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MYSTICAL DISCOURSE THROUGH INSTINENTIC INSTRUMENTS OF NOVEL DRACULA BY BRAM STOKERS, SENJAKALA AND ASIH BY RISA SARASWATI A research proposal By: ALFITRA AINUN NISSA 1165030014



A. Background Study



From these three novels which are kind of horror, I will analyze them with mysticism through comparative literature with intrinsic elements in these three novels. Literature, in general, is a work of fiction that is the result of creations based on spontaneous emotional expressions that can express aesthetic aspects both between linguistic aspects and aspects of meaning. According to the Big Indonesian Dictionary (2008), the meaning of the word literature is a type of written works that are superior in terms of originality, artistic value, and the beauty of their contents and disclosures. Literature can be divided into written literature or oral literature. In this proposal I will discuss a literary work in the form of writing which is commonly enjoyed by many people, the literary work is a novel. Novels or Romances are literary works in the form of long essays and in the form of processes in which a series of stories of one's life are contained by highlighting the character and nature of each actor as well as conflicts that occur with others. Whereas comparative literature is also referred to as comparative literary study or study beyond national and state boundaries to get a better understanding of trends and movements that occur in various nations and countries. The simplest answer is that comparative literature involves the study of texts across cultures, that is interdisciplinary and that is conserved with patterns of connections in works of literature across both time and space (Bassnett, Susan, 1993). It is different with mysticism, in Greek mysterion , from mysticism (people who seek the secrets of reality) or myelin (close one's own eyes).



This term comes from the Greek mystery religions whose aspirants are named misty. (Garmin, Alimudin.24 June 2015) Mysticism is the belief that the highest truth about reality can only be obtained through suprarational, spiritual events intuitive experience, and not through realizing logical reason (ratio or reason). The novel is a fictional prose story of a certain length, depicting characters, movements and representative real scenes in a plot or a somewhat chaotic or disheveled state (Tarigan, Henry Guntur, 1991.). From this novel, I took all the intrinsic elements to prove the mysticism in the three novels. The elements that will be discussed in this study are the characters or characterizations, plots, and settings. Characterization is portrayals of characters, both their physical and mental state which can change, their outlook on life, attitudes, beliefs, customs, and so on. Characterization relates to the way the author determines and selects the characters and names the characters, while characterization relates to the characters of the characters. Based on the opinions above, it can be said that characterizations are depictions of the characters, both their physics and their hearts, by an author (Leroy, Diana. 2003). The plot is an important fiction element, using a plot is a story that contains a sequence of events, but each event is only connected causally, one event caused the other events. The events of the story are shown through the actions, attitudes, and attitudes of the main character (Nugiyantoro.2007: 149-150). While the background is the foundation, suggesting the understanding of the place, the relationship of time, and the social environment in which the events that are told (Abrams 1981: 175). Oral tradition is often referred to as folklore, which is part of a culture whose spread is generally through speech or oral (Dananjaya, 1986: 5). According to Dananjaya (1986: 28), another form of oral folklore is expressions or words formed by copying natural sounds. The traditional expression is the wisdom of many people which is one's intelligence, or short sentences that are abstracted from long experience. Folk prose stories are one form of oral folklore.



B. Statement of the problem



Base one some explained in the background of the study above, and to make this research easier to solve, the reasearcher studies the particular problem as stated below : 1. How are mystical discourse in the novel Dracula by Bram Stoker, Senjakala and Asih by Risa Saraswati? 2. How does the oral tradition of the community affect those three novels? C. Research objective The purposes of this research are : 1. We can find out the similarity of interinsic elements through three novels that are assisted by the study of comparative literature. 2. Can know mysticism can emerge from three novels by analyzing the intrinsic elements. 3. Can find out the similarities of mystical things through the three novels. D. Reasearch signifiance 1. This research is expected to be able to contribute in studying the learning of novels in the application of mysticism. 2. This research is expected to contribute to comparative literature education in selecting teaching materials. 3. The research is expected to make the reader understand the values contained in the novel especially in the interinsic element. E. Conceptual framework 1. Mysticism Mysticism is an irrational knowledge even though in reality it can cause empirical objects, where this mysticism in the life of the people is very attached, especially in a society that is still primitive, that is now also widely adopted by most modern societies. Until the mystical life entrenched both religious and general circles, which eventually formed a belief in the existence of forces that exist in the outside of human beings. With the nature of curiosity that so that the experts who form certain techniques as a means of achieving something. 1.1 Mystical Javanese



For certain people, ghosts are considered as life challenges (memedi), but for certain people ghosts will actually be able to bring benefits. For those who are afraid, let alone examine just hearing - sometimes has stood feathers romance. Instead those who feel benefited, ghosts will bring their own blessings. In contrast to the mystic kejawen or people who have a sixth sense, the ghost world is not much different from the human world. Some people believe that ghosts have the same structure of life as human life. They breed like us. More than 20 types of ghosts surround human life (Endraswara, 2003: 60). Of the many ghosts, it can be grouped into two, the first ghost that is frightening and harmful, second, the ghost that helps and benefits humans. The discussion in this study are two novels that are included in the mystical figures who are on the island of Java itself. There are two figures or creatures themselves, namely kuntilanak in the novel Asih and wewegombel in the novel Senjakala. a. Kuntilanak is the ghost figure of a woman who is dying of curiosity because many things are caused by ending her own life or being killed by having an innocent baby. The characteristics of kuntilanak itself are women with long hair and their feelings change - sometimes they cry and sometimes they laugh without cause. In Asih's novel it is said that she committed suicide because she was carrying a baby that was not expected to be present in her life. So Asih is very fond of small children and does not hesitate to bring it into nature. b. While this Wewegombel is the same as a very scary female ghost. She can be a ghost or supernatural being because a human being worshiping creatures that are similar to wewegombel is usually called genderewo. An ally to her for the success of life and this is not free of course there must be a reward so if the benefits are not met then she will become wewegombel. In this novel, Sukma is said to have become wewegombel because her served genderowo at the expense of her child, but she did not want to therefore it becomes wewegombel. And the nature of authority itself is very fond of children who are abandoned by their parents. 1.2 European Mystics In spite of Europe's supernatural, an area that believes in mysticism proves that they have great respect for the gods who are considered the protectors of the universe. Early on they believed in the existence of a spirit that guarded the universe through the World of Nordic Mythology which was introduced by their ancestors. In Nordic Mythology, there are nine worlds known, of which the nine worlds are connected by a tree named Yggdrasil, in Nordic



Mythology yggdrasil is the center of the world (like the universe) at its branches and roots there are several worlds, namely Asgard (the gathering place of the ruling gods and fighters), Vanaheimr (the place of gods for protection and fertility), Alfheim (the gathering place for elves), Midgard (place of gathering of people), Jotunheim (place of Jotun / Giants), Niddhavellir (place of dwarves or dwarves), Svartalfheim (place of gathering of people), Jotunheim (place of Jotun / Giants), Niddhavellir (place of dwarfs or dwarves), Svartalfheim (place of gathering of people) the dark elves), Muspell (the world of fire where Surt the destroyer of Asgard triggers Ragnarok), Niflheim (the ice world where the frost giants live) (claymite, 2018: kaskus). Therefore they are very easy to assume that Dracula at that time really existed and could finish them off so that they would be scared of that era. a. Dracula So far we know that vampires (including Dracula) are corpses that rise from the dead. Therefore vampires are always associated with coffins and graves. This understanding was originally derived from Slavic legends several hundred years ago. But the older legend says that vampires are not humans, but magical creatures (a kind of devil) who do not resemble humans at all. Beliefs about corpses that rose from the grave and attacked humans began to spread in medieval European society. The classic story says the way a person becomes a vampire is through a bite. Meanwhile in Romania, its characteristics are somewhat different: marked with additional nipples at birth. In fact, most European societies believe that the physical abnormalities in infants represent a bad sign in the future (Wincham, Miercea. 2008: 6). Matthew Beresford, author of "From Demons to Dracula: The Creation of the Modern Vampire Myth" (Reaktion, 2008), notes, "There are clear foundations for the vampire in the ancient world, and it is impossible to prove when the myth first arose. There are suggestions that the vampire was born out of sorcery in ancient Egypt, a demon summoned into this world from some other." There are many variations of vampires from around the world. There are Asian vampires, such as the Chinese jiangshi (pronounced chong-shee), evil spirits that attack people and drain their life energy; the blood-drinking Wrathful Deities that appear in the "Tibetan Book of the Dead," and many others (Radford Benjamin.2014 : live science contributor ). 



2. Oral tradition Almost all cultures throughout the world also believe that there are other creatures that live side by side with us. The idea of other creatures among us finally gave birth to folklore arising from the existence of oral traditions in certain areas. From this oral tradition the community will have a ghost story. By a writer the story material will be used in his novel then this story will become the object of public entertainment. Tradition comes from the word traditium which means everything inherited from the past (Murgiyanto, 2004: 2). Besides tradition is a general term that is usually used in everyday speech and also a term used by anthropologists, folklore researchers, and oral historians. According to Sibarani (2012: 123) oral tradition is the traditional cultural activity of a society which is passed down from generation to generation by oral media from one generation to another, both the arrangement of verbal words (verbal) and other traditions that are not verbal (non-verbal) . Furthermore Hoed (2008: 184) defines oral tradition is a variety of knowledge and customs that are passed on orally transmitted orally. Lord (2000: 1) sets limits on oral tradition as something spoken in society. This means that the speaking element for the speaker and the listening element for the recipient are the keywords. Roger Tol and Pudentia (1995: 2) suggest that oral traditions do not only include stories, myths, legends and dogengs. But it also contains various matters concerning the life and life of the community of the owner. For example local wisdom, value systems, traditional knowledge, history, law, customs, medicine, belief systems and religion, astropology, and various arts. Oral tradition in society must have a form. Next Sibarani (2012: 48-49) suggests that the oral tradition can be: 1) The tradition of oral literature 2) Traditions of shows and games 3) Technology traditions 4) Tradition of development or symbolization 5) Folk music tradition One characteristic of the oral tradition is its orality. The characteristics of orality mentioned by Ong (1989: 37-56) include: first, additive, which is the style of speech adapted to the listener: second, aggregative, that is, using expressions that are unifying groups; third, rendunan, which is to use expressions that are repeated and over-felt whose purpose is to facilitate



memory; fourth, conservative, which is to uphold traditional values as a way to maintain old traditions that are considered high value; fifth, which is close to the world of human life; sixth, agonostic, which is to keep knowledge and tradition competitive and able to compete with new traditions. Rene Wellek and Austin Warren (1989), define three notions of comparable literature. oral literary research, especially the theme of folklore and its dissemination, here the term comparative literature is used for the study of oral literature. Especially folklore and its migration, and how and when folklore enters into more artistic literary writing. Oral literature is basically an integral part of written literature. 3. Comparative Literature Comparative literature is the study of literature outside the boundaries of a country and the study of the relationship between literature and other fields of science and beliefs, such as art (for example painting, sculpture, building art, and music), philosophy, history and science social (for example politics, economics, sociology), science, religion, and others. In summary, comparative literature compares one country's literature with another country's literature and compares literature with other fields as a whole expression of life. investigation of the relationship between two or more literary works, which become the material and object of their investigation, including the matter of reputation and penetration, the influence and fame of a major work, or in other words the term comparative literature includes the study of the relationship between two or more literatures. This approach was pioneered by French scientists, called comparatistes, initiated by Ferdinand Baldensperger, who reviewed the issue of Goethe's reputation, influence, and fame in France and England. Aspects learned include:    (a) the author's image and concept and at a certain time,    (b) translation factors,    (c) receiving factor (receiving factor),    (d) the atmosphere and literary situation at a certain time. 3.1 Susan Basnett According to Basnett (1993: 1), comparative literature is the study of cross-cultural texts, characterized by interdisciplinary and related to patterns of relationships in literature across space and time. In accordance



with Basnett's opinion, comparative literary studies at least two literary objects should be compared. The two objects of literature are literary works with different cultural backgrounds. Differences in cultural backgrounds are also automatically different in space and time. According to Bassnett (1993: 12), the name of comparative literature comes from a French anthology series published in 1816 under the title Cours de Litterature Comparee. The German version of the term Vergleichende Literaturgeschichte first appeared in the book by Moriz Carriere in 1854, whereas in English it was introduced by Matthew Arnold in 1848. So, comparable literature can be said to be young. Basnett (1993: 20) adds that the term "comparative litterature" only emerged in transitional times when colonized countries struggled to gain independence from the "Ottoman" kingdom, from the Austro-Hungarian empire, from France and Russia. The new state is realized, so that national identity cannot be separated from national culture. The emergence of comparative literature coincides with the emergence of the spirit of nationalism in the transitional period, at which time the colonized countries were looking for their identities. The birth of comparative literature is caused by the emergence of awareness that literature is plural, not single. 3.2 Sapardi Djoko Damono Comparative literature is a study or study of literary pride that has historical links with other nations' literature, how intertwined processes intertwine with one another, what literature one has taken, and what pua yan has contributed. (Sapardi Djoko Damono, 2005: 4). According to Damono (2005: 1; 2009: 1), comparative literature is an approach in the science of literature that cannot produce its own theories. It can be said that any theory can be utilized in comparative literary research, according to the object and purpose of the research. In some writings, comparative literature is also referred to as study or study. In the steps it does, the comparison method is primary. According to Nada (in Damono, 2009: 3), comparative literature is a study or study of the literature of a nation that has historical links with the literature of other nations, how intertwined processes interplay with one another, what has been taken by a literature, and what also which he has donated. In short, one cannot be considered to have carried out a



comparative literary study, if one made comparisons between Arabic writers, al-Buhturin, and other Arabic poets such as Hafiz and Syauqi. Comparative literature transcends national and state boundaries to get a better understanding of trends and movements that occur in various nations and countries. Particularly with regard to western literature, Jan Brandt Cortius assumes that by looking at literary objects - texts, genres, movements, criticism - in the perspective of comparative literary nations can contribute to our knowledge of literature. (Sapardi Djoko Damono, 2005: 7). According to Clements there are five approaches that can be used in comparative literary research; 1. theme / myth 2. genre / form 3. movement / era 4. relations between literature and the arts and other disciplines, and 5. Involvement of literature as material for the development of theories that are constantly revolving. (Sapardi Djoko Damono, 2005: 7-8). 4. Novel Big Indonesian Dictionary (KBBI) : a long prose essay that contains a series of stories of a person's life with those around him by highlighting the character and nature of each actor. The novel is part of the fiction prose genre. Related to the understanding of novels as literary works in the form of fiction prose. Novels include fiction (fiction) because the novel is a result of fantasy or something that does not actually exist (Moeis, 1999: 3) Nurgiyantoro, Burhan (2009: 2) argues that the term novella and novella contains the same meaning as the Indonesian term novellet (English; novellet ), which means a work of fiction prose of sufficient length, not too long, but not too long. The main features of the novel are as follows: a. Has a complex plot / plot. Various events are displayed related to each other so that the novel can tell at length, discuss issues broadly and more deeply. b. Not only one theme in the novel, but side themes emerge. Therefore, the author can discuss almost all aspects of the problem.



c. Many characters / characters in ordinary novels. In the novel, the author often turns on many storytelling characters, each of which is portrayed completely and intact. 5. Interinsic Elements In general, the building elements are called intrinsic and extrinsic elements. Intrinsic element is an element that builds literary works from within or according to him (the literary work itself). Unlike the case with extrinsic elements that build literary works from outside the work. According to Wellek and Warren (1990: 79), the most widely discussed in the study of literature is the setting (environment), environment (environment) and things that are external. The intrinsic and extrinsic elements of a literary work cannot be separated simply because the two influence each other. Intrinsic elements are formed due to external influences (extrinsic). This outside influence comes from the author as the director. The origin and environment of the author greatly influence the literary work that he created. The intrinsic element of a literary work consists of a theme, plot (plot), setting, characterization, point of view of the author, style of language and mandate contained therein. The extractive element of a literary work consists of the subjectivity of the individual author, the psychology of authors and the environment of the author. 5.1 Themes Readers of fictional works such as novels do not aim solely to enjoy the beauty of the story, but also confront themselves with the question: what exactly is the meaning contained and or what does the author want to convey in the story? Reading this, (Hartoko & Rahmanto in Nurgiantoro, 2010: 68) summarizes the question in terms of the theme. According to them, themes are general basic ideas which support a literary work and which are contained in a text as a semantic structure involving similarities or differences. A theme is an idea that underlies a story. Themes are formed from a number of ideas, tendencies, motives or the same mandate, which do not conflict with one another. The theme is stated bluntly, even though it exists and is felt by the reader. The theme is none other than the main idea, central idea or dominant ideas in literary works (Sugiarti, 2002: 37-38).



The theme is divided into the main theme (major), namely the main meaning of the story which forms the basis or general basic idea of the work and the additional theme (minor), which is the additional meaning found only in certain parts of the story. 5.2 Plot Plot or plot is the structure of a series of events in a story arranged as a sequence of parts in the whole of fiction. Thus, the plot is a combination of elements that build the story so that it becomes the main framework of the story. According to (Nurgiantoro, 2010: 113), many experts who defined the plot include Stanton who called the plot as a sequence of stories that contained a sequence of events, but each event was only connected causally, one event caused by another event. The plot is a very important basic framework. The plot regulates how actions must be related to each other, how an event has a relationship with another event, and how the characters are portrayed and play a role in the event. The plot or plot itself according to its shape is divided into forward grooves, flashback grooves and mixed grooves. The flow forward is the normal flowing path from the start of the formation of the conflict to its resolution. Flashback flow or highlight is a flow where the story is going forward, then the story is returned to the past before the events told are finished. For example, the story tells the effect first, then returns to the cause. Finally, a mixed plot is a plot whose story is not coherent according to the chronology of the event alias mixed. Sometimes the middle of the story told first, then return to the past and immediately jump to the future, or can be modified according to the tastes of the author. 5.3 Background The time setting is the time setting that deals with the problem of "when" the occurrence of events told in a work of fiction. The problem of "when" is usually associated with factual time, time that is related or can be associated with historical events. a. Atmosphere setting The setting of the atmosphere is the setting that describes the inner atmosphere and the environment that occurs in the story. The atmosphere can be sad, happy, chaotic, confused, and so on.



b. Social Setting The social setting suggests things related to the behavior of the social life of the community in a place that is told in a work of fiction including problems in a fairly complex scope. Social background can be in the form of life habits, customs, traditions, beliefs, outlook on life, ways of thinking and behaving and others. In addition, social background is also related to the social status of the person concerned. 5.4 characterization Events in fictional works as well as events in everyday life, are always carried out by certain characters or actors. Actors who carry out events in fictional stories so that events are able to intertwine a story are called characters. While the way the author presents the character or actor is called characterization (Aminudin, 2010: 79). 5.5 Point of view First person point of view using "me". Style "me", the narrator is someone who is involved in the story. He is the "I" character who tells the story, tells his own awareness, tells the event or action, which is known, seen, heard, experienced and felt, as well as his attitude towards other people (figures) to the reader. So, readers can only see and feel limited as seen and felt the character of "me" is. Third-person perspective uses the style "He", the narrator is a person who is outside the story that displays the characters of the story by naming names, or substitutes: he, he, them. The names of the characters, especially the main ones, are often or continuously mentioned, and as a variation used pronouns. This will make it easier for readers to recognize who is the character being told or who is acting. The mixed point of view is that the author confuses the opinion of the author and his characters. All of the events and activities of the characters are given comments and interpretations, so that the reader gets an overview of the characters and events told. 5.6 Language Style Language style is the technique of language processing by the author in an effort to produce literary works that are lively and beautiful. Language



processing must be supported by proper diction. However, diction is not the only thing that shapes language style. Language style is a way of expression that is unique to each author. The style of an author will not be the same when compared to the style of other authors, because certain authors always present things that are closely related to his personal tastes and sensitivity to everything around him. Language style can create different atmosphere: straightforward, satirical, sympathetic, annoying, emotional, and so on. Language can create the right atmosphere for scary scenes, love scenes, war scenes and others. 5.7 Mandate Mandate is the message that the author wants to convey to the reader through his work, which will be neatly stored and hidden by the author in the whole story. As the theme, the mandate can be conveyed implicitly by giving moral teachings or messages in the behavior or events that occur to the character before the story ends, and can also be explicitly delivered, namely the delivery of exclamations, suggestions, warnings, advice, suggestions, or prohibitions related to the main idea of the story. F. Research Method This chapter consists of research design, sample of data, source of data,technique of collecting data, and technique of analyzing data. 1. Research design 1.1 Qualitative Method According to the Big Indonesian Dictionary, this method is a systematic way of working to facilitate the implementation of an activity to achieve the specified goals, while qualitative is an assessment based on quality. In the analysis of intrinsic and extrinsic elements, the writer uses qualitative methods. 2. Data sources 2.1 Data



Data is information or material that must be sought and collected to answer the problem that will be examined in scientific papers. The data in this paper are the three Dracula novels by Bram Stoker, Senjakala and Asih by Risa Saraswati. 2.2 Data Sources Data source is a very important aspect because the accuracy of choosing and determining the data source will determine the validity of the data or information presented. There is also data that is a source in this paper that comes from books and articles from the internet that are relevant to the discussion, namely about the intrinsic and extrinsic elements of a literary work in the form of a novel. 3. Technique of colleting data Data collection techniques used in this paper are collecting library materials, reading, sorting data, taking notes, identifying and establishing the correctness of data for later use as analysis material. Data collection is done to maintain the naturalness of the data obtained. In this paper, data collection is done by library techniques, namely by collecting various literary sources such as three Dracula novels by Bram Stoker, Senjakala and Asih by Risa Saraswati. oral literature and comparative literary works especially prose. 4.



Data analysis techniques



Data analysis technique is the process of arranging data sequences by classifying them into basic patterns, categories and unit descriptions. Data analysis techniques used in this paper include identification, interpretation, analysis, and conclusions relating to intrinsic elements related to mysticism involving oral traditions.



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