Saturday, July 31, 2010
Wednesday, July 28, 2010
Monday, July 26, 2010
Popular Tattoo Designs For Male and Female
• The Tribal Tattoo Designs are based on primitive cave paintings. Different cave motifs have different significations like power, peace, purity etc.
• The Celtic Tattoo Designs come in a range of interesting patterns found in most tattoo shops. The Celtic Cross is among the most common patterns.
• The Zodiac Tattoo Designs reflect your faith in astrology. Ask any tattoo parlor to get your zodiac tattooed on you in a personal style.
• The Japanese tattoo Designs bring out the beauty and mysticism of Oriental designs. Tattoo artists in Western tattoo parlors are good at etching these designs.
• The Dragon Tattoo Designs are connected with the Chinese concept of luck. Visit the tattoo shops that excel in Oriental designs.
Funtastic Tattoo Designs for sexy girls
Wednesday, July 21, 2010
Unique Koi Fish Tattoo Designs For Male
Tuesday, July 20, 2010
"A Day's Wait"
The Price of Love
Monday, July 19, 2010
Funtastic japanesse dragon tattoo designs on back
Funtastic art tattoo designs | Inked japanesse tattoo ideas
Koi Fish Tattoos
Koi fish are a very traditional and yet very popular, sexy and beautiful design in Japan. The beauty of the fish and the brilliant colors of the orange in the fish along with the water splashing in the background make for an incredible design combination. Not only is the coloration beautiful the meaning and symbolism behind koi designs is also very empowering. The myth essentially states that the koi fish swim upstream against the current and finally reach the top gate into heave and then are released and become beautiful dragons and fly off. The symbolism is one of strength, power and striking out on your own and living your own life. This is something many women fell passionate and strong about and therefore the koi fish is the perfect design. This can be done as a half sleeve tattoo a sexy leg tattoo or even on the back.
Cherry Blossom Tattoos
Cherry blossoms have also been used throughout traditional Japanese tattooing. Originally cherry blossoms were a revered flower and a symbol that many samurai held close to the hearts. In fact many of the most famous samurai would write poems about the cherry blossom. They felt it represented life and symbolized the temporary existence of life. It therefore acted as a very powerful reminder and symbol to live each day to the fullest since life ends quickly and is delicate like the cherry blossom. Again this is a wonderful symbol that is full of meaning. It looks beautiful and delicate as well as has power behind it. They also can make a great tattoo design. You can choose to do a large tattoo design of the whole cherry blossom tree, just a branch of even just the fallen petals in the snow or water all very deeply symbolic and beautiful.
Geisha Tattoo Designs
Last but not least something that everyone has of course heard about Japan is the Geisha. The Geisha in Japan are seen to be entertainers and the holders of the culture. They were and still are trained in the arts, including calligraphy, music and dance to just name a few. In fact the very word Geisha means " a person of the arts:. They are highly intelligent and incredible conversationalists. Many of the most traditional woodcut artwork featured the Geisha in what was called the "floating world". Many of these designs found their way into the art of tattooing early on also. The Geisha tattoo can symbolize exotic beauty, feminine power and mystique. Thus is also a symbol that speaks to many women.
These are just a few of the more traditional Japanese tattoos designs that are popular in the West and also very traditional at the same time. They are also designs that can easily be translated into feminine tattoo designs. Each one holds a bit of power and strength along with feminine beauty and mystique making for the ideal tattoo design for many women. These are just a few of the ideas.
Sunday, July 18, 2010
Background of the Study
In this chapter, the researcher discusses about, background of the study that informs the reason why he conducts this study, statement of the problems that includes some basic problems to investigate, purposes of the study that inform the objections of the study, significance of the study that inform the importance of the study, scope and limitation of the area of the study, and the last. Is definition of key terms that includes some key word used in the study
Background of the Study
Literature is simply another way we can experience the world through imagination (Jones, 1968:1). The contents of literature are such various things as the author’s thoughts, feeling, ideas, motion, and experience that become human interest.
Literature is divided into several form such as prose, drama and poetry that later developed to a poem. A poem is a kind of literary work written in verse, which has more things or material to explain, to make clear, to understand, to shape the new mind, and to give sense on the reality of life. Many kinds of definition offered when talking about that word. Many researchers and scientists give the meanings of poems based on the experience and the deep of knowledge that they have. Although the definition is very various, but it will give a point and will play an important role in order to help the people in understanding the poem.
Poetry is the kind of written literature, which is arranged in lines and in certain patterns. There are two definitions of poetry given by Abrams (1979:292). First, poetry is literary work in metrical from of patterned language. Second, poetry is the art of rhyme composition, written of spoken, designed to produce pleasure through beautiful, elevated, and imaginative of profound thoughts.
As far as the literary works concerned, poetry is possibly the most difficult of all. The cause is that poetry has special characteristics that are not generally found in prose (Volpe, 1967). First, the normal word orders of ordinary speech are often inverted in poetry, deletions or omission of some words orders other than the correct, conventional ones. These kinds of inversion, omission may cause difficulties for the readers to understand the message of the poem. Second, it is the diction. The words applied in the poetry tend to be more connotative than that in prose. This tendency is also supported by the common wide use of imaginary or figurative word such as metaphors. Such features of diction in poetry serve other difficulties for the readers because the sense of the word is in the specific meaning in a given context.
Diction is an aspect in poetry. The term diction is literally defined as the choice and use of word. However, this term has a broader sense in the literature. Abrams (1960:163), states that the term diction signifies the kind of words, phrases, sentence structure, and figurative language that constitute any work of literature.
Diction is the word chosen by the poet to express his ideas and his feeling. A word in a poem is used not only to connect between the reader and the poet, but also support an image and for connecting between the reader and the poet’s world imagination. Diction refers to the language of a poem, and how each word is chosen to convey a precise meaning. Poets are very deliberate in choosing each word for each word for its particular effect, therefore, so it is important to know the origins and connotations of the words in a poem, not to mention their literal meaning too (www. soyouwanna. com/site/syws/poem/poemfull).
When we ask about the diction of a poem, we are asking the stylistic and tonal qualities of the words that the poet has chosen. We are concerned with the vocabulary of the poems. A good diction begins with this process of selection. In discussing diction, we are much more interested in the selection of the words than in the exact ways in which these words are presented. Analyzing diction, is no more than examining the appropriateness of the vocabulary within a given poem (Reaske, 1966:31-32).
Poetic diction is the terms used to refer to the linguistic style, the vocabulary, and the metaphors used in the writing of poetry (http://en. wikipedia. org/wiki/poetic-diction). Words create mood context, and for this purpose old sounding, old-fashioned or obsolete words have often been employed, even by the greatest of poets. Nonetheless, in its cultivation of an egalitarian, conversational style, contemporary poetry avoids what it terms a “poetic diction” as something that harks back to earlier traditions, especially those of “fine writing” (http://bcs. bedfordstmartins. com/victualit/poetry/diction_def. html).
The poetry of most ages has been written in a distinctive language, a “poetic diction”, which includes words, phrasing, and figures that are not current in the ordinary discourse of the time. In modern discussion, the term poetic diction is applied especially to poets who intentionally employ a diction that deviates not only from common speech, but also from the writing. In the frequent use, meanwhile, poetic diction is applied to the poetry of a specific literary period to denote the special style developed in the period (Abrams, 169:163).
We may see the diction is often used in many poems. There are many poets reflect their feeling, their loneliness, or write their own life in poems. One of the poets is Robert Lee Frost that was an American poet. His work frequently drew inspiration from rural life in New England, using the setting to explore complex social and philosophical themes. A popular and often-quoted poet, Frost was highly honored during his lifetime, receiving four Pulitzer Prizes.
Robert Lee Frost was one of America’s leading 20th century poets. Although his verse forms are traditional, he was a pioneer in the interplay of rhythms and meter and in the poetic use of the vocabulary and inflections of everyday speech. His poetry is thus traditional and experimental, regional and universal (www.lieteratureclassics. com/essay/RobertFrost’slife/html).
In 1912, at the age of 38, he sold the Derry farm and took his family to England, where he could devote himself to writing. His efforts to establish himself and his work were almost immediately successful. There he published his first collection of poems, A Boys Will. It was followed a year later by North of Boston (1914), which gained international reputation. The collection contains some of Frost’s best-known poems: Mending Wall, The Death of The Hired Man, Home Burial, A Servant to Servants, After Apple Picking, and The Wood-Pile. The poems, written with blank verse or looser free verse of dialogue, were drawn from his own life, recurrent losses, everyday tastes, and his loneliness (http://en. wikipedia. org/wiki/RobertFrost’slife&works).
This study discusses about kinds of diction in some of Robert Frost’s poems most of which are traditional poetry. For these reason, the writer is interested in analyzing the diction especially on the Robert Frost’s poems.
1. 2 Problem of the Study
1. What kinds of diction on Robert Frost’s poems?
2. What is the most dominant of diction on Robert Frost’s poems?
1. 3 Purpose of the Study
1. To find out the kinds of diction on Robert Frost’s poems.
2. To know what is the most dominant of diction on Robert Frost’s poems.
1. 4 Significant of the Study
The results of this study are expected to be able to provide readers with the kinds of poetic diction of Robert Frost’s poems. The researcher hopes that the readers may easily understand the theme, contents, and the messages of Robert Frost’s poems.
Furthermore, this study is written with the idea that it will be useful for students of Gajayana University, especially for literature students. The writer hopes they can learn more on analysis diction in poem and can appreciate the Robert Frost’s poems.
1. 5 Scope and Limitation
Several values can be found in poetry such as imagery, figurative language, rhyme, rhythm, and diction. This study scopes the discussion dealing with the kinds of the diction in some of Robert Frost’s poems.
The limitation is the researcher cannot interact with the poet. Therefore, all of the results of the study are based on the theories used by the researcher. Hence, the results of the study are not perfect enough.
1. 6 Theoretical Framework
The study is based on the following theories. Abrams (1969:163) states that the term diction signifies the kinds of words, phrases, sentences structure and figurative languages that constitute any work of literature.
Diction is the process of using a word in poetry. When we ask about the diction of a poem, we are inquiring into the stylistic and tonal qualities of the words that the poet has chosen. We are concerned with the vocabulary of the poems. A good diction begins with this process of selection. In discussing diction, we are much more interested in the selection of the words than in the exact ways in which these words are presented. Analyzing diction, is no more than examining the appropriateness of the vocabulary within a given poem (Reaske, 1966:31-32).
Poetic diction is the terms used to refer to the linguistic style, the vocabulary, and the metaphors used in the writing of poetry (http://en. wikipedia. org/wiki/poetic-diction). Words create mood context, and for this purpose old sounding, old-fashioned or obsolete words have often been employed, even by the greatest of poets. Nonetheless, in its cultivation of an egalitarian, conversational style, contemporary poetry avoids what it terms a “poetic diction” as something that harks back to earlier traditions, especially those of “fine writing” (http/bcs. bedfordstmartins. com/victualit/poetry/diction_def. html).
1. 7 Definition of Key Term
In order to avoid unexpected misunderstanding toward the terms widely used in this study, the following are the definitions of the terms:
1. Diction is the word chosen and arranged, then the meaning of the words can create an aesthetic imagination and the result of this is called diction of the poet (Barfield in Pradopo, 1987:54).
2. Poetic diction is the term used to refer to the linguistic style, the vocabulary, and the metaphors used in the writing of poetry (http/en. wikipedia. org/wiki/poetic-diction, June 09, 2007).
3. Poetry is composed of carefully chosen words expressing great depth of meaning (http://depts. gallaudet. edu/englishworks/literature/poetry. html).
4. A poem is a piece of writing arranged in lines, used with a regular rhythm and often with a pattern of rhymes (Oxford Learner’s Pocket Dictionary, New Edition. p. 318).
REVIEW OF RELATED LITERATURE
In this chapter the theories that are relevant with the study will be reviewed. It consists of the theories about poetry, diction, and functions of diction, kinds of diction, and kinds of meaning. It also reviews some related research.
2. 1 Poetry
Poetry relies most on the power of words and in sense it is the most literary of all branches of literature; the most literary because it makes the greatest use of the raw material of literature, which is word (Wilson, 1987:10).
Poetry is a kind of work written in beautiful language and has certain patterns or elements that cannot find in another works. To read the poems, we sometime gets difficulties to catch the meaning or message in them. As stated by Jones (168:89) that most people find poetry difficult to read and much of the poetry is indeed difficult to read. It places demands on the reader. Almost anyone who can read poetry, but to get pleasure from poetry he must bring something to his reading. One can learn what it is, learn how to read it, practice it, and so gain the pleasure from it.
Poetry sometime is made for different reasons. Therefore, each poem has a different purpose. Reaske (1966:8) states that we should understand at the outset that poetry can be written for different reason and therefore each poem has a different purpose. Some poems are written purely to entertain us, others solely for the purpose of moral persuasion. We are urged perhaps to right action or perhaps to wrong action. We are tempted or told to resist temptation. Many poems try to be both entertaining and instructive, both amusing and edifying at the same time. Whenever we analyze a poem, we must consider, as best we can, the purposes the poet had in writing it (Reaske, 1966:8).
Poetry uses language that even adds more difficulties for the readers to catch its messages. It is because it uses much more connotative words than in prose. Like another works, poetry has certain elements. So, there are the elements of poetry according to Jones, (1968:96). They are:
.Diction. Talking about diction, we inquire into the stylistic and tonal qualities of the word chosen by the poet. Diction is concerned with the vocabulary of the poem.
2. 2 Diction
Reaske (1966:31-32) states that the diction is the process of using a word in poetry. When we ask about the diction of a poem, we are inquiring into the stylistic and tonal qualities of the words that the poet has chosen. We are concerned with the vocabulary of the poems. A poet should always try to select the word that most appropriately conveys his intended meaning. A good diction begins with this process of selection. In discussing diction, we are much more interested in the selection of the words than in the exact ways in which these words are presented. Analyzing diction, is no more than examining the appropriateness of the vocabulary within a given poem. Abrams (1960: 163) states that the term diction signifies the kinds of words phrases, sentence structure, and figurative language that constitute any work of literature.
By diction is meant simply the author’s choice of words. Our purpose in the analysis of diction is to recognize the choices the author has made and to infer when possible the reasons for which the choices have been made. Our assumption is that any choice may be significant and the sum of the choices in whole work will certainly be so, as we turn our attention from the diction of a brief passage to that of an entire story or novel. We look for the author’s guiding principles of selection. We may undertake the same kind of investigation of the diction in the total body of a writer’s work, seeking to discover what kind of choice the writer habitually makes and for what reason (Kenney, 1966:60).
Diction or the choice of word is defined as a skill to differentiate the nuances of the meaning of ideas needed to express accurately. The diction is related to the meaning of words. First, it is related to choosing the right meaning of words to express ideas. Second, diction is connected with the usage of a group of words effectively in connection with how to express the ideas. Third, diction is related with a certain style of language that is appropriate with the context (Keraf in Yuri, 2002:9).
Diction is one of the aspects in poetry. Dictions are the words chosen by the poet to express his ideas and his feeling. A word in a poem is used not only to connect between the reader and the poet, but also support an image and for connecting between the reader and the poet’s world imagination. Diction refers to the language of a poem, and how each word is chosen to convey a precise meaning. Poets are very deliberate in choosing each word for each word for its particular effect, so it is important to know the origins and connotations of the words in a poem, not to mention their literal meaning too (www. soyouwanna. com/site/syws/poem/poemfull).
Diction is a writer’s choice of words, phrases, sentence structures, and figurative language, which combine to help create meaning. Formal diction consists of a dignified, impersonal, and elevated use of language; it follows the rules of syntax exactly and is often characterized by complex words and lofty tone. Middle diction maintains correct language usage, but is less elevated than formal diction; it reflects the way most educated people speak. Informal dictions represent, slang, contractions, and many simple common words. Poetic diction refers to the way poets sometimes employ an elevated diction that deviates significantly from the common speech and writing of their time, choosing words for their supposedly inherent poetic qualities. Since the eighteenth century, however, poets have been incorporating all kinds of diction in their work, and so there is no longer an automatic distinction between the language of a poet and the language of everyday speech. (http://web. cocc. edu/lisal/literaryterms/d_h. htm/Diction).
2. 3 The Function of Diction
Diction is use to create effectiveness on the language activity. For the writer, diction is use to express his ideas and wishes to other people. For the reader, diction is use to occupy other people ideas, mind, and also wish. (Keraf in 1994:21) said that word is an idea distribution. Then Keraf explained that they know many ideas or in other words, they have many vocabularies, can easily and fluently communicate with others.
Beside of those opinions, Arifin (1987:13) said that the used of the right words will help someone to express about what he wants to express, either written or spoken. In this case, the choosing of words must be appropriate with the situation and place where the words are used.
From all opinions above about the function of diction, it can conclude that the function of diction is to create effectiveness of the language activity, which done by someone to convey the people’s idea.
2. 4 Kinds of Diction
Kinds of diction is classified to five groups, there are: connotative diction, denotative diction, concrete diction, associative diction, and imaginative diction (Kenney 1966:60-61, Reaske 1966:29-31, Wellek and Warren, and Sayuti in Dwi, 2002:15):
2. 4. 1 Connotative Diction
Connotation is created when you mean something else, something that might be initially hidden. The connotative meaning of a word is based on implication or shared emotional association with a word. There are many words that denote approximately the same thing, but their connotations are very different. Innocent and genuine both denote an absence of corruption, but the connotations of the two words are different: innocent is often associated with a lack of experience, whereas genuine is not. Connotations are important in poetry because poets use them to further develop or complicate a poem’s meaning (soyouwanna. com/site/syws/poem/poemfull. , June 09, 2007).)
Connotation is the emotions, thoughts and ideas associated with and evoked by the word. Some words are neutral, but can have negative or positive connotations. For example, the word island is neutral when it refers to a vacation on a Greek island, the word has positive connotation. When it describes being shipwrecked on an island, the word has negative connotations. Also, words associated with smell can be either positive or negative. For example, “scent’ is positive, while “odor” is negative (Developed by Vivion Smith, adapted from work by Susan Giansanti, Jules Nelson Hill and Ellen Beck).
Reaske (1966:29) states that connotative is one of the various implications or associations that a word carries. Most words have many connotations. If we say “home” for example, we are not simply naming a house, but rather an idea – having members of a family joined in one place. A poet uses the connotations of a word to his own purposes and advantages. Kenney (1966:60-61) states that a word’s connotations are the suggestions and associations aroused by it.
Connotation-An Example from Poe: The American Edgar Allan Poe is a very different sort of writer. Here is the first sentence of his famous story “The Fall of the House of Usher” (Kenney, 1966:62-63).
“During the whole of a dull, dark and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horse-back, through a singularly dreary tract of country, and at length found myself, as the shades of evening drew on, within view of the melancholy House of Usher”.
The diction here is characterized by the vagueness denotation. Just how low is “oppressively low”? What, precisely, does a “dreary tract of country” look like? And how can a house be “melancholy” since the dictionary meaning of the adjective has to do with a human emotional state.
In short, Poe is choosing his words primarily for their connotations, for their suggestive power. His method is, in itself, as legitimate as Swift’s and as suited to the demands of his story and his temperament (Kenney, 1966: 62-63).
2. 4. 2 Denotative Diction
A word’s denotation is simply its dictionary meaning (Kenney, 60-61). Reaske (1966:31) states that denotation is the essential meaning of the word. As contrasted with connotation – the suggested or possible meanings of a word denotation has reference only to what is conventionally understood by a word. The denotative meaning of a word is thus void of any emotional or subjective overtones. When examining any word, a critic should differentiate between its denotative and its connotative meanings.
The distinction between denotation and connotation is that the latter reveals attitudes about an object or event but the former does not. These attitudes may be favorable or unfavorable. In “That is a cute hat” and “That is an absurd hat”, the word “hat” is used denotatively in both sentences, but “cute” has favorable and “absurd” unfavorable connotations. Some words, such as cute, brave, efficient, fame, glory, hope, and valuable usually have only favorable connotations. Others, such as absurd, callous, hate, idiotic, lust, treason, and vicious usually have only unfavorable connotations. Still others have favorable connotations in some contexts but unfavorable ones in others. Compare, for example, free enterprise and free speech with free thinker and free love, or a fat check with a fat girl (Crimmon, 130-131).
Denotative-An Example from Swift: The diction of Guilliver’s Travels by Jonathan Swift may seem to take little advantage of the suggestive powers of language. Here, for instance, is a passage describing the Emperor of Liliput (Kenney, 1966:60-61):
He is taller, by almost the breadth of my nail, than any of his court, which alone is enough to strike an awe into the beholders. His features are strong and masculine, with an Austrian lip and arched nose, his complexion olive. His countenance erect, his body and limbs well proportioned, all his motions graceful, and his deportment majestic.
This is about as close to pure denotation as we can expect a passage of prose fiction to come. The meaning of the passage is little more than the sum total of the dictionary meanings of the words that make it up.
2. 4. 3 Concrete Diction
Concrete diction has characteristic to present description, thing, or certain moment description concretely.
In poetry, symbols are concrete and recognizable; they are as emblematic and visual as images are sometimes only suggestive and even vague. Some symbols have been used again and again and thus by this use have become “archetypes” in literature (Reaske, 1966:109). In another hand, the abstract ideas often presented through the concrete objects as a symbol. Every poet tries to concrete thing that he wants to express the reader’s imagine like what he means. The exactness of the poet in concreting the words that will make the reader sees, listens, and feels what the poet described.
Concrete diction refers to words that stimulate some kind of sensory response in the reader; as we read the words, we can imaginatively use our senses to experience what the words represent http://en. wikipedia. org/wiki/concretediction/Poetry. And concrete words include below:
Concrete words include: Dog, Cat, Computer, Classroom, Tree, Candy Bar, Car, Chair, Department Store, Pencil, Hat, Clock, Rain, Ice Cube, Beer, etc.
The word “dog” is a concrete word; we are able to form a mental picture of it. Because concrete diction imaginatively appeals to the senses, it tends to involve readers more than abstract diction does.
2. 4. 4 Associative Diction
Association diction has characteristic to arise the readers’ consciousness to the others of words which have relation. Wellek and Warren (1990:219) stated that the meaning of poetry is contextual; each word is not only taken the dictionary meaning but also the synonym and homonym circle. The word not only has certain meaning but also arise the readers’ consciousness to the other words, which have related with sound or the meaning of those words.
Because it has relation with the reader activity that actually associated to unlimited characteristics, that is why every words have association characteristics. However, the context still will become the control that limit the association alternative occurs. Another hand, association occurs because of that context.
An example of associative diction (http://en. wikipedia. org/wiki/Poetic-diction).
“Harlem”
What happens to a dream deferred?
Does it dry up
Like a raisin in the sun?
Or fester like a sore-
And then run?
Does it stink like rotten meat?
Or crust and sugar over-
Like a syrupy sweet?
Maybe it just sags
Like a heavy load.
Or does it explode?
(Langston Hughes)
In this poem uses the words like or as, or a verb like seems or appears to draw two objects or images into a relationship (http://en. wikipedia. org/wiki/Poetic-diction).
2. 4. 5 Imaginative Diction
Imaginative diction is a word which have characteristic to present the description of certain situation with imagination. Language in poetry is used to present the certain situation with imagination. The words that already choose are used for a certain situation, so the reader can imagine.
Example: some lines from John Donne’s poem “A Valediction: Forbidding Mourning” (Reaske, 1966:30-31):
Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to airy thinness beat.
If they be two, they are two so
As stiff twin compasses are two,
Thy soul the fixt foot, makes no show
To move, but doth, if th’other do.
And though in the center sit,
Yet when the other far doth roam,
It leans and hearkens after it,
And grows erect as that comes home.
Such wilt thou be to me who must,
Like th’other foot, obliquely run;
Thy firmness makes my circle just,
And makes me end where I begun.
In this poem’s Donne imagines that the souls of himself and his mistress are like the two legs of a drawing compass; when one moves in a certain way the other, though remaining stable, leans toward the leg that moves, and yet draws it back to the beginning. This is very imaginative and constitutes an intellectualized way of saying that he and his mistress are one-but not quite one (Reaske, 1966:30-31).
2. 5 Kinds of Meaning
When we talk about the meanings of words, it is helpful to distinguish between two types of meaning: the one we find in a dictionary definition of a word-its denotation-and type of meaning that arises from the various associations-connotation- the words evokes. The words we use just to name things often have little connotative meaning. For example, tree represents a physical thing, as do the words flower, car, ship, and cow. These words denote the things they stand for. (Bridges and Lunsford, 1984:315).
2. 5. 1 Denotative Meaning
Kenney states that the analysis of diction leads to some consideration of denotations and connotations of word chosen by the author. A word denotation is simply its dictionary meaning; its connotations are the suggestions and associations arouse by it. A number of different words may have essentially the same denotations, while differing significantly in their connotations (Kenney, 166:60).
The statement or the situation in which a word is used is called its context. In practice we learn the meanings of words by their contexts. When we are learning our language we do not meet the word “run” by itself; we always meet it in some situation – a man running for a bus, a child running a temperature, a quarterback running a team, and so on. We learn the meaning of “run” by repeatedly experiencing it in context. This is exactly how the writers of dictionaries get their definitions. They gather sample contexts and write the definitions to describe the meanings these convey, so that when a dictionary lists different meanings for the word “spring”, it is recording the contexts in which “spring” most frequently occurs (Crimmon, 1963:128).
To illustrate the relationship between context and meaning, suppose you were editing a dictionary and had found for “man” and “make up” the following contexts recurring in your samples. For each the two terms, write as many definitions as your samples require. Then check your dictionary to see if it records your definitions. If it does not, consider whether your definitions or the dictionary’s are deficient (Crimmon, 1963:129).
2. 5. 2 Connotative Meaning
In literary usage, the denotation of word is its primary significance or reference, such as a dictionary mainly specifies; its connotation is the rage of secondary or associated significances and feelings which it commonly suggest or implies. Thus “home” denotes the house where are lives, but connotes privacy, intimacy, and coziness; that is the reason real estate agents like to use “home” instead of “house” in their advertisements. “Horse” and “steed” denote the same quadruped, but “steed” has a different connotation, deriving from the chivalric or romantic narratives in which this word was often used. The connotation of word is only a potential range of shard secondary significance; which on these connotations are evoked depends on the way a word is used in particular contexts which bring into play some part of the connotative meaning of words. In his poem “Virtue” George Herbet wrote.
Sweet day, so cool, so calm, so bright,
The bridal of the earth and sky…
The denotation of “bridal”- a union between human beings-serves as part of the ground for applying the word as a metaphor to the union of earth and sky; but the specific poetic context in which the word occurs also evokes such connotations of “bridal” as sacred, joyous, and ceremonial. (Abrams, 1981:36).
RESEARCH METHODOLOGY
This chapter presents about the research methodology, which consists of research design, data, data collection and data analysis.
3. 1 Research design
The purpose of this study is to describe the diction used in collection of poems written by Robert Lee Frost. The research design of this study is descriptive method, which is designed to involve describing, recording, analyzing, and interpreting condition that exist (Best, in Herni Susanti, 2005: 29).
3. 2 Data
The data of this research are taken from Robert Frost’s poems in Barnet, Berman and Burto (1993:537-547) and from http://en. wikipedia. org//wiki//frost’spoems. html. The poems are selected randomly. It is necessary to give the code number for all of the poems. It is about 46 poems. Then, those codes number are taken to select 20 samples of those poems. Those selected poems are:
Stopping by Wood on a Snowy Evening
Design
October
· The Telephone
· The Oven Bird
· The Silken Tent
· Desert Place
· Come In
· Once by the Pacific
· Fire and Ice
· In Winter In the Woods Alone
· Reluctant
· The Gift Outright
· Acquainted With the Night
· The Pasture
· The Road Not Taken
· Bereft
· The Draft Horse
· Provide, Provide
· The Need of Being Versed in Country Things
.3 Data Collection
1. Reading and studying the Frost’s poems.
2. Finding the kinds of diction in the Frost’s poems.
3. Finding the most dominant of diction in the Frost’s poems.
1 Step of the Data Analysis
The researcher collects and divides each word and sentences according to the kinds of diction, they are connotative diction, denotative diction, concrete diction, associative diction and imaginative diction.
2. The researcher counts to find the most dominant of diction
The Rose Family
The rose is a rose
And was always a rose
But the theory now goes
That the apple’s a rose,
And the pear is, and so’s
The plum, I suppose.
The dear only know
What will next prove a rose?
You, of course, are a rose
But were always a rose
Stars
How pointlessly they congregate
O’er our tumultuous snow
This flows in shapes as tall as trees
When wintry winds do blow!
As if with keenness for our fate,
Our faltering few steps on
To white rest, and a place of rest
Invisible at down
And yet with neither love nor hate,
Those stars like some snow-white
Minerva’s snow-white marble eyes
Without the gift of sight
Winter evening
Evening seems
At first intense blue
Fades through paleness into black.
The farmhouse in the valley
Shines like a lost streetlight, cold
As a dingo howl at midnight
Fire And Ice
Some say the world will and in fire
Some say in Ice
From what I have tested of desire
I hold with those who favor fire
But if it had to parish twice, I think I know enough of hate
To say that for destruction Ice
Is also great
And would suffice
Sweet May
Sweetest May, let love inspire here
Take a hart, which he desires thee
As thy constant slave regard it
For its faith and truth reward it
Proof o’ shot to beat or money
Not the wealthy, but the bonnie
Not high-born, but noble-minded
In love’s silken band can bind it!
Poem
The rose is a rose
And was always a rose
But the theory now goes
That the apple’s a rose,
And the pear is, and so’s
The plum, I suppose.
The dear only know
What will next prove a rose?
You, of course, are a rose
But were always a rose
Stars
How pointlessly they congregate
O’er our tumultuous snow
This flows in shapes as tall as trees
When wintry winds do blow!
As if with keenness for our fate,
Our faltering few steps on
To white rest, and a place of rest
Invisible at down
And yet with neither love nor hate,
Those stars like some snow-white
Minerva’s snow-white marble eyes
Without the gift of sight
Winter evening
Evening seems
At first intense blue
Fades through paleness into black.
The farmhouse in the valley
Shines like a lost streetlight, cold
As a dingo howl at midnight
Fire And Ice
Some say the world will and in fire
Some say in Ice
From what I have tested of desire
I hold with those who favor fire
But if it had to parish twice, I think I know enough of hate
To say that for destruction Ice
Is also great
And would suffice
Sweet May
Sweetest May, let love inspire here
Take a hart, which he desires thee
As thy constant slave regard it
For its faith and truth reward it
Proof o’ shot to beat or money
Not the wealthy, but the bonnie
Not high-born, but noble-minded
In love’s silken band can bind it!
The Star
When the world started to end, you were ashamed of yourself for weeping bitterly in your bedroom for an entire day. You saw the president crying and begging on TV and it sent you into a panic. You lay in bed with the blankets pulled up to your nose, crying, refusing to answer the door when the maid, your manager, your assistant, and finally your parents begged you to come out.
After twenty-four hours, your father took the door off its hinges and dragged you down the stairs into your sunken living room with the white carpet and leather couches. You kicked and screamed until he had to pick you up and carry you over his shoulder. You called him a motherfucker and threatened to take back the Mercedes you'd purchased for him last Christmas.
Your mother sat solemnly on the couch, her hands clenched into fists on top of the newspaper in her lap. She said it was all over.
You glowered and glared; you asked what the hell is happening, and will you still be on the talk show circuit next month?
The television stations are all color bars and static. Your father says that the talk shows are all gone, and not to worry. He tells you that there are far more important things happening right now. How can you not worry? You were supposed to debut your new fragrance next month to coincide with the release of your latest album.
Your mother tells you that the album isn't going to happen, and she clenches her fists even tighter than before. You can't believe what she's saying. How can she say that? There will always be an album, and there will always be television. You tell your parents they're idiots, and that this will all blow over in a few days, as soon as they replace that pussy of a president.
Your mother says that the world is ending. They dropped bombs, she says darkly.
There are diseases and radiation poisoning spreading all over the country, your father says.
Not in LA you shout defiantly.
Your mother holds up the newspapers one at a time. WAR is on the cover of each one, along with speculations on the doomed fate of the country, including LA. You feel sick, you're dizzy. You want to know what you did to deserve this, and how anyone could possibly do such a thing before you had a chance to accomplish the things that mean so much to you.
< 2 >
*
Two days later, your mother and father are discussing survival, and filling jugs with water from the tap just in case. Your father is worried about the electricity holding out. You sit in the living room wondering why all the servants quit the day before, and if your assistant is ever going to call you back. The only connection to the outside world is the radio, and it's hard to get real information between the crying and praying on almost every channel. On the pop station, the dj says over and over that it's only a matter of time. Your father tells you to switch to the AM band because they have more sense on AM, goddammit.
You hear reports of death and destruction all over the country, and all you can think is that you hope LA is okay. Even after reports of people dead in their cars, you imagine Rodeo Drive the same as it ever was, untouched by nasty things like war, sickness and death. How could a place a beautiful as Hollywood ever be destroyed? No one messes with LA, you say, and your father won't look you in the eye.
When the electricity goes out that night, your eyes fill with frustrated tears, and you light the scented candles you'd been saving for a special occasion. The radio runs on batteries, but they won't last long. Your father tells you to conserve them, and stop leaving the radio on so much. You tell him to shut up, and that you can afford thousands of batteries. The man on the radio says that much of the east coast is destroyed, along with Detroit and Chicago. He says that the radiation is coming west at an alarming rate, and you wish you had a map so you'd know what that meant. Instead of worrying, you get out that limited edition pink nail polish and give yourself a pedicure. It isn't until you spill the bottle, and nail polish gets all over the carpet that you realize you can't stop crying.
In the morning, your dad tells you that your mother is very sick, and he doesn't feel so well himself. You roll your eyes and tell them to take some pepto, but on the inside, you can't deal with the possibility of them dying and leaving you alone, so you go back to your room and sit in front of the window. Your yard looks the same. There is no death and destruction on your property, but you wonder what's changed outside of your front gates.
< 3 >
In the afternoon, you bring your four gold records and three Grammy awards up to your room so you can look at them. Your finger traces your name on the awards over and over, and you can't comprehend how someone who has accomplished so much in such a short time should be allowed to go through something as horrible as this. You're a star, for God's sake, you deserve better than this.
Your father is calling your name in the hall. He sounds sick. His voice breaks repeatedly, and he's gagging between words. You don't want him to throw up on the carpet in the hall, but you keep your mouth shut. If he does, the cleaning woman will take care of it tomorrow. You pull the blankets up to your chin and close your eyes. Your father's voice sounds farther and farther away now as you clutch the Grammy close to your chest and squeeze your eyes shut.
Tomorrow you'll wake up and things will be better. Tomorrow you'll be on the Tonight Show, and be as charming as ever. Tomorrow your agent will apologize for not calling. Tomorrow you'll still be a star.
Poe’s Short Stories
Edgar Allan Poe
Analysis of Major Characters
Roderick Usher
As one of the two surviving members of the Usher family in “The Fall of the House of Usher,” Roderick is one of Poe's character doubles, or doppelgangers. Roderick is intellectual and bookish, and his twin sister, Madeline, is ill and bedridden. Roderick's inability to distinguish fantasy from reality resembles his sister's physical weakness. Poe uses these characters to explore the philosophical mystery of the relationship between mind and body. With these twins, Poe imagines what would happen if the connection between mind and body were severed and assigned to separate people. The twin imagery and the incestuous history of the Usher line establish that Roderick is actually inseparable from his sister. Although mind and body are separated, they remain dependent on each other for survival. This interdependence causes a chain reaction when one of the elements suffers a breakdown. Madeline's physical death coincides with the collapse of both Roderick's sanity and the Ushers' mansion.
C. Auguste Dupin
In the stories “The Murders in the Rue Morgue” and “The Purloined Letter,” Poe creates the genre of detective fiction and the original expert sleuth, C. Auguste Dupin. In both “The Murders in the Rue Morgue” and “The Purloined Letter,” Dupin works outside conventional police methods, and he uses his distance from traditional law enforcement to explore new ways of solving crimes. He continually argues that the Paris police exhibit stale and unoriginal methods of analysis. He says that the police are easily distracted by the specific facts of the crime and are unable to provide an objective standpoint from which to investigate. In “The Murders in the Rue Morgue,” the police cannot move beyond the gruesome nature of the double homicide. Because they are so distracted by the mutilated and choked victims, they do not closely inspect the windows of the apartment, which reveal a point of entry and escape. Dupin distances himself from the emotional aspect of the scene's violence. Like a mathematician, he views the crime scene as a site of calculation, and he considers the moves of the murderer as though pitted against him in a chess game.
In “The Purloined Letter,” Dupin solves the theft of the letter by putting himself at risk politically. Whereas the Paris police tread lightly around the actions of Minister D——, an important government official, Dupin ignores politics just as he ignores emotion in the gruesome murders of the Rue Morgue. In this story, Dupin reveals his capacity for revenge. When the Minister insulted him in Vienna years before the crime presently in question, Dupin promised to repay the slight. This story demonstrates that Dupin's brilliance is not always dispassionately mathematical. He cunningly analyzes the external facts of the crime, but he is also motivated by his hunger for revenge. Dupin must function as an independent detective because his mode of investigation thrives on intuition and personal cunning, which cannot be institutionalized in a traditional police force.
William Wilson
Poe explores the imagery of doubles in “William Wilson.” William Wilson loses his personal identity when he discovers a classmate who shares not only his full name but also his physical appearance and manner of speaking. Poe stresses the external aspects of their similarity less than the narrator's mental turmoil, which is triggered by his encounter with his rivalrous double. When the narrator attempts to murder his double in the story's final moments, he ironically causes his own death. This action demonstrates the bond of dependence between the hated double and the loved self. The -murder-suicide confirms the double as the narrator's alter ego. In other words, the narrator's double exists not as an external character but rather as part of the narrator's imagination. Poe uses the idea of the double to question the narrator's grasp on reality. The -murder-suicide implies that the narrator has imagined the existence of his rival because he suffers from paranoia, a mental state in which the human mind suspects itself to be threatened by external forces that are just imaginary figments of irs own creation.
Lady Ligeia
Many women return from the dead in Poe's stories, and Lady Ligeia is the most alluring of them all. Ligeia's sudden reappearance casts doubt on the mental stability of her husband, the tale's narrator. Poe does not focus on the narrator's unreliability but instead develops the character of the dark and brilliant Ligeia. Ligeia's dark features contrast with those of the narrator's second wife, the fair-skinned and blonde Lady Rowena. Ligeia does not disappear from the story after her apparent death. In order to watch over her husband and his cold new bride, Ligeia becomes part of the Gothic architecture of the bridal chamber. Poe symbolically translates Ligeia's dark, haunting physical qualities into the Gothic and grotesque elements of the bedroom, including the eerie gold tapestries that Rowena believes comes alive. Ligeia is not only one of the dead who come alive but also a force that makes physical objects come alive. She uses these forces to doom the narrator's second marriage, and her manifestations in the architecture of the bedroom, whether real or the product of the narrator and his wife's imaginations, testify to the power of past emotions to influence the present and the future.