Keara said “He fucked me when I was drunk.
Mau berapa tahun pun fakta
itu nggak berubah.” At the first, Keara spoke in English and changed to Indonesian to finish her sentences. The code switching here is inter-sentential
switching in the level of sentence. Both sentences were in different languages. However, they completed each other.
Another example of inter-sentential switching is shown in the following monologue. This monologue was when Keara thought about Panji. She still
thought that Panji was only playing with her. Therefore, whatever Panji did to show that he loved Keara, Keara only saw it as a way for Panji to win the game.
Aku tahu ini mungkin saja satu dari sekian banyak caranya untuk membuatku jatuh cinta jatuh bangun
—I am officially insane for quoting a
dangdut
song —
memuja dirinya.
Monologue, p. 255
Here, the code switching is in the form of a clause which is a part of a sentence. The clause here explained
about Keara’s feeling on why she used or quoted a
dangdut
song to express her thought about Panji.
c. Intra-sentential Code Switching
Intra-sentential switching is said to be the most difficult one. Even so, the most frequent code switching found in this novel is intra-sentetial switching. This
type seems to be simple since it is usually in a form of word or phrase. However, if the speaker does not have a high understanding of the grammatical rule or part
of speech, it can be resulted as grammatical violations. Here, there are two examples of intra-sentential switching.
The first one is in the monologue bellow. It was when Keara arrived in
Rumah Sakit Pondok Indah,
and she had to inform Denise’s parents about an accident that happened to Denise.
Jadi aku meraih
BlackBerry-
ku di
handbag,
mencari nama ibu Denise di
contacts,
dan menghabiskan lima menit bicara berganti-gantian dengan ayah dan ibu Denide di telepon, berusaha setenang mungkin walaupun
ibunya sudah jejeritan di ujung telepon sana, dan sekuat mungkin menahan air mata saat akhirnya pembicaraan di telepon kami tutup.
Monologue, p. 266
The intra- sentential switching are ‘handbag’ and ‘contacts’. However, the clearest
one is ‘contacts’. ‘Contacts’ are noun. When the speaker does not aware of the use of part of speech, it may result in grammatical violation. For example, when the
word ‘contacts’ are replaced with ‘contacting’ which is a verb. The second example is the example where people may think that Keara
was violating grammatical rule. It was when Keara talked about Denise and Kemal, Denise’s husband.
Yang kutahu hanya bahwa dengan begitu banyak masalah pernikahan Kemal dan Denise, entah bagaimana caraya mereka
make it work
dan terlihat bahagia.
Monologue, p. 290-291
For someone who is not aware of using subject-verb agreement, they may think that it is wrong to say ‘make it work’. However, there is a grammatical rule which
say that ‘make it’ is followed by verb one. The name of this type of sentence is Causati
ve. It is as the same as ‘let it go’ and ‘let it flow’. We do not say it as ‘let it goes’ and ‘let it flows’. The pattern of causative sentence is makelethave +
subject + verb one. The use of this pattern is to force someone to do something. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
Therefore, that is why intra-sentential switching is said to be the most difficult one. It needs high awareness and understanding of both language.
2.
The Speech Functions of Code Switching Used by Keara in
Antologi Rasa
As what has stated before, this section answered the research question number two. Therefore, as stated in Chapter II, this research used Appel and
Muysken’s 1987 theory about the speech functions of code switching. There are six speech functions according to Appel and Muysken 1987. However, not all of
the six speech functions are used by Keara.
a. The Referential Function
