RIDHO WIDOWATI C

Transcription

1 REFUSAL EXPRESSIONS AMONG CHARACTERS IN THE FILM ENTITLED KNOWING (Based on Socio-Pragmatics Approach) THESIS Submitted as a Partial Fulfillment of the Requirements for the Sarjana Sastra Degree in English Department Faculty of Letters and Fine Arts Sebelas Maret University by: RIDHO WIDOWATI C ENGLISH DEPARTMENT FACULTY OF LETTERS AND FINE ARTS SEBELAS MARET UNIVERSITY SURAKARTA 2011 i

2 REFUSAL EXPRESSIONS AMONG CHARACTERS IN THE FILM ENTITLED KNOWING (Based on Socio-Pragmatics Approach) By: RIDHO WIDOWATI C Approved to be examined before the Board of the Examiners Faculty of Letters and Fine Arts Sebelas Maret University Thesis Supervisor Drs. Agus Hari Wibowo, M.A. NIP Head of English Non Regular Program Drs. S. Budi Waskito, M.Pd. NIP ii

3 REFUSAL EXPRESSIONS AMONG CHARACTERS IN THE FILM ENTITLED KNOWING (Based on Socio-Pragmatics Approach) By: RIDHO WIDOWATI C Accepted and approved to be examined by the Board of the Examiners On February 1 st 2011 Chairman Secretary First Examiner Second Examiner Drs. S. Budi Waskito, M.Pd. NIP Dr. Sri Marmanto, M.Hum. NIP Drs. Agus Hari Wibowo, M.A. NIP Dr. Tri Wiratno, M.A. NIP (...) ( ) ( ) ( ) The Dean of Faculty of Letters and Fine Arts Sebelas Maret University Drs. Sudarno, M.A. NIP iii

4 PRONOUNCEMENT Name : Ridho Widowati NIM : C Stated truthfully that this thesis entitled REFUSAL EXPRESSIONS AMONG CHARACTERS IN THE FILM ENTITLED KNOWING (Based on Socio- Pragmatics Approach) is originally made by the researcher. It is not a plagiarism nor it is made by others. The statements related to other people s work are written in quotations and included within the bibliography. If this pronouncement is proven incorrect in the future, the researcher is ready to take the responsibility. Surakarta, February 2011 The Researcher Ridho Widowati iv

5 MOTTO And [remember] when your Lord proclaimed, 'If you are grateful, I will surely increase you [in favor]; but if you deny, indeed, My punishment is severe.' (The Holy Qur an, Ibrahim 7) DEDICATION v

6 To my beloved parents for their love and support ACKNOWLEDGMENT Alhamdulillahirobbil alamin, vi

7 All praise and thanks are for the one and only, Allah SWT. Thanks for His true blessing, guidance and miracle so that I could complete this thesis. However, this thesis could not be achieved without help and support from everyone during finishing the thesis. Therefore, in this memorable opportunity, I would like to express my deepest gratitude to the following people: 1. Drs. Sudarno, M.A., as the Dean of Faculty of Letters and Fine Arts of Sebelas Maret University, for his approval in conducting this thesis. 2. Drs. S. Budi Waskito, M.Pd., as the Head of English Non Regular Program of Faculty of Letters and Fine Arts, Sebelas Maret University. 3. Drs. Agus Hari Wibowo, M.A., as my thesis supervisor for his advice, guidance and kindness on assisting this thesis from the beginning until the end. 4. Yuyun Kusdianto, S.S, M.A., as my academic supervisor, thanks for the guidance during my study in Sebelas Maret University. 5. All lecturers of English Department who have given valuable knowledge and experience. 6. All librarians in ILC, Faculty of Letters and Fine Arts, and Center Librarian of Sebelas Maret University for their professional service in obtaining the required references. 7. My hero, the late Bapak. Pak all I want is to be your good girl. I love you forever and always. vii

8 8. My heroine, Ibuk. Thank you very much for your endless love, patience, supports, cares, pray and everything given to me. I am proud of being your daughter. 9. My idiots teams Ida and Kiki, thanks for every support, sprit and advice they given to me. To my special friends: Mimah, mb Atun, Endang, Tika, Ratna, Nova, Debora, Rury, Ulung, mb Cha & Eros thanks for painting my life so colorfully. 10. All of ED Non Reg 06 boys and girls for the friendship, it s nice to have you guys. 11. All of the people who always help and also support me. I am so sorry that I cannot mention one by one. Thank you very much. Last but not least, I realize that this thesis is far from being perfect. Therefore, I wholeheartedly welcome any suggestions, comments, and criticism from anyone who has concern in improving this thesis. Finally, I really hope that this thesis will be useful for everyone who reads it. Surakarta, 2011 The Researcher TABLE OF CONTENTS Ridho Widowati viii

9 TITLE... i APPROVAL BY THE THESIS SUPERVISOR... ii APROVAL BY THE BOARD OF EXAMINERS... iii PRONOUNCEMENT... iv MOTTO... v DEDICATION... vi ACKNOWLEDGMENT... vii TABLE OF CONTENTS... ix LIST OF TABLES... xii ABSTRACT... xiii CHAPTER I: INTRODUCTION A. Research Background... 1 B. Problem Statements C. Research Objectives... 5 D. Research Benefits E. Problem Limitation... 6 F. Thesis Organization... 7 CHAPTER II: LITERATURE REVIEW A. Introduction... 8 B. Sociolinguistics Definition of Sociolinguistics... 8 ix

10 2. Scope of Sociolinguistics... 9 C. Pragmatics D. Sociopragmatics E. Ethnography of Communication Definition of Ethnography of Communication Speech Community Organization of Speaking Components of Speech F. Refusal G. Social Dimensions H. Related Research I. Synopsis of the Film CHAPTER III: RESEARCH METHODOLOGY A. Research Type B. Data and Source of Data C. Sample and Sampling Technique D. Technique of Collecting Data E. Data Coding F. Technique of Analyzing Data CHAPTER IV: DATA ANALYSIS A. Introduction x

11 B. Analysis The types of refusal expressions The ways in expressing refusal expressions The reasons in employing particular refusal expressions C. Discussion CHAPTER V: CONCLUSION AND SUGGESTIONS A. Conclusion B. Suggestions BIBLIOGRAPHY APPENDICES LIST OF TABLES xi

12 Table 4.1 Refusal Table 4.2 The Distribution of Refusal Table 4.3 The Reason in employing Direct Refusal Table 4.4 The Reason in employing Indirect Refusal Table 4.5 The Reason in employing Adjuncts to Refusal ABSTRACT xii

13 RIDHO WIDOWATI. C Refusal Expressions Among Characters in the Film Entitled Knowing (Based on Socio-Pragmatics Approach). Thesis: English Department, Faculty of Letters and Fine Arts, Sebelas Maret University. This research was conducted to know about the refusal strategies employed by characters in the film entitled Knowing. It is also carried out to explain how the refusals are performed by the characters and to know why each type of refusal is employed by the characters. This research used socio-pragmatics approach. It is a descriptive qualitative research which takes purposive sampling technique. The data of this research were the dialogues in the film entitled Knowing that contain refusal expressions. They were classified by using Beebe, Takahashi and Uliss-Weltz s refusal classification. The findings of the research show that there are three main types of refusal employed by the characters in the film entitled Knowing, namely direct refusal (6 data), indirect refusal (13 data) and adjuncts to refusal (3 data). The second finding is the factors which encourage the characters in the film entitled Knowing employ refusal expression in certain strategies. They are to ease the conversation, to show appreciation / respect / care, to show politeness and to keep distance. xiii

14 1 CHAPTER I INTRODUCTION A. Research Background In our life, language plays a great part since people as human being always need language to have communication. Language as means of communication has an essential role in daily interaction. It can be seen when people interact each other by using language. By having communication through language, people can get more information and knowledge. Moreover, they can also express their ideas, thoughts, and feelings. Effendi (1990: 11) claims that by using language, man can express his thought to each other in the form of ideas, information or opinions, either concrete or abstract for the past or the future. Refusal is important in maintaining the relationship because sometimes people must say no directly or indirectly toward request, demand, command, offer, invitation, or suggestion. In conducting refusal, people should pay attention to the form of refusal because expressing refusal has a possibility of offending the listener. Therefore, people must be aware in selecting the appropriate refusal strategies. There are many ways in expressing refusals that can be used to avoid offending the listener. Rubin in Wolfson (1983: 12) classifies the refusal expressions into nine strategies as follows: 1). Be silent, hesitate, show lack of enthusiasm 2). Offer an alternative 3). Postponement (delaying answer) 4). Put the blame on a third 1

15 2 party or something over which you have no control 5). Avoidance 6). General acceptance of an offer but giving no details 7). Divert and distract the addressee 8). General acceptance with excuse 9). Say what s offered is inappropriate. In this present research, the researcher chooses the drama mystery film entitled Knowing as the main data because the researcher found that in this film the characters utter three main types of refusal. This film tells about the man who finds secret message from the letter buried in time capsule since 50 years ago. He gets that letter accidentally when his son, Caleb, receives it in the 50 th school celebration. That mysterious letter contains disorder numbers which tells about the big disaster that will come. To give more comprehensive understanding, the following example will reveal the phenomenon above. The participants of the dialogue below are, the father and Caleb, the son. The relationship between them is close. This dialogue happens in the backyard when Caleb and see planets through the telescope. In that moment orders Caleb to eat the hot dogs, but suddenly without saying any reason Caleb refuses it and shocks. The genre of this dialogue is daily conversation : Where are you going? Caleb : To watch that Discovery program. : But it's Dad's famous Sunday night Hot dogs on the run... time Caleb : I can't consume that

16 3 I've decided to become a vegetarian : Well, when were you planning on telling the guy who buys the groceries around here? Caleb : Are you deaf? I just told you now, Dad. From the conversation above we can see that Caleb uses the direct refusal. The direct refusal can be seen in the form of non performative statement by saying I can't consume that. In this context of situation, Caleb uses direct refusal because he wants to make clear refusal, since he is bored with the activity of seeing planet which means nothing for him. Then, it is followed with the indirect refusal namely giving excuse / reason / explanation by saying I've decided to become a vegetarian. Here, the reason of refusal after the direct refusal employed by Caleb has a function to emphasize the refusal message which explains that he does not want to consume hot dogs. To make the phenomenon above clear, another conversation below may help to clarify: The participants of the conversation below are and Caleb. is the father and Caleb is the son. They have a close relationship. This conversation happens in Caleb s room and runs in non formal situation. As usual, Caleb is watching TV for one hour before going to bed and because it is almost over one hour, commands him to switch off the TV. But, Caleb refuses the command because it is almost over and because he does not have class tomorrow. The genre of the dialogue is daily conversation.

17 4 Caleb Caleb : Off : It s almost over! : You won t be able to concrete in class tomorrow. : We don t have class, it is the fiftieth anniversary, remember? The conversation above applies indirect refusal namely giving excuse / reason / explanation. It can be seen when Caleb said It s almost over!. From Caleb s refusal, we know that he insists on watching TV. This sentence delivers a message that he refuses indirectly for s command. Besides, he also gives additional explanation that he does not have class tomorrow. Here, Caleb prefers to use indirect refusal because he wants to refuse politely since he knows that he is over the time for watching TV. Moreover, this indirect refusal employed by Caleb has function to soften the refusal because is his father and older than him. Thus, he refuses the order politely to save the hearer s face. Based on the phenomenon above, the researcher is interested in analyzing the refusal expressions used by the characters in the film entitled Knowing. Thus, the researcher wants to conduct a research entitled REFUSAL EXPRESSIONS AMONG CHARACTERS IN THE FILM ENTITLED KNOWING (Based on Socio-Pragmatics Approach).

18 5 B. Problem Statements Based on the phenomenon above, the research was conducted to answer the following questions: 1. What kinds of refusal expressions are expressed by the characters in the film entitled Knowing? 2. How is each type of refusal expression expressed by the characters in the film entitled Knowing? 3. Why is each type of refusal expression employed by the characters in the film entitled Knowing? C. Research Objectives The objectives of this research are as follow: 1. To find out the kinds of refusal expressions used by the characters in the film entitled Knowing. 2. To know how each type of refusal expression is expressed by the characters in the film entitled Knowing. 3. To find out why each type of refusal expression is employed by the characters in the film entitled Knowing.

19 6 D. Research Benefits 1. English Department Students The result of this research can be used to enrich information to improve the ability of English Department Students in understanding about the refusal expressions. 2. Other Researchers The result of this research is expected to be used as reference for the further researchers who want to do a research in Socio-Pragmatics field. E. Problem Limitation In this research, the analysis is limited on utterances of refusals expressed by the characters on the film entitled Knowing. For avoiding deviation in this research, the researcher just focuses on the refusal expressions based on Beebe, Takahashi and Uliss-Weltz s classification.

20 7 F. Thesis Organization As a scientific writing, this research will be organized into five chapters, as follows: Chapter I consists of Introduction. In this chapter the research introduces background, problem statements, research objectives, research benefits, problem limitation and thesis organization. Chapter II consists of Literature Review. It discusses some theories which are used in solving the three problem statements. Chapter III consists of Research Methodology. It discusses the research type, data and source of data, sample and sampling technique, technique of collecting data, data coding, and technique of analyzing data. Chapter IV consists of Data Analysis. In this chapter, the researcher processes the data by classifying, describing and analyzing them. Chapter V consists of Conclusion and Suggestions. In this chapter, the researcher concludes the result of analysis and gives suggestions.

21 8 CHAPTER II LITERATURE REVIEW A. Introduction This part contains the related theories which are used in solving the three problem statements in chapter I. This recent research talks about strategy of expressing refusal. Thus, sociopragmatics approach is needed for analyzing the data. In addition, the theories of Sociolinguistics, Pragmatics, Sociopragmatics, Ethnography of Communication, Refusal, Social Dimensions, Related Research, and Synopsis of the Film will guide the researcher to interpret and to describe the meaning of data. B. Sociolinguistics 1. Definition of Sociolinguistics Chaika (1994: 3) states that the study of the ways people use language in social interaction is called sociolinguistics. Moreover, Hudson claims that sociolinguistics is the study of language in relation to society (1996: 4). Meanwhile, according to Holmes, sociolinguistics is concerned with the relationship between language and the context in which it is used. It explains why people speak differently in different social contexts and it is concerned with 8

22 9 identifying the social functions of language and the ways it is used to convey social meaning (1992: 1). From all the definition above, it can be concluded that sociolinguistics is a branch of linguistics study which focuses on the relationship between language and society that concerns on how language is used to identify social function and to convey social meaning. 2. Scope of Sociolinguistics Wardhaugh claims that in studying a language, sociolinguistics has two approaches which are called micro-sociolinguistics and macro-sociolinguistics analysis (1998: 12). Trudgill states that micro-sociolinguistics is the individual approach. It is a term sometimes used to cover the study of face to face interaction, discourse analysis, conversation analysis, and other areas of sociolinguistics involving the study relatively small groups of speakers (1992: 52). In other word, it can be said that micro-sociolinguistics studies the use of language involving small group of speakers. For example, the use of slang words in Black community. Meanwhile macro-sociolinguistics can be called as the social approach. It studies interactions on different large groups, including between states. According to Trudgill (1992: 51) macro-sociolinguistics is a term sometimes used to cover secular linguistics, the sociology of language, and others areas involving large groups of

23 10 speakers. It focuses on the society rather than individuals. For example the study of the use of English dialect in China. This research studies the individual behavior toward language. Therefore, all of the theories used are under the scope of micro-sociolinguistics study since this research only focuses on the refusal expressions employed by the characters in the film entitled Knowing. C. Pragmatics According to Yule, pragmatics is the study of meaning as communicated by a speaker and interpreted by a listener. By studying language via pragmatics, someone can talk about people s intended meanings, their assumptions, their purpose or goal, and the kinds of actions that they are performing when they speak (1996: 4). Meanwhile, Levinson (1983: 21) states that pragmatics is the study of the relations between language and context that are basic to an account of language understanding. He also states that pragmatics is the study of the role of context which plays in speaker of utterance in meaning (ibid: 24). To sum up, pragmatics is a branch of linguistics study which studies the utterances meanings of the speaker based on the context of situation when the utterances happen. Thus, pragmatics is considered as a study of linguistics meaning that related to context.

24 11 D. Sociopragmatics According to Trosborg (1995: 37), sociopragmatics is concerned with the analysis of significant patterns of interaction in particular social situations or in particular social systems. It emphasizes on the interactive aspect and the acknowledgement of the social context in which a speech act becomes the basis of sociopragmatics research (ibid: 38). In short, it can be said that sociopragmatics is a combination study from sociolinguistics and pragmatics which concerns on the analysis of significant patterns of interaction namely speech act. E. Ethnography of Communication 1. Definition of ethnography of communication Hymes in Wardhaugh (1998: 242) states that ethnography of communication is a description of all the factors that are relevant in understanding how that particular communicative event achieves its objectives. Whereas Fasold defines that ethnography of communication is the approach to the sociolinguistics of language in which the use of language in general is related to social and cultural values (1996: 39). Based on the explanation above, it can be pointed out that ethnography of communication is the study of an activity in the society, in which the important points of ethnography of communication involve speech community, speech situation, speech events and speech act.

25 12 2. Speech Community Some experts give various definitions of speech community. Fishman (1972: 22) states that speech community is one, all whose members share at least single speech variety and the norms for its appropriate use. A speech community may be as small as a single close interaction network, all whose members regard each other in but a single capacity. It means that a speech community is a group of people who employs the same forms of language and the same norms of language. Whereas Hymes in Fasold (1996: 41) defines that all members of a speech community share not only the same rules of speaking but also at least one linguistics variety as well. They share a set of norms and rules for the use of language. It can be said that a speech community is a group of people who are tied with at least one type of language and norms of communication. In short, it can be summarized that a speech community is a group of people who shares at least a single speech variety which has the same rules and norms in conducting and interpreting speech. 3. Organization of Speaking In studying communicative behavior within a speech community, it is necessary to work with units of interaction. Hymes in Fasold (1996: 42) suggests that a nested hierarchy of units called the speech situation, speech event and speech act would be useful. The speech act is part of speech event and the speech event takes place within speech situation.

26 13 The first level in the hierarchy is speech situation. Hymes claims speech situation as situation associated with speech. The situations refer to any constellation of status and settings, which constrain the interaction that should or may occur, for examples are ceremonies, fights or hunts. Speech situations are not purely communicative; they are composed of both communicative and other kinds of events. Thus, it can be said that speech situation refers to where the speech occurs (ibid: 42). The second level in the hierarchy is speech event. According to Yule, speech event is an activity in which participants interact via language in some conventional way to arrive at some outcome (1996: 57). Speech events are both communicative and governed by rules for the use of speech. A speech event occurs in a non verbal context. Hymes in Fasold (1996: 42) states that the term of speech event is restricted to activities or aspect of activities that are directly governed by rules or norms for the use of speech. A speech event takes place within speech situation and is composed of one or more speech acts. Several speech events can occur successively or simultaneously in the same situation. For example, a compliment might be a speech act that is part of a conversation (speech event), which takes place at a party (a speech situation). The third level in the hierarchy is speech act. Speech act is the minimal unit of the set just discussed. Austin in Thomas uses the term speech act to refer to an utterance and the total situation in which the utterance is issued (1995: 51). According to Hymes in Fasold (1996: 43), a speech act is to be distinguished from the sentence and is not identified with any unit at any level of grammar.

27 14 Yule states (1996: 47) that in attempting to express something, people not only produce utterances containing grammatical structured words but also perform actions via those utterances. Those actions which are performed via utterances are called speech act. The action performed by producing an utterance will consist of three related acts; they are locutionary act, illocutionary act, and perlocutionary act (ibid: 48). a. Locutionary act: the basic act of utterance, or producing a meaningful linguistic expression. According to Thomas, locutionary is the actual words uttered (1995: 49). b. Illocutionary act: is performed via the communicative force of an utterance. Illocutionary act is the act of getting audience s recognition from the speaker s meaning. It is the making of a statement, offer, promise, or for some other communicative purpose. Thomas states that illocutionary is the force or intention behind the words (1995: 49). c. Perlocutionary act: a simple utterance has a function to bring the effect from that utterance. Perlocutionary act is what a person does as the response of what we intend. Based on Searle s classification in Cutting (2002: 16-17), speech act is divided into five categories as follows: 1. Declarations These are words and expressions that change the world by their particular utterances, such as I bet, I declare, and I resign. (For example: I resign).

28 15 2. Representatives These are acts in which the words state what the speaker believes to be the case, such as describing, claiming, hypothesizing, insisting and predicting. (For example: The earth is round). 3. Commissives Commissives include acts in which the words commit the speaker to future action, such as promising, offering, threatening, refusing, vowing and volunteering. (For example: No, thank you). 4. Directives This category covers acts in which the words are aimed at making the hearer do something, such as commanding, requesting, inviting, forbiding, suggesting, and so on. (For example: Get off the train!). 5. Expressives This last group includes acts in which the words state what the speaker feels, such as apologizing, praising, congratulating, deploring, and regretting. (For example: Congratulations!).

29 16 4. Components of Speech In studying at communication as composed of speech situations, speech events and speech acts, Hymes in Fasold (1996: 44-46) suggests that there are certain components of speech that the ethnographer should look for. Hymes divides the components of speech into eights groups called SPEAKING, namely: a. Situation Situation is composed of setting and scene. The setting is about the physical circumstances of a communicative event, including the time and the place. The scene is the psychological setting. It is kind of speech event taking place according to cultural definition as formal or informal, serious or joyful. b. Participants Participants are persons who are involved in a conversation. Participants consist of (a) An addresser, a speaker who produces the utterance. (b) An addressee, a hearer who receives the utterance. (c) The audience, the over hearers may contribute to specification of the speech event. For example, father who orders his son to eat hot dogs. Here, the participants are father and son. Father is the addresser who transmits the order and son is the addressee who receives the order. c. Ends Ends are the purposes of the speech event and the speech act. Ends can be divided into outcomes (the purpose of the event from a cultural point of view) and goals (the purpose of the individual participants). For example, in bargaining events, the overall outcome is to be the orderly exchange of something of value from one

30 17 person to the other. The goal of the seller is to maximize the price while the goal of the buyer is to minimize it. d. Act sequence Act sequence consists of message form and content. Message form deals with how something is spoken by participants, whereas message content deals with what is said or it is simply called a topic of a conversation. Act sequence relates on aesthetic and stylistic manner. For example, speakers should know how to formulate appropriate speech in public lectures, casual conversation, or in cocktail party. e. Keys Keys refer to the tone, manner, intonation or spirit in which a speech act is carried out, for example whether it is serious, perfunctory or painstaking. f. Instrumentalities Instrumentalities include both channels and forms of speech. Channel simply means way message travels from one person to another, for example, oral, written, or telegraphic. Hymes defines forms of speech as the actual forms of speech employed such as language, dialects, codes, varieties, and registers that is chosen. e. Norms Norms refer to interaction and interpretation. Norms of interaction is a set of rules which governs when, how, and how often speech occurs while norms of interpretation involve trying to understand what is being conveyed beyond what is the actual word used.

31 18 h. Genres Genres refer to categories like poems, myths, proverbs, lectures, commercial messages, jokes etc. In Hymes s view, casual speech act is not the absence of any genre, but a genre of its own. F. Refusal Wierzbicka (1987) in Phuong (2006) states that refusal means the speech act of saying no, expressing the addressee s non-acceptance, declining of or disagreeing with a request, an invitation, a suggestion or an offer. More clearly, refusing means, essentially, saying no, I will not do it in response to someone else s utterance. There are no exact formulas in expressing refusal since every culture in the world has different way to express a refusal. Thus, someone has to know the norms and values in a society while conducting a refusal. A refusal can be risky because it has a possibility of offending the listener. Therefore, the appropriate refusal strategies are needed. There are many refusal strategies that can be applied to avoid offending the listener. Based on Rubin s classification, the refusal strategies are divided into 9 ways. Meanwhile, in this present research, the researcher prefers to use Beebe, Takahashi and Uliss-Weltz s classification because it provides deeper variety of refusal strategies for analyzing the data.

32 19 To know the strategy of expressing refusal, we can concern with the classification of refusal by Beebe, Takahashi and Uliss-Weltz (1990) in Al-Eryani (2007) as follows: 1. Direct Refusal: It is a kind of refusal which is used to refuse request, demand, command, offer, invitation, or suggestion directly. In this kind of refusal, the speaker does not use a reason in rejecting something. It is signaled by the use of denying vocabulary, such as I refuse, no or statements showing unwillingness or inability. a. Performative (e.g. I refuse) b. Non performative statement - no - negative willingness / ability (e.g. I can t, I won t, I don t think so) 2. Indirect Refusal: It is a kind of refusal which is used to refuse request, demand, command, offer, invitation, or suggestion indirectly. In this kind of refusal, the speaker does not use denying vocabulary in rejecting something. a. Statement of regret / apology (e.g. I m sorry I feel terrible) b. Wish / hope (e.g. I wish I could help you) c. Excuse / reason / explanation (e.g. My children will be home that night, I have a headache) d. Statement of alternative, for example,

33 20 1. I can do X instead of Y (I d rather do...i d prefer) 2. Why don t you do X instead of Y (Why don t you ask someone else?) e. Set condition for future or past acceptance (If you had asked me earlier, I would have ) f. Promise of future acceptance (I ll do it next time: I promise I will). g. Statement of principle (I never do business with friends) h. Statement of philosophy (One can t be too careful) i. Attempt to dissuade interlocutor 1. Threat / statement of negative consequences to the requester (I won t be any fun tonight; to refuse an invitation) 2. Guilt trip (waitress to customers who want to sit a while: I can t make a living off people who just order coffee) 3. Criticize the request/requester, negative opinion, insult/ attack etc. (Who do you think you are? That s a terrible idea) 4. Request for help, empathy, and assistance by dropping or holding the request 5. Let interlocutor off the hook (Don t worry about it, That s okay, You don t have to) 6. Self defense (I m trying my best: I m doing all I can) j. Acceptance that functions as a refusal 1. Unspecific or indefinite reply 2. Lack of enthusiasm

34 21 k. Avoidance 1. Nonverbal a. silence b. physical departure c. hesitation d. do nothing 2. Verbal a. Topic switch b. Joke c. Repetition of part of request, etc. (Monday?) d. Postponement (I ll think about it) e. Hedging (Gee, I don t know: I m not sure) 3. Adjuncts to Refusals: It is expressions that accompany a refusal. These expressions function as extra modifications to protect the speaker s positive face and it is usually used before the main refusal. a. Statement of positive opinion / feeling of agreement b. Statement of empathy c. Pause filler d. Gratitude / appreciation

35 22 G. Social Dimensions Having communication with other people, a speaker cannot forget the social factors influencing the running of interaction. According to Holmes (1992: 9) there are four different dimensions reflected during the communication, namely social distance scale, social status scale, formality scale and functional scale. 1. Social distance scale This scale is useful in emphasizing how well we know someone. It relates on the relationship among participants, how well they know each other and who is talking to whom is an important factor, e.g. parents to children or labors to managers. This scale is used to show different solidarity between the group members. Intimate High solidarity Distant Low solidarity (Holmes, 1992:12) In this scale, the closeness between speaker and hearer can influence the language choices they use in communication. An intimate relationship between speaker and hearer will have high solidarity within their interaction and for those who have a distant relationship will have low solidarity within their interaction.

36 23 2. Social status scale This scale deals on the relationship among participants that influences the language choices. It accounts for a variety of linguistics difference as a way that signals people s status. Superior High status Subordinate Low status (Holmes, 1992:13) This scale shows vertical differences between speaker and hearer. It can be seen from the way people talk each other during communication. The language choices used in communication can indicate whether participant is superior or subordinate. 3. Formality scale This scale is useful in assessing the influence of the social setting or type of interaction on language choice. It accounts for speech variation in different setting since formality and informality can determine the language choices of communication.

37 24 Formal High formality Informal Low formality (Holmes, 1992:13) 4. Functional scales (referential and affective function scales) Language serves many functions in all communities but the basic functions of referential and affective meaning have proved useful scale of analysis. The two identified in these scales are particularly persuasive and basic. Language can convey objective information of a referential kind; and it can also express how someone is feeling. Referential High information Low information content content Affective Low affective content High affective content (Holmes, 1992:14)

38 25 H. Related Research A research about refusal has ever been done by Rosita Asparaningrum (2008) in her research entitled Refusals in the film entitled In her shoes. In analyzing refusal strategy, she uses Rubin s refusal classification. Her research shows that there are eleven types of refusal strategies employed in the film entitled In her Shoes namely; 1). Be silent, hesitate, show lack of enthusiasm 2). Offer an alternative 3). Postponement / delaying answer 4). Put the blame on a third party or something over which you have no control 5). Avoidance 6). Divert and distract the addressee 7). General acceptance with excuse 8). Say what s offered is inappropriate 9). Refusal without giving reason 10). Refusal with giving reason and 11). Refusal with giving thanking. Although the previous research discusses about the strategies of refusal but the theory applied is different with the current research. That is why the researcher is sure that the result of this research is going to be different from the previous study. I. Synopsis of the Film Title Starring : Knowing : Nicolas Cage as Professor John Koestler Rose Byrne as Diana Wayland Chandler Canterbury as Young Caleb Koestler Ben Mendelsotin as Phil Beckman

39 26 Nadia Townsend as Grace Writer Producer Genre : Ryne Pearson : Alex Proyas : Crime and Mystery, Drama Year : 2009 Knowing is a kind of drama, crime and mystery film. This film tells about the man who finds secret message from the letter buried in time capsule since 50 years ago. He gets that letter accidentally when his son, Caleb, receives it in the 50 th school celebration. That mysterious letter contains disorder numbers which tells about the big disaster that will come. This condition disturbs since he finds the fact about that and no one believes in him. That is why; he tries to reveal the secret by looking for some information about Lucinda Embry. Until he finds Lucinda s daughter, Diana, for the first time Diana refuses to discuss about her mom, but eventually she joins with to reveal the message behind the letter. In the end, although they can not stop the disaster, they have done the best to save the earth. This story is ended by picking up the selected people, Caleb and Abby.

40 27 CHAPTER III RESEARCH METHODOLOGY This chapter gives information about the methodology in conducting the research. It involves research type, data and source of data, sample and sampling technique, technique of collecting data, data coding and technique of analyzing data. A. Research Type This research is a descriptive qualitative research. It can be called descriptive because it wants to describe a linguistic phenomenon. Miles and Huberman (1992: 1) state that the data in qualitative research concerned appear in form of words rather than in form of numbers. Furthermore, this research is qualitative because the data produced are in form of words and sentences. Sutopo (2006: 55) states that in qualitative method, data were collected in the form of words, sentences or pictures having meaning rather than merely numbers. B. Data and Source of Data Arikunto states that a source of data is an object from which all the data of research are obtained (1998: 114). While, the data themselves may appear in the form of discourse, sentences, clauses, phrases or words (Subroto, 1992: 35). 27

41 28 In conducting this research, the researcher employs the film entitled Knowing as the source of data. While the data are the dialogues in the film entitled Knowing that contain refusal expressions. C. Sample and Sampling Technique In this research, the researcher uses a purposive sampling technique. According to Miles and Huberman (1992: 47) in qualitative method, samples tend to be more purposive than random. Moreover Lincoln and Guba (1985: 40) claim that the sample of qualitative method was determined by the use of purposive sampling to accommodate all possible data so that there will be no deviant cases. Sutopo (2006: 64) states that this kind of sampling is used for the data going to be analyzed, which includes the entire phenomenon that fits with the criteria of the research. Thus, samples in this research are refusal expressions spoken by the characters in the film entitled Knowing that fits with the criteria of Beebe, Takahashi and Uliss-Weltz s refusal classification. D. Technique of Collecting Data The data of the research are collected by doing the following procedure: 1. Replaying the film entitled Knowing at least five times by using a set of computer. 2. Selecting the data containing refusal expressions. 3. Transcribing the selected data from the film into the form of dialogues. 4. Classifying the data based on Beebe, Takahashi and Uliss-Weltz s classification.

42 29 5. Giving a code to each datum. E. Data Coding The researcher employs data coding to make easy in analyzing data. Data coding is needed to make the classification of data. Below is the example of data coding of this research: 01 / K / Disc. 1 / IF / I- Ref / MT - LE 01 : The number of datum. K Disc 1 IF : Knowing. : The number of disc (the first disc). : The situation namely Informal Situation. I Ref : The type of Refusal Strategy. A - Ref for Adjunct Refusal, D - Ref for Direct Refusal, and I - Ref for Indirect Refusal. MT LE : The speaker namely Miss Taylor. : The listener namely Lucinda Embry. F. Technique of Analyzing Data The collected data were analyzed based on the following steps: 1. Classifying the data based on Beebe, Takahashi and Uliss-Weltz s classification. 2. Describing the social context by using SPEAKING theory. 3. Analyzing the data by using Beebe, Takahashi and Uliss-Weltz s classification.

43 30 4. Finding out why each type of refusal is expressed by the characters. 5. Drawing conclusion.

44 31 CHAPTER IV DATA ANALYSIS A. Introduction This chapter is the most important part of the research since it contains the result of the research. By the result of the data analysis, the problem statements in Chapter I will be answered. To make it systematic, this chapter is divided into three subchapters namely: Introduction, Analysis and Discussion. The first subchapter provides the outline of how the research findings will be conducted. The second subchapter analyzes each datum based on the theories of SPEAKING and refusal. The third subchapter, discussion, is the general interpretation of all the data. The objectives of this research are to find out the kinds of refusal expressions used by the characters in the film entitled Knowing, to know how each type of refusal is expressed by the characters in the film entitled Knowing and to find out why each type of refusal is employed by the characters in the film entitled Knowing. B. Analysis 1. Types of refusal expressions in the film entitled Knowing From 22 data containing kinds of refusal expression, the researcher found that there are three types of refusal expressions; namely direct refusal, indirect refusal, 31

45 32 and adjuncts to refusal. a. Direct Refusal: 6 data, they are Non Performative Statement : 6 data b. Indirect Refusal: 13 data, they are divided into Excuse / reason / explanation Physical departure Silence Topic switch Postponement Hedging : 7 data : 1 data : 2 data : 1 data : 1 data : 1 data c. Adjuncts to Refusal: 3 data, they are Gratitude / appreciation : 3 data 2. The ways in expressing refusal expressions In this present research, the 22 data are classified based on Beebe, Takahashi and Uliss-Weltz classification of refusal, there are three main types of refusal namely: Direct Refusal, Indirect Refusal, and Adjuncts to Refusal. Below are the ways in expressing refusal expressions employed by the characters in the film entitled Knowing that clarify Beebe, Takahashi and Uliss-Weltz s refusal classification.

46 33 DIRECT REFUSAL Direct refusal is a kind of refusal which is used to refuse request, demand, command, offer, invitation, or suggestion directly. In this kind of refusal, the speaker does not use a reason in rejecting something. It is signaled by the use of denying vocabulary, such as I refuse, no or statements showing unwillingness or inability. These are the direct refusal applied by the characters in the film entitled Knowing: A. Non Performative Statement Data 03 / K / Disc 1 / IF / D-Ref / T-C The participants of the dialogue below are and Caleb. as father and Caleb as son. They have a close relationship. This conversation runs in non formal situation. It happens in the backyard when Caleb and see planets through the telescope. In that moment orders Caleb to eat the hot dogs, but suddenly without saying any reason Caleb refuses it and shocks. The genre of this dialogue is daily conversation. Caleb : Where are you going? : To watch that Discovery program. : But it's Dad's famous Sunday night Hot dogs on the run... time Caleb : I can't consume that

47 34 I've decided to become a vegetarian : Well, when were you planning on telling the guy who buys the groceries around here? Caleb : Are you deaf? I just told you now, Dad. Data Interpretation From the conversation above we can see that Caleb uses the direct refusal. The direct refusal can be seen in the form of non performative statement by saying I can't consume that. In this context of situation, Caleb intends to use direct refusal because he wants to make clear refusal, since he is bored with the activity of seeing planet which means nothing for him. Then, it is followed with the indirect refusal namely giving excuse / reason / explanation by saying I've decided to become a vegetarian. Here, the reason of refusal after the direct refusal employed by Caleb has a function to emphasize the refusal message which explains that he does not want to consume hot dogs. Data 09 / K / Disc 1 / IF / D-Ref / MT-T The conversation below is conducted between Miss Taylor and. Their relationship is distant. The conversation occurs in Miss Taylor s house, in non formal situation. Topic of this conversation is Lucinda Embry. After reading the information in Lucinda s letter, goes to Miss Taylor s house to get

48 35 information about Lucinda since Miss Taylor is the teacher who ever taught Lucinda. Then, after talking so long, Miss Taylor offers him a drink but refuses it. The genre of this dialogue is daily conversation. Miss Taylor : Would you like some red tea? : No. Thank you Data Interpretation In the conversation above, employs direct refusal strategy namely non performative statements. It can be seen when says No. Thank you for Miss Taylor s offer. It is spoken directly so Miss Taylor can catch the message easily. In this context of situation, intends to apply the direct refusal because he wants to make a clear refusal, so that Miss Taylor who is little bit senile can catch the message easily. Moreover, prefers to express the refusal politely because Miss Taylor is older than him. By employing a polite refusal, tries to achieve the goal in maintaining harmonious relationship with Miss Taylor. That is why, after saying no directly, shows his appreciation by saying thank you for Miss Taylor s offer. Data 16 / K / Disc 1 / IF / D-Ref / T-D The participants of the dialogue below are and Diana. This conversation happens in the basement of a building and runs in non formal situation. They

49 36 are not close each other because this is the first time they meet. In this scene, tries to get information about Lucinda by following Lucinda s daughter, Diana. Here, feels that Lucinda s letter will mean bad for Caleb. That is why, after telling and asking about Lucinda s ability of seeing the future, asks Diana to help him and his son due to the Lucinda s letter which has been received by Caleb. He tries hard in begging Diana s help, but Diana refuses it. Since it is the first conversation, Diana feels uncomfortable with the topic of conversation about her Mom. Thus, she answers the question at a glance. The genre of dialogue is daily conversation. : Diana, please (catches up) If I m wrong about this in seventy two hours you ll never have to hear from me again! : But I think this has something to do with my son. I don t know how or why, but I think he s in danger so if you won t do this for me, please do it for him I m asking you to help us Diana : I can t Data Interpretation In datum above, Diana employs direct refusal namely non performative statements; negative willingness. It can be seen when she says I can t that means she

50 37 can not help him. Here, Diana intends to refuse s request because she does not believe all what says about Lucinda s ability in seeing the future. Moreover, their relationship is distant since they are strangers each other. That is why Diana prefers to employ direct refusal because it will not hurt the hearer s feeling too deep. Besides, Diana employs direct refusal because she wants to make a clear refusal, so can accept what she wants without any longer thinking. In this context of situation, Diana feels uncomfortable with the topic of discussion about her Mom. Thus, to cut the conversation, she applies the direct refusal for showing her inconvenience. Data 14 / K / Disc 1 / IF / D-Ref / T-C The conversation below is conducted between, the father and Caleb, the son. The relationship between them is close. This conversation takes place in s house and runs in non formal situation. In this scene, feels so terrible after facing the truth of Lucinda s letter on thee airplane accident. Thus, when Caleb asks what has happened, goes to switch the topic by saying that he is going to bed. Next, commands Caleb not to watch TV because he wants to hide the airplane accident which involves him. Caleb feels weird with that command, therefore he asks the reason. Moreover, who refuses to discuss anything says No more questions Caleb for Caleb s question. Genre of this dialogue is daily conversation.

51 38 Caleb : What happened Dad? What s going on? : The truck broke down on the freeway. Sorry I couldn t pick you up Caleb : It is more than that isn t it? Why won t you tell me what s going on? : I m going to bed. Get your homework done and you should go to bed, too. No TV tonight. Caleb Caleb : Why? I always watch an hour before : No more questions Caleb. : I can ask question when you tell me to do things that don t make sense. Data Interpretation In the dialogue above, we can see that is employing direct refusal namely non performative statements. It can be seen when he says No more questions Caleb. This sentence delivers a message that prohibits Caleb to watch TV. In this context of situation, prefers to use direct refusal because he wants to make a clear refusal, so Caleb can accept what he wants without any longer thinking. Moreover, the direct refusal is used to emphasize the refusal message of watching TV since wants to hide the fact about the disaster which has happened.

52 39 Data 22 / K / Disc 2 / IF / D-Ref / T-C The participants of the dialogue below are, the father and Caleb, the son. Their relationship is close. This conversation happens in front of Lucinda s house and runs in non formal situation. After looking for Caleb, finally finds him in front of Lucinda s house. In this scene, Caleb tries to persuade to go with him, but refuses to go because he thinks that the tickets are only for two people, Caleb and Abby. In addition, thinks that Caleb should decide itself because it is his future. The genre of this dialogue is daily conversation. : They've chosen you, both of you You have to take care of Abby now. You have to be strong for her. Caleb : No. I don't want to go without you. They could've taken you away from me : But they didn't because you have to make this decision yourself. Data Interpretation In datum above we can see that Caleb is using the direct refusal and indirect refusal. The direct refusal can be seen in the form of non performative statement by