the book, and/or the author. If the reader builds a relationship with either the main character or author, then he/she will have some sense of reliability, familiarity, and personal growth. In other words, if an individual realizes what the protagonist is going through and the situation is realistic and believable, a bond will form and he/she can be informed by what the character does in the novel to overcome an obstacle. Based on this part of the Bildungsroman definition, it is necessary for the novel to be written realistically and with the and beliefs; otherwise, the objective of author’s aesthetics educating the readers will have no effect since they would not believe such things novel’s could happen. The historical features of the Bildungsroman give the author the opportunity to make a correlation between the text and the history. In a way, the novel can help provide a reflection of what the time, setting, and culture was like in the novel. In accordance with The Apprenticeship of the Novel: The Bildungsroman and the Tobias Boes’ (2008), the writer states how the individual Invention of History, ca. 1770-1820 formation of the protagonist progresses along with the historical development of time and setting he/she is in. Moreover, novel works with concrete examples rather than with “the abstractions and traces how the currents of history pulse through (p. ordinary objects” 275). In a way, coming of age writers also concentrate on the time and setting to help depict what society was like and how the characters reacted within it. At the same time, the sense of image and life the author created had also taught readers about social and individual development, particularly through the progression in the story protagonist’s from beginning to (1991) described how the Reflection and Action end. Hardin’s accommodated the concerns of a new middle-class reading “Bildungsroman readily
the book, and/or the author. If the reader builds a relationship with either the main character or author, then he/she will have some sense of reliability, familiarity, and personal growth. In other words, if an individual realizes what the protagonist is going through and the situation is realistic and believable, a bond will form and he/she can be informed by what the character does in the novel to overcome an obstacle. Based on this part of the Bildungsroman definition, it is necessary for the novel to be written realistically and with the author’s aesthetics and beliefs; otherwise, the objective of educating the novel’s readers will have no effect since they would not believe such things could happen. The historical features of the Bildungsroman give the author the opportunity to make a correlation between the text and the history. In a way, the novel can help provide a reflection of what the time, setting, and culture was like in the novel. In accordance with Tobias Boes’ The Apprenticeship of the Novel: The Bildungsroman and the Invention of History, ca. 1770-1820 (2008), the writer states how the individual formation of the protagonist progresses along with the historical development of time and setting he/she is in. Moreover, “the novel works with concrete examples rather than with abstractions and traces how the currents of history pulse through ordinary objects” (p. 275). In a way, coming of age writers also concentrate on the time and setting to help depict what society was like and how the characters reacted within it. At the same time, the sense of image and life the author created had also taught readers about social and individual development, particularly through the protagonist’s progression in the story from beginning to end. Hardin’s Reflection and Action (1991) described how the “Bildungsroman readily accommodated the concerns of a new middle-class reading
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