, “when the
Next came to power”. The time may also be established with reference to
the time of telling: “last year… within the last three weeks, however”,
aging of the participants serves as a mechanishem for establishing setting
in other cases: “Now he was three years older”, “by the time she got
married”, “later, after he had stepped down from his heavier
responsibilities”.
McLeod suggests that the psychological atmosphere of a series of
events may be treated linguistically in a fashion parallel to spatial and
temporal setting. Mumuye nigeria has behavior like “the horns wee
blowing for the ceremony” or “ancestors were making beer handled
grammatically as setting other than as events.
2. Background
Much of the secondary information that is used to clarify a narrative
(called background for convenience, even though the form may be
misleading for non consequential text when explanatory information could
be thought of as being in the foreground) has a logical sounding structure,
frequently tied together with words like because and therefore. It is an
attempt to explain. It has this explanatory form even when the logic in it is
invalid or when it falls short of really explaining what it purports to explain.
As far as natural language is concerned, it seems enough that the
sound of logic be there, though the substance and structure of logic be
nowhere in sight. The logic may be shaky and the premises flawed, but to
the dismay of real logicians it is usually accepted anyway as long as it is
cast in the right language model.
A speaker may leave out elements of an explanation, whether it is
given as background to a narrative or whether it is the main thread of a text
in several ways. He may for example, state premises I his argument that fill
the place of premises in the structure but that are far removed from the real
premises on which the argument is based would not be palatable to the
hearer.
Sequences of events that are told as background are in a sense
embedded narratives, though the ones I have noticed so far are mach less
rich in structure than the main narratives on which they are supposed to shed
light. Their structure is, however, their own; it is independent of the
structure of the main narrative.
Furthermore, here no requirement that the participants in the
embedded narrative be connected with the participants in the main narrative.
In the Sarramaccan case they are the same. In Parables, which are a special
kind of narrative used to shed light on something else, there is usually no
connection of participant with the main story except by analogy.
In between lies, for example, St. Mathew’s Account of the death john the
Baptist. It is brought in to explain the apprehensions of king herod about
Jesus, who herod thought must be john come to life. The supporting
narrative goes back to the death of john and brings in herod’s brother Philip
and his former wife herodias, whom herod had married, together with
herodias’s daughter.
Non of the event involved in the peripheral story touch the main narrative
directly. They rather serve to explain an attitude reported in the main
narrative. Only two of the participants, herod and John, appear in both
narratives.
Antecedent events occur in a time framework that is removed from that of
the narrative. In a time framework that is removed from that of the narrative.
In term of literal’s index they are removed from the main time of the
narrative of the narrative by a constant factor K, so that an antecedent event
sequences that relates to time segment n in the main narrative has in its
indices of the form n-k + I, where i= 1,3,5,… for the events within it. This
time placement is signaled overtly in some languages. English, for example,
uses the past perfect tense to point out a displacement; in the preceding
paragraph we can see the example whom herod had married for just this
reason.
Another kind of background involves an event sequence used to explain
things, but displaced forward in time rather than backward. Such
foreshadowing has a displaced index of the form n + k + i. Again, the
internal structure and cast of participants ofsuch a displaced event sequence
are essentially independent of the structure and cast of the main sequence.
Foreshadowing has two uses in narrative. First, it explain the main events
by stating a sequence of events that might result later from the main action.
Second, it may fill in the semantic content of part of the main events a
sequence well before the events are usually asserted to have taken place.
This is seen in narrative sequences like:
“He married Cindy so that he could drain her fortune off to a numbered
account in a Swiss bank. When he attempted to do so, however, Dopper Dan
got wind of it and advised Cindy to switch to municipal bonds over which
her husband had no control”.
Here drain her fortune off is not asserted as has having happened; the
actual assertion of an event is “attempted to do so, with the semantic content
of do so already specified. In the same way switch to municipals bonds is a
foreshadowing in terms of the time base of the event advice.
As we leave this drama we are not told whether Cindy ever got to her
stock broker in time. It is of suck interplay between foreshadowing and
assertion that soap operas are woven; but the pattern also has its serious
uses.
Foreshadowing shades off into collateral information. There are slight
differences in emphasis between the two but which of them is intended may
not always be clear. Foreshadowing, like other background information,
intends to explain something, whereas collateral information intends to lay
contrast with the other alternatives to it.
3. Evaluations
The reactions that are expressed come from several sources. The most
obvious is the speaker’s own evaluation: here comes that the black guard
Jones not only identifies Jones and sets the action in the speaker’s
immediate environment, but also lets the hearer know what the speaker
thinks of Jones. Aristotle points out the difference between “orates the
matricide” and “Orestes the avenger of his sire”, depending on what the
speaker thinks of Orestes. Winograd shows how a word like “nice” tells us
nothing about the object it is applied to, but only about the attitude of the
person who uses the word expressively.
Often evaluations are imputed to the hearer or to other people referred
to in the discourse. Any participant in a discourse can be assumed to have
has own opinions of things, and the speaker may feel that he knows what
those opinions are sufficiently well to include them.
Another kind of evaluation is that of the culture within which the
speaker is speaking, the convention of the society he represents. The Greek
chorus brought society’s expectation of what was proper into the play, and
weighed the action of the participants less against the personal factors that
influenced their choices than against the factors that all agreed should have
been decisive. In some ways the omniscient viewer of modern story telling
represents this function. Not everything in a discourse has to be evaluated.
For this reason, it is useful to recognize the scope of an evaluative
statement. It may be global, embracing an entire discourse, if so, it is likely
to be found either at the beginning as an introductory statement that tells
why the rest of the discourse is being told, or at the end as a moral to the
story of the tag line in a fable.
Frequently, the evaluation is local as when one participant tells another
that as far as he was concerned what they just did was the wrong thing to
have done. Labov and Waletzky discuss the use of evaluative statements of
this kind. They occur in English between the complication part of a
narrative and the resolution. An evaluation which may evaluate the
immediately preceding event or the entire situation of the story or even the
situation of the telling of the story, suspends the flow of events at a
structurally significant break. Bolinger discusses the influence of
evaluations on choice of words. Not only one man’s poison, but what is
prudence for one is cowardice or another, what is beautiful for one is
garishness for another, and what one calls love another sees as
sentimentality.
It all depends on how one looks at it, literally. Thus there are words
that always represent good things, such as loyal, true, mother, and the whole
list that includes “Remember the Maine, Plymouth Rock, and the Golden
Rock” in the song “Trouble” from Meredith Wilson’s The Music Man.
On the other hand, there are words that always represent bad things:
ghastly, traitor, decay. Other words float in between, depending partly on
the temper of the times (the chorus function) and partly on the immediate
context. Charles Osggod shows how the evaluative component of words can
be represented, and how it shifts in term of varying psychological states.
Evaluation bring the hearer more closely into the narrative; they
communicate information about feelings to him that goes beyond the bare
cognitive structure of what happened or what deduction is to be made. In
conversation, and even monologues, the hearer may be pressed to give him
own evaluation: what do you think? How do you suppose the took that?
Evaluations may also be an aim of that discourse. By communicating
how the speaker feels, there is often an implication that the hearer ought to
adopt the same attitude. Stories with a moral are characteristically of this
kind. Where the evaluation itself is the punch line, the discourse is hortatory
inform, and may take the form “because these things happened, you should
feel as I do”, or “Because this principle holds for the reasons I give, here is
the attitude you must take”. A story with a moral is thus likely to be an
exhortation within which there is embedded a narrative.
Evaluative information shades off into background information or even
into setting in cases where it serves to build up the psychological tone of a
series of events. Here the general form would be “because people felt this
way, or because I think things were exceptionally good, this is what
happened as a sequence”. Evaluations also mark the development and
release of tension in a plot, giving cues as to how the action affects the
participants’ view of things and vice verse.
4. Collateral
Some information in a narrative, instead of telling what did happen,
tells what did not happen. It ranges over possible events and in so doing sets
off what actually does happen against what might have happened.
The idea of collateral information was first introduced by William
Labov who pointed out that collateral information is not restricted to things
that might have taken place but did not. Collateral information also fits into
projected time. Questions, for example, raise alternatives that might or
might not turn out to be so; future tense form predict actions that make not
taka place; imperatives direct people to do things that might or might not be
accomplished.
All of these have the effect of setting up alternatives. Later in the text,
it is usually made clear which of the alternatives happens. At that point the
fact that alternate possibilities were mentioned earlier makes what actually
does happen stand out in sharper relief than if it were told without collateral.
Collateral information, simply stated, relates non-events. By providing a
range of non-events that might take place, it heightens the significance of
the real events. Collateral events also have the effect of anticipating content
when, with reference to projected time, a number of alternative possibilities
spelled out in advance. I one of these alternatives is the real one, much of
what has to be said about it have already been said ahead of time. In this
respect collateral information is not very different from foreshadowing.
Negatives, first of all, is almost always collateral, whether its temporal
reference is in accomplished time or in projected time. Event that do not
take place have significance only in relation to what actually does happen.
Event that are not supposed to happen still may take place; if they do not,
then we are concerned with what else might happen in their place; while if
they do happen contrary to the prediction, that fact that a negative prediction
was made about them contributes to the highlighting effect.
Other negatives are not really collateral, but are hidden forms of
positive statements. St. Pault’s “we do not want you to be ignorant” is of
this type; the meaning is ‘we want you to realize’ followed by the content of
what the readers ought to know. Here the negative has apparently been
raised into the main clause “we want x” from the embedded “you should not
fail to realize”, in which the Greek ouk is cancelled by the privative a-of
agnoein to give the whole meaning equivalent to ‘you should realize’,
incorporated in the stylistic device known as litotes. The same privative
enters into the composition of lexical items that denotecertain events.
These events are named by negation from some other word that also
denotes an event, but of a different (not necessarily antithetical kind); for
example, Greek athereo ‘disregard’ from tithemi ‘establish’. Negatives of
this kindare necessarily collateral.
Questions are another grammatical from used for indicating collateral
information. When did John get here? Presupposes that John get here, so
that the area of uncertainty is restricted to the time of his arrivel, when did
you stop beating you wife? Is more complex; it assumes that you have a
wife, that there was a time when you beat here, and there was after
whichyou no longer beat her. The question is directed toward ascertaining
that time. The presuppositions in a question are almost like conditions laid
down by the speaker for the hearer to give an acceptable answer.
The questions that are most characteristically collateral are polar or
yes-no questions, since they invariable impose alternative. Will Reginald
escape? Presupposes an exclusive disjunction, a pair of alternatives only on
of which is acceptable: either Reginald will escape or Reginald will not
escape; please tell me which is the case .in English, a positive answer like
yes or he will asserts the positives alternative even if the question is stated
by using the negative member of the pair. Won’t Reginald escaped?
Expresses the same disjunction, different from the positive question
principally in communicating in the letter case that the speaker already has
his own opinion, but that he is interested in getting the hearer’s reaction.
The information about what actually does happen, then, may take
several forms. If non of the collateral expressions give what really happened
as one of the alternatives, it must be stated as a distinct event. If it was
mentioned ahead of time, however, then it is not necessary to repeat the
content that was mentioned as part of the collateral, but only to affirm which
of the possibilities took place. They were either going to go to Florida for
vocation or camp in the Adirondacks. They did the letter illustrates the
introduction in collateral of the event, followed by an anaphoric reference
that gives it the status of a true event.
Quotations often give collateral information. An act of speaking
mentioned in a discourse is, of course, an event in itself; but what is said is
usually not. If it has the form of denial, a question, or a prediction, the three
regular forms of collateral that have just been discussed, then it is clearly
collateral. She said, “he isn’t in the house.” But when we unlocked the door,
there he was uses a negative quotation to add significance by contrast to
there he was. She said, “are you looking for Gaarham? ”When we unlocked
the door, there he was Simmons uses a question to suggest to possible find
that turns out to be different from the actual find. She said “you will find
him in the second room on the right.” When we unlocked the door, there he
was sets up prediction in the quotation.
Not all quotation gives collateral information. Quotations may also
express background information evaluation: the doctor said she should
watch her weight.. So she went on a diet explains going on a diet by quoting
(indirectly in this case) what the doctor said. As the rocked curved toward
orbit, a reporter whispered, “beautiful!” conveys an evaluation.
As longacre points out, in certain kinds of discourse there is a standing
assumption that what is quoted is what happened. This dialogue from of
discourse can be considered a specialized version of narrative; it is
sequentially oriented accomplished time. It could be considered the default
or unmarked case of collateral quotation, in which only one possibility for
each event is introduced via quotation, and since there are not alternatives,
what is mentioned is tacitly taken to be what happened: the canoe glided
between the islands, “closer into the shore.” “Far enough?” no answer
from the forest. “try again” “hello the island!” “Marlowe!” “Take her
ashore.” Radio drama without narration developed this kind of discourse
into an art form; even stage and television plays depend heavily on it, and it
is a popular form of oral narration in many languages.
5. Per formatives
Both the form and the content of any discourse are influenced by who
is speaking and who is listening. The speaker-hearer-situation factors can be
represented in linguistic theory via the action of per formative information.
The idea is this: in any language there certain words called per
formatives which under the right conditions denote actions that are
performed in the uttering of the words themselves. When the minister says I
pronounced you man and wife a couple are thereby made man and wife;
There are, however, restrictions on per formative utterances. They
must be in the first person and the present tense, the minister cannot to
someone else you pronounce them man and wife and thereby perform a
marriage, and if he says I pronounced you man and wife he is reminiscing,
not exercising his office. There are also extralinguistic conditions that are
required to make those per formatives stick; in American society, for
example, a bartender or aship captain on shore or seminary student or a
elementary school pupil can utter I pronounce you man and wife, but only a
minister of a religion, a justice of the peace, or a ship captain on the high
seas can say it in a way that performs the action. In the same way, the
people it is addressed to must be of different sexes, above a certain age, and
not married to anyone else.
Certain per formatives are quite common and are free of special
limitations on their uses: I hereby order you to turn left and numerous
equivalent forms are one kind that is so common that there is grammatical
shorthand for it: turn left, an imperative.
Another large family of performativrs can be paraphrased into a form
like that of somebody stole the garlic. I hereby request you to identify that
person. The grammatical shorthand for this is the question form who stole
the garlic? By far larger family of performatives fit the pattern I hereby
inform you that your back porch just fell off, for which the conventional
shorthand is the declarative your back porch just fell off. Behind een simple
utterances, then it is possible to say that there stands a performative element
that recognizes the identity of the speaker, the hearer, and the attention
within which they are communicating.
The recognition of implicit performatives behind commands,
questions, and statements, as well as explicit performatives, paves the way
for a linguistic handling of situational factors indiscourse. Specifically, it
gives a place in linguistic analysis for what are conventionally known as
deictic (pointing) elements like “this” and “that” or “here” and “there”, and
for person categories like “one” and “you”. Assuming a performative
behind parts of discourses in additionto the global performative, makes it
possible to talk about person, time, and place in a way that should be very
hard to explain otherwise withinthe bounds of a theory of language. The
show up if we paraphrase the example just given in such a way as to show
the performative elements:
( ) I, the auther, hereby inform you, the reader,:
( ) A said to B, quote (direct)
( ) “I, A, hereby inform you, B, that (indirect you B, quote (direct)
( ) you, B, quote (direct)
( ) ‘I, B, herby inform you, C, that (indirect)
( ) I, B, see you, C.’’’
Any paraphrase of this that uses only indirect discourse goes into the
third person and is highly ambiguous in English even with full intonation,
because neither A and B nor C is the author or the reader: A said to B that he
said to him that he saw him. With explicit identification of C there is less
ambiguity, but still enough to inhibit communication: A said to B that he
said to C that he saw him.
In addition to the identification that relate to performatives, there are
other less easily recognizable factors whose effects can be seen in the outer
form of language and that find their place in the conceptual scheme of
linguistics by virtue of their relation to performatives. Here, first of all, is
where the speaker’s entire image of himself as a person is accessible to the
linguistic system. Here also is the place in linguistic structure for registering
the speaker’s assessment of who the hearer is, what he knows, how he feels,
and what he might do as a result of what the speaker says.
Both change during the course of speech as a result of feedback
signals from the hearer to the speaker; but it is in term of what the speaker
hold about both himself and the hearer at the moment that he phrase what he
say next.
The performative element not only serves to relate person to the
discourse. but also sets the zero point for time reference. In term of Littera’s
time index, the time axis of a discourse can be represented by the real
number lime. Zero matches the time the actual activity of uttering the
discourse begin, the negative part of the line matches thing that happen
before then, and the positive part matches both the uttering of the discourse
itself and future events that are talked about. Each event including the
uttering of the discourse itself, is then represented by an open set of points
on the time, indexed as described earlier.
English work like now, ago, and yet have explicit reverence to the
relation between the time of speaking and a time referred to. Other words
are independent of this relation.
The place where an act of speech occurs is also part of the
performative information for that act of speech. The position of speaker and
hearer relative to each other, their surroundings, and the relationships
between all this and the things they are talking about influence to certain
extent the linguistic forms they choose.
For example, when talking about things in the immediate speech
situation, English speaker distinguish this, something near the speaker, from
that, something not near the speaker, though possibly near the hearer, when
talking about abstractions or about things outside the speech situation,
however, the use of this and that loses its spatial component and takes on a
reference to what the speaker has or has not said already: the point is this:
you have to forget all that has this pointing ahead to what the speaker is
about to say and this pointing ahead to what the speaker is about to say and
that pointing back to what has already been said.
Story is usually concerned with fictitious people or events since they are
produced through the imagination of the author. Even though the source of
imagination or inspiration sometimes comes from the reality for instance
politics and the living society, the results are mixed with the author’s
interpretation. Due to this, the production of a literary work is usually
considered as the author’s imaginative invitation or the author’s creative work
or writing.
However, since the source sometimes emerges from real thing, they are
still universal values that can be obtained. Moreover, the author’s as a human
being, can not rid himself of his feelings and emotions. Human qualities are
possibly involved to motivate the story if we consider the matters. We may
find human ideals, goals, and feelings as emotions explored in literary works.
Sometimes it is not easy, however, to get all of these essential aspects,
since we have different forms of literary works. We have to take into account
that probably the different forms may give an author a chance to choose one
of them deliberately. A form in which the author conveys his ideas distinctly,
as Blair in Lilis (1991:1) said “Although all imaginative literature interprets
human qualities, emotions, motives, and values, different forms interpret them
different ways”.
2.2 Conceptual Framework
STORY OF THE ADVENTURE OF THE MOUSE DEER
Divided into sentences
Analysis
Evaluation
Background
Event Setting Performative
Collateral
III. METHOD OF THE RESEARCH
1. Research Design
The design of this research uses qualitative research (Marshal and
Rosman, 1995). Qualitative research method have become increasingly
important modes of inquire for the social science and applied field.
Qualitative research is the collection data, analysis, and interpretation of
comprehensive narrative and visual data in order to gain insight into a
particular phenomenon of interest.
The purpose of qualitative research are to analyze feel of story with
finding or to know setting background, event, collateral, performative,
evaluation and to identify dependent clause and independent clause
2. Sources of Data
Talking about source of data, this data is taken from the book of the story
of The Adventure of The Mouse Deer, where is one of story that will to be
object in this analyzing. The author this book is Willy Yahya. and the first
printing, June 2005, and published by Multi Media Perdana.
3. Data collection
The procedures of collecting data in this research is observation the book
where the writer look for the book that is suitable to be analyzed and making
fieldwork. Fieldwork includes field note, the writer will collect writing
several note that relate to this analyzing, besides, the book that relate to this
analyzing.
4. Data analysis
Data is taken from the story of The Adventure of the Mouse deer by
observation. The data is analyzed based on the story, to find or to know
dependent clause and independent clause in sentence, setting, background,
evaluation, event, collateral and performative.
IV. DISCUSSION
4.1 Teks
1. THE ADVENTURE OF MOUSE DEER
2. Once upon time, a tiger was roaming in the jungle.
3. “I have been looking for the mouse deer all day.
4. He has humiliated me.
5. Where is he?”
6. “He said
7. that l was a coward only brave enough to hunt chickens and goats.”
8. “At the party in the jungle the other day,
9. he said that,
10. I was scarred just to see the lion’s shadow the king of the jungle.
11. What a mockery!”
12. “I’ll continue to find the mouse deer and give him a lesson of respect
13. so that he stops bragging.”
14. One day, the Tiger was able to find the Mouse deer in the middle of the jungle.
15. “Mouse deer, How dare you are to meet me!?”
16. Me, the coward Tiger you said. Gerrr…”
17. The Mouse deer trembled in fear.
18. He fried to control his fear
19. and find a way to escape from the Tiger.
20. “You are mighty Tiger!..”
21. “I have actually been looking for you for so long…”
22. The Tiger was surprised.
23. “Mouse deer, we need to make a calculation!”
24. “You are right.
25. We meet here to take revenge.
26. Well, just a short time ago the royal family of the jungle assigned me to meet you.
27. Because you are strong and power full,
28. you will be appointed the Supreme Commander.
29. Your skin is beautiful
30. and shows power and charm.”
31. “But, my Mouse deer brother,
32. when are they going to have a big jungle meeting again? Tell me.”
33. “You mean the assembly meeting for your appointment?
34. As soon as I can report our meeting to the king.”
35. “The king ordered you to wear a glossy belt around your already handsome
36. and colorful body just to make look greater and more frightening.
37. The belt was the gift from the great prophet of all animal.”
38. “That’s the belt I told you about...”
39. The Mouse deer showed the Tiger a sleeping python, the big snake.
40. “One week after I reported this meeting between you and me,
41. you will be the Supreme Commander.”
42. “Dear friend, Mouse deer.
43. Between you and me, let me try the belt on
44. so that I won’t feel clumsy at the inauguration party.”
45. “You should be a bit patient Mr. Tiger.
46. You can wear it later…
47. I am worried,
48. you might get the spell from the prophet if you are not patient enough.”
49. But the Tiger insisted on trying the belt on.
50. “Alright, if that’s what you want to do, Mr. Tiger.
51. To avoid the spell from the prophet,
52. you have to close your eyes.”
53. “Please meditate.
54. This belt is magical.
55. It feels like a living creature.”
56. The Tiger happily followed the Mouse deer’s instructions.
57. He closed his eyes, dreaming just
58. how wonderful he would look with the great belt around his body.
59. The Mouse deer slowly moved the python’s neck.
60. The python remained asleep because it
61. was full.
62. He then put the python around the Tiger’s body.
63. It naturally stretched
64. and wrapped the Tiger’s body.
65. The Tiger felt very happy
66. and still kept his eyes closed.
67. The python that was said to be belt from the great prophet
68. was already wrapping around his body.
69. Every movement he made only caused the python belt wrap more strongly.
70. Meanwhile, the Mouse deer had already run away,
71. leaving the Tiger in the danger.
72. The Tiger was totally defeated and cheated.
73. The python wrapped itself more tightly.
74. The Tiger could hardly breathe.
75. He had open his eyes
76. and was really shocked to find himself wrapped tightly by a big python.
77. The python was even starting to bite his head.
78. Luckily, the bites were not poisonous,
79. but were painful enough to hurt him.
80. The Tiger shouted fiercely
81. and shook his body desperately.
82. The python was surprised
83. when it heard the sound.
84. The python loosened itself of the Tiger’s body
85. and crawled into the bush nearby, being afraid the Tiger would shatter is body
with his sharp claws.
86. The Tiger was left there alone, fooled and defeated by the Mouse deer, once
again.
87. “You jerk.
88. You little Mouse deer.
89. I’ll never let you live
90. when I
91. when see you again!”
92. But the Mouse deer had gone too far to be reached.
93. He had run into the deep jungle.
94. The mouse deer was wandering around the jungle
95. when finally got to border of village where farmers grew cucumbers.
96. The fields were full of various vegetables and crops and were unattended.
97. The farmers
98. who own them rarely came to see their crops
99. because they lived in the village quite far from the fields.
100. “Wonderful…
101. I can’t eat cucumbers in the jungle.
102. But here… I can eat as many as I want.”
103. The mouse deer greedily ate the cucumbers in the field
104. and spend the rest of the day sleeping on the edge of the jungle nearby.
105. The next morning he could still eat the cucumbers.
106. But the following day, the Mouse deer had to hide behind a big tree.
107. From his hiding place,
108. he could see the farmer and his wife.
109. They were really angry because their crops had been destroyed
110. and their cucumbers almost all eaten.
111. “Oh no!
112. There has got to be a new pest!
113. All the cucumbers were ready for harvest,
114. but now they no cucumbers.”
115. Are gone…
116. I don’t know
117. where or why.”
118. “Pigs or some other animals
119. might have eaten our cucumbers.”
120. “Look at this!
121. There are some pieces left uneaten.”
122. Said the farmer’s wife.
123. The farmer was angry
124. and moved his sickle sideway in fury.
125. “When I can get the thief,
126. I’ll punish him!
127. Then he’ll learn.”
128. From a distance,
129. the Mouse deer saw them
130. and suddenly felt frightened.
131. .He saw human begins for the first time and was amazed.
132. The farmer used his tools to work on his land
133. and do other activities skill fully.
134. The farmer and his wife finally left their field with only very few cucumbers in
their hands.
135. They thought they would harvest the cucumbers in the following week.
136. After they left,
137. the Mouse deer felt relieved and happy.
138. The next morning, he come back to the farm
139. and ate almost all the new and fresh cucumbers greedily.
140. He ate only a few bite of each cucumber and left
141. “I am full and satisfied.
142. Now I have to hide again…
143. The rest of them because there were so many there…
144. In the bush on the border of the jungle cucumbers around.”
145. The next morning, the farmer came to his farm alone to observe his cucumber
crop.
146. He found the crop in the east part of his farm
147. was destroyed.
148. Cucumber left-over were found everywhere.
149. “Oh no.
150. not again!
151. This is serious.
152. The thief can’t be shepherds.
153. An animal must have stolen my cucumbers!
154. I have to make a snare.
155. I am going to trap it!!
156. But how???”
157. angry curious,
158. the farmer left his farm.
159. As son as he got home,
160. he made a trap – a dummy dressed with very glutinous jackfruit sap.
161. He carried the dummy to his farm the following morning,
162. and installed it in the middle of his cucumber farm.
163. “Oh there is another human being.
164. The farmer has brought his friend…
165. But why is the other man so stiff and
166. motionless while the farmer is very alive?” said Mouse deer.
167. Having installed the dummy in the middle of his cucumber farm,
168. the farmer left angrily.
169. “Why the human creature and static, only nodding his head
170. when the breeze to sees him?
171. This one must be a stupid farmer!
172. He is different from the other one leaving!”
173. The Mouse deer tried to approach it.
174. But he run heartedly
175. when he saw the dummy nodding in the breeze.
176. “How foolish I can be!
177. The man can’t walk or run.
178. Why should I be frightened?”
179. He came closer to the dummy again.
180. He looked into the doll’s eyes this time.
181. “He doesn’t wink.
182. It does not be human!
183. It’s just a doll!
184. But boy…
185. He is conceited – trying to scare me.
186. You will pay for this!”
187. Realizing that the dummy couldn’t run to catch him,
188. the Mouse deer grew bold.
189. The doll had no fingers and was motionless, anyway.
190. “You can’t scare me!
191. Crocodile and Tiger can’t scare me, let a lone you!
192. I have deceived them all.”
193. The Mouse deer got closer to the dummy.
194. He became more proud of himself…
195. ”Here is cucumber for you!
196. It’s my gift.
197. If you overact,
198. I’ll kick you!”
199. The Mouse deer kicked the dummy
200. which had been covered with sticky jackfruit sap.
201. His front leg was stuck on the doll…
202. “How dare you are to hold my leg!!
203. Realize it or I’ll kick you again.
204. ” The mouse deer kicked the dummy angrily with his other leg and…
205. it got stuck again.
206. He could not move his two front legs now.
207. The sticky glue had made them motionless.
208. “Crazy you…
209. Now you even have the nerves to hold my other leg!
210. Set me free.
211. Other wise, I’ll hit you.
212. I’ll kick you again!
213. Then you will learn
214. how to treat the Mouse deer!”
215. “Here are some more kick.
216. ” With his four legs stuck on dummy,
217. the Mouse deer could not move anymore.
218. The Mouse deer could only regretted his overconfident action.
219. He could only stare at the clouds floating by in the sky above.
220. “Boy, those cucumbers look delicious and fresh.
221. Too bad I can’t reach them.
222. ” He was stuck on the farmer’s dummy all day.
223. He was really tired.
224. He knew it was useless to be angry with the dummy.
225. Late in the afternoon the farmer came to see his farm.
226. He was very pleased to see the Mouse deer
227. who had eaten his cucumbers trapped-stuck on the clummy.
228. “Aha. Now I get you.
229. I know
230. who was stolen my cucumbers.
231. It is you.”
231. “You’ll have to pay for what you did.
232. You’ll make good meat for our curry!”
233. When the Mouse deer heard
234. what the farmer said, he cried.
235. He regretted his misfortune.
236. He didn’t try to escape
237. when the farmer put him into a basket and was taken to his village.
4.2. Finding
Number ofDependent Clause Independent Clause
Dependent ClauseSentence Clause
1 1 The Adventure Of Mouse Deer
2 2 Once upon time, a tiger was roaming in the jungle
2 3 I have been looking for the mouse deer all day
3 4 He has humiliated me5 5 Where is he5 6 He said5 7 that l was a coward
only brave enough to hunt chickens and goats
6 8 At the party in the jungle the other day
7 9, 10 he said that I was scarred just to see the lion’s shadow the king of the jungle
7 11 What a mockery8 12 I’ll continue to find the
mouse deer and give him a lesson of respect
8 13 so that he stops bragging
9 14 One day, the Tiger was able to find the Mouse deer in the middle of the jungle
10 15 Mouse deer, How dare you are to meet me
11 16 Me, the coward Tiger you said. Gerrr…
12 17 The Mouse deer trembled in fear
13 18 He fried to control his fear
13 19 and find a way to escape from the Tiger
13 20 You are mighty Tiger14 21 I have actually been
looking for you for so long…
15 22 The Tiger was surprised
16 23 Mouse deer, we need to make a calculation
16 24 You are right17 25 We meet here to take
revenge18 26, 27 Well, just a short time
ago the royal family of the jungle assigned me to meet you
Because you are strong and power full
18 28 you will be appointed the Supreme Commander
19 29, 30 Your skin is beautiful and shows power and charm.
20 31, 32 But, my Mouse deer brother
when are they going to have a big jungle meeting again? Tell me
21 33 You mean the assembly meeting for your appointment
21 34 As soon as I can report our meeting to the king
22 35 The king ordered you to wear a glossy belt around your already handsome
22 36 and colorful body just to make look greater and more frightening
23 37 The belt was the gift from the great prophet of all animal
24 38, 39 That’s the belt I told you about...
The Mouse deer showed the Tiger a sleeping python, the big snake
25 40 One week after I reported this meeting between you and me
25 41 you will be the Supreme Commander
26 42 Dear friend, Mouse deer
27 43, 44 Between you and me, let me try the belt on
so that I won’t feel clumsy at the inauguration party
28 45 You should be a bit patient Mr. Tiger
29 46 You can wear it later30 47 I am worried30 48 you might get the spell
from the prophet if you are not patient enough
31 49 But the Tiger insisted on trying the belt on
32 50 Alright, if that’s what you want to do, Mr. Tiger
33 51 To avoid the spell from the prophet
33 52 you have to close your eyes
34 53 Please meditate35 54 This belt is magical35 55 It feels like a living
creature36 56 The Tiger happily
followed the Mouse deer’s instructions
37 57, 58 He closed his eyes, dreaming just
how wonderful he would look with the great belt around his body
38 59 The Mouse deer slowly moved the python’s neck
39 60, 61 The python remained asleep because it
was full
40 62,63 He then put the python around the Tiger’s body
41 It naturally stretched and wrapped the Tiger’s body
44 64 The Tiger felt very happy
44 65 and still kept his eyes closed
45 66 The python that was said to be belt from the great prophet
45 67 was already wrapping around his body
46 68, 69 Every movement he made only caused the python belt wrap more strongly
Meanwhile, the Mouse deer had already run away
46 70 leaving the Tiger in the danger
47 71 The Tiger was totally defeated and cheated
48 72 The python wrapped itself more tightly
49 73 The Tiger could hardly breathe
50 74, 75 He had open his eyes and was really shocked to find himself wrapped tightly by a big python
51 76 The python was even starting to bite his head
51 77 Luckily, the bites were not poisonous
51 78 but were painful enough to hurt him
52 79, 80 The Tiger shouted fiercely
and shook his body desperately
53 81, 82 The python was surprised
when it heard the sound
54 83, 84 The python loosened itself of the Tiger’s body
and crawled into the bush nearby, being afraid the Tiger would shatter is body with his sharp claws
55 86 The Tiger was left there alone, fooled and defeated by the Mouse deer, once again
56 87 You jerk You little Mouse deer57 89 I’ll never let you live58 90, 91 when I when see you
again58 92 But the Mouse deer had
gone too far to be reached
59 93 He had run into the deep jungle
60 94 The mouse deer was wandering around the jungle
60 95 when finally got to border of village where farmers grew cucumbers
61 96 The fields were full of various vegetables and
crops and were unattended
62 97, 98 The farmers who own them rarely came to see their crops
63 99 because they lived in the village quite far from the fields
63 100 Wonderful64 101 I can’t eat cucumbers
in the jungle64 102 But here… I can eat
as many as I want65 103, 104 The mouse deer
greedily ate the cucumbers in the field
and spend the rest of the day sleeping on the edge of the jungle nearby
66 105 The next morning he could still eat the cucumbers
67 106 But the following day, the Mouse deer had to hide behind a big tree
68 107 From his hiding place68 108 he could see the farmer
and his wife69 109 They were really angry
because their crops had been destroyed
69 110 and their cucumbers almost all eaten
70 111 Oh no!71 112 There has got to be a
new pest71 113 All the cucumbers were
ready for harvest71 114, 115 but now they no
cucumbersAre gone…
72 116, 117 I don’t know where or why73 118, 119 Pigs or some other might have
animals eaten our cucumbers
74 Look at this74 120 There are some pieces
left uneaten75 121 Said the farmer’s wife76 122 The farmer was angry76 123 and moved his sickle
sideway in fury77 124,125,
126When I can get the thief
I’ll punish him Then he’ll learn
77 127 From a distance78 128,129 the Mouse deer saw
themand suddenly felt frightened
79 130 He saw human begins for the first time and was amazed
80 131 The farmer used his tools to work on his land
80 132 and do other activities skill fully
81 133 The farmer and his wife finally left their field with only very few cucumbers in their hands
82 134 They thought they would harvest the cucumbers in the following week
83 135,136 After they left the Mouse deer felt relieved and happy
84 137 The next morning, he come back to the farm
84 138 and ate almost all the new and fresh cucumbers greedily
85 139 He ate only a few bite of each cucumber and left
86 140 I am full and satisfied
86 141 Now I have to hide again
87 142 The rest of them because there were so many there
88 143 In the bush on the border of the jungle cucumbers around
89 144 The next morning, the farmer came to his farm alone to observe his cucumber crop
90 144, 145 He found the crop in the east part of his farm
was destroyed
91 146 Cucumber left-over were found everywhere
92 147 Oh no92 148 Not again93 149 This is serious93 150 The thief can’t be
shepperds94 151 An animal must have
stolen my cucumbers95 152 I have to make a snare96 153,154 I am going to trap it But how???96 155 angry curious96 156 The farmer left his
farm97 157 As son as he got home97 158 he made a trap – a
dummy dressed with very glutinous jackfruit sap
98 159,160 He carried the dummy to his farm the following morning
and installed it in the middle of his cucumber farm
99 161 Oh there is another human being
100 162,163 The farmer has brought his friend…
But why is the other man so stiff and
101 164,165 motionless while the farmer is very alive
said Mouse deer
102 166 Having installed the dummy in the middle of his cucumber farm
103 167 The farmer left angrily104 168,169 Why the human
creature and static, only nodding his head
when the breeze tosses him
105 170 This one must be a stupid farmer
106 171 He is different from the other one leaving
107 172 The Mouse deer tried to approach it
108 173 But he run heartedly
109 174,175 when he saw the dummy nodding in the breeze
How foolish I can be
110 176 The man can’t walk or run
111 177,178 Why should I be frightened
He came closer to the dummy again
112 179 He looked into the doll’s eyes this time
113 180 He doesn’t wink114 181 It does not be human115 182 It’s just a doll116 183,184 But boy… He is conceited – trying
to scare me117 185 You will pay for this118 186 Realizing that the
dummy couldn’t run to catch him
119 187 the Mouse deer grew bold
120 188 The doll had no fingers and was motionless, anyway
121 189 You can’t scare me
122 190 Crocodile and Tiger can’t scare me, let a lone you
123 191 I have deceived them all
124 192 The Mouse deer got closer to the dummy
125 193 He became more proud of himself
126 194 Here is cucumber for you
127 195 It’s my gift128 196 If you overact130 197 I’ll kick you131 198,199 The Mouse deer kicked
the dummywhich had been covered with sticky jackfruit sap
132 200 His front leg was stuck on the doll
133 201 How dare you are to hold my leg
134 202 Realize it or I’ll kick you again
135 203 The mouse deer kicked the dummy angrily with his other leg and
135 204 it got stuck again136 205 He could not move his
two front legs now137 206 The sticky glue had
made them motionless138 207 Crazy you…139 208 Now you even have the
nerves to hold my other leg
140 209 Set me free140 210 Other wise, I’ll hit you141 211,212 I’ll kick you again Then you will
learn142 213 how to treat the
Mouse deer
143 214 Here are some more kick
144 215 With his four legs stuck on dummy
145 216 the Mouse deer could not move anymore
146 217 The Mouse deer could only regretted his overconfident action
147 218 He could only stare at the clouds floating by in the sky above
148 219 Boy, those cucumbers look delicious and fresh
149 220 Too bad I can’t reach them
150 221 He was stuck on the farmer’s dummy all day
151 222 He was really tired152 223 He knew it was useless
to be angry with the dummy
153 224,225 Late in the afternoon the farmer came to see his farm
He was very pleased to see the Mouse deer
154 226 who had eaten his cucumbers trapped-stuck on the clummy
155 227 Aha. Now I get you156 228,229 I know who was stolen
my cucumbers157 230 It is you158 231 You’ll have to pay for
what you did159 232,233 You’ll make good meat
for our curryWhen the Mouse deer heard
160 234,235 what the farmer said, he cried
He regretted his misfortune
161 236,237 He didn’t try to escape when the farmer
put him into a basket and was taken to his village
According to Joseph Brimen (1975) cited in Ba’dulu (1989), texts contain
kinds of information as follows : (1) events, (2) identification, (3) setting, (4)
background, (5) evaluation, (6) collateral, (7) performative. Events are all things done
by the participants in the text; identification is a way to introduce someone or
something by giving name; setting is a places, time, and condition of an event in the
text ; background is information out of the content of the text, not part of the story;
evaluation is information that explain about the feeling of the writer or of the others;
collateral is information about something that is not happened; and performative is
language that conveys something.
These kinds of information that will be stated in this part by using Thurman
Chart ( Grimes, 1975 cited in Ba’dulu, 1989 ). The vertical lines are for the
participants, one line for each participants. All the events are put in the left side and
any information in the right side.
4.3. Structure of Text
Chosen text is a narrative text (narrative discourse), narrative text is a
short story that is talked, with aim to amuse listener, and sometimes, for
teaching moral. Narrative text is there three kinds, namely
1. Legendary narrative or folktales
2. short story about the past event in life or speaker’s family.
3. episodic narrative, folktales story that is often talked until all of people
know it.
This story is important for anthropology, but it is often little item of
performative, such as name, place, time, and elements of other introducing. This
story is usually used to amuse ourselves.
In narrative text, we can know the last happened that is experienced by
native speaker in their life. Example, at the time, she is hurt by Giant, doing trip,
almost catch, etc. this story is often talked but, it is not knowledge.
Episodic, a short story where not one is direct but, action, and item of
descriptive and several happened.
4.4 Explanation
1. The title can be stated by phrase, clause or sentence, such as, the story of
Mouse deer round in the jungle
2. Stage can be stated by sentence or paragraphs that consist of descriptive
clauses, clauses with the last happened, clauses or phrases of identification.
Element of stage begin action with determined place and time and introducing
actor. Stage is not usually include event, but in some cases, people find events
of background
3. Episode, stated by paragraph and insert sentences, are main part sentence, and
limitation between episodes is stated by important changing in place, time,
actor or around event.
4. Peak episode, this episode is chosen and arranged to create attention and
climax till reached episode. Element of climax episode is often marked with
changing of long sentence, changing by step, changing in number of actor.
5. Post peak episode, is all of fill of the story, or, review of the story, post peak
episede consist of teaching moral from the story.
6. closed, is stated by sentence or paragraph that end the story.
Based on several explanations above, so, peak episode that is obligatory
used and other elements is optional. In narratives text, there are several insert
paragraphs (embedded paragraph), namely, narrative paragraph, explanatory
paragraph, and dialogue paragraph.
V. CLOSED
5.1 Conclusion
1. Discourse analysis is the study of how stretches of language used in
communication assume meaning, purpose and unity for their users: the quality
of coherence.
2. This story is very interested
3. This story is analyzed by identification dependent and independent clause,
where I found independent clause is more than dependent clause.
4. This story is analyzed with found or determined identification, setting, and
background, evaluation, collateral and performative.
5. The title of this story is the Adventure of Mouse Deer.
6. This story is folktales where fill of this story can amuse the listeners or the
readers
7. This story is narrative form where fill of this story is more explain or doing
conversation
8. There are seven actors in this story, namely, Mouse deer, Tiger, King of the
jungle, Piton snake, the Farmer, Farmer’s wife, and the Dummy.
9. Identification of this story introduce actor, who said, such as, at the time The
mouse round in the jungle as a cleaver animal.
10. Setting at this story is introduce time, place, such as, the life of the jungle and
in cucumber farm.
11. Evaluation, The mouse deer was wandering the jungle
12. Background is a pronunciation before begin for story or acknowledgment of
the story, but in this story, I did not find background before to begin this story
13. Climax of this story, at the time Mouse Deer is the cleaver animal, that catch
by the farmer.
14. this story is ended by a good ending, where the Mouse deer realize with his
mistake and his proud.
5.2 Suggestion
1. In this analysis have a lot of less or lack, I am sure that this analysisng is far
from completeness, so, I am kindness if I get critics from the readers
2. Hopefully, this analysis can be usefull fo us Amin
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