CfLb.PTERZ
THEORITICAL FR&"'EWORK: PLOT, SETTING AND NARRATIVE
DECONSTRUCTION THEORY
Introduction
In chapter II the v,Titer will use plot and setting to support deconstruction
analysis. And the writer thinks if we want to know about a story, we have to quite know
about a plot in that story. That's why the writer uses plot in the writer's analysis because
plot is not only very important in the story, but also by analyzing plot the writer can
apply deconstruction further and to make the writer ea>ier to apply deconstruction. In
setting the writer uses physical setting and social setting only, because physical setting
and social setting can be connected with deconstruction. In physical setting the \'>Titer
will use places that can support deconstruction. Meanwhile in social setting the v,Titer
will use attitude's people to support deconstruction.
2.1
Plot
Perrine (1998: 42) identifies plot as, 'The sequence of incidents or events
of which a story is composed". According to Di Yanni, plot is the action ina
story or movie where every event is arranged so that it makes up a story
(2000:44-45). And also he says plot has five steps. They are exposition, conflict,
complication, climax, and resoiution. Below the writer will explain one by one
about the meaning ofthem.
2.1.1
Exposition
Exposition is not only the beginning of story introducing character,
setting, and description of the beginning of a conflict or complication, but also in
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exposition we will be directed to the conilict of the story. "Typical fictional plots
begin with an exposition that provides background information we need to make
sense of tire action., describes t.':re setting, and introduces the major characters"
(DiYaruri, 2000; 44).
:u.2
Conflict
According to Arp in conflict mam character usually has challenges,
threats, or dangers and the main character has to face them. And also it would be
possibie if main character faces an internal conflict-a personal conflict-and
external conflict. An internal conflict means the main character has a conflict
with her/himself. Meanwhile external conflict means the main character has a
con:flict with society.
Conflict is a clash of actions, ideas, desires, or wills. Characters may be pitted .
against some other person or group of persons (cmcflict of person against
person); they may be in co'!flict with some external force-physical nature,
society, or "fate" (conflict of person against environment); or they may be in
conflict some elements in their own natures (co ?,flict of person against himself
or herself). The conflict may be physical, mental, emotional, or moral (Arp,
1991;42).
2.1.3
Ccmp!ication
In Complication the situation is more complicated where the main
character has to face and solve another con:flict, "These plots developed a series
of complications or intensifications of the conflict that lead to a crisis or moment
of great tension" (DiYanni, 2000; 45).
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2.1.4
Climax
In climax will be explained how the conflict will end. However the
climax is usually favorably ail.d unfavorably for the main character. And after we
face the climax, we will understand the meaning of the story. "The conflict may
reach a climax or turning point, a moment of greatest tension that fixes that
outcome" (DiYafu"!i, 2000; 45).
2.1.5 Resolution
Resolution is the ending of the story where the main chamcter has done
the conflict. But the result of the resolution is characterized by a stable or an
unpredictable situation.
"Resolution
is the action falls
off as the plot's
complications are sorted out and resolved" (DiYanni, 2000; 45).
2.2
Setting
According to Di Yanni (2000:61) setting is a place, rooted in the soil of a
writer's memories used in a story.
2.2.1
!:'hysical seffillg
In Physical setting will be described the physical background of a story.
For example a story has two places described such as in a room and on the street.
Then the mom and the street function as a background of the story and we have
to explain and describe v,-hat happen in t.'J.e room and on the street. "The physical
details of setting are associated with the values, ideals, and attitudes of that place
in different time" (DiYanni, 2000; 62).
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2.2.2 Social setting
In social setting we have to explain about social background such as
people's attitude/behavior, tradition, social values, etc. "Social setting is the
setting that describes the social background of a story, e_g_ the description of
people's attitude/behavior, tradition, social values, etc" (Sapteno, 2004; 8).
2.3
Deconstruction
Deconstruction is a concept developed by Jacques Derrida. He was born
to an Algerian Jewish family in El-Biar, Algeria, in 1930. At the age of 22, he
moved to France and began studies at the Ecole Norrnale Supedeur in Paris.
focusing on the phenomenology of Edmund Husser!. He was interested in
analysis of ecriture, the writing of philosophy itself In 1967, he published three
books they are Speech and Plumomena,
Qf Grammatology, and Writing and
Di.lference In 1960s he published seven.il articles such as; Tel Que!, French's
forum of leftist avant-grade theory_ During the first half of the decade, he taught
at the Sorbonne in Paris (h:ttp:[lwvvw_oonnect.net/ron!derrida.html)_ And also
Derrida taught at the Ecole Normale Superieur from 1965 to 1984, dividing
much of his tiine between Paris and American universities such as Johns
Hopkins and Yale_ .He used to be the director at the Ecole des Hautes Etudes en
Science Sociales in Paris. Since 1986 he has also been Professor of Philosophy,
French and Comparative Literature at the University of California, Irvine and
continues to lecture in academic institutions on both sides of the Atlantic.
(htto://W\1\-w.egs,edu/resources/derrida.htm!). In 2003, Derrida was diagnosed
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wit.h aggressive pancreatic cancer, which reduced his speaking and traveling
engagements. He died in Parison hospital on the evening of Friday, October 8,
2004. (Kini Derrida (IS juli 1930-8 Oktober 2004) tetah berpulang. Dia
meningga!karena kanker pankreas pada Jumat (8/10) lalu).
According to Peter Barry (1995:7!) deconstruction 1s a reading text
against itself with a purpose to knew the text as it cannot know itself
According to Derrida in McDonald, deconstruction is a process to add
signifier for signified which has been absent (KesseyJ 994:382). ,1\u"ld also he
said deconstruction has three major ca:tegories and six minor categories. The
major categories are diffirance, supplement, and deconstruction. Mean while the
minor categories are difference and deferral, mark and substitution,
and
effacement and trace. In differance there are two minor categories, they are
difference and deferral. In supplement there are two minor categories, such as
mark and substitution A:.'1d the last is deconstruction consists of effacement and
trace.
2.3.1
Diffenmce
According to Derrida, d !ferance is alan presence and absence between
"interval" and "spacing" osignifier and signified. More technically, a place
having a possibility to make d.ifference two phonemes where there is a space
between the characters that can make language possible. "Differance is a term
tha:t Derrida coins to suggest the "interval," or
"spacing," between presence
and absence, signifier and signified, or, more technically, the trace that makes it
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possible to distinguish two phonemes, and so LI-te "space" that makes language
possible" (McDonald, 1994; 382).
2.3.1.1 Difference
Diff'erence is discontinuity and division at the beginning of a play.
Therefore in this context it only focuses on the opening. Difference, the opening
phase of the deeonstruetive form of drama, focuses on the sense of discontinuity
and division in the opening moments of the play" (McDonald, 1 994; 382).
2.3.1.2 Deferral
Deferral is focu. ed on a process of delay and detour to the next phase. It
means that delay and detour that is contained in a previous phase, such as
difference. "Deferral focuses on the peripetal or reversal process of delay and
detour intheseoond phase" (McDonald, 1994; 382).
2.3.2 Supplement
Supplement is a period wrich has less information or explanation about
characters' identity to the period before, and h"l this period all of information and
explai!ation are less will be covered by changing identity between the characters.
"Supplement is Derrida's term for imagination, for the sign and language system
that "stand-in," or substitutes itself, for the insufficiency of the origin in
dijforence" (McDonald, 1994; 382). ·
2.3.2.1Mark
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Mark is a new discontinuity with entrances of a presence which makes a
changing and issue new events, or a presence signifying to a major reversal.
"Mark, or the "hinge" (folding point) is a phase of a begim1ing again, a new
discontinuity, the entrance of a catalytic agency or presence that signifies the
possibility of a major reversal" (McDonald, 1994; 382).
2.3.2.2 Substitution
Substitution is the phase of the reversal where the characters' identity
change and mix togeL er, tr':terefore it is hard to know their original identity.
"Substitution is the phase of the major reversal or the "shift to the opposite," to
the double or stand-in for the original absence" (McDonald, 1994; 382).
2.3.3 Deconstruction
And deconstruction is a process to add signifier for signified which has
been absent. Deconstruction is the process implicit in the attempt to supplement
a signifier for arl absent signified: the system deconstructs even as it is
constructed (1vfcDonald, 1994; 3&2).
2.3.3.1Eff:u:ement
Effacement is a consequence of replacement, losing of identity and
autow.atically we find a new identity from that losing of identity. "F;ffacement is
the consequence of being-substituted, the loss of identity, the phase of
disappearance or sparagmos" (McDonald, 1994; 382).
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2.3.3.2 Trace
Trace is the last phase of a story or drama started from the beginning
again after effacement, with ternaining characters having a new identity. "Trace
is the final peripetal phase of the drama,
what remains after effacement, the
phase of begi1ming again, the simulacrum of presence, a recognition of the
absence at the heart of differance and the mimetic or fictional form of presence"
(McDonald, 1994; 382).
The writer v.ill give a table of the major and minor categories
order to
make the readers easier to understand about the deconstruction (McDonald,
1994; 382).
DIFFERANCE
SUPPLEMENT
DECONSTRUCTION
Difference
Mark
Effacement
Deftrral
Substitution
Trace