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Rabu, 16 November 2016

CONTOH MAKALAH CONVERSATIONAL ANALYSIS

Introduction
1.    Introduction
Conversation is one of the most prevalent uses of human language. All human beings engage in conversational interaction and human society depends on conversation in order to function:
Social interaction is the primordial means through which the business of the social world is transacted, the identities of its participants are affirmed or denied, and its cultures are transmitted, renewed and modified.
(C. Goodwin and Heritage, 1990: 283).
Conversation is the way in which people socialize and develop and sustain their relationships with each other. When people converse they engage in a form of linguistic communication, but there is much more going on in a conversation than just the use of a linguistic code. Much that is important in conversation is carried out by things other than language, including eye gaze and body posture, silences and the realworld context in which the talk is produced.
Conversation has received a great deal of attention from writers over a very long period of time; however, much of what has been written about conversation is prescriptive in nature and deals with the idea of what makes a 'good conversationalist' (see Burke, 1993). Such approaches to conversation take the form of a set of prescriptive rules which describe what a conversation should be. They present sets of social rules which indicate which topics are appropriate or how language is to be used for maximum effect. These principles of what constitutes good or appropriate conversation vary from culture to culture and change over time (Burke, 1993). Such approaches to conversation show little about conversation as a normal everyday human activity, but frame conversation as an elite activity governed by the conventions of 'polite society'. However, conversation is not solely an elite activity, but rather an everyday one, and it is important to understand how it is that people engage in this everyday activity as a structured social event.
The everyday nature of talk has often been denigrated as a subject for study, with linguists such as Chomsky (1965) seeing language used in actual instances of spontaneous communication as being in some way defective and negatively influenced by non-linguistic factors. Such views of language, however, divorce the linguistic system from its primary use in human communication. Given the fundamental role of conversation in human social life, it is ihmportant to understand conversation as a linguistic activity, and since the 1960s increasing importance has been given to the analysis of conversation as a field of study (dayman and Maynard, 1995; C. Goodwin and Heritage, 1990; Heritage, 1989). (Liddicoat, 2007).

2.    Formulation of Problem
There are some problems that will be answered in these papers :
a.       What is conversation analysis?
b.      What is turn taking? What are the examples?
c.       What is adjacency pair? What are the examples?
d.      What is psychological or statistical in conversation analysis? What are the example?
e.       What are insertion and side sequences? What are the examples?
f.       What is topic change? What are the examples?






Discussion
Definition of Conversational Analysis
In pragmatics, the term, conversational analysis is used to mean the investigation into and analysis of natural conversation so as to reveal what the linguistic features of conversation is and how conversation is used in ordinary life. That is, conversational analysis studies three things. Those are:
1.     Firstly, the techniques that the speaker employs in deciding when to speak during a conversation, such as rules of turn-taking,
2.     Secondly, the ways in which the utterances of more than one speaker are related, for instance, conversational maxims, adjacency pair, inserted sequence, etc, and
3.     Thirdly, the different functions that conversation is used for, for example, establishing roles, communicating politeness, etc.

Turn Taking
     In conversation analysis, turn-taking is a term for the manner in which orderlyconversation normally takes place. turn-taking in an exchange in conversation is very important. The transition talk is an important requirement conversation (Howe, 1983), because the transition talk will lead to change of the role of participants in the conversation. This is in accordance with the opinion of sack (under Hawe, 1983: 3-12), which states that the conversation can occur if there are several people take turns speaking. Conversation involving several people, but not too many people involved..
     In a conversation of adults, in general, the participants already know about the convention who should speak, when to speak, and how much time spent talking (Richards and schmidt, 1983). In the natural conversations of daily, talk transitional arrangements were never found. According to Richards and Schmidt (1983: 141-142), the transition of talk in the community there are several variations. Said transition said depending on the culture of the language user. Exemplified, expert speakers difference that occurs in children from America and the children of Fijian Indian descent. Instead of talk that occurs in the conversation is determined by the willingness and responsibility to develop conversation conversation participants
According to Sack, the transition speech follows a basic rule. The basic rule is formulated as follows. First, if the turn of speech that has been determined by designating the next speaker, participant designated that the right to speak on the next turn. Second, if the change of speech is not predetermined, the participants of the conversations that will decide who should speak on the next turn, after the previous speaker provides an opportunity for other participants. Third, if the change of speech is not predetermined and the other participants do not take the initiative to become speaker, former speaker can continue the conversation.
There are some process of turn taking, such as :
1.      ACQUIRE is how to take a turn to talk given by previous speakers. Previous speakers provide opportunities for partners to speak he said. Previous speakers provide the opportunity fully to the next speaker marked by the silence of the previous speaker.
Example :
A : What do you think about the result of Final Exam in Tangerang?
B : I think, the result of Final Exam in Tangerang is not really good.
2.      CHANGING is turn taking to speak by replacing or continue partner's talking because his/ her partners of turn taking are not able to continue the conversation. This method is usually performed to maintain a conversation.
Example :
A : Have you ever seen this thing?
B : Yes, I think I’ve ever seen it.... Uhmm.. What is it??
A : it’s a spoon.
B : Yes it’s a spoon.
3.      SEIZING is taking a turn to speak during the previous speaker was talking, and he still wants to continue talks.
Example :
A : What are we doing in holiday?
B : Picnic.
C : Sleep
4.      STEALING is taking a turn to speak is granted by the previous speaker. Previous speakers provide opportunities for partners to speak he said. Previous speakers provide the opportunity fully to the next speaker marked with the previous speaker's silence.
Example :
A : Last night....
B : earthquake, right?

Adjacency Pairs
An adjacency pair is a unit of conversation that contains an exchange of one trun each by two speakers,the turn are functionally related to each other in such a fashion that the first turn requires type or range of types of second turn. Once the first utterance is spoken, the second is required. A few of the many adjacency pairs that have been identified are shown. In pragmatics, a branch of linguistics, an adjacency pair is an example of conversational turn-taking. An adjacency pair is composed of two utterances by two speakers, one after the other. The speaking of the first utterance (the first-pair part, or the first turn) provokes a responding utterance (the second-pair part, or the second turn). Together the two turns constitute an adjacency pair. For example, a question such as "What's your name?" requires the addressee to provide an answer in the following turn, thus completing the adjacency pair. A satisfactory response could be "I'm James".
Cook (1989:156) holds: “two types of conversation which typically occur together form an adjacency pair”. Sacks (1967) also observe that, a conversation is a string of two turns. Some turns are more closely related than others, and isolates a class of sequences of turns called adjacency pair.   However, Sacks proposes a number of features of ‘Adjacency pair’, which has been given below:   
  1. They are two utterances long,
  2. The utterances are produced successively produced by different speakers;
  3. The utterances are ordered- the first must belong to the class of first ‘pair parts’, the second to the class of ‘second pair parts’;
  4. The utterances are related, not any second pair can follow any first pair part, but only an appropriate one;
  5. The first pair part often selects next action- it thus sets up’ transition relevance’ and expectation which the next speaker fulfils; in other words, the first part of a pair predicts the occurrence of the second: given a question, regularly enough an answer will follow.  
  6. There is a class of first pair parts which include questions, greetings, challenges, acknowledgements, requests, offers, complaints, invitations, announcements etc; for some first pair parts the second pair part is reciprocal (greeting-greeting), for some only there is only one appropriate second (question-answer), for some more than one (complain-apology/justification).
    For example:          
1.      greeting → greeting
2.     "Heya!" → "Oh, hi!"
3.     offer → acceptance/rejection
     "Would you like to visit the museum with me this evening?" → "I'd love to!"

  • request → acceptance/rejection
   "Is it OK if I borrow this book?" → "I'd rather you didn't, it's due back at the        library tomorrow"
  • question → answer
   "What does this big red button do?" → "It causes two-thirds of the universe to implode"
  • complaint → excuse/remedy
    "It's awfully cold in here" → "Oh, sorry, I'll close the window"
  • degreeting → degreeting
    "See you!" → "Yeah, see you later!"

But looking at conversations we often find that a first pair part (eg a question) is sometimes followed by something that is clearly not an 'answer' in the required sense - it might be a refusal to answer, a redirection to somebody else, a challenge to the questioner's right or competence to ask that question, and so on.  If we look at a collection of 'unexpected' responses we'll find that they are done differently from 'expected' ones. They are not so prompt, and will have a hedge, or a request for clarification, or an account, or something that alludes to a difficulty or an excuse.
A: “why don’t come to our party on Sunday?”
(Pause)
B: "Well I'd like to but it's Hannah's birthday" [marked rejection]

This latter is an example of what is called a 'dispreferred' response. The rejection is (it is empirically found) marked by hesitation and hedging and an account of why the preferred response wasn't given. The mark is so powerful that it alone will suffice as a rejection:
A: “why don’t come to our party Sunday?”
(pause)
B: "Well ..."
And A knows that B is declining the invitation.
 But what will happen if it gave the dispreferred reply without marking it:
A:"why don't you come to our party on Sunday?" 
B: "No"

That would look strange and rude. We would infer something about what B was saying (e.g. that they were sulking). The in formativeness of such deviation shows us that the substance of the dispreferred SPP (e.g. that it is a rejection) and its markers (e.g. a pause, a hedge) normally go together.  So there are four possibilities: (commonly) expected and unexpected answer which can be either marked or unmarked. Commonly expected answers tend strongly to be unmarked.


Psychological or statistical:
It is important to appreciate that 'dispreferredness' is not a psychological evaluation of the response. It's purely a frequency judgment. The more frequent response to a greeting inquiry about your health is 'fine, thanks, and you?'. But it's not meant to be an accurate report. It's just a feature of the system that it has 'standard' responses. It's useful because if someone wants to communicate that he is not fine, then all he need to do is hesitate and delay. The listener will work out that he is giving the 'non-standard' response (and, in this case, are therefore not well).
In this example we can see a speaker calculating what her or his listener's silence means:
A: So I was wondering would you be in your office in Monday by any chance
(2.0)
B: Probably not

A is explicitly recognizing that the other speaker has not done the proper thing (replied quickly), but A does not simply pass over it; s/he assumes that B has some reason not to respond quickly, that not-responding-quickly means something. Given (as we noted in the last lecture) that preliminary pauses are generally used as markers of dispreferred responses. A infers that what is coming is a rejection and moves to deal with it. 
Moreover, adjacency pairs are in the basic structural units in conversation. They are employed for closing and opening conversations, and are very important in conversations both for operating and turn taking system by enabling a speaker to select the next action, and next speaker, and for enabling the next speaker to avoid both gap and overlap. In fine, adjacency pairs of the structure of conversation and are studied in conversational analysis.

Insertion Sequence
An insertion sequence is a sequence of turns that intervenes between the first and second parts of an adjacency pair. The person towards whom the first part of an adjacency pair has been directed may want to undertake some preliminary action before responding with the second part. A request for clarification by the recipient will take place after the first pair part but before the second pair part. This is an insertion sequence. Here turn 1 and 4 make up one adjacency pair inserted between the two parts of the first pair.
P: Martin would you like to dance ?
M: Is the floor is slippery?
P: No its fine.
M: Then I’d be happy to dance.
Moreover, it can be defined as, the phenomenon of embedding; of one pair occurring inside another is noticeable in conversations. Schegloff (1972) terms this type of embedded pairs Inserted sequence. Cook (1989:156) holds: insertion sequence: one set of related conversational turns occurring within, and helping the bracketed part of the following conversation;
A: Did you enjoy the meal?
B: Did you?
A: Yes.
B: so did I.
Furthermore, during the inserted sequence, the original question retains its transition relevance, and if the second speaker does not then produce an answer it is noticeably absent in exactly the same way as it would be if there were no intervening sequence, and the questioner can complain about the lack of answer in exactly the same way. Adjacency pairs are normative structures, the second part ought to occur, and thus the other sequences are inserted between the first pair part that has occurred and the second pair part that is anticipated.
It is, finally, interesting that an inserted sequence can itself contain inserted sequences:
A: Are you coming tonight?
B: Can I bring a guest?
A: Male or female?
B: What difference does that make?
A: An issue of balance.
B: Female.
A: Sure.
B: I’ll be there.

Side Sequence
In the case of side sequence, Jefferson (1972) observes that the general drift of conversation is sometimes halted at an unpredictable point a request for clarification and then the conversation picks again where it left off. She, from this observation, proposes type of embedded sequence different form Schegloff’s insertion sequence and labels 'side sequence', for example, italic part of the following conversation:
A : One, two, three, (pause), four, five, six, (pause) seven, eight, nine, ten.
B : Eleven?- eight, nine, ten.
A : Eleven, eight, nine, ten.
B : Eleven?
A : Seven, eight, nine, ten.
B : That's better.
Jefferson initially suggests that the 'misapprehension sequence', a well-known type of 'side sequence' has a three-part structure consisting of :
1.      a statement of sorts,
2.      a misapprehension of sorts, and
3.      a clarification of sorts, for example:
Statement:                   A: If Percy goes with - Nixon I'd sure like that.
Misapprehension:        B: Who?
Clarification:               A: Tessy. That young fella that uh- his daughter was murdered.
Terminator:                  B: Oh Yeah. Yeah.

Topic change:
Topic change is a technical way to avoid the topic which one no longer wants to talk on a same topic for a long time. It is a natural phenomenon occurring in conversation. Sacks(1971) observes that in a conversation which is progressing well talk grits from one topic to another, and suggests that the relative frequency of marked topic introduction is some measure of the quality of a conversation. Since people do not talk on the same topic for long, ’topic change’ takes place.
As Sacks (1968) stresses, talking topically and talking about some topic chosen by another speaker is not the same thing at all.  One can perfectly well have a sequence in which successive speakers talk in a way topically coherent with the last utterance, but in which each speaker talks on a different topic. Speakers are aware of this as a problem and have ways of formulating a topic to make it more likely that other speakers will talk to it. Sacks exemplifies with a hypothetical speaker who wants to talk about surfing:
                                A: I was at Malibu yesterday.
                                B: Yeah? I was at County Line.
                                A: How was it?
                                B: Too low tide.










Conclusion

In pragmatics, the term, conversational analysis is used to mean the investigation into and analysis of natural conversation so as to reveal what the linguistic features of conversation is and how conversation is used in ordinary life.

Selasa, 17 Mei 2016

CONTOH MAKALAH THE ANALYSIS OF A DOLL HOUSE BY HENDRIK IBSEN

CHAPTER 1
INTRODUCTION
1.1  Background of Study
Etymologically, the Latin word “litteratura” is derived from “littera” (letter), which is the smallest element of alphabetical writing (Mario Klarer, 2004). There are so many parts in literature, and one of them is drama. The word drama itself, which derives from the Greek “draein” (“to do,” “to act”), thereby referring to a performance or representation by actors (Mario Klarer, 2004). A Doll's House (Norwegian: Et dukkehjem; also translated as A Doll House) is a three-act play in prose by Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month (en.wikipedia.org). These papers were made for explaining about A Doll’s House, especially about the analyzing.

1.2  Formulation of Problems
In these papers, we analyzed :
a.       the characters and characterization of A Doll’s House’s drama,
b.      the plot, include initial incidient, preliminary event, rising action, climax, falling action, and denouement,
c.       the story organization, theme, genre, conflicts, settings, moral value, and also we looked for the author, Hendrik Ibsen, a little bit about him and the scandals of his drama, A Doll’s House.

1.3  The Objectives of Study
There are several objectives of finishing these papers, there are :
a.       for compliting literature’s task,
b.      for knowing more about A Doll’s House and the author, and
c.       for sharing what we know about this drama and its scandals to others.
1.4  The Significance of Study
By analyzing Hendrik Ibsen’s drama, A Doll’s House, we know how to anylize a drama and also we know that :
a.       he had something to express through his creation,
b.      when he wrote this story, there was something happened in his era, etc.

CHAPTER 2
DISCUSSION
2.1 Characters and Characterizations
There are 10 people in this story, there are :
  1. Torvald Helmer
  2. Nora Helmer
  3. Dr. Rank
  4. Nils Krogstad
  5. Mrs. Linden or Christina
  6. Anna            the servants
  7. Ellen
  8. Ivah
  9. Emmy              the Helmer’s children
  10. Bob
The protagonist in this story is Nora Helmer, while the antagonist character is Torvald Helmer. The tritagonist characters are the rest except Nora Helmer and Torvald Helmer, they are Dr. Rank, Nils Krogstad, Mrs. Linden, Anna, Ellen, Ivah, Emmy and Bob.
Nora Helmer : spendthirft, lovely mother, liar.
  • Spendthrift : Mrs. Linden said “Nora, Nora. Haven’t you learnt reason yet? In our schooldays you were a shocking little spendthrift”. (page 13, act : I)
  • Lovely mother : She and the children play, with laughter and shouting, in the room and the adjacent one to the right. at last Nora hides under the table : the children come rushing in, look for her, but can not find her, hear her half-chocked laughter, rush to the table, lift up the corer and see her. (page 32-33, act : I)
  • Liar : Torvald Helmer said “Oh, what an awful awakening! During all these eight years – she who was my pride and my joy – a hypocrite, a liar – worse, worse – a criminal. Oh! The hideousness of it! Ugh! Ugh! (page 107, act : III)
Torvald Helmer : lovely husband, lovely father.
  • Lovely husband : Torvald said “my little lark mustn’t let her wings droop like that” (page 4, act : I)
  • Lovely father : Torvald said “your duties to your husband and your children” (page 110, act : III)

2.2 Plot
This drama has dramatic or progressive plot, include : exposition, initial incident, rising action, complication, climax, reversal, falling action, resolution, and ending.
  • Exposition : It happened when Nora Helmer just arrived and showed what she bought to her husband and children. And they were talking about how useless the goods and how thriftless she was. She bought goods for preparing christmast eve and christmast day, and Torvald Helmer gave her some money. She loved counting them. Then Dr. Rank came for Torvald and a lady named Christina Linden came for Nora. Mrs. Linden was Nora’s old friend and they were talking about Mrs. Linden’s past and how happy Nora was at the moment. (page 2-25, act I)
  • Initial Incident : There were several incidents that made this story went along. It started when Mrs. Linden came, and then she saw Mr. Krogstad who she knew years ago. Then Dr. Rank came to them and they were talking a little bit about Mr. Krogstad. Nora asked her husband to give a position for Mrs. Linden in his office in a bank and Mrs. Linden got a job. This thing created big problem for Nora Helmer later on. (page 25-30, act I)
  • Rising action : Mr. Krogstad came to Nora Helmer and asked about a new position of Mrs. Linden in bank. He said that he was hounded out by Torvald and Torvald put Mrs. Linden for Krogstad’s position. Mr. Krogstad was angry because of it, then he reminded Nora about her owing money to him. Mr. Krogstad showed her a paper that she falsified the debt paper. Mr. Krogstad asked her to talk to her husband about him and he wanted his position back, so that he would not show her sin to her husband and publish it. After that all, she thought about it everytime. (page 30-42, act I)
  • Complication : It was more complicated time by time. Nora lied to her husband, she said nobody came, but there was. She asked Torvald not to fire Mr. Krogstad (of course, she did it because she didn’t want her husband know the truth of her from Mr. Krogstad and for saving her family’s name), but Torvald Helmer didn’t care about that, even he talked about bad side of Mr. Krogstad. And also, suddenly Dr. Rank told Nora that he loved her, but Nora didn’t love him. Mr. Krogstad came again and Nora said she did her best to talk to her husband but it didn’t work. Then, she told everything about this to Mrs. Linden. Mrs. Linded tried her best to help her old friend, but the truth was she wanted the truth came to Nora and Torvald for their marriage. (page 42-106, act I, II, III)
  • Climax : Torvald knew the truth from a letter. Then, he was angry to his wife. (page 106-110, act III)
  • Reversal : Torvald forgive his wife because of the second letter from Mr. Krogstad. But Nora realized that her husband never loved her. She realized everything. (page 110-111, act III)
  • Falling Action : after forgiving his wife, Torvald was really happy. He thought his family and he saved. Nora changed her clothes. Torvald thought she wanted to go to bed, but he was wrong. Nora never wanted to go to bed at that night. She wanted to go. Torvald confused and tried to get the answer from his wife. (page 111, act III)
  • Resolution : Nora explained that she was the doll of the house. She was the doll for her father and then for her husband, too. She said she was lived there by performing for her husband. Torvald tried hard to hold Nora and save his family. He reminded her about the children and their marriage. But it didn’t work. Torvald asked her about her love, and Nora answered she didn’t love him. Nora wanted to go. (page 111-123, act III)
  • Denouement : Nora left her family by closing the door hardly. (page 123, act III)
Summary of the story : Nora was someone who spendthrift and loved money so much. She falsified a debt paper for going to Italy with her husband by using her father’s name and signature. Eventhough she was spendthrift, she was a good friend. She helped her friend, Mrs. Linden, for getting a job from Torvald. But someone didn’t like it. Mr. Krogstad was angry because he fired because of Mrs. Linden new’s position. He asked Nora to talk to Torvald or he would tell her husband about her sin and publish it. Nora did the best, but it didn’t work. And finally, Torvald knew it through a letter. He was angry, but at the moment, Nora realized that she was a doll. She left torvald and her children.

2.3 Story Oganization
The beginning : It started when Nora and Torvald were talking about theirself and there also showed us about their characters. And also how could Mr. Krogstad was angry and threatened Nora Helmer. (page 2-39, act : I)
The middle : It happened when Mr. Krogstad threatened Nora and Nora did the best to save her family and her marriage, tried the best to hide her sin. Until Torvald Helmer knew the truth. (page 39-106, act : I, II, III)
The end : finally Torvald knew the truth, but he forgave Nora. But it was too late, Nora realized that she was a doll. She left the house. (page106-123, act : III)

2.4 Conflicts
There were several conflicts in this story :
Person vs Person
  • Nora Helmer – Torvald Helmer
They had conflict in their marriage. Nora lied to her husband and falsified the debt paper, so Torvald was angry to her. But Nora left him at the end.
  1. First Conflict
Nora : Oh ! You back already?
Helmer : Yes. Has nobody been here?
Nora : Here? No.             
Helmer : Curious ! I saw Krogstad come out of the house. (page 43, act : I)
  1. Second Conflict
Torvald Helmer : Oh, what an awful awakening! During all these eight years – she who was my pride and my joy – a hypocrite, a liar – worse, worse – a criminal. Oh! The hideousness of it! Ugh! Ugh! (page 107, act : III)
  • Torvald Helmer – Nils Krogstad
Torvald fired Mr. Krogstad because he wanted to put Mrs. Linden to Mr. Krogstad’s position. And also, Torvald saw him as a bad employee.
Helmer : But Krogstad didn’t do that ; he resorted to tricks and dodges, and it’s that that has corrupted him. (page 46, act : I)
  • Nils Krogstad – Nora Helmer
Nils Krogstad wanted his position back, so he threatened Nora Helmer by showing her debt paper. He would tell her husband about it and also publish it.
Krogstad : Bad or not, if I lay this document before a court of law you will be condemned according to law. (page 41, act : I)
  • Nils Krogstad – Christina Linden
She helped Nora Helmer by talking to Mr. Krogstad. But at the end, she wanted everybody knew the truth for saving Helmers’s marriage. She was in love with Mr. Krogstad at the end.
  1. First Conflict
Mrs. Linden : I must speak to you. (page 86, act : III)
  1. Second Conflict
Mrs. Linden : Was it not best? Since I had to break with you, was it not right that I should try to put an end to your love for me? (page 88, act : III)
  1. Third Conflict
Mrs. Linden : Yes, in my first terror. But a day has passed since then, and in that day I have seen incredible things in this house. Helmer must know everything; there must be an end to this unhappy secret. These two must come to a full understanding. Than can’t possibly go on with all these shifts and concealments. (page 98, act : III)
  • Nora Helmer – Dr. Rank
Dr. Rank told Nora that he loved her, but Nora didn’t love him.
Rank : That I have loved you as deeply as any one else? Was that too bad of me? (page 68, act : II)
Nora : For a great proof of your friendship. (page 67, act : II)
Person vs Self
  • Nora Helmer vs Self
Nora talked to herself about her problem. She confused.
Nora : (stands while thinking, then throws her head back) Never! He wants to frighten me. I’m not so foolish as that. (Begins folding the children’s clothes. Pauses.) But - ? No, It’s impossible. I did it for love ! (page 42, act : I)

2.5 Themes
This story has love, society, family and crime themes.
Love : Nora said she lied because of love. And at the end, Torvald said he loved his wife. (act I and III)
Society : Torvald Helmer was angry when he knew the truth, he was afraid his reputation on social would be bad. And also he afraid what people would think when they know Nora left. (act III)
Family : This story is about Torvald’s family, especially about Nora and him. (act I, II, III)
Crime : Torvald called Nora as a criminal, a liar when he knew the truth. (act III )

2.6 Genres
This story has crime and family genre. It showed us about Nora’s sin and also Nora and Torvald’s family.

2.7 Settings
Place : Torvald family’s house.
Time : morning, afternoon, evening, night.
This story only in Torvald family’s house with his wife, his children, servants, and also visitors. The time was not really showed.

2.8 Moral Value
Spendthrift is a bad thing to have. It caused a problem for Nora Helmer. She owed much money to Krogstad. And it was better if Nora told the truth to her husband. How hard she tried to hide her sin, finally her husband knew the truth. And we think, leaving family is not something good.

2.9  About The Script, Hendrik Ibsen and The Scandals of This Drama
A Doll's House (Norwegian: Et dukkehjem; also translated as A Doll House) is a three-act play in prose by Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month. The play is significant for its critical attitude toward 19th century marriage norms. It aroused great controversy at the time, as it concludes with the protagonist, Nora, leaving her husband and children because she wants to discover herself. (en.wikipedia.org)
Henrik Johan Ibsen (/ˈɪbsən/; Norwegian: [ˈhɛnɾɪk ˈɪpsən]; 20 March 1828 – 23 May 1906) was a major 19th-century Norwegian play wright, theatre director, and poet. He is often referred to as "the father of realism" and is one of the founders of Modernism in theatre. His major works include Brand, Peer Gynt, An Enemy of the People, Emperor and Galilean, A Doll's House, Hedda Gabler, Ghosts, The Wild Duck, Rosmersholm, and The Master Builder. He is the most frequently performed dramatist in the world after Shakespeare, and A Doll's House became the world's most performed play by the early 20th century.
When we saw the ending, there was a improriety. A mother should not leave her family, especially her children. But Nora left them. If we looked back to 1879, which is this story created by Hendrik Ibsen, the feminist literary critism was used by authors in that era. We watched the movie through website and there was a difference between the ending with the pure script. In the movie, Nora didn’t left the house at the ending. But in the pure script, Nora left them. If we looked back to 1879 to find the answer, there was a problem called 'barbaric outrage', which made Hendrik Ibsen created the other ending.
CHAPTER 3
FINAL
3.1 Conclusion
This story is about Nora’s life who wanted to fight for herself after hiding her sin for her husband and her family. But it’s only the surface, Hendrik Ibsen wanted to show the feminist side of this story, Nora’s side who finally left her family for getting the answer for herself. This story created by Hendrik Ibsen in 1879. Because of problem and critism, Hendrik Ibsen created the other ending.

3.2 Suggestion
A woman should fight for herself in the right way, but if it’s needed, she should not leave her family.
  
REFERENCES
http://en.wikipedia.org/wiki/Henrik_Ibsen
Klarer, Mario. 2nd Edition. 2004. An Introduction to Literary Studies. New York: Routledge.