Women are women.
38
Here the speaker cannot be said such remarks are totally uninformative, infringe the first maxim of Quantity but this is because of the utterance above
give what is said lack of adequate evidence, it also clash with the maxim of quality.
4. He may flout a maxim.
Here, the speaker is able to completing the maxim and to do it without violating another maxim. It actually fails to contribute the maxim but it is
being exploited. For example:
Patricia: … I don’t know what …fall in love with the God. I think I have already.
39
It is because of the sophisticated of the poet and some internal evidence made the sentence flout the maxim of manner. On the dialogue the speaker
tries to say how she really gives her attention to God but because of the imperative mood and emotion. Later, she exploited the maxim of manner. The
statement of ‘in love with God’ caused an ambiguity, using the obscurity expression and it tends to exploit the maxim of manner.
E. Context
Listener is able to interpret one remark to one another intention. He must care to what is constructed inside the remark and the utterance said by the
38
Grice, H. P 1975, op. cit. 52
39
Miller, Arthur 1995, op. cit. 462.
speaker. He must also consider about the situation like the time when it was stated or how it was stated. The reason of participant’s consideration is because
of the language use cannot separate from the use of context. Further, David states that context refers to the situation giving rise to the discourse, and within which
the discourse embedded.
40
It exists because when a speaker says something in which they have a reason and some aspects that form the background of an
utterance being stated. The contextual factors can influence each of utterance. If the listener
concerns the contextual factors, it will be a start look to listener to know about the meaning of the utterance.
F. Drama
Drama is a performance of play and dialogue. At first drama were originated in the Greek verb dran means to do; to act or to accomplish.
41
The performance shows the player known as the actress, do some actions in scenes
where the situational in text reflected. There are about seven types of drama, such as:
1. Tragedy.
This type of drama brings the tragedy involving the ruin of the
40
Nunan, David, Introducing Discourse Analysis London: Penguin Books. 1993, p. 7
41
Wessels, Charlyn. Drama New York: Oxford University. 1988, p. 1
leading character.
42
In this drama, the major character deals a bad luck, facing the strong and some noble person. The modern tragedy is no more
about the strong and the noble person, but more into about the weak of the mental and the mean inside.
43
2. Comedy.
This is a drama in which the leading characters overcome the difficulties which temporarily beset them.
44
The issue in this drama shows very highly and full of comedy.
3. Problem Play.
It is a drama where the social criticism, economics or even political problem put in the means of drama
45
and they also can put the issue in the dialogues, setting and etc.
4. Farce.
The drama conjoins the ridiculous or hilarious complications without regard from human values.
46
In addition, there is no the human values in this type of drama.
5. Comedy of manners.
At this drama, it shows the comedy which carefully portrays fashionable life.
47
The drama sometimes bring the life of people living in
42
Taken from http:www.lifestreamcenter.netDrBLessonsDrama.htm
accessed on 25 March 2010
43
Ibid.
44
Ibid.
45
Ibid
46
Ibid.
47
Ibid.
the glamour situations
6. Fantasy.
A play that is sometimes by the willingness of the author, the drama gives a free reign to his fantasy, and allowing things to happen
without regard to the reality.
48
The play shows audience about the fantasy things and sometimes brings the comic spirit.
7. Melodrama.
This drama is almost the same as farce, but inside the act; it shows the melodrama that puts no attention at human value, but the objective is to
give a thrill instead of laugh.
49
Besides, the drama also never put any literary value because the audience sees the performance only as a good
entertainment. Drama is about embedding the internal communication system in the
external system. It creates the play of some characters and provides the correlation between the fictional world of the player performances and the
audiences spectators. Here, the author usually must be able to raise the emotion events through the utterances that were spoken by the players.
G. Dialogue
Dialogue is one of the results from the dramatic text. In drama, it is the fundamental mode of presentation. It is because the reduction of the dramatic text
48
Ibid.
49
Ibid.
into the speech and the characters must appropriate the utterances with the action so that will create a story’s scenes. It is when the players act while the making of
the utterances such as an act forming a promise or a threat, they do not only make dialogue as the formal element but as the spoken language.
The receivers need to emphasize about an act through utterances. It is because of the dialogue in drama put some of performances aspects. J.L Austin
argued; as it recited by Manfred that there is something which is act the moment of uttering being done by the person uttering.
50
In drama, there are more to explore from the utterance in the dialogue because sometimes the receiver does
not consider about the situation where the dialogue were spoken by the players. Dialogues will relation with the speech act in speech situation where it was
being utterance. And this make the dramatic speech is bound to the particular situation. The particular situation that is not all the spectators can catch from the
plot or the characters. The scenes bind to the dramatic speech in its particular speech situation like in the utterance from a dialogue:
Women are women
51
The text above will bound into some particular situation that will create particular speech situation. This is like the lack of information and making the
player to disobey the cooperative principle. This latter point tells that in the drama’s dialog also shows how implicature will influence the communication. It
50
Pfister, Manfred, The theory and analysis of drama Cambridge: The University of Cambridge, 1991, p.6
51
Grice, H. P 1975, op. cit. 52
influences the conversation to go smoothly or even on the contrary. It gives the rise from the utterance when the character in the drama talking about women.
There is a scale that includes women ↔ women, with women being a stronger
condemnation than the character remark becomes women is a God’s creature that must be saved by the men.
CHAPTER III RESEARCH FINDINGS
A. Data Description
