THE INFLUENCE OF FAMILY BACKGROUND TOWARDS …repository.usd.ac.id/37526/2/164214041_full.pdfSansa...

THE INFLUENCE OF FAMILY BACKGROUND TOWARDS SANSA’S PERSONALITY DEVELOPMENT IN GAME OF

THRONES SEASON ONE

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By

YONINHO

Student Number: 164214041

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA YOGYAKARTA

2020

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ii

THE INFLUENCE OF FAMILY BACKGROUND TOWARDS SANSA’S PERSONALITY DEVELOPMENT IN

GAME OF THRONES SEASON ONE

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By

YONINHO

Student Number: 164214041

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA YOGYAKARTA

2020


vii

ACKNOWLEDGEMENTS

First, I would like to address my gratitude to my thesis advisor, Drs.

Hirmawan Wijanarka M.Hum. for his guidance and support throughout the process

of writing this thesis. I would also like to address my gratitude to Elisabeth Oseanita

Pukan S.S., M.A as my co-advisor for the correction and guidance. I also like to

express my gratitude to all of the staffs in English Letters Departement for their

help.

My heartwarming gratitude goes to my family who always supports and

trusts me. Thank you for always encouraging me to be myself. Their support makes

me a better person as I am now. I also want to thank my friends, Eca, Linda, Ayu,

Aldo, Clara, Rosita, Bima, and Kitana for their endless support.

Yoninho


viii

TABLE OF CONTENTS

TITLE PAGE ......................................................................................................... ii APPROVAL PAGE .............................................................................................. iii ACCEPTANCE PAGE ........................................................................................ iv STATEMENT OF ORIGINALITY ..................................................................... v LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ... vi ACKNOWLEDGEMENTS ................................................................................ vii TABLES OF CONTENTS ................................................................................. viii LIST OF FIGURES ............................................................................................... x ABSTRACK .......................................................................................................... xi ABSTRAK ............................................................................................................. xii CHAPTER I: INTRODUCTION ......................................................................... 1

A. Background of the Study ............................................................................. 1 B. Problem Formulation ................................................................................... 3 C. Objectives of the Study ................................................................................ 3 D. Definition of Terms ..................................................................................... 3

CHAPTER II: REVIEW OF LITERATURE ..................................................... 5

A. Review of Related Studies ........................................................................... 5 B. Review of Related Theories ......................................................................... 8

1. Theory of Characterization .................................................................... 8 2. Theory of Film ..................................................................................... 11 3. Theory of Personality Development .................................................... 12 4. Theory of Relation between Family and Personality Development .... 14

C. Theoretical Framework .............................................................................. 16 CHAPTER III: METHODOLOGY ................................................................... 17

A. Object of the Study .................................................................................... 17 B. Approach of the Study ............................................................................... 19 C. Method of the Study .................................................................................. 20

CHAPTER IV: ANALYSIS RESULTS AND DISCUSSION ......................... 22 A. The Personality Development of Sansa Stark ............................................ 22

1. Sansa’s Personality on the First Six Episodes ..................................... 23 2. Sansa’s Personality on the Four Last Episodes ................................... 27

B. The Portrayal of Sansa Stark’s Family Background .................................. 33 1. The Family Composition ..................................................................... 33 2. Family Roles ........................................................................................ 36 3. Emotional Toned Relationship of Family ............................................ 38

C. The Influence of Family Background on Sansa’s Personality ................... 41 1. The Influence of Family Composition and Family Role on Sansa’s in

the First Six Episodes .......................................................................... 41


ix

2. The Influence of Emotional Toned Relationship of Family on Sansa’s in the Last Four Episodes .................................................................... 45

CHAPTER V: CONCLUSION .......................................................................... 49

REFERENCES .................................................................................................... 52


x

LIST OF FIGURES

NO Figure Page

1. Fig 1. Sansa in sewing class 23

2. Fig 2. Sansa receives necklacke from Joffrey 28

3. Fig 3. Sansa forced to see her father’s head remains 31

4. Fig 4. Similarity of Sansa and Cersei’ dress 35

5. Fig 5. Sansa begs for her father’s mercy 40

6 Fig 6. Sansa’s expression changes due of Joffrey refusal 44


xi

ABSTRACT Yoninho (2020). The Influence of Family Background towards Sansa’s Personality Development in Game of Thrones Season One. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma. Personality development is a term for someone who is on his period to develop his personality. Personality development can be triggered by several factors such as environment, friends, family, and trauma. In this thesis, Sansa’s personality development happens because of the influence of her family background. The writer formulates three questions in this thesis. The first formulated question discusses the personality development of Sansa Stark through season one. The second formulated question discusses the portrayal of Sansa’s family background. The last formulated question discusses the contributions of Sansa’s family background on her personality development. The writer uses several theories to analyse the problem above. First, the theory of character and characterisation from M.Boggs and W.Petrie. The second theory is a theory of film by W.Petrie and M.Boggs. The third theory is theory of personality development by Elizabeth Hurlock. After the writer found Sansa’s family background features then the writer related it with personality development theory. The writer uses library research to find the theories and data for this thesis. The primary data consists of the script and tv-series videos. The secondary data consists of books, dictionaries, theses, credible websites, and journals. The results of the thesis are, first, Sansa’s personality in the first six episodes is insecure, impulsive, restless, pessimistic, anxious, naïve, and shy traits. Factors that influence her personality are her family composition and family role. After the sixth episode, Sansa’s personality slowly changes into a calm, unselfish, mentally strong person. The main factor that forming Sansa’s new personality is her emotional toned relationship with her family. Keywords: Sansa Stark, Game of Throne, Family Background, Influence, Personality Development


xii

ABSTRAK Yoninho (2020). The Influence of Family Background towards Sansa’s Personality Development in Game of Thrones Season One. Yogyakarta: Program Studi Sastra Inggris, Fakultras Sastra, Universitas Sanata Dharma. Pengembangan kepribadian adalah sebutan bagi seseorang yang sedang dalam masa pengembangan kepribadiannya. Pengembangan kepribadian dapat dipicu oleh beberapa faktor seperti lingkungan, teman, keluarga, dan trauma. Dalam tesis ini, pengembangan kepribadian Sansa terjadi karena pengaruh latar belakang keluarganya. Penulis merumuskan tiga pertanyaan dalam tesis ini. Pertanyaan yang dirumuskan pertama membahas perkembangan kepribadian Sansa Stark hingga musim pertama. Pertanyaan yang dirumuskan kedua membahas penggambaran latar belakang keluarga Sansa. Pertanyaan yang dirumuskan terakhir membahas kontribusi latar belakang keluarga Sansa pada pengembangan kepribadiannya. Penulis menggunakan beberapa teori untuk menganalisis masalah di atas. Pertama, teori karakter dan karakterisasi dari M.Boggs dan W.Petrie. Teori kedua adalah teori film oleh W.Petrie dan M.Boggs. Teori ketiga adalah teori pengembangan kepribadian oleh Elizabeth Hurlock. Setelah penulis menemukan fitur latar belakang keluarga Sansa maka penulis mengaitkannya dengan teori pengembangan kepribadian. Penulis menggunakan penelitian kepustakaan untuk menemukan teori dan data untuk tesis ini. Data primer terdiri dari skrip dan video dari seri tv. Data sekunder terdiri dari buku, kamus, tesis, situs web yang kredibel, dan jurnal. Hasil dari tesis ini adalah, pertama, kepribadian Sansa dalam enam episode pertama tidak percaya diri, impulsif, gelisah, pesimis, cemas, naif, dan pemalu. Faktor-faktor yang mempengaruhi kepribadiannya adalah komposisi keluarga dan peran keluarga. Setelah episode keenam, kepribadian Sansa perlahan berubah menjadi orang yang tenang, tidak egois, dan kuat secara mental. Faktor utama yang membentuk kepribadian baru Sansa adalah hubungan emosionalnya yang kencang dengan keluarganya. Kata kunci: Sansa Stark, Game of Throne, Family Background, Influence, Personality Development


1

CHAPTER I

INTRODUCTION

A. Background of the Study

In Personality Development, Hurlock says that personality is a practical

force in determining success or failure in life. She says that in every culture,

traditional stock beliefs, the traditional people believe about the “mysterious

aspect” of the individual have become embedded in the folklore and been passed

on from one generation to another (Hurlock, 1976, p. 1).

Family is one of a few significant aspects that creates a child’s personality.

According to Murdock (1949, p. 72), "A family is a social group characterized by

common residence, economic cooperation, and reproduction. It includes adults of

both sexes, at least two of whom maintain a socially approved sexual relationship”.

Children learn many things from family, in the early stage of their life, they learn

by imitating the family members. However, when the child is not in the sight of

their family anymore, their personality development will be influenced by other

social aspects such as friends, school, social environment.

Game of Thrones TV-Series is a top-rated television show that has aired for

eight seasons on HBO. The show is based on the novel series entitled, A Song of

Fire and Ice, written by George R. R. Martin. He is a famous writer; he has written

over 40 novels and won seventeen awards. According to the official website of

HBO, the first episode of Game of Thrones was released on June 19, 2011, and the

last episode was released on May 19, 2019. In-Game of Thrones TV-Series, the


2

script is written by David Benioff and D. B. Weiss. Both of them are a deadly

combo in the Game of Thrones productions house; they win so many awards and

also get positive feedback from the critiques. According to McKinney (2015),

Game of Thrones is a show about a civil war of the nine noble houses. The setting

takes place at fictional continents, which are Westeros and Essos.

The geography in Game of Throne resembles the Middle Ages of Earth. The

conflicts in Game of Thrones are focused on “Iron Throne,” the seat for who is

strong enough to conquer the seven kingdoms. The person who sits on the “Iron

Throne” is blessed to rule the seven kingdoms.

In this television show, there is a character named Sansa Stark. Sansa Stark

is a member of House Stark and is the elder daughter of Lady Catelyn and Lord

Eddard Stark. She has three brothers who are Robb, Bran, and Reckon, a younger

sister: Arya and a half-brother Jon Snow. Unlike her younger sister, who loves to

play with the sword and any activity that is usually intended for men. Sansa Stark

is more like a traditional girl who put interest in dancing, sewing, singing, and other

traditional feminine culture. She shares the same dream with most girls, which is

marrying a handsome man and being a good mother to her child. Sansa shares the

same physical appearance with her mothers.

One thing that makes Sansa Stark worth analyzing is her depiction as a

character. In the first episode, she is introduced as a naïve and idealistic girl.

However, within one season gap, she changes into a person who has a strong will

to survive in the Westeros’s unfair life.


3

B. Problem Formulation

Based on the background of the study, there are three questions which lead

to know and understand about the influence of family toward Sansa’s personality

development.

1. How is Sansa Stark’s personality development described?

2. How is Sansa Stark’s family background portrayed in the show?

3. How does Sansa’s family background contribute on her personality

development?

C. Objectives of the Study

Related to three problems above, there are three objectives in this research.

The first objective is to find out how Sansa Stark’s personality development

described. The second objective is to describe how Sansa Stark’s family

background portrayed in the series. The last objective is to find out what influence

of Sansa’s family background to her personality development.

D. Definition of Terms

To abstain from misconception, the writer gives some meaning of terms by

experts that regularly show up in the study as pursues. Based on Dashiell’s

explanation as cited in Personality Development, “personality” is the real image

of someone’s behaviour where it can be described by individuals in a consistent

way (Dashiell as cited in Hurlock, 1976, p. 6).


4

The next term is “development”. According to a psychological study

written by Cherry, it is defined “development” as ” how people grow and change

throughout a lifetime” (2019).

Based on experts’ explanation above personality development is the real

image of someone’s behaviour where it can grow and change throught lifetime in

a consisten way


5

CHAPTER II

REVIEW OF LITERATURE

This chapter shows a review of related studies and related theories. For

reviews of related studies, the writer goes after similar topics of personality

development. The writer also reviews related theories that help in research. The

related theories focus on the theory of personality development, the theory of film,

and the theory of the family.

A. Review of Related Studies

There are three related studies to review. The first one is research entitled

The influence of family background on Button Franzen’s personality development

in Thyra Ferre Bjorn`s Papa`s daughter written by Hutajulu (2005). Hutajulu aims

to know what kinds of family influence that form Button Franzon’s personality. The

data Hutaluju used was from the novel Papa`s daughter by Thyra Ferre Bjorn.

Button’s personality development is influenced by family background. She spends her time at home. The family itself has some aspects that relates to personality development. They can be status of society, economy, religion, size of family, role of the family, family composition, emotional climate of the home, and emotionally toned relationship between the member of family (Hutajulu, 2005, p. 63).

As Hutaluju stated, several family backgrounds influenced a child’s

personality development. However, in Hutaluju’s research, she was only focusing

on three family background; they are the size of family, parent variable, and the

emotional climate of the home. Those three family backgrounds formed Button’s

personality, which led her to be a successful author.


6

The second related studies entitled The Influences of family and

Environment on Pip’s Personality Development in Dickens’ Great Expectations

written by Herusatoto (1999). In this research, the writer wanted to see the

development of Pip’s personality under the influence of his family and

environment. The data obtained from the novel Great Expectations by Dicken.

From the available data, the author analyzed Pip’s personality development. In the

analysis, the author stated that “Pip’s former selfishness turns to a feeling of

empathy and concern toward others. Pip becomes a person who accepts others for

who they are, not for what they look like” (Herusatoto, 1999, p. 78). Pip’s

selfishness is a result of direct influence from miss Havisham that compels him to

have a mindset where “look” and “wealth” are true characteristics of a gentleman

and because miss Havisham keeps asking him to come to play in her house, make

Pip wonder if miss Havisham is the one who helps him financially. Having

discovered that Magwitch the convict is the true benefactor, make Pip realizes that

he should not judge people based on “look” and “wealth.”

The last related studies entitled John Watson’s Contribution to Sherlock

Holmes’ Superego Development in Sherlock TV Series Season 1 Episode 3 and

Season 2 Episode 3 written By Gempita (2018). In this research, the writer used

characters from TV-series as the objects of research, he wanted to see John

Watson’s contribution on forming Sherlock Holmes’ superego development. In the

anaylsis the writer stated that “ In John Watson’s wedding, as the best man Sherlock

has to make a speech about John and there he states that it takes Sherlock Holmes

to solve the case but it requires John Watson to save people’s lives in the case”


7

(Gempita, 2018). In season 2 episode 3, Holmes depicted as a person who did not

appreciate others people hard work but, when Watson came into his life he was

slowly changing and the pinnacle of his personality development was when he

attended Watson’s wedding. In the end , Holmes able to appreciate people’s help to

make his life easier.

Those three types of research are related to writer’s research which is

personality development. Two of those researches are analyzing how family

contributes to someone’s personality and the last research has the object which

comes from TV-series. All of those three researches help the writer to analyse

Sansa’s personality development by the similar topic and object that comes from

TV-series. At the start of the show, Sansa Stark is an ordinary and naive princess

that her dreams of marrying a prince. However, being a princess does not always

mean having a good life. Hence, she has trauma that haunted her. However, as the

show continuous, her character develops into a smart, independent, and tactical

woman. Experiences cause all of these changes that she faces through the shows.

The analyses in those papers are related closely to the research that the

writer focused on the character development of Sansa Stark from Game of Thrones.

However, in this research, the personality development of Sansa Stark focuses on

how family background influencing her personality.


8

B. Review of Related Theories

In this part, the writer explains what character development is and which

theory the writer uses to understand the development of Sansa Stark.

1. Theory of Characterization

Characterization is an action to give the character some traits, behaviors,

conflicts, motivations, etc. The writer also uses the theory of characterization from

film perspectives. According to Boggs and Petrie, a character is the main attraction

in a film; if the characters are not impressive enough, there is a chance that the

spectator will not be interested in watching the movie. To make the characters more

lively, the director and scriptwriter have to conform to the laws of probability and

necessity (by reflecting externally observable truths about human nature) (Boggs,

Joseph M. & Dennis W Petrie, 2008, p. 60). As stated by Boggs and Petrie, there

are eight steps to disclose character in the film.

a. Characterization through Appearance

A significant aspect of characterization through appearance is how the actor

and actress deliver their character. By the moment the viewer sees the actor or

actress’s facial features, dress, physical build, mannerisms, and the way they move,

the viewer can have several assumptions toward the characters (Boggs, Joseph M.

& Dennis W Petrie, 2008, p. 60).

b. Characterization through Dialogue

In the film, we always see the dialogue between the characters. Their traits

can be shown on how they deliver the dialogue. The actor and actress’ true traits

can be seen on their word choice and through the stress, pitch, and pause patterns


9

of speech to make their character more lively (Boggs, Joseph M. & Dennis W

Petrie, 2008, p. 61). However, we can not only rely on the word the actor is said

,but also on how he is delivering the line.

c. Characterization through External Action

To analyse the character’s personality, appearance is not enough because

sometimes it can be misleading. The best way to analyze the character’s personality

is by seeing how their external action (e.g., how they react when his/her commander

is getting hurt) affects the plot (Boggs, Joseph M. & Dennis W Petrie, 2008, p. 62).

d. Characterization through Internal Action

Inner action is a world where only the concerned character and spectator

know what happens in the concerned character’s mind. Internal conflict happens

inside the character’s minds and emotions; it consists of secret, unspoken thoughts,

daydreams, aspirations, memories, fears, and fantasies (Boggs, Joseph M. & Dennis

W Petrie, 2008, p. 62).

e. Characterization through Reactions of Other Characters

Character’s personality cannot only be analyzed within his/her perspective.

To make the analysis more believable, we have to provide the other characters' view

toward the character that we want to analyze (Boggs, Joseph M. & Dennis W Petrie,

2008, p. 64).

f. Characterization through Contrast: Dramatic Foils

Foils contrasting are the characters who have behavior, attitudes, opinions,

lifestyle, a physical appearance that utterly different from the main characters. The

screenwriter does this method to make the differences in behaviour, attitudes,


10

opinions, lifestyle, physical appearance in each characther thus we can tell the

difference between the main characters and side characters, for example, the

effective contrasts in the television characters played by Andy Griffith and Don

Knotts on the old Andy Griffith Show. Griffith, as Sheriff Taylor, was tall and a little

heavy, and he projected a calm, self-confident, easygoing personality. Knotts, as

Deputy Fife, was the exact opposite-short, skinny, insecure, and a bundle of nerves.

(Boggs, Joseph M. & Dennis W Petrie, 2008, p. 64).

g. Characterization through Caricature and Leitmotif

In order to make the character more memorable, the actor usually distorts

their role dominant features or personality traits, that kind of method is well known

as a caricature, for example, most of cartoon characters has unique features like

Micky Mouse cartoon where the animal characters can speak human’s language and

act like human too. On the other hand, Leitmotif is a repetition of an action, phrase,

or idea by a character. They do that to make the character more lively in the

spectator’s mind, for example, the repetition of the phrase “scooby dooby do” by

scooby doo in the cartoon Scooby-Doo! (Boggs, Joseph M. & Dennis W Petrie,

2008, pp. 65-66).

h. Characterization through Choice of Name

Name is an essential feature of character; the screenwriter usually thinks out

his character names very carefully because a name can represent the character’s

traits. For example, the girl name Amber is generally fiery, extrovert, and easy-

going (Boggs, Joseph M. & Dennis W Petrie, 2008, pp. 66-67).


11

All of those steps are beneficial on how the writer’s going to analyse the

intended characther. However, the writer only uses several steps which are

characterization through appearance, characterization through dialogue,

characterization through external action, and characterization through reactions of

other characters.

2. Theory of Film Analysis

Film Analysis is the process of film where it is being analyzed by using

several elements of film such as visual design, cinematography, and special visual

effects, editing, sound effects and dialogue, the musical score, and acting. In this

thesis the writer only uses three of them which are visual design, acting and

dialogues.

Visual design in here means how the script writer and producer want the

characters to be presented in the film. In order to achieve that image, it necessary

to include costumes and makeup on actress so the audience can tell the character

personality and lifestyle. Dialogues in film provide us with lots of information about

the story and characters’ characteristic because of that information we can analyse

the characters through his dialogues. The main goal of actress’s acting is to deliever

the character he or she plays so, the audience do know the real intention of the

character, acting in here included gesture and facial expression (2008, pp. 90-318).

According to Boggs and Petrie in their book entitled The Art of Watching

Films, film analysis offers several benefits,


12

Film analysis, then, offers several clear benefits. It allows us to reach valid conclusions on a movie's meaning and value; it helps us to capture the experi-ence of a film in our minds; and it sharpens our critical judgments overall. But the ultimate purpose of analysis, and its greatest benefit, is that it opens up new channels of awareness and new depths of understanding. It seems logical to assume that the more understanding we have, the more completely we will appreciate art. (2008, p. 8).

There is also challenging part when analysing the film, the most challenging

part of analysing film is we have to be professional on being objective and critical

when analysing film while we are drowning in the film’s story (Boggs, Joseph M.

& Dennis W Petrie, 2008, p. 6).

3. Theory of Personality Development

In general, personality development is a term of the structured pattern of

character and attitudes that makes a person distinctive. Personality development

occurs through the ongoing interaction of conflict, habit, and the environment

(Hurlock, 1976, p. 8). People often mistake personality as a character. According

to Hasa in his webpage entitled Difference Between Character and Personality, the

main difference between character and personality is that “character refers to one’s

distinct traits or qualities while personality refers to the collection of abilities,

behaviours, beliefs, ideologies, attitudes, etc” (2015).

According to Hurlock, emotion can influence personality. A predominance

of fear, anger, suspiciousness, and jealousy results in feelings of insecurity, which

lead to maladjustment and unhappiness (1976, p. 208). Hurlock divides three

significant factors for determining the development of the personality.


13

First is the individual’s heredity endowment. The second is his early

experiences within the family. The last factor is the important events that happen

later in life outside of the home environment. She also states that adolescent play a

big role in shaping someone's personality (1976, p. 19)

Adolescence, particulary the later part of adolescence, is assumed as a

“critical age” in forming personality. It is assumed as a critical age for a reason.

Adolescence is the time which it is determined if a person will be a mature, socially

conscious, and resolute adult or will be immature, frustrated, and unsure of himself

(1976, p. 124). The statement means that adolescene is the period of time when

adolescent children determined what the are going to be later on either they can

socialize well with the community or vice versa. Sansa is still in her adolescence

phases which makes her has lots of spaces to develop her personality as a person.

Personality development of child can be influened from many aspects such social

environment, the relationship with people from the outside of family, relationship

with family and etc. However, in Hurlock opinions the pattern of personality

development of a child is mostly influenced by the interaction between the child

and parents because the relationship between child with outsider will not last long,

Personality is formed from the interaction of significant figures (first the mother, later the father and siblings, later extrafamiliar figures) with the child. The child brings to this interaction a certain biological constitution, certain needs and drives, and certain intellectual capacities which determine his reactions to the way in which he is acted upon by these significant figures. (1976, p. 85).


14

The statement means that personality development has begun when the

child borned in the world, and the techniques that the parent uses to educate the

child will affect personality development. Therefore, parents have a big impact on

shaping the child’s personality. When parents teach their kids with dedication, then

the kid will grow up as a person who has a big personality.

4. Relations between Family Background and Personality Development

The child's first social interaction is between the parents and him/her.

Family helps the child to shape the trait and personality of him/her. The social

interaction between the child and the outsider also influences by the parents. When

the parents treat the child with no respect, then the child will apply it to the outsider

such friends. According to Hurlock child personality development is influenced by

The pattern of personality development in the young child is established within the framework if his relationship with the parents. During the children earliest years the parents constitute the chief social influences which the child experiences (1976, p. 352)

The first family background that will be discussed in this study is family

composition. To the best of the writer’s knowledge, family composition is the

structure in a family whether only consist of pure family’s members ( biological

parent, biological siblings and etc) or extended members (step parents, step siblings,

people who has close relationship with the family). Hurlock states, the family

composition could, directly and indirectly, influence the family’s member

personality. Direct influence come from communication and molding. Hurlock says

communication is much more important than molding,


15

The influence of family composition on personality comes from people who are living within the family for the individual to identify with and the person he selects is his source of identification and imitation (1976, p. 369).

Indirectly, the family composition influences personality development

through the effect of home climate. When there are presence of people outside of

the family, including mother-in-law, close friends of the family, aunt, etc., most

likely, the family members would be influenced by them because of the frictional

relationship with them. (1976, p. 369). The second family background is the family

role.To the best of the writer’s knowledge, family role is a feature of family

background where it focuses on how the role in the family can affect family

members’ personality. Hurlock says,

In every family regardless of its size and composition, each member is expected to play a certain role. Each role is clearly defined by family members and it contributes to a harmonious living arrangement for all family members (1976, p. 373).

In other words, each family member has their role, and to make the family

climate harmonious, every family member has to play their role. If the family

member does not play their roles well it will bring chaos to the family’s climate.

The last family background is a family emotional toned relationship. To the

best of the writer’s knowledge, emotional-toned relationship of family is how the

relationship between the family members affects the members’s feeling and it leads

to the development of personality which effects can last forever. Hurlock says, “The

persistence of family relationship reinforces the effect of the emotional tie”. This

means the family is responsible to develop the family members’ emotions.

However, no matter what kind of relationship family members have out there, the


16

primary relationship is always family because any kind of relationship out there

will never be close to the family relationship (1976, p. 351).

C. Theoretical Framework

The research is focusing on Sansa Stark’s personality development in Game

of Thrones TV series. The theories mentioned before are used to support the

analysis. The theory of characterization is used to know the traits of Sansa and by

knowing her traits the writer can see the development of Sansa’s personality each

episode.Theory of Film is used to analyse the actress’s facial expression, gestures

and how she dresses. Theory personality development is used to know Sansa’s

personality development through season one.

Last, the theory of family is used to know what kind of influence that the

Stark family has toward Sansa’s personality development. The writer uses the

theory that can analyse both film and written text. Therefore, by using the theories

than can be applied on text and film, the writer can find the contribution of Sansa’s

family background toward her personality development.


17

CHAPTER III

METHODOLOGY

This chapter contains object of study, the approach of study, and method of

study. Firstly, in the object of the study, the writer explains the main focus of the

research. Secondly, in the approach of study, the writer explains why using a

specific approach and how to apply it in the research. Thirdly, in the method of

study, the writer explains what steps are used to achieve the final result.

A. Object of the Study

Game of Thrones is a TV series produced by David Benioff, who is also a

writer for the show along with D.B Weiss. The show is an adaptation from the novel

entitled “ A Song of Ice and Fire” written by George R. R. Martin. Eight seasons

have been aired worldwide since 2011, and the last one is in 2019—each episode

length over 60 minutes of duration. There is no central focus character in Game of

Throne; all characters have their way influence on developing the plot in this show.

However, at the end of the story, all of them are related to the main plot of Game

of Thrones.

According to CNBC (Whitten, 2019), Game of Throne has won several

awards from Primetime Emmy Awards such as for Outstanding Drama Series,

Outstanding Supporting Actor in a Drama Series, Outstanding Music Composition

for a Series, Outstanding Special Visual Effects, Outstanding Casting for Drama

Series, Outstanding Sound Editing for Comedy or Drama Series (One Hour),


18

The objects of this study are spoken words, statements, expressions, and

gestures in Game of Thrones TV-series, portrayed by Sophie Turner, who plays as

Sansa Stark. The first episode of Game of Thrones aired on April 17, 2011. Game

of Thrones has eight seasons so far and the last season air on April 14, 2019.

The research focused on the character development of Sansa Stark that was

obtained from spoken words, statements, or vocal sound. The writer took the data

by watching Game of Throne TV-series and ultilizing its scripts of the entire

episodes of season one.

“Winter is Coming” is the first episode of season one. This is the episode

where Sansa is first timely introduces as a character. Therefore, as the first episode

of the show, this episode focuses on introducing the characters, setting, and the

main plot of the whole seasons. The episode starts with the royal family from Kings

Landing arrive at Winterfell. As the rule of Kings Landing, Robert Baratheon asks

Eddard Stark to be his new chief administrator or commonly known as “ Hand of

the King” in the series.

Furthermore, Robert Baratheon asks Eddard Stark’s daughter to be his son’s

bride. Sansa is the strongest candidate to be the bride for Robert’s son. Sansa also

does not mind it all; she even forces her family to make the engagement to happen

quickly.

As the story progress, The conflict rises, which develops Sansa’s

personality. The peak is when Lannister taken Sansa’s father as a prisoner and later

on executed him with the alleged betrayal. It is a shocking moment for her because

Lannister promises that they will not hurt her father and instead take her father as a


19

prisoner. However, this also the moment where Sansa’s personality is started

developing and becoming the better version of herself

The reason why the writer takes season one entire episode as the research

material was because Sansa Stark’s character changed significantly and it made her

character interesting to study. It attracted the writer’s attention because of Sansa

Stark, one of many major characters who have significant character development.

Based on the problem formulation, this research aims to analyze the

personality development of Sansa Stark influences by her family, to understand

which part of a person’s trait is dominant in their character through the character

analysis. After that, their relation is studied to find the influence on Sansa Stark’s

personality development.

B. Approach of the Study

The approach used in the study is the psychological approach. Both

psychological and literature are related to human life. Therefore, the psychological

approach can be used to analyze fiction characters in literary works. The

psychological approach that writer used in this research is based on Rohrberger

and Woods’ book, they stated that “ The psychological approach helps us to

analyse the work of literature from the psychological point of view of the human

being” (1971, p. 13). Therefore, to connect to literary work, The writer also uses

the psychological approach from Lewis :

A psychological approach is an approach that applies principles of modern psychology to character or situations within a literary work or to the person who wrote that work (1976, p. 57).


20

The reason why the writer uses a psychological approach because the work

is related to a person’s personality; thus, this approach is the most appropriate way

to answer the problem that has been formulated by the writer.

C. Method of the Study

The method of the study for collecting and supporting the data is library

research. All the data are obtained from the scripts, previous theses from Sanata

Dharma University’s library, and credible website. The primary source for this

research is the transcript of Game of Thrones TV series season one entire episodes.

The writer got the transcript from an online copy written by D.B. Weiss & David

Benioff uploaded by genius.com.

In conducting this research, the writer did several steps. In the first step, the

writer watched the related episode of the object of research; then, the writer was

trying to relate the series with the script that had been printed. Secondly, the writer

made problems formulation, which consists of three questions, first is, how is Sansa

Stark’s personality described? Second is, how is Sansa Stark’s family portrayed?

The third is, how does her family contribute to Sansa’s personality development?

Then the writer answered the question by using a psychological approach. Fourthly,

the writer was reviewing several sources, which were related studies from the

undergraduate thesis of English letter students of Sanata Dharma University.

Fifthly, the writer was found several theories and to be applied to answering the

problem formulation. Sixthly, all the data obtained from the series and script which

represent Sansa and her family characteristic then analysed by using the theory of


21

characterization from Boggs and Petrie after gained the data of characteristic of

Sansa and her family, the data were deeply analysed by using the theory of family

from Elizabeth Hurlock then, the writer related it with personality development to

see the development of Sansa’s personality influence by family. Then, to see the

further personality development of Sansa Stark, the writer also used the theory of

film to see Sansa’s character in her gesture and expression. Next, the writer made a

conclusion based on the data. Last, the writer started to write the research report.


22

CHAPTER IV

ANALYSIS

In this part, the writer delivers the discussion that is related to the questions

in problem formulation, and the writer also uses the theories that are provided in

Chapter 2. The writer divided this part into three parts. In the first part, the analysis

focuses on the personality development of Sansa Stark on season one and two

in Game of Throne TV-Series. In the second part, the analysis focuses on Sansa

Stark’s family background, and it includes a parent’s personality, the role of family,

and the invasion by an outsider. In the last part, the analysis found out how family

background influences Sansa’s personality development.

The focus of this analysis Sansa’s personality development because of that

the writer does not make an in-depth analysis of Sansa’s character. People often

mistake personality as a character.

A. The Personality Development of Sansa Stark

The first part of the discussion focuses on Sansa Stark’s personality

development by uses the theory of characterization from Roberts and Jacobs, and

relating it with the series. The writer also uses the theory of characterization from

film perspective by Boggs and Petrie. Then, after finding the characteristic of Sansa

Stark, the writer will use the theory of personality development from Hurlock.


23

1. Sansa’s Personality on the First Six Episodes

Sansa Stark is one of many major characters in Game of Throne. However,

Sansa Stark does not has many screen times in three first seasons due to the number

of major characters in Game of Throne. Even though Sansa Stark does not really

have much screen time in the series, the writer still can analyze the characteristics

of Sansa Stark through what she says and the opinion of the other characters towards

her.

Sansa Stark is the oldest daughter on Eddard Stark and Catelyn Tully. As

the shows take place in the fiction world resembles Middle Earth, Sansa grows with

the feminine qualities where women have to do woman’s activities like sewing.

Sansa has an outstanding sewing skill, both her sewing mentor and Cersei Lannister

praises her sewing talent.

Figure One


24

SEPTA MORDANE (to SANSA): Fine work, as always. Well done. SANSA: Thank you. SEPTA MORDANE: I love the detail that you’ve managed to get in this corners. Quite beautiful the stitching. [As she murmurs to SANSA about the embroidery, ARYA struggles with her needlework and listens to the arrows hitting and the male laughter outside.] (Winter is Coming, 2011)

From the above scene, the writer analyses that Sansa is very comfortable

with sewing. She looks so happy with her sewing work, especially after Septa

Mordane looks at her work and praise for the result. Unlike Sansa, her sister Arya

delivers a sad expression. She seems does not enjoy the sewing class.

CERSEI: And your dress. Did you make it? [SANSA nods yes.] CERSEI: Such talent. You must make something for me. [SANSA departs.] (Winter is Coming, 2011)

As a lady from Northern regions, it is an honor to be praised by Cersei

Lannister because she is a queen from King Landing, which is a capital city in the

series,so it makes her opinion towards Sansa’s sewing skill more proudful for

Sansa. Based on Cersei Lannister’s dialogues above, she looks sincerely when she

says that Sansa is talented in sewing. She is not only praised for her sewing skill

but also her beauty.

CERSEI: Your daughter will do well in the capital. Such a beauty shouldn’t stay hidden up here forever (Winter is Coming, 2011).


25

Sansa starts off as a thirteen years old girl on season one, which means she

still in her adolescence phase. The personality development of Sansa begins when

she leaves Winterfell. Hurlock says that adolescence phase is a critical age in

personality development. It the time at which it is determined whether a person will

be a mature, social conscious, and resolute adult or will be immature, dependent,

and frustrated (1976, p. 124)

SANSA: Do you think Joffrey will like me? What if he thinks I’m ugly? CATELYN: Then he is the stupidest prince that ever lived. SANSA: He’s so handsome. [CATELYN rolls her eyes.] SANSA: When would we be married? Soon or do we have to wait? CATELYN: Hush now. Your father hasn’t even said yes. SANSA: Why would he say no? He’d be the second most powerful man in the kingdoms. CATELYN: He’d have to leave home. He’d have to leave me. And so would you. SANSA: You left your home to come here. And I’d be queen someday. Please make father say yes. CATELYN: Sansa… SANSA: Please, please. It’s the only thing I ever wanted. (Winter is Coming, 2011). Her conversation with her mother is the first real introduction of Sansa as a

character. This conversation tells us that despite her Feminine qualities, Sansa

becomes anxiety and recklessness when it comes to love, her anxiety and

recklessness can be seen when she replied her mother “ Do you think Joffrey will

like me? What if he thinks I’m ungly?” and “ Please, please. It’s the only thing I

ever wanted”. It is her first encounter with Joffrey and yet she already thinks about

being married with Joffrey.


26

The appearance of Joffrey blinds her moreover, Joffrey will be the future

king of King Landing, which makes Sansa believes that she and Joffrey will be a

perfect couple in Westros. Sansa’s naiveness for getting married, leaving home and

becoming queen consider as something sillies.

According to Hurlock, emotion can influence personality. A predominance

of fear, anger, suspiciousness, and jealousy results in feelings of insecurity, which

lead to maladjustment and unhappiness (1976, p. 208). Based on Hurlock’s

statement about personality above, Sansa’s fear of rejection by Joffrey leads her

into unhappiness. Sansa’s unhappiness makes her insecure because she is focusing

herself by faking herself to look more like a capital lady. The dialogues below show

us her insecurity.

SEPTA: Someday your husband will sit there and you will sit by his side. And one day, before too long, you will present your son to the court. All the lords of Westeros will gather here to see the little prince... SANSA: What if I have a girl? SEPTA: Gods be good, you'll have boys and girls and plenty of them. SANSA: What if I only have girls? SEPTA: I wouldn't worry about that. SANSA: Jeyne Poole's mother had five children, all of them girls. SEPTA: Yes, but it's highly unlikely. SANSA: But what if? SEPTA: If you only had girls, I suppose the throne would pass to Prince Joffrey's little brother. SANSA: And everyone would hate me. SEPTA: Nobody could ever hate you. SANSA: Joffrey does. (Cripples, Bastards and Broken Things, 2011)

From the dialogues above, Sansa has just arrived at King Landing, and the

dialogue between her and Septa Mordane shows us that she is scared of her future

life as a queen. Sansa scares that she will be giving birth no son moreover, the


27

accident that happened between her, Arya, and Joffrey makes her anxious about

Joffrey’s impression toward her. She is still angry at her father because her father

decided to execute her direwolf because of the tragedy that happens to Joffrey.

ROBERT: A direwolf's no pet. Get her a dog. She'll be happier for it. SANSA: He doesn't mean Lady, does he? No no, not Lady! Lady didn't bite anyone! She's good! ARYA: Lady wasn't there! You leave her alone! SANSA: Stop them. Don't let them do it. Please! It wasn't Lady! EDDARD: is this your command... your Grace? (The King's Road, 2011)

Eddard tries to make the condition between Stark and Baratheon peaceful

by accepting the order from Robert. Sansa does not feel all right for her father's

decision to execute her direwolf, Lady. She begs her father to free Lady from

executing but, his father is much concerned with Robert’s order, and it makes Sansa

feels betrayed.

Sansa’s traits are depicted as naiveness, reckleness, anxiety and insecure in

the first six episodes. This traits are easily getting thoughtful over something new,

but it leads to insecurity. Sansa insecurity can be seen in every scene where it talks

about her future with Joffrey. She is afraid that Joffrey will not accept her just the

way she is, so she tries her best to win Joffrey’s heart by doing everything that can

pleased Joffrey such as lying for his pride.

2. Sansa’s Personality on the Four Last Episodes

Sansa’s personality development happens when she decides to trust Joffrey

and betrayed her father. However, the promise is just a promise and Joffrey never

truly loves her. Sansa fall of Joffrey’s sweet words and a pretty present; it makes

her have a hope again over her future with Joffrey.


28

Figure 2

MORDANE: My prince. SANSA: My prince. JOFFREY: My lady. I fear I have behaved monstrously the past few weeks. With your permission? Joffrey offers Sansa a necklace. She turns around, for him to put it on her, as acceptance. SANSA: It’s beautiful. Like the one your mother wears. JOFFREY: You’ll be queen one day, it’s only fitting that you should look the part. Will you forgive me for my rudeness? SANSA: There’s nothing to forgive. (A Golden Crown, 2011) As Boggs and Petrie mention in their book, the audiences can have certain

assumptions toward the characters based on their facial features, dress, physical

build, and mannerisms and the way they move (2008, p. 60). Based on Sansa's

reactions above, the writer found out that she is delighted with Joffrey’s recognition

of the mistake he has made. Sansa even forgives the mistake Joffrey made toward

her with sweet apologies and necklace. Back in episode two, Joffrey is trying to

hurt Sansa’s little sister friend but, he is hurting Sansa’s little sister instead because

Sansa’s little sister is trying to protect her friend and for consequences, Sansa’s

direwolf has to be killed because Sansa does not want to hurt Joffrey pride as a

prince.


29

ARYA: Stop it! SANSA: Arya, stay out of this. JOFFREY: I won't hurt him... Much. Filthy little bitch! SANSA: No no, stop it, stop it, both of you. You're spoiling it! You're spoiling everything! JOFFREY: I'll gut you, you little cunt! SANSA: Arya! (The King's Road, 2011) Dialogue above clearly show us that Sansa’s is on Joffrey side because in

the dialogues she says “Arya, stay out of this” and “ You are spoiling it!” , and in

the same dialogues, she is screaming “Arya” which means she blames Arya for

everything that happened in that situation. Although Sansa knows that Joffrey is the

first one who is trying to hurt both her sister and her sister-friend. However, when

the scene switches to Eddard and Sansa, the conflict begins to rise. Sansa's poetic

statements lead to the truth of Joffrey's biological father.

EDDARD: I’m sending you both back to Winterfell. SANSA: What?! EDDARD: Listen - SANSA: What about Joffrey? EDDARDWhen you’re old enough, I’ll make you a match with someone who’s worthy of you, someone who’s brave and gentle and strong - SANSA: I don’t want someone brave and gentle and strong. I want him! He’ll be the greatest king that ever was, a golden lion, and I’ll give him sons with beautiful blond hair. ARYA: The lion’s not his sigil, idiot. He’s a stag, like his father. SANSA: He is not. He’s nothing like that old drunk king. EDDARD: Go on, girls. Get your septa and start packing your things. SANSA: Wait! ARYA: Come on! (dragging Sansa) SANSA: It’s not fair! (A Golden Crown, 2011) The scene happens when King Robert comments Eddard Stark to solve the

problem between Stark and Lannister in the North. To make sure that both his

daughters are safe, he decides to send them both back to the north . However, Sansa


30

does not really like the idea of sending them back to the North. Sansa has

completely fallen in love with Joffrey, even after her father tells her that the reason

for their coming back home is for safety; she still does not accept it. After Sansa

mentioned “ giving birth a blonde son” Eddard starts to realize that Joffrey is not

King Robert’s biological child.

EDDARD “Lord Orys Baratheon, black of hair.” “Axel Baratheon, black of hair.” “Lyonel Baratheon, black of hair.” “Steffon Baratheon, black of hair”. Robert Baratheon has black hair. Joffrey Baratheon has golden hair (A Golden Crown, 2011)

The truth about Joffrey's biological father makes the conflict between

Lanister and Stark become worse. The Lannister sees Eddard as a traitor now and

it puts Eddard’s daughters into danger. However, this situation is the time where

Sansa shows her personality development. The development starts when Sansa is

about to leave King’s Landing. The King’s Landing guards ambush her and Septa

Mordane. Septa Mordane does not have any choice except buying some time for

Sansa to run away. However, while Sansa runs away from the guards, she is

ambushed by Cersei’s knight

SANSA: Stay away from me. I'll tell my father. I'll...I'll tell the Queen. SANDOR: Who do you think sent me? (The Pointy End, 2011)

At this moment, she realizes that she and her family’s lives are threatened

by the Lannister. The Lannister sees Ned Stark as a traitor because of his knowledge

over Joffrey’s true father and it is also led into discord between Stark and Lannister.

However, Cersei’s is a smart queen. She asks Sansa to write a letter to her brother


31

in the North so, Cersei could maintain the peace in King’s Landing. As Sansa does

not have any other options, she agrees with Cersei ‘s purpose.

CERSEI: Little dove, you must write to Lady Catelyn and your brother, the eldest.What's his name? SANSA: Robb. CERSEI: Word of your father's arrest will reach him soon, no doubt. Best it comes from you. If you would help your father, urge your brother to keep the King's peace. Tell him to come to King's Landing and swear his fealty to Joffrey. SANSA: If...if I could see my father, talk to him about... CERSEI: You disappoint me, child. We have told you of your father's treason. Why would you want to speak to a traitor? SANSA: I only meant that...what will happen to him? CERSEI: That depends. SANSA: On...on what? CERSEI: On your brother and on you (The Pointy End, 2011).

Her wish to see her father already shows a little bit of her development. In

the first six episodes, the time when her father against her marriage with Joffrey,

she was mad and does not want to talk with him anymore. On top of that, she does

not want to leave King’s Landing because she is really in love with Joffrey.

However, after she realized the mistake she was made her eventually tryher best to

save her father from the punishment even it means she has to degrade the status as

a lady. This kind of action shows us her altruistic trait.

Figure 3


32

SANSA: Please let me go home. l won't do any treason, l swear – JOFFREY: Mother says l'm still to marry you. So you'll stay here, and obey. Look at him! Sansa looks up at the head of her father. JOFFREY: Well? SANSA: How long do l have to look? JOFFREY: As long as it pleases me. Do you want to see the rest? SANSA: lf it please Your Grace. JOFFREY: That's your Septa there. (shot of the impaled head of a woman with the traditional Septa headscarf) l'll tell you what, l'm going to give you a present. After l raise my armies and kill your traitor brother, l'm going to give you his head as well. SANSA: Or maybe he'll give me yours. (looks defiantly at Joffrey, who cowers) (Fire and Blood, 2011) In this scene, Sansa's father was murdered right in front of her eyes. It is a

shocking moment for her both of her father and nanny to die in tragic way. The

facial gesture of her, when she sees her father’s head, she stays nonchalant and this

is also the very first time Sansa’ fights back against Joffrey. Rather than defence

herself with combat skills, she defends her self verbally; like when she is replying

Joffrey “ If it pleases Your Grace” meaning she is acted submissive in front of

Joffrey but, actually this her way to adapt the new situation because she is the only

Stark in Southern now.

On top of that, Sansa is also compromising Joffrey in front of his guard by

saying, “Or maybe he'll give me yours” when Joffrey has threatened her with the

family topic. Sansa knows that Joffrey is not as big as his words.

From the first six episodes of Game of Throne she is depicted as a person

who possesses anxiety, insecurity, and recklesness because she is mainly unhappy

with her love journey with Joffrey. However, at the end of episode six, the conflict

begins to rise as Sansa’s father knows the truth about Lannister’s inbreed children.


33

As the conflict rise, Sansa’s traits is slowly changing into unselfish . At first Sansa

promises herself to not talk with her father anymore and yet when she knows that

her father is on the edge of his life, she tries her best to help him even though, in

the end, Lannister still executes her father.

In the episode when Joffrey is threatening her and her family, we can see

that she is not the same Sansa the screenwriters introduce in the first six episodes.

She can handle Joffrey’s threat very well by staying calm and doing what Joffrey

orderered her to do and it make Joffrey so frustrated because he can not make Sansa

feels afraid. She defends herself with words but still keep her lady attitude by

keeping her attitude cool. She does not want Joffrey to play her because she knows

that Joffrey’s happiness locates on her misery.

B. The Portrayal of Sansa Stark’s Family Background

We all know that family has a big role in shaping child’s personality. The

family itself has several features that can influence child’s personality. The features

of family background in this thesis includes family composition, the role of the

family, and family emotional toned relationships.

1. The Family Composition

The first background is family composition. The family composition itself

could, directly and indirectly, influence a child’s personality. Directly, the

influences come from the identification and imitation of children toward their

parents (Hurlock, 1976, p. 369). Based on the explanation above, Sansa’s trait is

directly influenced by her mother's past experience. We can see the proof below,

SANSA When would we be married? Soon or do we have to wait? CATELYN: Hush now. Your father hasn’t even said yes.


34

SANSA: Why would he say no? He’d be the second most powerful man in the kingdoms. CATELYN: He’d have to leave home. He’d have to leave me. And so, would you. SANSA: You left your home to come here. And I’d be queen someday. Please make father say yes. (Winter is Coming, 2011)

From the dialogues above, we know that her desire to marry Joffrey in such

hurry because she wanted to be like her mother, queen. Sansa did not care about the

consequences of her decision, she replied “You left your home to come here. And

I’d be queen someday….” shown us that her mother may tell her about how she and

Sansa’s father met in the past and it brings a happy fantasy in Sansa’s mind.

The indirect influence come from the invasion by outsiders. Hurlock stated

that the influence of outside usually not last long. However, their presence could

lead to negativity attitudes and friction of the children because when the outside in

the presence of family, the family members are expected to be in their best behavior

(1976, pp. 369-370).

In Sansa’s case, the indirect influence comes from the outside, Cersei.

Cersei is a perfect role model in Sansa’s mind. When Sansa arrived on King

Landings she became bolder with her words and manner. Her boldness can be seen

in her conversation with Septa Mordane.

SEPTA: You wear your hair like a real southern lady now. SANSA: Well, why shouldn’t I? We’re in the south. SEPTA: It’s important to remember where you come from. I’m not sure your mother would like these new styles. SANSA: My mother isn’t from the North. SEPTA: I’m aware of that. SANSA: Why do you care? Do you even have hair under there? SEPTA: Yes. I have hair. (A Golden Crown, 2011)


35

Not only her behavior become much bolder but she is also looked more like

Southern Lady now. As Boggs and Petrie mention in their book The Art of Watching

Films, makeup and costumes are made to fit the personality and lifestyle of

characters (2008, p. 91). As Boggs and Petrie mentioned before, Sansa’s clothes

transformation in King Landing is actually indicated her way to fit in with the

Southern environment. Most of her styles are influenced by way of Cersei dressing.

Figure 4

According to Game of Throne costumes designer Clapton in her interview

with Vox she said that “You instantly know she’s trying to elevate herself. She’s

always had this idea that she’s better — she aspired to be a queen” (Wischhover,

2019). Based on the designer statement, it clear that the reason for Sansa’s

transformation is to raise her values as a princess in front of Lannister’s views. As

a result, Sansa neglects herself as a Northern even Septa Mordane reminds her to

remember where she comes from. The transformation happens because of her

insecurity that she will not be a good wife for Joffrey and the people will hate her


36

for that reason. Sansa scares that the Lannister will not accept her because she is

from the Northern but, the real reason behind her insecurity is her anxiety and

recklessness about the place she comes from. Sansa even replied to Septa with

hubris that her mother did not come from North when Septa brought the topic about

her mother would not like Sansa’s new style. That is the first family background

that will be influenced Sansa personality development.

2. Family Roles

The second background of this thesis is family roles.

The Stark family is introduced as a noble family from the North. All of the small

houses in the North are under Stark commanded. During the first season, House of

Stark ruled by Ned Stark. He is also well known as “ Hand of the King to King

Robert of Baratheon” King Robert is well known for his rebellion against the house

of Targaryen and later on, after he is defeated Targaryen he rules the Southern

which make him as the Supreme leader in Game of Thrones franchise.

Several years later, Catelyn, the Queen of North gave birth to a beautiful

baby; they name her Sansa Stark. Hurlock says, “ In every family, regardless of its

size and composition, each member is expected to play a certain role” (1976, p.

373). As the noble female born, Sansa grows up in feminine cultures, for example,

women in Game of Thrones have to obey men’s orders. Sansa is expected to play

roles as a Lady because she is a role model for her people so, people put more

attention towards her. Moreover, during season one, lots of female in Game of

Throne stick to the traditional values of femininity, even her tomboyish little sister

has to join the sewing lessons.


37

Hurlock also says the role is influenced by attitude toward role and concept

of role. In attitude toward role, he/she is expected to play a role in the family how

he/she plays the role that might affect he/she feels. In the concept of role, “the

person ‘s concepts of the roles he and the other family members are expected to

play influence his attitude toward his role-playing as well as his attitude toward

theirs” means he/she has to play the role on his/her/family members’ concepts and

if they do so, they will get good feedback by the others (1976, p. 374).

Sansa is a lady, which means she is expected to play a proper role of lady,

for example, In the episode one’s scene the women were sewing while the men

were doing sword. In fact Sansa is doing very well with her role as a lady. However,

her lady role has influenced on shaping her traits.

Sansa is easily insecure when things is not going as she plans, for examples,

when her mother refused her desire to marry Joffrey because she was young but she

insisted to marry Joffrey even though she did not have any about Joffrey as a person.

The worst, her insecurity develops into arrogance, it because she is only focusing

herself on chasing her love.

SANSA: And everyone would hate me. SEPTA: Nobody could ever hate you. SANSA: Joffrey does. (Cripples, Bastards and Broken Things, 2011)

The dialogue above show us her insecurity. She was afraid that everyone

would hate her and yet when Septa tried to calm her down, she answered with “

Joffrey does” which means she more concerned with Joffrey than the others.

However, we cannot blame her because she is a lady which means she has to


38

concern about his prince more than the others. Even her father point it out Sansa

role as a lady on episode three,

EDDARD: Darling, listen to me. Sansa will be married to Joffrey someday. She cannot betray him. She must take his side even when he's wrong. (Lord Snow, 2011)

As a noble family from fiction middle ages, of course, it is common for the

queen to follow the king even if the king actions are wrong. They are living in a

world where the female has to be behind male roles. In Game of Thrones ,

especially in season one, we do not have any chance to see the female being the

leader in the kingdom nor army. Female roles in season one of Game of

Thrones are focusing on femininity cultures such as sewing, take care of their

children, obey the husband's actions, be well mannered, etc.

3. Emotional Toned Relationship of Family

Emotional toned relationship of family is the last part of family background

that influences Sansa’s personality. Hurlock says when children in the adolescent

phase, they are much more attached to teacher, friend, sweet-heart. However, these

kinds of relationships will not last long. It may influence a person’s personality but,

family relationships last long and it affects the person’s personality more

enormously even after the death of family members (1976, p. 351). As Hurlock is

stated before, personality development may be influenced by outsider, in Sansa’s

case the influence comes when Lannister arrives in Winterfell, Sansa instantly puts

her eyes on Lannister family especially Joffrey. In order to be accepted by

Lannister, Sansa follows the style of westros ladies’ style.


39

SEPTA: You wear your hair like a real southern lady now. (A Golden Crown, 2011)

Sansa even helps Joffrey when he on trouble and feels guilty afterward

because Joffrey does not want to talk with her. Her concern focuses on Joffrey, and

yet she neglects her family because her priority on the first six episodes is to gain

Joffrey’s love. However, what is stated by Hurlock before, the focus and

relationship with outsiders will not last forever because the relationship with

outsiders tend to be not as strong as the relationship we have with family. In episode

eight, as the conflict begins to rise, Sansa tries her best to help her father.

CERSEI: Word of your father's arrest will reach him soon, no doubt. Best it comes from you. If you would help your father, urge your brother to keep the King's peace. Tell him to come to King's Landing and swear his fealty to Joffrey. SANSA: If...if I could see my father, talk to him about... CERSEI: You disappoint me, child. We have told you of your father's treason. Why would you want to speak to a traitor? SANSA: I only meant that...what will happen to him? CERSEI: That depends. SANSA: On...on what? CERSEI: On your brother. And on you. (The Pointy End, 2011)

As we can see from the dialogues above, Sansa is concerned about her

father's condition as he is taken as prisoner by Lannister. Sansa replies, “If…if”

shows us that she is anxiety about what will happen to her father. On top of that,

Cersei manipulates Sansa to believe that her father’s fate will be on her and her

brother's shoulders. Later on, Sansa takes the action of a public confession for her

father.


40

Figure 5

SANSA: All I ask is mercy. I know my lord father must regret what he did. He was King Robert’s friend and he loved him, you all know that he loved him. He never wanted to be Hand, until the King asked him. They must have lied to him, Lord Renly or Lord Stannis or somebody. They must have lied! JOFFREY: He said I wasn’t the king. Why did he say that? SANSA: He was badly hurt. Maester Pycelle was giving him Milk of the Poppy. He wasn’t himself. Otherwise he never would have said it. (The Pointy End, 2011)

Sansa intends to help her father from the worst fate. Regardless, it is the

very first time Sansa stands up for her family. Usually, she only focuses herself on

Joffrey and on the above dialogue she tries her best to defend her father even though

her answer is pretty naïve. Hurlock says it is a pretty typical situation for family

members to stand up for the other family members because the relationship between

family members is permanent (1976, pp. 351-352). Generally, Sansa's family

emotional toned relationship with her family was found after the Lannister showed

their true natures and this made Sansa realise that the Lannister was not as good as

Sansa had seen .Therefore, Sansa tried to make up for the mistake she made to her

family by sacrificing her pride to help her father.


41

C. The Influence of Family Background on Sansa’s Personality

As we discuss in the previous question, the family background who

influences Sansa’s personality is family composition, family role, and emotionally

toned relationship. In this following analysis, the writer found out the influences of

family background on Sansa’s personality development.

1. The Influences of Family Composition and Family Role on Sansa’s

Personality in the First Six Episodes

Family composition and family roles are the first part of family background

features that discussesed in this this part. According to Hurlock, the Family

composition could influence family members’ personalities directly and indirectly.

Directly influence by identification and imitation of individual he/she selects in the

family. Indirectly influences come from the family itself and the invasion from the

outsider; it depends on the individual he/she choose to be the role model (1976, pp.

369-370). Referring to Hurlock theory before, Sansa’s personality is influenced

directly and indirectly by family composition.

The direct influence comes from imitation toward Catelyn past experience.

In the first episode of Game of Throne, Sansa first dialogue is when she’s about to

have a banquet with Lannister family

SANSA: When would we be married? Soon or do we have to wait? CATELYN: Hush now. Your father hasn’t even said yes. SANSA: Why would he say no? He’d be the second most powerful man in the kingdoms. CATELYN: He’d have to leave home. He’d have to leave me and so would you. SANSA: You left your home to come here. And I’d be queen someday. Please make father say yes. CATELYN: Sansa (Winter is Coming, 2011)


42

Clearly Catelyn does not like Sansa’s marriage idea. She is pointing out that

Sansa’s thoughts will make her leave Winterfell and her family. However, Sansa

replies that Catelyn had to leave her house and family to marriage with Sansa’s

father. Catelyn does not respond well toward Sansa’s statement because it is true

and Sansa, as a female, she has only one option when she is about to marry that is

leaving her family and stay with her husband. Sansa is too naïve to think that

marriage is a happy ending for females' lives, which leads to her insecurity because

she often has thought that she is not good enough for Joffrey. However, we cannot

blame her for that because she has grown up with femininity feature where she has

been taught that female happy ending is to marriage with a man they desire, and

support them with whatever they do. On top of that, Sansa’s father also share the

same idea about marriage values.

EDDARD: Darling, listen to me. Sansa will be married to Joffrey someday. She cannot betray him. She must take his side even when he's wrong. ARYA: But how you can let her marry someone like that? EDDARD: Well… Look at me. You're a Stark of Winterfell. You know our words. (Lord Snow, 2011)

It clear that Ned’s statement shows us that the female’ fate in Game of

Thrones is to be on the men's side no matter what he’s doing right or wrong. The

female role is to support them. Ned’s even cannot reply Arya with a good reason;

instead, he has answered it with Stark family’s philosophy. As a parent Ned Stark

is not a good example of parenthood, he wants Sansa to marry Joffrey even though

he knows Joffrey's true nature.


43

The indirect influence comes from Septa and Cersei. Septa is Stark family’

babysitter who has been there since Sansa was a kid. It clear that Septa influences

Sansa. Sansa is an obedient child, which makes her family believes that she does

not really need much attention from them because she good in her way, unlike her

little sister, who frequently needs instruction from her family. When Sansa arrives

in King Landing, it clear that she has more intimacy with Septa more than her

family, which are Ned and Arya. Ned is busy with the kingdom duties and Arya is

busy with her sword practice. Septa is the only one who is always there for Sansa

in King Landing, when Sansa has a crisis about her future to be Queen, Septa there

and give her support.

SANSA: And everyone would hate me. SEPTA: Nobody could ever hate you. (Winter is Coming, 2011)

Septa washes away Sansa’s worries by saying, “Nobody could ever hate

you”. However, Septa acts of supporting Sansa’s feeling leads into harm than good.

Septa often denial Sansa’s worries, which not very good for Sansa because it

develops her insecurity even more. When the reality is not as sweet as Septa’s

words, Sansa becomes much more insecure with herself. It can be seen on the pics

below when Joffrey turns away his head when Sansa looks at him.


44

Figure 6

We can see Sansa’s happiness expression in the first picture because Joffrey

looks at her but, as soon as Joffrey turns his head, her expression changes into

gloomy. On the other hand, Cersei influences Sansa on how she is dressing and

acting. As the writer mentions in the previous question, Sansa wants to be like

Cersei. In Sansa’s perspective, Cersei is graceful, charismatic, and prestigious; she

sees Cersei as the perfect person. Furthermore, when Sansa arrives in King Landing

the Cersei influences are becoming stronger. Sansa thinks that since she is already

in King Landing, she has to behave like one, so she changes the way she dressing

and act. She wants approval so bad she acts ungrateful and undervalued.

The next background of the family is family roles. Sansa is a daughter from

a noble family, Sansa spends her time mostly on the north because her father is

ordered to protect the north. In the scene where her character is first introduced, she

was busy sewing a cloth. Since the show resembles the middle ages period, it is a

must for noble females born to master sewing skills. Even Arya, who is not

interested in femininity things forced to join Sansa in sewing class and Sansa in


45

Season one episode one is a little bit spoiled. Being a daughter of king makes her

believe that her final destination is to be queen.

We can see her recklessness, anxiety, and insecurity are influenced by

family composition and family role. According to Medinnus, reduced children are

when the children have this behaviours: refusal to talk, temper tantrum, and

whining. These kinds of behavior often make a child becomes much more hostile

and aggressive or withdrawn and submissive (1969, p. 359). Sansa refuses to talk

with her father because he executed her pet and she decides to stay in silence with

her father during her time in King Landing. Moreover, ever since Joffrey comes

into Sansa's life, she shows a more bad side of her than the good side of her. Sansa

acts that way because she is insecure with herself and felt she is not good enough

for Joffrey. Sansa always tries her best to impress Joffrey even though sometimes

it leads to the argument with her family, especially her father

2. The Influences of Emotional Toned Relationship of Family on Sansa’s

Personality in the Last Four Episodes.

Emotional toned relationship of family is the last part of family background

that related to Sansa’s personality development. Medinnus says the most essential

aspect in a home is the connection between parents and children (1969, p. 356). As

a noble family, Stark has motto “ Winter is Coming” according to the novel author

of Game of Throne “Winter is Coming” has metaphorical meaning which

expressing dark periods do occur in life and even when the thing is going

well(“summer”) you should not feel safe because eventually it will change into dark

periods in life (“winter”), (Saporito, 2015). Stark’s motto does explain what Sansa


46

through in season one. She is in her summer when the show begins; well manner,

talented on femininity skills, and good looking Sansa is truly a perfect example of

lady. As the Lannister arrives at Winterfell she is falling in love with their son,

Joffrey. As a girl, she instantly falls in love with Joffrey and she even then discuss

when she will get married with Joffrey.

SANSA: When would we be married? Soon or do we have to wait? CATELYN: Hush now. Your father hasn’t even said yes. (Winter is Coming, 2011)

From the dialogue above, we can see how Sansa wants to be with him even

though she does not know him so well. Moreover, she is thirteen years old in season

one. Catelyn reactions show a little bit of surprise when Sansa says she about the

marriage already.

Sansa tries her best to win Joffrey’s heart; she is even lying to her family

in order to defense Joffrey’s pride. However, no matter how hard she tries, Joffrey

could not pay back her feeling; instead, he is threatening her and her family.

Referring to Hurlock, it is normal for children to have a strong emotional attachment

toward people outside the family. However, that attachment is not last long because

the bond within the family members is stronger (1976, pp. 351-352). However, the

relationship between Sansa and her family are not very explicit, showing in the

show. However, in the episode where her father is taken as prisoner, Sansa starts to

show her soft side over

THE INFLUENCE OF FAMILY BACKGROUND TOWARDS …repository.usd.ac.id/37526/2/164214041_full.pdfSansa...

Documents

Transcript of THE INFLUENCE OF FAMILY BACKGROUND TOWARDS …repository.usd.ac.id/37526/2/164214041_full.pdfSansa...