A Deixis Analysis Song Lyric of “ Reckless” By Madison Beer
on
e-Journal of Linguistics
Available online at https://ojs.unud.ac.id/index.php/eol/index
Vol. 17, No. 1, January 2023, pages: 114--123
Print ISSN: 2541-5514 Online ISSN: 2442-7586
https://doi.org/10.24843/e-jl.2023.v17.i01.p14
A Deixis Analysis Song Lyric of “ Reckless” By Madison Beer
1Elvina Rosa Dilla, 2Foury Widya Anjani, 3Indahh Rustiyani, 4Syafa Salsabila Putri Annazmi, 5Emeliya Sukma Dara D 1[email protected], 2[email protected]
3[email protected], 4[email protected], 5[email protected]
UINSU, Indonesia
Article info
Received Date: 20 June 2022
Accepted Date: 1 Juli 2022
Published Date: 31 January 2023
Keywords:* pragmatics; deixis; song; kinds of deixis
Abstract*
This study aim of the research is to identify the type of deixis and the dominant type of deixis in the lyrics of Madison Beer's song Reckless. This study is a type of qualitative research. Data collection techniques include listening to songs and analyzing Madison Beer's song "Reckless." The findings of this study include all types of deixis found in the person (64 data), spatial (11 data), temporal (8 data), and social (5 data) deixis found in the lyrics of Madison Beer's song Reckless. People's deixis is most frequently found in Reckless lyrics. The majority of the deixis found in this study are people's deixis, such as I and You. While the plural deixis of people found is We which is addressed to the listener.
Tfouni and Klatzky (1983) describe “Deixis Discourse Analysis: Pragmatic, Cognitive, and Semantic Factors in Understanding “This,” “That,” “Here, “And” There. "I did research on the subject. The children used in this study (mean age 3; 6) were tested for understanding of this deixis word here and there in two circumstances: the listener's goal and the audience's listener.
Sari, (2015) conducted a study "Analysis of Intercultural Interaction Deixis among Students". The results of this study indicate that different cultural backgrounds affect communication styles and outcomes. You need to pay more attention to the person you are talking to, topics, goals, and situation.
Deixis, according to (Yule & Stalnaker, 1996), refers to that is communicated through language. In pragmatics, semantics, and linguistics, deixis is a significant topic. Deixis is vital in discourse because it keeps people at specific moment in time and space, according to (Cairns, 1991). Each dialogue would appear as a loose collection in separate language without such an anchor, which is plainly not the case.
This talk maybe very important, and on this context numerous deixis references consult with the context. Direct connection with phenomena where in the that means of sure phrases or terms in speech calls for contextual records. Words and expression that require contextual records for taxation are extra than the implementation of deixis. Deixis also are a fabricated from the manner language encodes functions, and consequently additionally how the translation of contextual utterances withinside the evaluation of the context of the utterances (Dylgjeri & Kazazi, 2013).
Based on Lyons (2003: 170) in (Eragbe et al., 2015), “Lyon also shows that in many languages, deixis is a grammatical device that is classified as human and tense. Deixis refers to the participants, speakers, listeners, and sometimes the real-world directions of the discourse, whereas tenses reflect the time of interaction or occurrence of events. Place of time or communication. The language function used to find people in an encounter is called deixis. In general, deixis performs the function of pointer or orientation in a discourse."
Jaszczolt (2002:191) states that"deixis"comes from an ancient Greek word and means"to show"or"to show". Deixis is a miracle that uses grammatical identifying vocabulary particulars to render contextual information and give that information only when paired with that environment. In other words, it means the lexicaliztation or alphabet of contextual information. That means making it an important grammatical or verbal distinction.
Yule (1996:9) states that deixis is a slang (from Greek) that describes one of the most introductory effects we do in speaking. This means that" show"is called deixis. Deixis receives its semantic element from the context of the language in which it is used, according to Hurford (1984:63). (i.e., speaker, purpose, time, place). Jack Richards, for example. (1985, page 75) Deixis is the term or words that immediately tie a word with a time, place, or person, according to his book, the Longman Dictionary of Contemporary Applied Linguistics.
This research uses a qualitative descriptive approach to clarify and describe the deixis in the lyrics of the song 'Reckless.' A qualitative descriptive method is one in which data is described using words or pictures rather than numbers (Moelong, 2006:4). The researcher employs qualitative research because data and analysis written in the form of words and sentences are analyzed based on their actual form without revealing the context of the surrounding data. The approach used is a pragmatic approach in the form of deixis because it is consistent with the object of research, which is the type and meaning of deixis referents in song lyrics. Research data in the form of research objects or things that are the focus of a study (Arikunto, 2010:161). The data from this study is descriptive data, which is the object
of the research, namely words, phrases, or sentences that are included in the type of deixis and the meaning of deixis referents contained in the lyrics of the song 'Reckless’.
Following the collection of data from the lyric text, the researcher analyzed the data as follows: Determine some of the word expressions contained in the deixis expression first. Second, the researcher categorizes the deixis expressions that have been determined using the criteria. Third, the researcher examined the various types of deixis, such as person deixis, time deixis, and place deixis.
To analyze the data, the researcher took the following steps: Reading and listening to the song lyrics as a whole, analyzing the types of deixis in the lyrics based on theory (Levinson, 1983), identifying and categorizing the types and their meanings deixis in the song, and the last one draws conclusions based on data analysis findings and suggestions.
Deixis is a human linguistic phenomenon in which the meaning of a particular reference expression depends on the aspect of its usage context. For example, an utterance like "See you in a week" means (at least) who is speaking, where we (speakers and targets) are, and now. It depends on the number of days). The meaning of all utterances and social behaviors is generally contextual or "indicative", but Deixis introduces this indicator feature into the structure of the language itself. Words like me were called here and are now called Deixis, Indicators, or Changers. This is because terms like "shift" depending on usage. Such words lack the intensional meaning or criteria for determining the set of possible references (think round as a distinct feature of each sphere). Instead, their meaning depends on various context factors.
Traditionally, scholars have identified three categories of deixis (people, places, hours), but the language has the words deixis main ("this / that") and "discourse". Deixis can also use deixis for "society". Deixis sites are often regarded as typical cases of deixis and are the focus of many studies, including those that cast doubt on the basis of spatial meaning (eg Hanks1990). All known human languages show deixis in grammar. This is primarily reflected in the pronouns (personal deixis), deixis (place deixis), and hour adverbs or time symbols (time deixis).
However, the deixis of in the grammar of each language is not uniform and does not have strong universality (Levinson, 2004). In fact, the language varies greatly depending on the number of deixis grammar categories, the number of deixis terms in each category, the meaningful distinction type and the actual usage of the deixis form. The use of deixis is ubiquitous in face-to-face interactions, with often accompanied by nonverbal deixis cues (especially pointing) that the child receives before words and plays an important role in the language development of increase. (Although this is controversial). ). Philosophers, linguists, psychologists, anthropologists and others have been wondering about the nature of deixis for at least a century. They ask a wide range of questions about deixis, including the semiotic characteristics, the meaning of a particular deixis, the inter-linguistic typologies of forms and functions, the acquisition of children's deixis, and their role in language. I raised it A nonverbal deixis in the evolution of language. Current research continues to investigate these questions, demonstrating the central importance of deixis to linguistic theory.
The person Deixis is used to point the object (it, these, those books), all pronouns (I, you we), and possessives (your,our, their). Person Deixis connect to the person related in an utterance, such as: The person directly connected, e.g the speaker and the addressed, the
117 person not directly connected e.g they that hear the utterance beside they are not being directly addressed and the person that mentioned in the utterance.
Commonly person Deixis is expressed by the following kinds of constituents:
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1. The first person Deixis
The speaker or both the speaker and referents group with the speaker e.g singular pronouns (I, me, myself, my mine) and the plural pronouns (we, us, ourselves, our, ours) can be interpreted as the first person Deixis.
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2. Second person Deixis
A person or persons identified as addressee e.g you, yourself, yourselves, your, yours, can be interpreted as second person Deixis.
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3. Third person Deixis
A referent not identified as the speaker or addressee, e.g he, she, they, the third singular verb suffix-s can be interpreted as third person Deixis.
"Social deixis covers that feature of sentences which reflect, establish, or are determined by specific realities of the social setting in which the speech act occurs," Levinson (1983:89 in Fillmore) writes.
This type of deixis is concerned with the social information contained in a statement. According to Levinson (Levinson S. C., 1979, p. 67), social deixis is defined as "those characteristics of language structure that are attached to the social identities of participants (including spectators) in the speech event, or to their relations, or to their relations with other referents.”
Participants' social identities (properly, incumbents of participants roles) or the social link between them, or between one of them and the persons and entities referred to, are encoded using social deixis.
The use of polite pronouns and the title of address is required when using social deixis. Social deixis, according to Fillmore, "encodes the social relationship depending on the port of the participants in the conversation that decided, for example, the choice of honorific, polite, intimate, or insulting speech level."
Nicknames, informal names, and titles of respect are all types of honorifics. Social deixis demonstrates the variations in individuality in every participant's roles, specifically the social fame of the addressee. The marking of social relationships in linguistic expression, with direct or indirect connection with the social fame or position of individuals with- inside the speech event, is called social deixis. The factor of sentences that mirror positive realities of the social scenario wherein the utterances arise is likewise addressed via way of means of social deixis.
The following are a few examples of social deixis:
Good morning, Mommy. Thank you very much, Sir.
A temporal deixis is a time marker (now, then, next week, last month) To interpret all of these deictic expressions, we need to know who the speaker is thinking about, when they are thinking about it, and where they are thinking it. Time adverbs such as "now, soon, lately, recently, ago, today, tomorrow, yesterday" are used to express temporal in dexicals. There is a significant difference between what is close to the speaker (this, here, and now) and what is distant (this, here, and now) (that, there, then). We can also tell if the movement is away from the speaker (go) or towards the speaker (come) (come). When someone comes up to you, you say, "He's coming!" When someone moves away from you, you say, "He's going!"
According to Rinck, temporal deixis is an adverb of time whose reference is contextual. According to Putrayasa, in KKBI (2014: 50) This deixis is referred to as a time adverbial in grammar, which is a disclosure to a point or time distance seen from the time an utterance occurs or when a speaker says it. Now or now expresses the time when the utterance occurs.
For the time "after," we find the words later, tomorrow, the day after tomorrow, later; for the time "before," we find the words earlier, yesterday, last week, at that time, before.
Temporal deixis is giving shape to a time range such as what speakers mean in language events (Cahyono, 1995: 218). Giving the time span intended by the speaker can be seen through the two example sentences according to Cahyono (1995: 218) as follows:
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(1) Don't go home now.
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(2) Now it's better to always have an umbrella ready.
The word now (1) refers to a few moments or minutes.
While the word now (2) has a time reference for several months, namely during the rainy season. The word 'now' in the two sentences is an embodiment of the word deixis because it can be seen that a word, the word 'now', can have a different time reference based on its context. Meanwhile, according to Yule, the notion of a time deixis word is explained through an utterance.
The following is an example of temporal deixis in the lyrics of Madison Beer's song Reckless.
* Then you got up and went to her house
* Each day goes by and each night
* I cry Somebody saw you with her last night
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* You might love her now
According to Thomas, spatial deixis or place deixis does not mean anything in and of itself; it only becomes meaningful when you know where the speaker is standing or what the speaker is indicating. As a result, Levinson describes spatial deixis as "the encoding of spatial locations relative to the location of participants in the speech event." He goes on to say that the majority of languages use a two-term system. The concept of the speaker pointing in space or time to draw the addressee's attention to it is fundamental to both spatial and temporal deixis.
Spatial deixis refers to the concept of the distance between the speaker and the object of his speech. The use of spatial or place deixis, which refers to a specific referent that moves around, frequently becomes an anaphora for previous information. According to Nababan (1987:41), place deixis is a type of guidance to the location of a space or place as seen from the location of people or actors in language events. However, it is through the consideration of spatial deixis that place, from the speaker's perspective, can be defined both mentally and physically. The following is an example of spatial deixis in the lyrics of Madison Beer's song Reckless.
* This is a story I Hate
* This chapter's about How you said there was nobody else
* Then you got up and went to her house
* Said you'd never hurt me but here we are
* You check in and out of my heart like a hotel
* I hope you both go to hell
Research Finding
After analysis the data, researcher found the types of deixis in the lyric song “Reckless” by Madison Beer’s. Researcher used some steps in this research. First, transcribe the lyric and the second classifying the person deixis, spatial deixis, temporal deixis and social deixis.
Tabel 1. Analysis song
Lyrics of Song
Types of Deixis
Hey, this is a story I hate
And telling it might make me break
But I'll tell it anyway
This chapter's about
How you said there was nobody else
Then you got up and went to her house
You guys always left me out
I still have the letter you wrote
When you told me that I was the only girl
You'd ever want in your life
I guess my friends were right
Each day goes by and each night, I cry Somebody saw you with her last night
You gave me your word, "Don't worry 'bout her"
You might love her now, but you loved me first
Said you'd never hurt me, but here we are
Oh, you swore on every star
How could you be so reckless with my heart?
You check in and out
Of my heart like a hotel
And she must be perfect, oh well
I hope you both go to hell
Each day goes by and each night, I cry
Somebody saw you with her last night
You gave me your word, "Don't worry 'bout her"
You might love her now, but you loved me first
This (Spatial Deixis), I (First Person Deixis) It (Person Deixis), Me (First Person Deixis) I (First Person Deixis), It (Person Deixis) This (Spatial Deixis)
You (Second Person Deixis), There (Spatial Deixis)
Then (Temporal Deixis), You (Second Person Deixis), House (Spatial Deixis)
You (Second Person Deixis), Me (First Person Deixis)
I (First Person Deixis), You (Second Person Deixis)
You (Second Person Deixis),That (Spatial Deixis), I (First Person Deixis)
You (Second Person Deixis), Your (Second Person Deixis)
I (First Person Deixis), My (First Person Deixis)
I (First Person Deixis)
You (Second Person Deixis), Her (Third Person Deixis)
You (Second Person Deixis), Me (First Person Deixis), Your (Second Person Deixis), Her (Third Person Deixis)
You (Second Person Deixis), Her (Third Person Deixis), Now (Temporal Deixis), You (Second Person Deixis), Me (First
Person Deixis)
You (Second Person Deixis), Me (First
Person Deixis), Here (Spatial Deixis), We (First Person Deixis)
You (Second Person Deixis)
You (Second Person Deixis), My (First Person Deixis)
You (Second Person Deixis)
My (First Person Deixis), Hotel (Spatial Deixis)
She (Third Person Deixis)
I (First Person Deixis), You (Second Person Deixis), Go (Spatial Deixis), Hell (Spatial Deixis)
I (First Person Deixis)
You (Second Person Deixis), Her (Third Person Deixis)
You (Second Person Deixis), Me (First Person Deixis), Your (Second Person Deixis), Her (Third Person Deixis)
You (Second Person Deixis), Her (Third Person Deixis), Now (Temporal Deixis),
Said you'd never hurt me, but here we are (here we are)
Oh, you swore on every star
How could you be so reckless with my heart? (Heart)
How could you be so reckless?
How could you be so reckless?
How could you be so reckless with someone's heart?
Hey, this is a story I hate
But I told it to cope with the pain
I’m so sorry if you can relate
You (Second Person Deixis), Me (First
Person Deixis)
You (Second Person Deixis), Me (First
Person Deixis), Here (Spatial Deixis), We (First Person Deixis)
You (Second Person Deixis)
You (Second Person Deixis), My (First
Person Deixis)
You (Second Person Deixis)
You (Second Person Deixis)
You (Second Person Deixis)
This (Spatial Deixis), I (First Person Deixis)
I (First Person Deixis), It (Person Deixis)
I(First Person Deixis), You (Second Person Deixis)
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Tabel 2. Types of Deixis | |
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Types of Deixis |
Frequency |
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Personal Deixis Spatial Deixis Temporal Deixis Social Deixis Total |
64 11 8 5 88 |
From the table above, we can see total of deixis types of lyric "Reckless" by Madison Beer are 88 word using the deixis types. 64 Person Deixis, 11 Spatial Deixis, 8 Temporal Deixis, and 5 social deixis. The dominant deixis is person deixis used in Madison Beer's lyrics Reckless.
From this study the researcher found 64 word of Deixis in Person Deixis, they are 11 Spatial Deixis, 8 Temporal Deixis, and 5 Social Deixis in the lyric song of "Reckless" by Madison Beer song's. Besides, the discussion from this study is about total types of Deixis which used in any lyric of song is different. From that lyric the singers explain the feeling and emotion from the song that they wrote. And the researcher found the dominant Deixis, they are : Dominant Personal Deixis, Spatial Deixis, and the last Dominant Temporal Deixis.
Deixis is a frequently used linguistic expression that enables participants to identify concrete relationships. Deixis studies becomes a crucial component of comprehending spoken or written work as a result. However, other investigations indicated that it is difficult to understand the significance and referent of deictic phrases. Maspufah's (2015) study also revealed that senior high school students struggle to understand the context and recognize the referent of deictic terms in narrative literature. People, time, place, and social deixis are frequently employed in everyday life, both orally and in writing, as demonstrated by the study from Wicaksono (2019), which revealed that university students could easily interpret them.
121 However, they struggle to interpret discourse deixis and absorb situational information when it is presented in a descriptive text.
Understanding deixis and context is essential for spotting deixis in speech and other verbal communication. The speech is produced using a variety of words and expressions, and the context in which they are used will have a significant impact on the students' comprehension. Deictic phrases are therefore used in several languages to denote "who," "when," "where," and "what." Depending on who says them, when they are said, and where they are stated, these words constantly acquire new referents since they lack fixed referents. The personal deictic pronoun "I," for instance, can either refer to the speaker or the listener, depending on who is given the role of the speaker.
After the above discussion, researchers conclude that Reckless's lyrics from Madison Beer's song include all three types of deixis: person, place, and time. Deixis is used in three ways: first person, second person, and third person. In addition, other types, temporal deixis, social deixis, and spatial deixis are present in Madison Beer's song Reckless.
Deixis is the most dominant type of song. Because in the lyrics of the song, the singer talks about her feelings and feelings towards her partner. This is because some of the people involved do not feel guilty and find it easy to hurt their partner's emotions and hearts in life. Person deixis is the most common type of deixis in this song. According to research, deixis can be used to easily explain person, pronoun, tense, and indicator functions that connect utterances to person, space, and time relationships. It also helps you understand the meaning of the reference, such as who, where, and when you spoke.
First of all, praise be to Allah SWT for the blessing and mercy that was given to us during our study so that we can at length go to this. To begin with, we would like to thank to our supporting lecturer Emeliya Sukma D, M.Hum whose advice, encouragement, criticism and suggestions have represented a feature of the writing process since the distinct beginning of this Article. And our thanks to e-Journal of Linguistics as publishing this Article. And also we wish to thank all lecturers of the English Education Department for the guidance, support, and knowledge that they have given to us. Thanks also to our friends that gave support and spirit to us. W realize this article is imperfect. Therefore, we welcome all criticisms and suggestions from those interested in a similar topic. We expect this article will be functional for whoever comprehends it, particularly the students of English Education Department of State Islamic of UIN-SU.
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Biography of Authors
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Emeliya Sukma Dara D seorang perempuan kelahiran Rantauprapat 26 September 1981. Email: [email protected] |
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Elvina Rosa Dilla seorang anak perempuan kelahiran kisaran 5 Mei 2001. Ia anak ke empat dari empat bersaudara, Ia terlahir di keluarga sederhana. Ia sedang menempuh pendidikan S1 di Universitas Islam Negeri Sumatera Utara program studi Tadris Bahasa Inggris fakultas Ilmu Tarbiyah dan Keguruan yang saat ini berada di semester 6 menuju semester 7. Ketertarikannya di pelajaran Bahasa Inggris menjadikan ia memilih program studi Tadris Bahasa Inggris. Email : [email protected] | |
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Foury Widya Anjani adalah seorang perempuan yang terlahir dari keluarga sederhana. Ia lahir di Sampali,17 Juni 2001. Ia adalah anak ke empat dari empat bersaudara. Kegiatan yang dilakukan saat ini adalah sebagai mahasiswa yang tengah menempuh pendidikan S-1 di Universitas Islam Negeri Sumatera Utara, di Fakultas Tarbiyah dan Keguruan. Ia mahasiswa jurusan Tadris Bahasa Inggris yang saat ini menuju semester 7. Ia memilih jurusan Tadris Bahasa Inggris karena merasa memiliki skill dan ingin menjadi seorang guru. Email : [email protected] | |
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Indahh Rustiyani seorang anak perempuan yang lahir di kota Medan, 29 Desember 2001. Perempuan ini memiliki banyak hobby seperti makan, Photography,Editing,dan membaca novel. Saat ini, ia sedang menjalankan pendidikan S1 nya di Perguruan Tinggi Islam Negeri Sumatera Utara yaitu UINSU, Fakultas Ilmu Tarbiyah dan Keguruan, Jurusan Tadris Bahasa Inggris semester 6. Perempuan ini menyukai aksen-aksen bahasa luar terutama Bahasa Inggris dan Bahasa Korea. Email : [email protected] |
Syafa Salsabila Putri Annazmi adalah seorang mahasiswa berkelahiran Tebing Tinggi, 26 april 2001. Seorang mahasiswa yang berkuliah S-1 di Universitas Islam Negeri Sumatera Utara, perempuan ini memiliki hobby yaitu gemar bernyanyi dan bermain musim hingga mendengarkan lagu. Dan juga perempuan ini menyukai aksen-aksen bahasa luar terutama Bahasa Inggris dan Bahasa Korea.
Email : [email protected]
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