Functions And Meaning Of Politeness On Movie “Hotel Transylvania”
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ISSN: 2302-920X
Jurnal Humanis, Fakultas Ilmu Budaya Unud
Vol 17.1 Oktober 2016: 126 - 133
Functions And Meaning Of Politeness On Movie “Hotel Transylvania”
I Wayan Widiadnyana1*, I Nengah Sudipa2, A.A. Sagung Shanti Sari Dewi3
123 English Department Faculty Of Arts, Udayana University 1[ketutkuta9@gmail.com] 2[nengahsudipa@yahoo.co.id] 3[jungshanti@yahoo.com]
Corresponding Author
Abstrak
Penelitian ini bertujuan untuk mengidentifikasi fungsi kesopanan dan menganalisa bagaimana makna kesopanan yang diterapkan pada percakapan dalam film Hotel Transylvania. Data yang dikumpulkan dari internet ditranskripsikan kedalam bentuk tertulis. Data dikategorikan berdasarkan teori yang dikemukakan oleh Brown dan Levinson, dan dianalisis secara deskriptif dengan metode kualitatif. Hasil dari penelitian ini menunjukan bahwa kesopnan diterapkan pada film dan berhubungan dengan beberapa fungsi dan makna. Fungsi assertive, directive, commissive, expressive dan deklaratif diterapkan oleh para karakter pada percakapan di dalam film. Makna kesopanan dipengaruhi oleh konteks situasi dan fungsi dari pernyataan tersebut. Makna tersebut disampaikan dengan strategi-strategi seperti bald on record, positive politeness, negative politeness dan off record.
Kata kunci: fungsi, makna, politeness
Politeness is the application of good manners.However, what is considered polite in one culture can sometimes be quite rude or simply eccentric in another cultural context.The use of Politeness also serves several functions such as to avoid conflict, to ensure cooperative interaction, to manage impressions, to establish power, to ensure compliance, to show deference, and to be nice.These functions can be viewed as goals to be achieved and politeness is one of the relevant communication strategies.
The problems discussed in this present study are:
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1. What functions of politeness are used on the movie “Hotel Transylvania”?
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2. How the politeness meaning is expressed on the movie “Hotel Transylvania”?
The aims of this study are:
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1. What functions of politeness are used on themovie “Hotel Transylvania”?
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2. How the politeness meaning is expressed on the movie “Hotel Transylvania”?
The sources of this study are spoken and written data. The spoken data were taken from the movie “Hotel Transylvania”. The written data were from the transcription of the movie conversation.
This study used documentation method and note-taking technique; the movie “Hotel Transylvania” was taken from website Youtube.com. The written data were collected by watching the movie “Hotel Transylvania” and it was transcribed into written form. The subtitles of the movie were used to support the validity of the transcription.
The data were used to analyze the politeness sense in terms of intonation or how the politeness is expressed by the characters. The data were selected and qualitatively analyzed using the descriptive method. The data were categorized into four types of politeness based on the theory of politeness proposed by Brown and Levinson (1987) which was used to analyze the politeness meaning expressed by the characters on the movie and theory of illocutionary acts proposed by Searle in Leech (1983) which was usedto identify the functions of politeness.
The theory of illocutionary acts proposed by Searle in Leech (1983:105) was used to analyze the functions of politeness expressed by the characters, such as assertive, directive, commissive, expressive dan declarative.
It is an act performed by a speakerto tell the truth on what he said. The point of the truth in this Assertive is neutral; it can be either true or wrong.The functions of this Assertive arestating, suggesting, reporting, complaining, claiming, and boasting.There are two kinds of this function found in the conversation of the dialogue such as stating and complaining.
(5-1) Mavis : I don't care! I still want to be with you.
(5-2) Skeleton husband: What do you think you're doing?!
It is an act performed by the S to make the H do what the S wants. The Directive speech acts include asking for, inviting, insisting, suggesting, enjoying, charging, commanding, urging, pleading, challenging, gesturing, ordering, requesting, advising, and recommending.Two functions of Directive were found in this dialogue of the movie; they areadvising and commanding.
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(5-3) Dracula : Look, honey, I know you’re excited, but everyone has gone to great lengths to come see you on your birthday.
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(5-4) Dracula : Okay. Put down Zombie Mozart, Bach and Beethoven this instant.
It is the act that binds the S to carry out all the things mentioned in the utteranceand perform an action in the future, for example, swear, promise, threaten, refuse, vow, and offering.The function of commissive found in the dialogue was refusing.
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(5-5) Mavis : I know. They always do. But aren't I getting a little old for those parties. I
love them, but, I really want to see new things. Maybe meet somebody my age.
It is the act to express and show the psychological condition and reaction of the S to the H in some situation. Expressive speech act includes saying thank you, congratulating, pardon, flattering, praising, blaming, and criticizing, appointing.Two functions of the Expressive found in the dialogue of the movie were thanking and praising.
(5-6) Dracula : Okay. Thank you, cutie.
(5-7) Mavis : I'm so blown away right now!
Frankenstein : I think my cuz is gonna make this the Best! Party! Ever!
Murray : Yeah! Maybe he can find a way to get me some chicks.
Declaration is successful when its performance leads to a good correspondence between the proportional content and reality (Dardjowidjojo (2012:107). This is an impressive speech which includes resigning, dismissing, naming, appoiting,
escommunicating, pronounce and sentencing. The functions of namingfound in the conversation of this movie are:
(5-8) Mavis : He's your cousin, Johnny-Stein.
The data were analyzed using theory of the politeness strategies proposed by Brown and Levinson (1987:56). The types of politeness strategies found in this movie were bald on-record, negative politeness, positive politeness, and off-record (indirect).
This strategy is most often utilized in the situation where the S has a close relationship with the audience, such as relatives or close friends.Five sub strategies of bald on record found in this dialogue are the strategies of maximum efficiency, metaphorical urgency for emphasis, metaphorical urgency for high valuation of H’s friendship, sympathetic advice of warnings, and permission that H has requested.
(5-9) Dracula : Don't move.Nevermind that. What you been doing?
(5-10) Wayne : Listen, Drac, we wanted to play something, like old times. We even thought maybe you'd sing with us.
(5-11) Pilot : What the heck? How'd a bat get up this high? Folks, I'm gonnaturn on the
seat belt sign just a precaution while we hear a special announcement for my dear friend Jonathan.
(5-12) Dracula: I built the town, the staff put it all together, the... the zombies dressed up as the townspeople. Please! If you really went out there, and something happened to you, I just couldn't live with myself!
(5-13) Dracula : You want to go out into the world. You can.
They are used to make the hearer feel good about himself, his interests or possessions, and are most usually used in the situation where the audience knows each other fairly well. The sub strategies found in this movie were give gifts to H, be optimistic, avoid disagreement and seek agreement.
(5-14) Dracula : Well, look, I am pretty good, but, I thought that it would be even better, special if someone closer to your age helped plan the party.
(5-15) Mavis : You're my age?
(5-16) Jonathan: One hundred and… Ugh! Yeah, I'm 121.
(5-17) Dracula : Yes, exactly. A hotel for monsters. Way to sum it up.
Negative politeness used to indicate that S is aware and respects the social distance between S and H. In the dialogue, Six kinds of negative politeness were found; they arestrategy of conventionally indirect, question/hedge, be pessimistic, minimize the imposition, give difference, and apologize.
|
(5-18) Mavis |
: Dad. |
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(5-19) Griffin |
: Uh... What's wrong with red, curly hair?don't think I have it in me, anymore! I got nothing, I really got |
|
(5-20) Frankenstein |
: You mean we scare them? We haven't scared people in centuries. I nothing. |
(5-21) Mavis : I know. They always do. But aren't I getting a little old for those parties. I love them, but, I really want to see new things. Maybe meet somebody my age.
(5-22) Frankenstein : I think my cuz is gonna make this the Best! Party! Ever!
(5-23) Jonathan : Yes. I'm so sorry.
It is used to indicate that S is aware and respects the social distance between S and H. The sub strategies found in the movie aremetaphor, presuppose and overstate.
(5-24) Jonathan : Whoa. So, wait, you didn't have any clothes on when you were a
bat? Or were they bat-sized?
(5-25) Dracula : No, no, you can't go to the village again!
(5-26) Shrunken head : Oh, she's up. She's ready to go. And by "go", I mean go. As in, go check the world out. What you gonna do? What you gonna say?
The functions of Politeness found in the movie “Hotel Transylvania” are assertives in the forms of stating and complaining; directives in the forms of advising and commanding, expressive in forms of thanking and praising;commissive in the forms of refusing, and declarative in the form of naming.The meaning of politeness expressed in this movie is in the forms of four politeness strategies such as bald onrecord, positive politeness, negative politeness, and off record.The function of politeness was varied, same types or strategies of politeness may have different functions.The use of politeness strategies expressed by the characters of the movie has different functions based on the situation or the condition of both speaker and hearer.
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7. Bibliography
Brown, Penelope and Levinson, Stephen C. (1987).Politeness. Cambridge: Cambridge University Press.
Dardjowidjojo, S. 2012. Psikolinguistik: PengantarPemahamanBahasaManusia. Jakarta: YayasanPustakaObor Indonesia.
Leech, G, (1983) Principles of Pragmatics. New York:Longman Inc.
Searle, J.R. (1969). Speech Acts: An Essay in the Philosophy of Language. Cam-bridge: Cambridge University Pmss.
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