The Function of Response

25 There are two kinds of requests, that is, action request and permission request. “Request is face threatening acts for two reasons. They are costly to the addressee and benefiting the speaker and they are open to rejections” Stenström, 1994: 116. There are three responses which are possible to a request, namely accepting, evading, or rejecting. a Accepting Accepting is an act that can be both positive and fully satisfactory action. Example of action request: A: And could you get us some coffee please? B: I’ll. Yes. Example of permission request: A: May I open the window? B: Of course you may. b Evading Evading is the of the addressee’s act to show that shehe cannot do or avoid to do what the speaker intends. Example: A : Could you see what’s still to come Mia, coz I think they....there are two performance of each one. B : Trouble is I don’t regularly have a paper it doesn’t get delivered. So, sometimes buy one and... In the example above, B really wants to carry out what the speaker asks to, but B cannot perform the order for an clear reason. She does not say so in ordinary and straightforward words; instead, she tells the reason. c Rejecting Rejecting is an act of disagreeing the speaker’s request. Example: A: Is Professor. Langdon there please? 26 B: Sorry he’s going to other city this morning. Here, rejecting is followed with the reason why. This is regarded as quite obligatory addition; without it, the speaker is possibly seen as rude. 4 Responding to Offers and Invititation Offers and Invitations are the opposite of request. It is the addressee who benefits from the proposed action, not the speaker; even, it is quite costly to the speaker Stenström, 1994: 118. An offer or invitation may possibly be responded by some actions, for instance, as accepting, evading or rejecting. Example of accepting an offer: A: Rio, can I get you a snack? B: Yes you can thank you. Example of accepting an invite: A: Would you like to have a breakfast with me, young Pauline? B: Thanks. That would be nice Example of evading: A: When will you visit us? B: M.... A: Can you inform me before Stephany goes? B: I think I could manage it, m...it’s...you know things become a lil bit excited but m... Example of rejecting an offer: A: What about a coffee? B: I could’n have one, thanks. Example of rejecting an invitation A: Today is the time for all girls to come to the aid of the party. 27 B: Yes. But I’m afraid I’m just laid up. I don’t know, maybe it’s headache. 5 Responding to Apologies Stenström states that “responding to an apology is mainly a matter of being polite” Stenström, 1994:120. Example: A: I’m sorry to disturb you. B: No, not a bit. 6 Responding to Thanks “Responding to thanks is usually answered by the word thank itself” Stenström, 1994: 121. Example: A: Thanks very much. B: Thank you. The researcher chooses the theory of types of responding acts to answer and to analyze the research question number three, that is, “What are the functions of responses in the modern script of Romeo and Juliet movie?” First, the researcher will identify the responding acts produced by the main characters in the movie. Then, she will figure out the function of responding acts by using Stenström’s six classifications of responding acts.

e. Insertion Sequence

Insertion sequence takes place when speakers pause their utterances and insert an utterance which is not in line with the main topic. In a conversation, speakers could interrupt themselves and insert an utterance which seems unrelated to the topic in the conversation. This utterance is called as an insertion sequence. 28 Sometimes, the first utterance of adjacency pairs does not immediately accept the second utterance. The writer found several occasions where a question-answer sequence will be retarded, while another question-answer sequence interjects. Not all first parts are immediately followed with their second parts. It occurs sometimes when one of the participants delays the question-answer sequence, then another intervenes. According to Yule 1996:78, insertion sequence is one adjacency pair within another. Though the utterance may be in the form of question-answer sequence, other kinds of social action are also accomplished within this sequence. Sometimes, the next speaker makes not a second pair part yet another first pair part, because he either does not understand or does not commit himself until he knows more or he is simply stalling Schegloff in Saadoon, 2005:24. This means that between the first and second parts of an adjacency pair, there is a sequence of turns which intervene and this is called insertion sequence.

f. Movie

A movie can be viewed as the real representation of life. Hornby 1995: 434 argues that a set of moving pictures displayed on television or at the cinema that is recorded and contains a story is categorized as movie of film. Films attempt to bring effects on viewers as well as providing the viewers experiences that they would never get from any other media which tells fictional stories, recording 29 actual events, animating objects or pictures, and experimenting in the pure form Bordwell Thompson, 2008:28. a. Elements of Movie Before analyzing a movie, the researcher must understand the elements. Pratista, 2008: 29 suggests five elements which characterize a movie, namely: 1 scene: a section of movie that usually consists of some shots, then unified by time, setting, character, etc.; 2 plot: the structure of incidents that is unified in a movie; 3 character: individuals in a movie that are imaginary; 4 point of view: the vision’s angle of which a story in a movie is told; 5 conflict: a struggle which involves two or more opposing forces in a movie or film, usually being resolved when the story is ended. b. Movie Genres Though there are a number of movies considered crossbreeds or hybrids with two or more genres or sub-genres which are overlapping, Dirks 2010: 13 believe that every film contains at least one major genre. Some movie genres are such as action, adventure, comedy, crime and gangster, drama, epic or historical, horror, musical or dance, science fiction, war, and western. Romeo and Juliet, a movie chosen in this study, is considered as a drama movie. A screenplay or script is a written work by screenwriters for a film, video game, or television program. These screenplays can be original works or 30 adaptations from existing pieces of writing. In them, the movement, actions, expression, and dialogues of the characters are also narrated.

g. The Synopsis of Romeo and Juliet Movie

31 Romeo and Juliet is a 1968 British-Italian romance film based on the tragic play of the same name 1591–95 by William Shakespeare. The film was directed and co-written by Franco Zeffirelli, and stars Leonard Whiting and Olivia Hussey. It is a wonderful drama movie. The story happened in Verona, Italy, during the later middle ages. It began when two families, the Capulets and the Montagues, were quarelling and this quarell had lasted for a long time. Romeo, the son of The Montagues, felt deeply in love with Rosaline but failed to be together with her. His friends, Benvolio and Mercutio, tried to cheer him up and then asked him to accompany them for attending the Capulet’s ball that night. At the ball, Romeo met Juliet, the Capulet’s daughter and then got attracted with her from the first sight.

Dokumen yang terkait

ADJACENCY PAIRS ANALYSIS IN “RED RIDING HOOD’S” MOVIE Adjacency Pairs Analysis In “Red Riding Hood’s” Movie.

3 5 11

A PRAGMATIC ANALYSIS OF LEECH’S MAXIM FOUND IN THE PRINCESS AND THE FROG MOVIE SCRIPT A Pragmatic Analysis Of Leech’s Maxim Found In The Princess And The Frog Movie Script.

0 1 15

INTRUDUCTION A Pragmatic Analysis Of Leech’s Maxim Found In The Princess And The Frog Movie Script.

0 1 8

A PRAGMATIC ANALYSIS OF LEECH’S MAXIM FOUND IN THE PRINCESS AND THE FROG MOVIE SCRIPT A Pragmatic Analysis Of Leech’s Maxim Found In The Princess And The Frog Movie Script.

0 1 17

A PRAGMATIC ANALYSIS OF COMMISSIVE UTTERANCE IN THE A Pragmatic Analysis Of Commissive Utterance In The Wizard Of Oz Movie Manuscript.

0 1 14

A SOCIOPRAGMATIC ANALYSIS OF DIRECTIVE UTTERANCES USED IN LETTERS TO JULIET MOVIE SCRIPT A Sociopragmatic Analysis Of Directive Utterances Used In Letters To Juliet Movie Script.

0 0 14

A SOCIOPRAGMATIC ANALYSIS OF DIRECTIVE UTTERANCES USED IN LETTERS TO JULIET MOVIE SCRIPT A Sociopragmatic Analysis Of Directive Utterances Used In Letters To Juliet Movie Script.

0 1 12

A PRAGMATIC ANALYSIS OF COMMISIVE UTTERANCES IN THE INCEPTION MOVIE A PRAGMATIC ANALYSIS OF COMMISIVE UTTERANCES IN THE INCEPTION MOVIE MANUSCRIPT AND ITS SUBTITLE.

0 0 16

ANALYSIS OF ADJACENCY PAIRS IN "FROZEN": A MOVIE BY CHRIS BUCK AND JENNIFER LEE.

17 27 78

AN OXYMORA ANALYSIS OF ROMEO AND JULIET CHARACTERS IN ROMEO AND JULIET PLAYS BY WILLIAM SHAKESPEARE.

1 6 63