RISKA AENI MULANANDA

English Literature student’s reception on the stronger by august

strindberg

CHAPTER I

INTRODUCTION

A. Background

Human have variety reception in commenting on a literary work. They

see, feel and evaluate it and it is reception. This variety of receptions will
contribute to the future development of literary research.. Reception means
the form of humans acceptance to literary works which gives a reaction or
response to the text. There are different forms of understand of each
individual towards literary works which are influenced by many factors such
as age, education, gender, life experiences, etc.

Differences in human life are also mentioned in Surah HUD verse 118 which
reads:

‫اس ُأ َّمةً َوا ِح َدةً ۖ َواَل يَ َزالُونَ ُم ْختَلِفِينَ ۝‬

َ َّ‫ك لَ َج َع َل الن‬
َ ُّ‫َولَوْ َشا َء َرب‬

Translation: If your Lord had willed, surely He would have made mankind
one people, but they are always in disagreement.

According to Endraswara (2008), every reader of a literary work acts

as a critic by determining whether they find the work interesting or not. The
reader's perspective plays a vital role in the study of literature as it helps to
advance the field. Literary analysis now encompasses not only the text but
also external factors such as the reader, author, and social context. In essence,
the reader serves as the jury when evaluating a work. Without readers, literary
works lose their purpose, making the reader's involvement in responding to
literature essential.

Literary works are open to analysis by readers, as they are a study of

interpretation. Each reader has a unique understanding and interpretation of
the work (Endraswara, 2008). These perceptions can be observed in the
reader's facial expressions, among other things.

One day these drama The Stronger was discussed in literature class
and the lecture play the drama in front of the class via YouTube then after the
drama finished,– The lecture asked the question Who was the stronger woman
in this drama?

After watched the drama The Stronger, every student in the class expressed
different forms of perception about who was the stronger woman. Every
student gave a different perception about who they were thought the stronger.
The researcher intend to bring this question to larger audience especially for
english students.

This study first assumes that the above phenomenon is widely

reflected in society. The researcher uses Jauss's horizon of expectation
approach, this approach sees that people's life experiences and backgrounds
such as education, religion, environment, age or even place of residence can
influence them when giving responses or reception on literary works that they
hear, read, and see. The researcher will use this approach to see the influence
of the environment close to literature in English language and literature
students when they give a response or reception to literary works, especially
to assess who is the stronger in the drama The Stronger.
 For this study, the researcher selected the stage play "The Stronger" by
August Strindberg. Originally released in 1889, it was later revived in 2008.
The play comprises a single scene and features two female characters: Mrs. X,
who speaks, and Miss Y, who remains silent. Through the conflict,
atmosphere, and performances of the actors, the play explores the "strong"
sides of both women. It challenges the audience to observe and determine
which character is the stronger of the two.

There are two journal discussed about the stronger , The first is there is two
people researched journal about “ Female Psychology in August Strindberg’s
The Stronger”. They research shows some possible interpretations of August
Strindberg’s The Stronger through the lens of female psychology. The journal
suggests that male intervention is inevitable in women's lives, causing female
friendships to end due to emotionally biased accusations and influencing
intimacy among women. Non-verbal communication is a critical factor in
interpreting actions and reactions among women. The behavior of Mrs. X
towards Miss Y can be analyzed using the ego style theory and the
psychology of women, including menstruation ( Sutandio; Aprialiani, 2017 ).

The last journal is about “August Strindberg's "The Stronger " as

Monodramatic Situational –Plot Structure : A Stylistic Study”. The term
"Situational" in drama refers to a specific type of conflict designed to capture
the audience's attention. In Strindberg's play, The Stronger, two women, Mrs.
X and Ms. Y, engage in a dramatic conflict that opens up a debate about
gender roles. Mrs. X represents a woman who has lost her individuality and is
molded by her husband's demands, while Ms. Y is an independent woman
who lives life on her own terms. The play ultimately becomes a larger debate
about women's roles in society, with the two characters serving as dualities
( Aziz F.H, 2010 ).
 The stronger is one of the least discussed topics specifically, especially
in the literary field approach; through this research, the researcher will focus
on the audience of the stronger itself, which has never been studied before by
Jauss's Reception theory; the two studies above focused on female psychology
and plot structure in the stronger.

B. Research Question

The researcher formulates the following question based on the previous

background.

1. How are reception of English literature students on the drama The

Stronger?

C. Objectives of Research

Based on the above background, the researcher focuses on knowing the

English Literature Student's reception in deciding The stronger in august
strindberg's stage play The Stronger.

D. Significance Of Research

The results of this study are expected to be useful

1. It is hoped that this research can be use as a reference for further research of
the same type or as a primary or secondary source for students to learn about
reception in the field of literary works by students of the State Islamic
University of Alauddin Makassar, particularly students of the Department of
English Literature.

2. With this research, the researcher believes that in the future, everyone may
accept each other despite our numerous types of differences, so that there is
no more conflict or hatred as a result of these differences.

E. Scope Of Study

Based on the research topic, the researcher limits this study to an

analysis of English literature students' perceptions of who is the stronger
person in the drama using Jauss' Theory.
 CHAPTER II
REVIEW OF RELATED LITERATURE

A. Literature Review

The earlier literature served as a presentation of the earlier research and

analysis that had been done. Few studies about The Stronger and reader
response theory has contributed to enrich the structure and the process of this
research as shown below.

Sutandio, Apriliani ( 2017 ) Students of Maranatha Christian

University, " Female Psychology in August Strindberg's The Stronger " was
published in their publication. This research is an interdisciplinary study that
integrates structuralist, historical, biographical, and feminist perspectives to
acquire insights into the development of play. They said in their journal which
male intervention cannot be prevented in the world of women. Female
friendships can suddenly end due to emotionally biased accusations. Intimacy
among women may be driven by similarity and attraction to men. Non-verbal
language is important in interpreting actions and reactions among women.
Mrs. X's behavior towards Miss Y can be explained by ego style theory and
women's psychology, including menstruation.

Aziz F.H ( 2010 ) An assistant lecture from University Of Basrah, in her

journal August Strindberg's "The Stronger " as Monodramatic Situational –
Plot Structure A Stylistic Study, She used stylistics to know the structural plot
in the drama the stronger. She said in her journal the term "Situational" refers
to a specific type of conflict in drama that is designed to capture the
audience's attention.The Stronger, a play by Strindberg, features a dramatic
conflict between two women, Mrs. X and Ms. Y. Strindberg cleverly opens up
a debate about gender roles through the dualities of the two female characters.
Mrs. X is a lady who has lost her individuality and is fully molded by her
husband's demands, whereas Ms. Y is an independent woman who lives life
on her own terms, and the play eventually becomes a bigger argument about
women's responsibilities in society, with the two characters.
Indahyani ( 2017 ) Student of State Islamic University of Alauddin
Makassar, in her thesis "The Interpretation of Fashion Hijab by Muslimah
Groups in Makassar" discussed the interpretation of different Muslim women
groups in Makassar about hijab fashion in magazines. This study used Jaus'
theory of interpretation. This study uses a qualitative method. took three
Muslim women who came from different Islamic communities including
Wahdah Islamiyah, Hizbut Tahrir, and Modern Hijabers Researchers. The
results show that there are differences in the explanations of each group due to
their historical background. The Wahdah Islamiyah group believes that the
hijab used is in accordance with Q.S An-Nur and views it as covering the
whole body. The Hizb ut-Tahrir group said that the hijab must be in
accordance with Islamic teachings by covering women's accessories. The
researcher concludes that hijabers are women who must pay attention to
fashion and beauty trends. These differences occur because each of them has
reasons based on the capacity of knowledge they get from cultural and social
backgrounds.

Asma (2020) The purpose of this study was to explain (1) what British
expectations for children are, (2) children's characters in Enid Blyton's Malory
Towers formed by the involvement of British role of ideal future, and (3)
today's perspective of British beliefs in 1946. The material item is Enid
Blyton's novel Malory Towers. The findings of this qualitative descriptive
research were evaluated utilizing the Reader-Response technique, namely
Hans Robert Jauss' "Horizon of Expectation" hypothesis. The following are
the study's findings: British parents wanted their children to be lovely, kind,
loving, and trustworthy. Furthermore, the effect of parents, school, and friends
in shaping children's personalities is critical. In order to achieve the perfect
future, they teach principles such as discipline, dedication, civility, empathy,
loyalty, and understanding, respect, mental strength, and a steady and sensible
attitude. The study concluded that there are some parallels and differences
between British thought in 1946 and today's perspective. The British
education system and boarding school are among the topics covered in this
study. Furthermore, all of the principles have good outcomes for children's
futures.

The first two studies above are two previous studies that examined
The Stronger specifically. The Stronger is a topic that is quite lacking in the
specific discussion, especially in the literary approach, this is one of the
reasons for researchers to study The Stronger through a literary approach by
looking at the audience's reception of who is the strongest in The Stronger use
Jauss's theory of horizon of expectations besides that with the researcher's
research can add references for future researchers in studying The Stronger
and reception.The remaining research uses the same methodology as the
researchers. After evaluating both studies, the researcher determines that there
are similarities and variances between previous studies and current study.

The two previous studies shared the fact that they used people
reception as their primary research object and used Jauss' horizon of
expectation approach. The difference is that they use various sources than this
study; both use different media to see people's perceptions, such as magazines
and novels, whereas this study use August Strindberg's drama The Stronger to
 find variation in people's reception, and the research differs from the two
previous studies mentioned above.

B. Theoretical Background

1. Reception

There are several points of view or techniques to studying literary

research. Depending on whose point of view is chosen, this variation in
viewpoint gives rise to diverse sorts of literary inquiry. According to Klarer
(2004: 78-98), literary criticism approaches can be text-oriented (philology,
rhetoric, stylistics, formalism and structuralism, new criticism), semiotics and
deconstruction; reader-oriented (reader response theory or reception
aesthetics); and context-oriented (Marxix literary theory, new historicism,
feminist literary theory, and gender theory).
The researcher will use a reader-oriented approach, namely reception
theory, in this research to elicit varied perspectives from English literature
students on who is the stronger in August Strindberg's drama The Stronger.
Receptions in the context of literature are means of giving meaning to works
so that people might respond to them. Furthermore, Endaswara (2008: 118)
believes that reception refers to readers receiving or enjoying literary works.
Reception is a literary genre that analyses literary materials by beginning with
the reader's reaction or response to the text.
Jauss, a German philologist, first introduced reception theory. To
examine how readers receive and appreciate literary works, reception theory
employs an expectation horizon method. According to Jauss, when delivering
a speech about a literary work, the reader is guided by the horizon of
expectation, which is the interplay between literary works on the one hand and
the audience's interpretation system on the other. This concept of insight
becomes the foundation of Jauss' theory, which is determined by three criteria:
(1) general norms scattered from texts read by readers, (2) knowledge and
experience of readers or all texts read previously, and (3) contradiction
between fiction and reality. Jauss also said that the interaction between
readers and literary works is also influenced by several factors, namely: (1)
The nature that surrounds the reader, which is related to sex, work, education,
place of residence, and religion; (2) Attitudes and values that exist in the
reader; (3) The competence or ability of the reader's language and literature;
(4) his analytical experience which allows him to question the text; and (5)
The situation of a reader's acceptance. The reader's experience suggests that
the text of a literary work has different impacts on different readers, who have
different backgrounds.

2. Reader-Response (Interpretation)

a. Hans Robert Jauss (1921)

Jaus was born in Göppingen, Württemberg, Germany. He was born

into a family with a teacher lineage and his religion is Pietism. During WWII,
Jauss served as a soldier on the Russian front for two winters. He began
studying Romance, philosophy, history, and germanistic philology in 1948.
Martin Heidegger and Hans George Gadamer, two of Jauss' mentors,
influenced his thinking.

Jauss began his teaching career as a professor and director of romantic

seminars at the University of Münster, Westfalen, in 1959, and in 1961, he
relocated to the University of Gieben, where he obtained his professorship. In
these years (1959-1962), Jauss and Erich Köhler established the Grundriß der
romanischen Literaturen des Mittelalters (Outlines of Romantic Literature
from the Middle Ages) series of medieval literature. In 1963, he was also
instrumental in establishing the study group "Poetik und Hermeneutik" with
two other Gieben colleagues (Hans Blumenberg and Clemens Heselhaus), as
well as Wolfgang Iser and Würzburg.

Hans Robert Jauss Together with his group are often classified in the
Konstanz School. The name of this school was inspired by the name of the
university in Southern Germany where Jauss lectured, namely the University
of Konstanz. This includes figures such as Wolfgang Iser and Jurij Striedter.
However, these characters have slightly different views in understanding
literary works. In his thesis, Jauss, focuses more on the historical aspect.
Meanwhile, Iser focuses on individual readers and literary works in a certain
time dimension.

According to Schiller, Jauss' aesthetic theory of reception and

Gadamer's theory of hermeutics are heavily influenced by history. According
to Schiller, a historian not only passively describes the facts of the past, but
also the present facts in which he takes part (thoughtful observer) (Jauss,
1983:5). Furthermore, according to Gadamer, hermeutics is a way of finding
something in a text (Holub, 1984:39). Jauss himself argues that hermeutics
includes understanding, interpretation, and application (1981: 136). Chiller
has an influence on Jauss in the reception of readers who pay attention to the
receptions of previous readers. Meanwhile, Gadamer's influence is seen from
the point of view of the reader who understands, interprets, and reflects on it.

Jauss is a philologist who tries to update the previous phyological

theory which only looks at the history of the text without paying attention to
its hermeutic aspects. His efforts to give meaning to old literary works made
him considered the Father of Modern Philology.
 Jauss attempts to bridge the differences between literature and history,
between artistic and historical approaches. He takes a position with little
consideration from both Formalists and Marxists. Literary facts are viewed by
formalists as a closed circle of aesthetic production, but literary facts are
viewed by Marxists as a closed circle of representations of reality. In other
words, they attempt to eradicate another dimension, namely acceptability, and
influence, which is an inescapable component of its aesthetic or social
purpose. Both literary philosophies undervalue the importance of audiences..
Orthodox Marxist aesthetics examines the reader's social status or place in
society as much as the author. The Formlais see the reader just as a subject
who accepts the text's directions to identify literary forms or uncover methods.
Both of these strategies pay less regard to the reader's true function, which is
that of an addressee in the first place for literary works.

A literary work's historical life cannot exist without the recipient's

dedication. Only via the mediation process can literary works reach the
horizon of experience, which is always shifting from simple acceptance to
critical comprehension, from passive acceptance to active acceptance, from
the artistic norms it currently possesses to new dominant outputs. The
historical characteristics of literature are that communicative necessitates a
dialogical relationship and, once again, a process relationship between literary
works and audiences, resulting in new literary works that can be seen as the
relationship between the message and the recipient, as well as the relationship
between questions and answers, problems and solutions.

The connection between literary works and their readers has both
aesthetic and historical importance. The significance of aesthetics is found in
the fact that the reader's initial acceptance of a literary work includes
comparing its aesthetic worth to other literary works he has enjoyed. The
initial readers are supported and enhanced in the chain of acceptance from to
another generation in this instance; in this situation, the historical meaning of
the literary work will be determined and its aesthetic worth will be revealed.

The seven theses of Jauss will show how the history of literature is
methodologically based and revised.

Thesis 1. History is being rewritten. Literature is not a stand-alone thing that

offers the same point of view to every reader at every time. A literary work is
not a monolithic monument that reflects the essence (meaning) of all time.
Literary writing is more like an orchestration that constantly creates new
resonances among its readers, freeing the text from the substance of words
and bringing it into the present. The coherence of literary works as an event is
mostly mediated by current literary experience's hope horizons and the
expectations horizons of readers, reviewers, and writers.

Thesis 2. The system of insight into the reader's expectations emerges as a

result of a literary work's historical context. This involves a prior awareness of
genres, forms, and themes in known works, as well as an understanding of the
oppositions between poetry and colloquial languages. In the information
vacuum, literary works, even supposedly new ones, affect their audience by
alerts, simple and difficult hints, recognizable traits, or indirect satire.

Thesis 3. Readers can identify the aesthetic characteristics of a literary piece

through expectations and understanding. If the horizon of expectation and the
development of new work are characterized as an aesthetic distance, its
acceptance might result in a "change of horizon" through the absorption of old
experiences or the elevation of new experiences to the level of awareness.
Thus, the aesthetic distance may be historically objectified along a spectrum
of audience emotions and critical decisions (instant success, rejection or
shock, approval at some point, slow or delayed comprehension).
Thesis 4. Reconstructing expectations of literary works that have been made
and received in the past will result in varied variants of reception with the
spirit of a different age. This method defends unknown ancient ideals or
current conceptions of work while ignoring the broader "spirit of the times."
This gives rise to a hermetic view that is distinct from the past or present,
resulting in historical awareness at the reception that bridges the two views
and rejects the established philological metaphysical dictum that considers
literary works to be eternal works with a fixed objective meaning.

Thesis 5. Literary acceptance theory requires the reader to include individual

works in the literary series so that their historical position and meaning are
better known in the context of literary experience, in addition to
understanding the meaning and form of literary works according to historical
understanding.

Thesis 6. Someone can use a synchronic perspective to describe similarities,

differences, and contradictions if the understanding and meaning of literary
works according to historical reception cannot be done because of changes in
aesthetic attitudes. So, the synchronic system still has to make the past an
inseparable structural element.

Thesis 7. Literary works' systems are not only exhibited synchronously and
diachronically, but literary history also has a responsibility to tie them to
general history. The social function of literary works can be fulfilled by
incorporating the reader's literary experience into the horizon of expectations
about his practical life, so increasing the reader's understanding of his reality
and having an impact on the reader's social existence.

On that basis, literary works can be claimed to have an impact on

people's life if the purpose of literary works is not limited to imitation work.
One's perspective on historical events When a literary work challenges a
long-held moral taboo or provides the reader an original answer to his life's
erroneous ideas, which is subsequently endorsed by the consensus of all
readers in society, new avenues of inquiry are opened. broader for literary
historians. The distinctions between literature and history, between
aesthetics and historical knowledge, can be bridged if literary history does
not just explain literary works as a reflection of broader historical processes..
Literary works are constantly linked with art and other social forces in the
emancipation of the masses from their natural, religious, and social
connections.

The horizon of expectation appears in each activity of reading

comprehension on the genre. The readers already has a form of expectation
in the literary work they reads. Each work in the historical moment is
recognizable via its form and content, as well as the struggle between poetry
and functional language. The work does not exist in a vacuum of
information.

With these circumstances. A literary work's text can stimulate the

reader's psychological process in perceiving the text of the literary work he
reads, such that part of the process implies expectations for the work they
read. Everyone's expectations are dictated by their degree of education,
experience, understanding, and capacity to respond to a literary work. Three
criteria, according to Segers, establish the expectation horizon. First, it is
defined by the rules that emerge from the texts that the reader has read.
Second, it is determined by prior knowledge and experience with all
materials read. Third, there is the clash between fiction and reality, namely
the reader's capacity to grasp, both within the restricted range of literary
expectations and within the large horizon of their own knowledge.
 According to Jauss, several elements influence every literary reader's
scope of expectation, including: (1) readers' understanding of literary genres
(2) Knowledge and comprehension of literary themes and forms obtained
via reading literary works; (3) Knowledge and awareness of conflicts
between literary language and ordinary language or non-literary language in
general; and (4) shadow reader session. This expectation horizon is the
outcome of an interaction between works of art on the one hand and the
interpretation system of the reading community on the other. The reader's
interpretation connects literary and historical works, as well as aesthetic and
historical viewpoints. In other words, the reader's acceptance is a component
of the aesthetic or social purpose of the work. A literary work's historical life
cannot exist without the reader's active engagement. The reader's
expectations shift from simple acceptance to critical comprehension, from
passive acceptance to active acceptance, and from the aesthetic norms he
possesses to new creations that prevail.

The coherence of literary works as an event is mainly bridged by the

horizons of expectations of literary experience and the horizons of
expectations of readers, critics, and authors (Jauss 1983:21). The horizon of
hope is not only related to literary and aesthetic aspects, but also involves
other aspects, namely: (1) The nature that surrounds the reader, which is
related to sex, work, education, place of residence, and religion; (2)
Attitudes and values that exist in the reader; (3) The competence or ability of
the reader's language and literature; (4) his analytical experience which
allows him to question the text; and (5) The situation of a reader's
acceptance.

The horizon of expectation idea, which became Jauss' (1983:24)

thesis, is defined by three factors: (1) general standards derived from texts
read by readers; (2) readers' knowledge and experience or all texts
previously read; and (3) the conflict between truth and fiction.

The reader's expectations suggest that the text of a literary work

provides readers with a variety of effects, which also change in terms of
their experience at each time or period of reading. Different readers in
different eras will have different effects. The reader's experience will
establish a logical integration between the reader's new response and the
text, bringing him into the reader's reading activity. There are two
approaches to reception research: synchronous and diachronic. Synchronous
research is a study of the reception of a literary piece in a certain time
period. This survey employs readers from a certain time period. Meanwhile,
diachronic study is literary text reception research that incorporates reader
comments from every era.

Ratna (2009:167-168) defines synchronic reception as the study of

literary receptions in relation to current readers. In this situation, a group of
readers responds to a literary work psychologically and sociologically at the
same time. Diachronic reception is a type of reception study that
incorporates readers from different eras. This diachronic reception study
necessitates the collection of highly relevant and appropriate documentary
evidence.

This synchronous reception study employs reader answers from a

single time period. Reader replies can be used in the form of articles,
research, or by providing research surveys to readers. The work method of
synchronous literary reception study or experimental research, according to
Endraswara (2008:126), consists of at least two stages. A literary work is
provided to each individual reader or group that has been identified. The
reader is then quizzed both verbally and in writing. The reader provides the
 answers. The data was then examined in accordance with the format of the
questions provided. Written research data can be rounded up when
employing a questionnaire. While employing the interview approach,
research data may be examined qualitatively. After asking the reader
questions, the reader is invited to interpret the literary piece he has read. The
qualitative approach was used to assess the findings of this reader's
interpretation.

4. 3. The Stronger

August Strindberg, (born January 22, 1849, Stockholm, Sweden-died

May 14, 1912, Stockholm), Swedish playwright and novelist. While working
as a journalist, he wrote the historical play Mäster Olof (1872); although it was
rejected by the national theater and not produced until 1890, it is considered
the first modern Swedish play. He achieved fame with his novel The Red
Room (1879), which satirized the Stockholm art world. His unhappy life
included three marriages and episodes of mental instability. At his most
creative, he moved around Europe for six years to write his three major plays:
The Father (1887), Miss Julie (1888), and The Creditors (1890). These
iconoclastic works depict the battle of the sexes using a combination of
dramatic naturalism and psychology. During this period he also wrote three
novels. After a mental breakdown, she underwent a religious conversion that
inspired symbolic dramas such as The Dance of Death (1901), The Dream
Drama (1902), and five "chamber plays," including The Ghost Sonata (1907).
5.
6.
 August Stringberg's 1889 Swedish theater drama The Stronger. The
Stronger was composed in Copenhagen from December 1888 to January
1889 as a compilation of theatrical pieces. Stringberg's play The Stronger is
one of his rigorous plays, with a propensity to minimize aspects of beauty,
lighting techniques or stage decorations, characters, and conversation
(Brandel, 1988).

The Stronger is a famous short play and monodrama with deep

psychological underpinnings. Drama The Stronger is a play about a love
triangle involving two married ladies, Mrs. X and the unmarried Miss Y.
Both meet by chance on Christmas Eve at Café, and the encounter reopens
old rivalry for Mrs. X's affection. This drama is unique in that the spouse
character is not featured, and only one person speaks throughout the play,
while the other Miss X simply responds and does not say anything.
Stringberg exhibits his incisive and discriminating skill in paying attention
to human nature and its intricacies in the drama The Stronger.
 CHAPTER III

RESEARCH METHODOLOGY

A. Type of Research

Field research is use in this study. Field research is a sort of study in

which data is acquired from respondents or viewers of the play (Sugiyono,
2012). Because it was conducted by members of a specific social setting, this
study is a qualitative descriptive study. Qualitative research is used to gather
and translate social and human behavior (Ary, Jacobs, Sorensen, and
Razayieh, 2010). To gather this data source, the researcher use a questionnaire
methodology. Based on the data processing approach, this sort of study is
classed as qualitative descriptive research.

B. Source of Data

The focus of this research is English literature student's reception of

August Stringber's The Stronger, so the approach use is reader respon theory
with descriptive research method because the objective of this research is the
reception of August Stringber's The Stronger by English literature students,
the strategy used is reception with descriptive research method. The
respondents are 15 students from 4th semester English Language and
Literature Department, Faculty of Adab and Humanities, UIN Alauddin
Makassar, who had previously watch The Stronger. They are chosen using the
purposive sampling methodology, which is a method of picking data sources
with specific considerations, such as the individual being thought to know the
most about what we expect.
 Purposive sampling is used in this study. Because the researcher
believes that the sample takers are the most knowledgeable about the subject
that the researcher will investigate. The purpose of this study's use of
purposive sampling is to discover In establishing who is the stronger, how
does the environment impact the reception of English literary students?

C. Instrument Of Research

Research instruments are tools use in collecting data to make the data
work more accessible and the results better. In conducting a research entitled
"English Literature Students Reception On The Stronger", researchers used
instruments in the form of questionnaire sheets and videos of stage
performances of The Stronger drama. In the Questionnaire sheet, the
researcher will ask respondents questions related to how they assess the
Stronger character in the drama. After the data collection, the researcher enters
the data into the data corpus to be interpreted. Furthermore, the data is used to
analyze according to the theory.
D. Procedures of collecting data

Usman (2008) defines data-collecting methodology as "a method used

by the researcher to collect data." The purpose of this data collection is to get
the information needed to meet the researcher's purpose. A questionnaire is
use to collect data for the purpose of this study. A questionnaire is a research
instrument composed of a set of questions used as reference material to elicit
responses from certain groups of individuals through interviews or
questionnaires (Sugiyono, 2008). Participants in this study are choose from
English Literature Students 4th Semester . The goal of selecting English
Literature Students as respondents is to ascertain their understanding of the
stronger person through the drama to be analyze.
There are several steps that the researcher have to take when collecting
data. The data is collected in four steps, which are as follows:

a) The researcher create a questionnaire about the problems, focusing on

the English literature students’s reception. A questionnaire is required to
examine and reveal reader perception.
b) The respondents are gathered from from 4th semester students of
English Language and Literature Department, Faculty of Adab and
Humanities, UIN Alauddin Makassar and have watch The Stronger
before.
c) The researcher distributes a questionnaire to the respondents.
d) The researcher collect a questionnaire contain the students reception
data which is then analyze with reader response theory by Jauss.
 E. Techniques of Data Analysis

In this research, the data will be analyzed use two methods. They are as
follows :
a) After analyzing the literature, conduct an analysis of the reader
response. This section contains more detailed instructions. The first
step is to classify the students reception.
b) The second step is to categorize the respondent by their reception on
The Stronger.
c) The third step is that researchers use two methods to get the results,
the two methods are Reader-Response (Interpretation) to analyze
student receptions and descriptive methods to explain social problems,
procedures that apply, certain situations such as relationships,
activities, attitudes, views, and ongoing processes, as well as the impact
of a phenomenon.
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