Chapter I preliminary

1.1 Background Lately so many students especially in Bali-Indonesia doesnt really like English and not impress in it. So here, the reasons we made this paper, beside to finish our task is to tell all of the readers especially the students in SMAN 7 Denpasar about the Narrative text and Folklore As we all know the purpose of Narrative text is to amuse or entertain the readers. So this is the best way to impress the students to learn English. It can improve their listening, reading and writing ability, and the most important thing is it is amusing.

1.2 Formulation of the problem : What is Narrative text ? What is Folklore or Folktale ? What is the structure of Narrative text? What is the grammar ? Some example of Narrative text Exercise

Chapter 2 Contents
2.1 THEORY A narrative is a story that is created in a constructive format (as a work of speech, writing, song, film, television, video games, in photography or theatre) that describes a sequence of fictional or non-fictional events. The word derives from the Latin verb narrare, "to recount", and is related to the adjective gnarus, "knowing" or "skilled". Ultimately its origin is found in the Proto-Indo-European root gn-, "to know". The word "story" may be used as a synonym of "narrative", but can also be used to refer to the sequence of events described in a narrative. A narrative can also be told by a character within a larger narrative. An important part of narration is the narrative mode, the set of methods used to communicate the narrative through a process called narration. Along with exposition, argumentation and description, narration, broadly defined, is one of four rhetorical modes of discourse. More narrowly defined, it is the fiction-writing mode whereby the narrator communicates directly to the reader. Stories are an important aspect of culture. Many works of art and most works of literature tell stories; indeed, most of the humanities involve stories. Owen Flanagan of Duke University, a leading consciousness researcher, writes that Evidence strongly suggests that humans in all cultures come to cast their own identity in some sort of narrative form. We are inveterate storytellers (Consciousness Reconsidered 198). Stories are of ancient origin, existing in ancient Egyptian, ancient Greek, Chinese and Indian culture. Stories are also a ubiquitous component of human communication, used as parables and examples to illustrate points. Storytelling was probably one of the earliest forms of entertainment. Narrative may also refer to psychological processes in self-identity, memory and meaning-making.

2.1.1 Conceptual issues Semiotics begins with the individual building blocks of meaning called signs; and semantics, the way in which signs are combined into codes to transmit messages.

This is part of a general communication system using both verbal and non-verbal elements, and creating a discourse with different modalities and forms. In On Realism in Art Roman Jakobson argues that literature does not exist as a separate entity. He and many other semioticians prefer the view that all texts, whether spoken or written, are the same, except that some authors encode their texts with distinctive literary qualities that distinguish them from other forms of discourse. Nevertheless, there is a clear trend to address literary narrative forms as separable from other forms. This is first seen in Russian Formalism through Victor Shklovsky's analysis of the relationship between composition and style, and in the work of Vladimir Propp, who analysed the plots used in traditional folk-tales and identified 31 distinct functional components.[3] This trend (or these trends) continued in the work of the Prague School and of French scholars such as Claude Lvi-Strauss and Roland Barthes. It leads to a structural analysis of narrative and an increasingly influential body of modern work that raises important epistemological questions: What is text? What is its role in the contextual culture? How is it manifested as art, cinema, theatre, or literature? Why is narrative divided into different genres, such as poetry, short stories, and novels? Why are narratives put into literature?

2.1.2 Literary theory For general purposes in semiotics and literary theory, a "narrative" is a story or part of a story. It may be spoken, written or imagined, and it will have one or more points of view representing some or all of the participants or observers. In stories told orally, there is a person telling the story, a narrator whom the audience can see and/or hear, who adds layers of meaning to the text non-verbally. The narrator also has the opportunity to monitor the audience's response to the story and modify the manner of the telling to clarify content or enhance listener interest. This is distinguishable from the written form in which the author must gauge the readers' likely reactions when they are decoding the text and make a final choice of words in the hope of achieving the desired response. Whatever the form, the content may concern real-world people and events; this is termed "personal experience narrative". When the content is fictional, different 3

conventions apply. The text projects a narrative voice, but the narrator belongs to an invented or imaginary world, not the real one. The narrator may be one of the characters in the story. Roland Barthes describes such characters as "paper beings", and fiction comprises their narratives of personal experience as created by the author. When their thoughts are included, this is termed internal focalisation: when each character's mind focuses on a particular event, the text reflects his or her reactions. In written forms the reader hears the narrator's voice both through the choice of content and the style the author can encode voices for different emotions and situations, and the voices can be either overt or covert , and through clues that reveal the narrator's beliefs, values and ideological stances, as well as the author's attitude towards people, events and things. It is customary to distinguish a first-person from a third-person narrative: Grard Genette uses the terms homodiegetic and heterodiegetic narrative respectively. A homodiegetic narrator describes his or her personal and subjective experiences as a character in the story. Such a narrator cannot know anything more about what goes on in the minds of any of the other characters than is revealed through their actions; a heterodiegetic narrator describes the experiences of the characters who appear in the story and, if the story's events are seen through the eyes of a third-person internal focaliser, this is termed a figural narrative. In some stories, the author may be overtly omniscient, and both employ multiple points of view and comment directly on events as they occur. Tzvetan Todorov (1969) coined the term "narratology" for the structuralist analysis of any given narrative into its constituent parts to determine their function(s) and relationships. For these purposes, the story is what is narrated as usually a chronological sequence of themes, motives and plot lines; hence, the plot represents the logical and causal structure of a story, explaining why its events occur. The term discourse is used to describe the stylistic choices that determine how the narrative text or performance finally appears to the audience. One of the stylistic decisions may be to present events in non-chronological order, using flashbacks, for example, to reveal motivations at a dramatic moment.

2.1.3 Narrative aesthetics The art of narrative is by definition a highly aesthetic enterprise. There are a number of aesthetic elements that typically interact in well-developed stories. Such elements include the essential idea of narrative structure, with identifiable beginnings, 4

middles

and

ends,

or

exposition-development-climax-resolution-denouement,

normally constructed into coherent plot lines; a strong focus on temporality that includes retention of the past, attention to present action and protention/future anticipation; a substantial focus on characters and characterization which is arguably the most important single component of the novel (David Lodge The Art of Fiction 67); a given hetergloss of different voices dialogically at play, the sound of the human voice, or many voices, speaking in a variety of accents, rhythms and registers (Lodge The Art of Fiction 97; see also the theory of Mikhail Bakhtin for expansion of this idea); possesses a narrator or narrator-like voice, which by definition addresses and interacts with reading audiences (see Reader Response theory); communicates with a Wayne Booth-esque rhetorical thrust, a dialectic process of interpretation, which is at times beneath the surface, conditioning a plotted narrative, and other at other times much more visible, arguing for and against various positions; relies substantially on now-standard aesthetic figuration, particularly including the use of metaphor, metonymy, synecdoche and irony (see Hayden White, Metahistory for expansion of this idea); is often enmeshed in intertextuality, with copious connections, references, allusions, similarities, parallels, etc. to other literatures; and commonly demonstrates an effort toward bildungsroman, a description of identity development with an effort to evince becoming in character and community.

2.1.4 Narration as a fiction-writing mode As with many words in the English language, narration has more than one meaning. In its broadest context narration encompasses all written fiction. As one of the four rhetorical modes of discourse, the purpose of narration is to tell a story or to narrate an event or series of events. Narrative may exist in a variety of forms, including biographies, anecdotes, short stories and novels. In this context, all written fiction may be viewed as narration. Narrowly defined, narration is the fiction-writing mode whereby the narrator is communicating directly to the reader. If, however, the broad definition of narration includes all written fiction, and the narrow definition is limited merely to that which is directly communicated to the reader, what comprises the rest of written fiction? The remainder of written fiction would be in the form of any of the other fiction-writing modes, such as description, exposition, summarization, etc.

2.1.5 Psychological narrative Within philosophy of mind, the social sciences and various clinical fields including medicine, narrative can refer to aspects of human psychology. A personal narrative process is involved in a person's sense of personal or cultural identity, and in the creation and construction of memories; it is thought by some to be the fundamental nature of the self. The breakdown of a coherent or positive narrative has been implicated in the development of psychosis and mental disorder, and its repair said to play an important role in journeys of recovery. Narrative Therapy is a school of (family) psychotherapy. Illness narratives are a way for a person affected by an illness to make sense of his or her experiences. They typically follow one of several set patterns: restitution, chaos, or quest narratives. In the restitution narrative, the person sees the illness as a temporary detour. The primary goal is to return permanently to normal life and normal health. These may also be called cure narratives. In the chaos narrative, the person sees the illness as a permanent state that will inexorably get worse, with no redeeming virtues. This is typical of diseases like Alzheimer's disease: the patient gets worse and worse, and there is no hope of returning to normal life. The third major type, the quest narrative, positions the illness experience as an opportunity to transform oneself into a better person through overcoming adversity and re-learning what is most important in life; the physical outcome of the illness is less important than the spiritual and psychological transformation. This is typical of the triumphant view of cancer survivorship in the breast cancer culture.

2.1.6 Historiography In historiography, according to Lawrence Stone, narrative has traditionally been the main rhetorical device used by historians. In 1979, at a time when the new Social History was demanding a social-science model of analysis, Stone detected a move back toward the narrative. Lawrence Stone started it in 1979. He defined narrative: it is organized chronologically; it is focused on a single coherent story; it is descriptive rather than analytical; it is concerned with people not abstract circumstances; and it deals with the particular and specific rather than the collective and statistical. He reported that, "More and more of the 'new historians' are now trying to discover what was going on inside people's heads in the past, and what it was like to live in the past, questions which inevitably lead back to the use of 6

narrative." Historians committed to a social science approach, however, have criticized the narrowness of narrative and its preference for anecdote over analysis, and clever examples rather than statistical regularities. Folklore consists of legends, music, oral history, proverbs, jokes, popular beliefs, fairy tales and customs that are the traditions of that culture, subculture, or group. It is also the set of practices through which those expressive genres are shared. The study of folklore is sometimes called folkloristics. The word 'folklore' was first used by the English antiquarian William Thoms in a letter published by the London Journal in 1846. In usage, there is a continuum between folklore and mythology. Stith Thompson made a major attempt to index the motifs of both folklore and mythology, providing an outline into which new motifs can be placed, and scholars can keep track of all older motifs. Folklore can be divided into four areas of study: artifact (such as voodoo dolls), describable and transmissible entity (oral tradition), culture, and behavior (rituals). These areas do not stand alone, however, as often a particular item or element may fit into more than one of these areas.

2.2 GRAMMAR
2.1 Purpose To amuse or entertain the readers with actual or imaginary experiences in difference ways. Narratives always deal with some problems which lead to the climax and then turn into a solution to the problem.

2. 2 Text Organization : 1. Orientation : introduce the characters and settings (who were involved in the story, when and where) 2. Complication : problem (a problem arises followed by other problems) 3. Resolution : how to solve the problems (solution to the problem)

2.3 Language Features : 1. The use of noun phrases (a beautiful princess, a huge temple) 2. The use of connectives (first, before that, then, finally)

3. The use of adverbial phrases of time and place (in the garden, two days ago) 4. The use of simple past tense (He walked away from the village) 5. The use of action verbs (walk, sleep, wake up) 6. The use of saying verbs (say, tell, ask) 7. The use of thinking verbs, feeling verbs, verbs of senses (she felt hungry, she thought she was clever, she smelt something burning)

2.3 EXAMPLE
Indonesian folktale Example 1 MALIN KUNDANG Once upon a time, on the north of Sumatra, lived a fishermans family who have just enough to live on. They didnt earn much as fishing was their only source of income. The father want to sail overseas. In the meantime, their little boy wasnt able yet what his parents were talking about. The boy was Malin Kundang. After leaving his family for almost three months, Malins father didnt keep his promise. Malins mother was so sad. Finally she decide to work to fulfill Malins and her needs by becoming a fisherman helper. Malin grew up as a skillful young man. He always helped his mother to earn some money. However, as they were only a fisherman helper, they still lived in poverty. Malin want to sail overseas, and early the next morning, Malin was ready to go. Three days agoo he met a successful ships crew. Malin was offered to join him. It had been three months since Malin left his mother. As his mother predicted before, he hadnt contacted her yet. All the while, Malins mother was anxiously waiting for a news from him. Everyday and night, Malins mother prayed for her sons safety. She also prayed that Malin would meet his father and take him home. I hope we could be together again. Malins mother hope. After several years waiting without any news, Malins mother was suddenly surprised by the arrival of a big ship in the pier where she usually stood to wait for Malin. Malins mother tried to get close to the ship, but because there were so many

people that wanted to get close to the ship too, she got stuck. After waiting for a few hours, Malins mother was get to the ship. Malins mother was so worried when she entered such a wonderful room. It was Malin Kundangs special room. Malin. Youre back son! said Malins mother and without hesitation, she came running who was sitting with his wife. Son, its me! cried Malins mother examining her sons face. Her old eyes were about to drop tears. Malin didnt respond, his face was as cold as the ice as he stood and released his mother embrace. Mother? whose mother? I dont know you. My mother would never wear such raged ugly clothes like this! he continued. Guard! Take this bagger out of my room. He shouted to call his bodyguards. Give her some money so she wont disturb me again! Malin, why did you treat me like this? Malins mother cried hysterically as she was dragged out of the room. you are so mean, Malin! You are so mean! When she was outside, she burst into tears. Dear God, if he isnt my son, please save him from any disasters. But if he is, please punish him when hi is still alive, she prayed sadly. Suddenly, the wind blew so hard, the dark clouds urged followed by the rain. The ship was shaking, the situation became out of control. All of the ship passengers were running out of the ship, including Malin and his wife. Bowing down her head, Malins mother was holding her aching heart. When Malin was passed his mother, his feet suddenly froze and it forced him to bowed down in front of his mother. Bad luck cannot be rejected, and good luck cannot be earnd. After he bowed down in front his mother, his whole body turned into stone. He was punished for not admitting his parent who has given him birth.

Example 2 Jayaprana and Layonsari

There was a couple resided in the village of Kalianget, they have three children, two boys and a girl. Due to a plague that struck the village community, then four people from these poor families died together. Only one youngest boy survived. He named I Jayaprana. Because he was an orphan, so he ventured to serve in the 9

king's palace. At court, the man was very industrious and the loved him very much. Now I Jayaprana was twelve years old. He was very handsome and his smile is so sweet and attractive. A few years later. One day the king decreed I Jayaprana, to choose an existing handmaidens in the palace or the girl who was outside the palace. At first I Jayaprana refused it, on the grounds that he was a child. But because he was forced by the king finally I Jayaprana obeyed. He was strolling to the market in front of the palace to see the girls who moving around the market. Suddenly he saw a very beautiful girl. She was named Ni Layonsari, son of Jero Bendesa, came from Banjar Sekar. Seeing that beautiful girl, I Jayaprana very attracted and his eyes kept following the girl movement into the market. In the other side, Ni Layonsari was extremely devastated looking handsome young man who was sitting in front of the palace. After the girl slipped behind the people who were in the market, then I Jayaprana quickly returned to the palace to report to the presence of the king. I Jayapranas report accepted by the king and then the king wrote a letter. I Jayaprana are commanded to bring the letter to Jero Bendesa. Nothing is told in the middle of the road, so I Jayaprana arrived at Jero Bendesa home. He handed over the letter he brought to Jero Bendesa with respect. Jero Bendesa received and held a direct read from the heart. Jero Bendesa agreed if his daughter, Ni Layonsari, is married to I Jayaprana. After he delivered his heart out "agree" to I Jayaprana, then I Jayaprana asked permission and returned home. In the palace, the king was having a session in the pavilion. Suddenly I Jayaprana came there. Then King announced at the hearing which, among others: That later on Tuesday, the king will make I Jayaprana marriage ceremony with Ni Layonsari. So the king gave orders to all perbekel, that began to build buildings, homes, etc. for I Jayaprana. By the day of their marriage all the buildings was completed in mutual cooperation with all beautiful things. When the wedding day arrived I Jayaprana accompanied by his village communities went to Jero Bendesa house, to beg Ni Layonsari with complete ceremonial tools. The king was sitting on the throne in front of the servants and the perbekel. Then came the company of I Jayaprana in front of the palace. The bride and the groom had to drop from the palanquin, and took a bow to the king with respect. When 10

looking at Ni Layonsaris face, the king could not say anything. After dusk the bride and the groom asked permission to return home and leaving the king hall. After the couple left, the king then said to the perbekel, asking how to bamboozle I Jayaprana so that he die. And then, his wife, Ni Layonsari, will become the empress of the king's palace. The king said that if he could not marry Ni Layonsari, he could be dead because of grief. After heard that, one of his perbekel set forth his consideration, which, among others: that the king should decreed I Jayaprana to go to Celuk Tarima in company, to investigate the boat that was destroyed and the Bajo people who were hunting animals in the region Pengulan. That was the considerations which has been proposed by one of the perbekel named I Saunggaling, which have been agreed by the King. Now I Jayaprana was very happy with his wife enjoying their honeymoon. But only seven days of their honeymoon, there came a messenger to their home, which meant to call I Jayaprana to attend to the king session hall. I Jayaprana immediately went to the king session hall to meet the king with the perbekels. In the king session hall they were ordered on the morning to Celuk Tarima to investigate the sinked boat and the other chaoses. After dusk, the court was disbanded. I Jayaprana returned home. He was greeted by his beloved wife. I Jayaprana explained the results of meeting in the king session hall to his wife. That night, Ni Layonsari was dreaming, their house had been floating by a great flood, she rose from her bed then explained the contents of the terrible dream she had to I Jayaprana. She appealled her husband to cancel his departure tomorrow morning based on the cues of his dreams. But I Jayaprana did not dare to refuse the kings order. He said that death lies in the hands of God Almighty. In the morning I Jayaprana with his company left for Celuk Tarima, leaving Ni Layonsari at home in sadness. In the course of the party, I Jayaprana often gets the bad signals. Finally they arrived at the forest Celuk Tarima. I Jayaprana already felt himself will be destroyed. Then I Saunggaling said to I Jayaprana handing him a letter. I Jayaprana received the letter then read its contents in the hearts: "O thou Jayaprana Useless human Walk thou 11

It was I who ordered to kill you

Your sins are very great You've exceeded the king's behavior Your wife truly belongs to a great man I pick her up, I make her as the king's wife

Give your soul now Dont you fight Layonsari do not you recall I marry her to be my wife until the end of time. " thats the contents of the letter of the king to I Jayaprana. After read the letter, I Jayaprana then he broke into sobs as he mourned. "Well, so was the king, I wont refuse. Indeed, he planted me and raised me up but now he want to pull me out, thats okay. I willingly killed for the sake of the king, eventhough Im not guilty and innocent. So was lamentation of I Jayaprana while shedding his tears. Then I Jayaprana asked I Saunggaling getting ready to stab him. After I Saunggaling announced I Jayaprana that he just obeying what are commanded by the king with a heavy heart and sadness he was plugging his keris on I Jayapranas heart. His blood was gushing with fragrant smell along with the strange signals in the sky and the earth such as earthquakes, hurricanes, rain flowers, and so forth. The corpse of I Jayaprana was buried, all perbekel backed home, feeling very sad. On the way they often get put to death. Many of the perbekels died. They dead because of tiger attacked, snakes bitting. The news of the assassination of I Jayaprana had been heard by his wife, Ni Layonsari. Then she immediately drew her dagger and stabbed herself. That was the contents of a short story of two young people who just enjoying their honeymoon on the basis of pure love but got the obstruction from a king and finally died together

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2.4 Exercise
1. Mention the structures of narrative text! 2. Could you mention what is the moral value of the two stories above? 3. What is the purpose of narrative text? 4. Does the story Malin Kundang has a sad or happy ending? 5. Could you mention what is the complication in the story Jayaprana and Layonsari?

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Chapter 3 Closing

3.1 Conclusion Narrative is a story that is created in a constructive format (as a work of speech, writing, song, film, television, video games, in photography or theatre) that describes a sequence of fictional or non-fictional events. The word derives from the Latin verb narrare, "to recount", and is related to the adjective gnarus, "knowing" or "skilled". The grammar for narrative texts mostly use past tenses. The purpose of narrative text is To amuse or entertain the readers with actual or imaginary experiences in difference ways. Narratives always deal with some problems which lead to the climax and then turn into a solution to the problem. Every country has their own narrative folklore, example in Indonesia there are Malin Kundang and Jayaprana and Layonsari

3.2 Suggestion The suggestion we can share to all of you are, keep telling stories to the children especially before they are go to sleep. Because story is the best media to entertain them and they can get the moral value from it.

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Bibliography
www.google.co.id www.wikipedia.org look ahead 1 An English Course

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