Chapter III v(1)

CHAPTER III

METHOD OF RESEARCH

3.1 Research Design

Before examining types of research designs it is important to be clear about the role and

purpose of research design.

One needs to understand what research design is and what it is

not. One needs to know where design is put into the whole

research process from framing a question to finally analysing

and reporting data. In general social researchers ask two

fundamental types of research questions: first what is going on,

termed descriptive research and second why it is going on,

termed explanatory research. (Kurt: 1996)

It is known that although some people dismiss descriptive research as mere description,

good description is fundamental to the research enterprise and it has added immeasurably to

one’s knowledge of the shape and nature of society. Descriptive research encompasses much

government sponsored research including the population census, the collection of a wide range

of social indicators and economic information such as household expenditure patterns, time use

studies, employment and crime statistics and the like.

Descriptions can be concrete or abstract. A relatively concrete

description might describe the ethnic mix of a community, the

changing age profile of a population or the gender mix of a

workplace. Alternatively the description might ask more abstract

questions such as `Is the level of social inequality increasing or

declining?', `How secular is society?' or `How much poverty is

there in this community?' Accurate descriptions of the level of

unemployment or poverty have historically played a key role in

Universitas Sumatera Utara

social policy reforms. By demonstrating the existence of social

problems, competent description can challenge accepted

assumptions about the way things are and can provoke action.

Good description provokes the `why' questions of explanatory

research. If one detects greater social polarization over the last

20 years that is the rich are getting richer and the poor are

getting poorer one is forced to ask `Why is this happening?' But

before asking `why?' one must be sure about the fact and

dimensions of the phenomenon of increasing polarization.

(Wagner: 2001)

It is all very well to develop elaborate theories as to why society might be more polarized

now than in the recent past, but if the basic premise is wrong that is society is not becoming more

polarized then attempts to explain a non-existent phenomenon are silly. In Explanatory research

focus is on why questions. For example, it is one thing to describe the crime rate in a country, to

examine trends over time or to compare the rates in different countries. It is quite a different

thing to develop explanations about why the crime rate is as high as it is, why some types of

crime are increasing or why the rate is higher in some countries than in others. The way in which

researchers develop research designs is fundamentally affected by whether the research question

is descriptive or explanatory. It affects what information is collected. For example, if one wants

to explain why some people are more likely to be apprehended and convicted of crimes one

needs to have hunches about why this is so.

People may have many possibly incompatible hunches and will need to collect

information that enables someone to see which hunches work best empirically. From this short

illustration, the writer applies qualitative descriptive method to analyze Hemingway. This

analysis is based on two question formulated in problem

identification, those are whether the novel contains adjective phrases and the forms and role of

adjective phrases in all the sentences of the novel.


3.2 Data Collection Procedure

The search for answers to research questions calls of collection of data. Data are facts,

figures and other relevant materials, past and present, serving as bases for study and analysis.

The data needed for a social science research may be broadly classified into data pertaining to

human beings and data relating to organisations, as well as data pertaining to territorial areas.

Personal data or data related to human beings consist of Demographic and socio-economic

characteristics of individuals like age, sex, race, social class, religion, marital status, education,

occupation, income, family size, location of the household, and life style,. and behavioural

variables like attitudes, opinions, awareness, knowledge, practice, intentions, etc. Organisational

data consist of data relating to an organisation’s origin, ownership, objectives, resources,

functions, performance and growth. Territorial data are related to geophysical characteristics,

resources endowment, population, occupational pattern, infrastructure, economic structure,

degree of development, . of spatial divisions like villages, cities, state, regions and the nation. In

this matter, the writer, having got full understanding of the novel The Old Man and the Sea,

begins to find data relevant to the focus of the analysis, that is the standing of adjective phrases

used in the sentences of the novel. All the above procedures with proportional portions are

applied. This is so because the data serve as the bases or raw materials for analysis. Without an

analysis of factual data, no specific inferences can be drawn on the questions under study.

Inferences based on imagination or guesswork cannot provide correct answers to research

questions. The relevance, adequacy and reliability of data determine the quality of the findings of

a study. And the writer makes use of different types of data procedures , some of which

mentioned above, to get a better analysis of the Adjective Phrase in the novel The Old Man and

the Sea.

3.3 Data Analysis Procedure

To begin with the writer, the writer, having got a full understanding of the novel The Old

Man and the Sea identifies all the sentences used in the novel and the ones containing adjective

20


phrases are classified. Having got all the adjective phrases, the writer then observes the standing

of the adjective phrases in order to determine the roles. This is done in answer to the questions

formulated in the problem identification that is to find the adjective phrases in the novel and

determine the roles.


CHAPTER IV

ANALYSIS AND FINDING

From the viewpoint of writing style, the novel is widely accepted; this is so because

Hemingway is famous for his style: the short, factual sentences, the declarative nature of the

words. Hemingway popularizes this at a time when people are peppering parenthetical

prepositional phrases into their work like there is no tomorrow. It is as though everyone else is

painting huge oil canvases, and Hemingway draws a penciled sketch that is somehow better than

all the other works of the time.

The Old Man and the Sea comes round at the finish of Hemingway’s writing career. With

its vivid characterization, its simple language, and the profound implicating it carries, it stands

out as one of the excellent books Hemingway’s former stature as the word’s preeminent novelist.

The Old Man and the Sea earns its author the Pulitzer Prize in fiction for 1952, and is

instrumental in winning him the Nobel Prize for Literature two years later. It is a short novel

about Santiago, an old Cuban fisherman who has gone for 84 days without catch. Therefore the

boy, Mandolin, who sails with him, is forced to leave him an catch in another ship. The old man

insists on fishing alone and at last, he hooks an eighteen-foot, giant marlin, the largest he has

ever known. But the fish is very powerful and disobedient. It tows the old man and his boat out

to sea for 48 hours, with the old man bearing the whole weight of the fish through the line on his

back. The old man, with little food and sleep, has to endure much pain and fights against his

treacherous hand cramp. To his great excitement, on his third day at sea, he succeeds in drawing

the weakened marlin to the surface and harpoons it. On his way home, he lashes marlin alongside

his boat because it is too big to be pulled into the boat. But, unfortunately, the come across

sharks in different numbers for four times.

The old man fights to kill the sharks with as much might and many weapons as he can

summon, but only to find a giant skeleton of his marlin left after his desperate defense. At last,

Santiago, having lost what he fights for, reaches the shore and struggles to his shack. He falls

into sound sleep, dreaming of Africa, and the lions again. His struggle wins him much respect.

Of many great American writers, Hemingway is famous for his objective and terse prose style.

The Old Man and the Sea typically reflects his


unique writing style. Hemingway has used many techniques in this novel, such as realism, the

creation of suspense, or monologue.. This study focuses on the language style specifically the

use of adjective phrases.

Hemingway is famous for his language. With much care and effort, he creates a very influential

and immediately recognizable style.

There is an unmistakable autobiographical element in the novel. At the time of its

writing, Hemingway was himself an older man, challenged by the struggles of age, much like

Santiago. Prior to the publication of The Old Man and the Sea, he had been having difficulty

with his writing. Between 1940 and 1950, he published no novels. When he finally published

"Across the River and into the Trees" in 1950, Hemingway was criticized severely for falling

below his usual standards. It was obvious he was in a "literary drought," much like Santiago’s

own round of bad luck in fishing. When he published The Old Man and the Sea in 1952, it was

his prize, his giant fish. It was also a fitting reply to his critics, who eagerly tore his writing apart;

the critics are obviously symbolized by the sharks in the novel. Hemingway won the Nobel Prize

for The Old Man and the Sea in 1954. In the citation for the prize, a special mention is made

about his style. Since Hemingway had been a journalist, the hallmarks of journalistic style are

evident in his writing, especially in this short novel. Using a minimum amount of words, he

extracts maximum meaning and effect; the result is that his narration is simple, yet immensely

powerful, pithy, and direct. He keeps the use of adjectives to the barest minimum and avoids

hyperboles, cliches, slang, and flowery phrases. His short sentences, which sometime sound

clipped and staccato, speed up the pace of the novel as it rushes towards its climax. The interior

monologues that Santiago has with himself cleverly break the exposition of the narrative.

Hemingway definitely proves in The Old Man and the Sea that he is a wonderful teller of tales

and a deft craftsman of words.

The general analysis on the structure of the sentences or commonly said the language

used in The first sentence of the book announces itself as Hemingway's: "He was an old man

who fished alone in a skiff in the Gulf stream and he had gone eighty-four days now without

taking a fish" .

The words are plain, and the structure, two tightly-worded independent clauses conjoined

by a simple conjunction, is ordinary, traits which characterize Hemingway's literary style. While


in other works this economy of language is used to convey the immediacy of experience,

Hemingway's terseness is heightened here to the point of rendering much of the prose empty on

one level and pregnant with meaning on the other; that is, the sentences tend to lose their

particular connection to reality but at the same time attain a more general, symbolic character,

much like the effect of poetry. Hemingway's style, then, helps explain why so many

commentators view his novella more as a fable than as fiction.

The use of the number forty in the next sentence is the first of many religious allusions in

the novella. We are told that after forty days (the length of time it took Christ to subdue Satan in

the desert), Manolin's parents decided that "the old man was now and definitely salao, which is

the worst form of unlucky" . This sentence proclaims one of the novel's themes, the heroic

struggle against unchangeable fate. Indeed, the entire first paragraph emphasizes Santiago's

apparent lack of success. For example, "It made the boy sad to see the old man come in each day

with his skiff empty." And most powerfully, "The sail was patched with flour sacks and, furled,

it looked like the flag of permanent defeat".

This type of descriptive degradation of Santiago continues with details of his old, worn

body. Even his scars, legacies of past successes, are "old as erosions in a fishless desert" . All

this changes suddenly, though, when Hemingway says masterfully, "Everything about him was

old except his eyes and they were the same color as the sea and were cheerful and undefeated" .

This draws attention to a dichotomy between two different types of success: outer, material

success and inner, spiritual success. While Santiago clearly lacks the former, the import of this

lack is eclipsed by his possession of the later. This triumph of indefatigable spirit over

exhaustible material resources is another important theme of the novel. Also, Santiago's eye

color foreshadows Hemingway's increasingly explicit likening of Santiago to the sea, suggesting

an analogy between Santiago's indomitable spirit and the sea's boundless strength.

The relationship between Santiago and Manolin can be summed up in one sentence: "The

old man had taught the boy to fish and the boy loved him" . Manolin is Santiago's apprentice, but

their relationship is not restricted to business alone. Manolin idolizes Santiago but the object of

this idolization is not only the once great though presently failed fisherman; it is an idolization of

ideals. This helps explain Manolin's unique, almost religious devotion to the old man,


underscored when Manolin begs Santiago's pardon for his not fishing with the old man anymore.

Manolin says, "It was Papa made me leave. I am a boy and I must obey him," to which Santiago

replies, "I know... It is quite normal. He hasn't much faith" .

Despite the clear hierarchy of this teacher/student relationship, Santiago does stress his

equality with the boy. When Manolin asks to buy the old man a beer, Santiago replies, "Why

not?... Between fisherman" . And when Manolin asks to help Santiago with his fishing, Santiago

replies, "You are already a man" . By demonstrating that Santiago has little more to teach the

boy, this equality foreshadows the impending separation of the two friends, and also indicates

that this will not be a story about a young boy learning from an old man, but a story of an old

man learning the unique lessons of the autumn of life.

A similar type of unexpected equality comes out when Hemingway describes the various

ways marlins and sharks are treated on shore. While this foreshadows the struggle between

Santiago's marlin and the sharks, it is also equalizes the participants. Despite the battles at sea,

the marlins and sharks are both butchered and used by humans on land; their antagonisms mean

nothing on shore. Like the case of Santiago and Manolin, this equalization demonstrates the

novella's thematic concern with the unity of nature - including humanity - a unity which

ultimately helps succor the heroic victim of great tragedy.

Hemingway also peppers the novella with numerous references to sight. We are told, for

instance, that Santiago has uncannily good eyesight for a man of his age and experience, while

Manolin's new employer is nearly blind. When Manolin notices this, Santiago replies simply, "I

am a strange old man" . Given the previously mentioned analogy between Santiago's eyes and

the sea, one suspects that his strangeness in this regard has something to do with his relationship

to the sea. This connection, though, is somewhat problematic as it might suggest that Santiago

would have success as a fisherman. Santiago's exact relation to the sea, though, will be taken up

in later chapters.

The simplicity of Santiago's house further develops our view of Santiago as materially

unsuccessful. It is interesting that Hemingway draws attention to the relics of Santiago's wife in

his house, presenting an aspect of Santiago which is otherwise absent throughout the novel.


This is significant because it suggests a certain completeness to Santiago's character

which makes him more of an Everyman - appropriate for an allegory but mentioning it simply to

remove it from the stage makes its absence even more noteworthy, and one might question

whether the character of Santiago is too roughly drawn to allow the reader to fully identify with

his story.

This study is concerned with adjective phrase. An adjective is a noun modifier. The noun

modifier. The noun modifier may be either a single element or sometimes composed of more

than one element which themselves are structurally linked or formed into a construction. This

construction may be termed as an adjective phrase. An adjective phrase is an endocentric

construction and fills the modifier slot of a head-modifier noun phrase. In a strict sense of the

term ‘phrase’ as an unit filling slots at clause level structure, the existence of an adjective phrase

is doubtful. The reason for this doubtful nature of the status of adjective phrase is that the

adjectives or adjective phrases are optional modifying elements of noun heads in head-modifier

noun phrases. However, this optional modifier slot filler can stand as an independent adjective

phrase, because there exist adjectives which either act as attributive heads and take sub-modifiers

such as intensifiers, comparators, limiters, numerals, quantifiers, ., or, are coordinated with other

adjectives.

There are nine hundred ninety seven adjective phrases used in the novel and the focus of

the study goes to the functions based on the following data.

4.1 Premodifier

There are six hundred fifty nine adjective phrases functioning as premodifiers and they

are all classified into four forms.

4.1.1 Adjective

There are six hundred adjective phrases functioning as premodifiers in the form of an

adjective alone. Five of them are taken for analysis.

1. He was an old man who fished alone… (p. 1)

2. The brown blotches of benevolent skin cancer… (p. 2)


3. … from hadling heavy fish on the cords. (p. 1)

4. … they were the same colour as the sea … (p. 1)

5. You’re with a lucky boat (p. 2)

All the sentences above make use of adjective phrases in the form of a simple adjective which

function as premodifiers. In (1) the adjective old modifies the following noun, man, in (2)

brown modifies blotches, in (3) heavy modifies fish, in (4) same modifies colour and in (5)

lucky modifies boat. Those adjectives are said to be promodifiers as they precede the nouns

modified.

4.1.2 Intensifier + Adjective

Based on the data, the writer finds five adjective phrases of this type as given in the

following.

6. but you are strong enough now for a truly big fish (p. 5)

7. … for truly big fish (p. 22)

8. It is a very big circle, he said. (p. 58)

9. … and a very pale lavender above the dark blue water. (p. 61)

10. .. that a very bad time was coming. (p. 73)

All the sentences above make use of adjective phrases which function as premodifiers. In (6) and

(7) the intensifier + adjective truly big modifies the following noun fish, in (8) very big

modifies circle, in (9) very pale modifies lavender and in (10) very bad modifies time. Those

adjective phrases are called to be premodifiers as they precede the noun modified.

4.1.3 Present Participial Phrase

In the novel there are forty four adjective phrases of this type. Here, five of them are

presented.

11. … where all the wandering fish fed on them. (p. 16)

12. … he heard the trembling sound as … (p. 16)

13. … as flying fish left the water and … (p. 16)

14. … and all the projecting part of the hook. … (p. 17)

15. … as they followed the escaping fish. (p. 20)

All the sentences above make use of adjective phrases which function as premodifiers. In

(11) the present participial phrase wandering modifies the following noun fish, in (12)


trembling modifies sound, in (13) flying modifies fish, in (14) projecting modifies part and in

(15) escaping modifies fish. Those present participial phrases are concluded to be postmodifiers

as they precede the nouns modified.

4.1.4 Past Participial Phrase

There are ten adjective phrases of this type. Five of them are presented here.

16. … leaned the mast with its wrappede sail against … (p. 6)

17. Once there had been a tinted photograph of … (p. 6)

18. Black beans and rice, fried bananas, and … (p. 9)

19. … carried the mast with the furled sail on … (p. 14)

20. … and the hooked fish, the female, made … (p. 31)

All the sentences above make use of adjective phrases which function as premodifiers. In

(16) the past participial phrase sunburned modifies the following noun eyes, in (17) wrapped

modifies sail, in (18) tinted modifies photograph, in (19) fried modifies bananas and in (20)

furled modifies sail. Those adjective phrases are said to be premodifiers as they precede the

nouns modified.

4.2 Postmodifier

Four adjective phrases stand as postmodifiers are found in the novel. They belong to the

three forms as stated below.

4.2.1 Adjective

There is only one adjective phrase of this type. It is in this sentence:

21. … and those great drives in the old park. (p. 10)

The sentence above makes use of an adjective phrase which functions as a postmodifier. The

adjective great modifies the proceeding noun those. This adjective is said to be a postmodifier as

it follows the noun modified.


Based on the data, two adjective phrases are found in the novel.

22. … with two men staggering at the end of each park… (. 2)


23. … with the great tail weaving in the air… (p. 63)

The two sentences above make use of adjective phrases which function as postmodifiers. In

(22) the present participial phrase staggering modifies the proceeding noun men and in (23)

weaving modifies tail. They are called postmodifiers as they follow the nouns modified.


In the novel, there is only one adjective phrase in the form of past participial phrase.

24. This was a fish built to feed on all the fishes … (p. 69)

The sentence above makes use of adjective phrase which functions as a postmodifier. In (24)

the past participial phrase built modifies the preceding noun fish. This past participial phrase

functions as a postmodifier as it follows the noun modified.

4.3 Subject Complement

There are two hundred sixty six adjectives phrases standing as subject complement in the

novel.

4.3.1 Adjective

There are one hundred seventy three adjective phrases of this type. Some of them are in the

following.

25. The old man was thin and … (p. 1)

26. But none of these scars were fresh. (p. 1)

27. Everything about him was old … (p. 1)

28. … and he was not angry. (p. 2)

29. … it was pleasant … (p. 3)

All the sentences above make use of adjective phrases which function as subject

complement. In (25) the adjective thin modifies the subject the old man, in (26) fresh modifies

none of these scars, in (27) old modifies everything about him, in (28) angry modifies he and

in (29) pleasant modifies it. Those adjectives function as subject complement as they modify the

subject of the sentences.


Based on the data, forty two adjective phrases of this type are found in the novel. The

following are some of them.


30. It is quite normal. (p. 2)

31. He is almost blind. (p. 5)

32. … though he was quite sure no local people would … (p. 5)

33. The old man’s head was very old … (p. 8)

34. …he when he came back the old man was still asleep. (p. 8)


complement. In (30) the intensifier + adjective quite normal modifies the subject it, in (31)

almost blind modifies he, in (32) quite sure modifies he, in (33) very old modifies the old

man’s head and in (34) still asleep modifies the old man. All those adjective phrases function

as subject complement as they modify the subject of the sentences.

4.3.3 Adjective + Preposition

There are thirty seven adjective phrases of this type in the novel. The following are some of

them.

35. … it was pleasant and sunny on the terrace. (p. 3)

36. … as the dew was bad for them and … (p. 5)

37. … the old man was asleep in the chair… (p. 8)

38. … you will be fresh in the morning. (p. 12)

39. He was asleep in a short time.. (p. 12)


complements. In (35) the adjective + preposition sunny one modifies the subject it, in (36) bad

for modifies the dew, in (37) asleep in modifies the old man, in (38) fresh in modifies you and

in (38) asleep in modifies he. Those adjective phrases functioning as subject complements

modify the subject of the sentences.

4.3.4 Adjective + Infinitive

Based on the data, there are thirteen adjective phrases of this type. Here are some of them.

40. … and he was happy to see …(p. 20)

41. It would be wonderful to do this… (p. 29)

42. It would not be bad to eat … (p. 38)


43. I was lucky to get him… (p. 38)

44. …. When it was necessary to free .. (p. 39)


complements. In (40) the adjective + infinitive happy to modifies the subject he, in (41)

wonderful to modifies it, in (42) bad to modifies it, in (43) lucky modifies I and in (44)

necessary to modifies it. Those adjective phrases function as subject complements as they

modify the meaning of the subject.

4.3.5 Prepositional Phrase

In the novel, there is only one adjective phrase of this type. It is in this sentence.

45. … but they were in good condition … (p. 17)

The sentence above makes use of an adjective phrase which functions as a subject complement.

In (46) the prepositional phrase in good condition modifies the meaning of the subject they. It

means that it functions as the subject complement as it modifies the meaning of the subject.

4.4 Object Complement

There are sixty eight adjective phrases as an object complement in this novel. They have

seven forms as written below.

4.4.1 Adjective

There are forty five adjective phrases of this type which function as the complement of an

object. Some of them are presented in the following.

46. or I may eat the rice cold (p. 6)

47. Thank you. You make me happy. (p. 12)

48. … that he will prove us wrong. (p. 12)

49. But he knew he would shiver himself warm… (p. 13)

50. … the school working the water white … (p. 23)

All the sentences above make use of adjective phrases which function as object

complements. In (47) the adjective cold modifies the preceding object the rice, in (48) happy

modifies me, in (49) wrong modifies us, in (50) warm modifies himself and in (51) white


modifies the water. Those adjective phrases function as subject complements as they modify the

meaning of the object.


Based on the data, there are four adjective phrases of this type. The following are some of

them.

51. Then if you hook something truly big …(p. 5)

52. … because it made him too lonely… (p. 6)

53. … actually was only somewhat less intolerable (p. 29)

54. … if a pig had a mouth so wide… (p. 77)


complements. In (52) the adjective phrase truly big modifies the preceding object something, in

(53) too lonely modifies him, in (54) less intolerable modifies somewhat and in (55) so wide

modifies a mouth. Those adjective phrases function as object complements as they modify the

meaning of the object of the transitive verbs preceding them.

4.4.3 Adjective + Preposition

There are three adjective phrases of this type.

55. He let his hand dry in the air… (p. 49)

56. He felt that maw heavy and slippery in his hands… (p. 52)

57. I never had anything wrong with my heel… (p. 71)

In all the sentences above the adjective phrases function as object complements. In (56) the

adjective phrase dry in modifies the meaning of the object hand, in (57) slippery in modifies

the maw and in (58) wrong with modifies anything. Those adjective phrases are said to

function as object complements as they modify the meaning of the object noun phrase preceding

it.

4.4.4 Adjective + Infinitive

In the novel two adjective phrases of this type are found.

58. It made the boy sad to see … (p. 1)

59. … with his half circle of jaws wide to hit the fish …(p. 75)


In both sentences above the adjective phrases function as object complements. In (58) the

adjective phrase sad to modifies the preceding object the boy and in (59) wide to hit the fish

modifies his half circle of jaws. The two adjective phrases are said to function as object

complements because they modify the object preceding it.

4.4.5 Infinitive

There are five adjective phrases used in the novel. The following are some of them.

60. … and get something to eat … (p. 67)

61. … since there was nothing to read… (p. 72)

62. There is only the boy to worry … (p. 79)

63. There was nothing more for them to eat (p. 82)

64. … and it was nothing to get home. (p. 83)

All the sentences above make use of adjective phrases in the form of infinitive which

function as object complements. In (60) the infinitive to eat modifies the preceding object

something, in (61) the infinitive to read modifies nothing, in (62) to worry modifies the boy,

in (63) to eat modifies them, and in (64) to get home modifies nothing. Those infinitives are

said to be adjective phrases which function as object complements because they modify the

objects preceding them.


There are six adjective phrases of this type. Some of them are presented below.

65. … there would be a bait waiting exactly … (p. 18)

66. but we have no hurricane coming now … (p. 40)

67. … only his great tail moving (p. 62)

68. … could hear the noise of skin and flesh ripping… (p. 70)

69. Then, on his back, with his tail lashing… (p. 70)


complements. In (65) the present participial phrase waiting modifies bait, in (66) coming

modifies hurricane , in (67) moving modifies tail, in (68) ripping modifies skin and flesh and

in (69) lashing modifies tail.


Those present participial phrases are called adjective phrases which function as object

complements because they modify the object preceding it.


There are three adjective phrases in the form of past participial phrase functioning as a

postmodifier.

70. … with a paper napkin wrapped around each set. (p. 9)

71. … and the two baits wrapped in a newspaper… (p. 15)

72. … with the knife lashed to it. (p. 74)

All the sentences above make use of adjective phrases in the form of past participial phrase

which function as object complements. In (70) and (71) the past participial phrases wrapped

modifies the preceding noun phrases a paper napkin and baits, and in (72) lashed to modifies

the knife. Those past participial phrases are concluded to function as object complements

because they modify the noun phrase following it.


CHAPTER V

CONCLUSION AND SUGGESTION

5.1 Conclusion

After analyzing the data, some conclusions are taken. There are a number of functions of

adjective phrases, namely: premodifier, postmodifier, subject complement and object

complement. In reading the sentences analysed, the readers can understand more about adjective

phrases. In the novel, the writer finds all of the functions of adjective phrases in various forms:

an adjective alone, intensifier + adjective, adjective + prepositional phrase, adjective + infinitive,

prepositional phrase, infinitive, present participial phrase and past participial phrase.

5.2. Suggestion

In this last chapter, the writer would suggest that the teachers of English should teach

adjective phrase to increase students’ ability to get some information from reading material.

Through adjective phrases , students are expected to be able to compose a good writing. It is also

suggested that students of English department should analyse aspects of language in order to get

familiar with various forms of English structure and only by this way a good understanding of a

certain text could be grasped.


Documents

Chapter III v(1)