A PRAGMATIC ANALYSIS OF THE ADJACENCY PAIRS IN THE MODERN SCRIPT OF FRANCO ZEFFIRELLI’S ROMEO AND JULIET MOVIE.

i A THESIS

Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana SastraDegree in English Language and Literature

Rizky Fauzia 09211144028

ENGLISH LANGUAGE AND LITERATURE STUDY PROGRAM ENGLISH EDUCATION DEPARTMENT

FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY

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ِﺔَّﻨَﺠْﻟا

Artinya : ”Barang siapa yang menempuh jalan untuk

mencari suatu ilmu. Niscaya Allah memudahkannya ke

jalan menuju surga”. (HR. Turmudzi)

o

Doa orang tua adalah kunci keberhasilan kita

o

Selalu bersyukur atas semua yang Allah berikan tanpa

mengeluh sedikitpun

o

Semua usaha tak akan pernah sia-sia apabila kita

bersungguh-sungguh dalam menjalaninya

o

When life gives you a hundred reasons to cry, show life

that you have a thousand reasons to smile

o

Dream what you want to dream, go where you want to go,

be what you want to be. Because you have only one life

and one chance to do all the things you want to do

o

If you can do what you do best and be happy, you’re

further along in life than most people. –Leonardo

DiCaprio-vi

who won’t quit the fight:

My greatest inspirations and the reason of what I

become today,

Bapak

and

Ibu

Bapak Noer Soleh and Ibu Endang Siti Suwarni

My beloved family who never stop believing in me

:

My sibling,

Mas Riris

, My sister in Law

Mbak Vivi

, and my

lovely funniest niece

Ava

My soul for this struggle who always supporting me

all the way

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Alhamdulillahi rabbil ‘alamin, the researcher expresses her highest gratitude to Allah

subhanahu wa ta’ala for blessing, love, opportunity, health, and mercy to complete this thesis.

What is more, this thesis cannot be finished without some help from other people. Thus, great gratitude is goes to those who have helped the researcher until this thesis is finished:

1. Dr. Margana, M. Hum., M.A. as the first consultant, who has always guided the researcher and encouraged her in writing and finishing this thesis. As well, many thanks are given to Paulus Kurnianta, M.Hum, as the second consultant for the continuous support , for their patience, motivation, enthusiasm, detailed correction and also guidance in criticizing this thesis,

2. lecturers in English Language and Literature Study Program and in English Education Department of Yogyakarta State University, for providing the researcher with knowledge, guidance, and support up to the final stage of her study,

3. her beloved parents, Bapak Noer Soleh and Ibu Endang Siti Suwarni, the researcher thanks them so much for their affection, advice, guidance, instruction and help in life, their love is beyond any words,

4. her’s sibling, Mas Riris, her sister-in-law Mbak Vivi, and her lovely funniest niece Ava for their advice, kindness, and even critiques to encourage the researcher to be a better person,

5. her’s partner, Adhityas Rumwaspodo, for always accompanying and supporting her, giving many advice, endless protection, and for always making her laugh every time, 6. all her friends in English Language and Literature Department who are there to teach

many valuable things, and special thanks to Kistin Hadiyati and Aghnia Nurrahmah who have helped the researcher to triangulate this study,

7. her close friends, Fanny Ariesta, Aghnia Nurrahmah, Rulmiyatun and mbak Dinda who have given the researcher a cheerful and joyful world and beautiful togetherness; she will never forget the happiness and sadness when together inKampus Ungu,

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RATIFICATION SHEET………...………. iii

SURAT PERNYATAAN……….………. iv

MOTTOS………... v

DEDICATIONS………..………... vi

ACKNOWLEDGMENTS………....………. vii

TABLE OF CONTENTS………... ix

LIST OF FIGURE AND TABLES……… xii

LIST OF ABBREVIATIONS……… xiii

ABSTRACT………... xiv

CHAPTER I INTRODUCTION………. 1

A. Background of the Study………... 1

B. Identification of the Problem….……… C. Research Focus……….. 3 3 D. Formulation of the Problems...……….. E. Objectives of the Problem……….. 4 4 F. Significance of the Study………... 5

CHAPTER II LITERATURE REVIEW AND CONCEPTUAL FRAMEWORK………. 6

A. Theoretical Reviews……….. 6

1. Pragmatics………... 6

2. Context ………... 8

a. Context of Situation.………... 8

1) Setting and Scene………... 9

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6) Instrumentalities……….. 10

7) Norm of Interaction and Interpretation……… 11

8) Genre………... 11

b. Cultural or Social Context... 12

3. Language and Conversation……… 13

4. Adjacency Pairs……….. 14

b. The Types of Adjacency Pairs……….... 15

1) Greeting – Greeting………. 16

2) Question-Answer………. 16

3) Request-Refusal/Acceptance………... 16

4) Command-Compliance/Incompliance………. 17

5) Blame/Accusation-Admission/Denial………. 17

6) Offer-Acceptance or Refusal………... 17

7) Assertion-Agreement/Disagreement……… 18

8) Summons-Answer……… 18

9) Farewell-Farewell……… 18

c. The Preference Structure………..………... 18

1) The Preferred Structure………. 20

2) The Dispreferred Structure……….. 20

d. The Function of Response ………. 21

1) Responding to Statement ……… 21

2) Responding to Question ………. 22

3) Responding to Request ………... 24

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f. Movie………. 28

a. Elements of Movie……….. 28

b. Movie Genre……… 28

g. The Synopsis ofRomeo and JulietMovie……… 30

B. Related Study……… 32

C. Conceptual Framework………. 33

CHAPTER III RESEARCH METHOD……….. 36

A. Research Types…...………... 36

B. Data and Source Data……… 37

C. Research Instruments..……….……….. 38

D. Data Collecting Techniques………..……… 40

E. Data Analysis………. 40

F. Trustworthiness of the Data………... 41

CHAPTER IV FINDINGS AND DISCUSSION……… 43

A. RESEARCH FINDINGS………..………. 43

1. Frequency of Adjacency Pairs in the Movie………... 43

2. Frequency of the Preference……… 44

3. Frequency of the Function of Response.………. 45

B. DISCUSSION……… 45

1. Types of Adjacency Pairs inRomeo and JulietMovie……… 46

2. The Preference Sequences inRomeo and JulietMovie…………... 74

3. The Functions of Responses in the Adjacency Pairs in the Movie……….. 78

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APPENDIX….………... 92

xii

Figure 1 Analytical Construct………... 35

Table 1 The General Patterns of Preferred and Dispreferred

Structures... 19

Table 2 The form of Data Sheet for Types of Adjacency Pairs, the Preference Sequences, and the Functions of Responses in the

Modern Script of Franco Zeffirelli’sRomeo and JulietMovie…... ₃₉ Table 3 The Types of Adjacency Pairs in the Modern Script of Franco

Zeffirelli’sRomeo and JulietMovie.……….. 43

Table 4 The Preference Sequences in the Modern Script of Franco

Zeffirelli’sRomeo and JulietMovie……… 44

Table 5 The Functions of Responses in the Modern Script of Franco

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G-G : Greeting – Greeting Q-A : Question – Answer

R-FA : Request – Refusal / Accept

C-CI : Command – Compliance / Incompliance BA-AD : Blame/ Accusation – Admission / Denial O-AR : Offer – Accept / Refusal

A-AD : Assertion – Agreement / Disagreement S-A : Summon – Answer

F-F : Farewell – Farewell

+ : Preferred - : Dispreferred

S : Statement Q : Question

R : Request

OI : Offer / Invite

A : Apology

T : Thank

AP/ACT-/S/P/T/-+/R/

AP : Adjacency Pairs

ACT : Act

S : Scene

P : Page

T : Type

+ : Preferred - : Dispreferred R : Types of Response

Rizky Fauzia 09211144028 ABSTRACT

This study focuses on the adjacency pairs in the Romeo and Juliet movie, with concentration on the types of adjacency pairs, the preference sequences, and the functions of responses. The aims of the study are: (1) to describe the types of adjacency pairs in the movie entitled Romeo and Juliet, (2) to describe the preference sequences in the movie entitled Romeo and Juliet, and (3) to describe the functions of responses in the film entitledRomeo and Juliet.

The study applied a qualitative research method and the data were taken from the script of Romeo and Juliet. The script used in this study was the modern English script with the consideration that the modern script is much easier to understand and analyze. This research was also supported by quantitative analysis in which the researcher used numbers and percentages to measure the occurrences. Corpuses of the data were in the forms of adjacency pairs found in the conversations in the movie.

The findings of the research show that: first, there are nine types of adjacency pairs in the movie. From those nine types of adjacency pairs, the most frequent occurrence is question-answer with 22 occurrences, followed by assertion-agreement/disagreement with 20 occurrences. The request-refusal/accept adjacency pair is in the third with 17 occurrences and command-compliance/incompliance is in the fourth with 11 occurrences. The blame/accusation-admission/denial adjacency pair is in the fifth with 9 occurrences and farewell-farewell adjacency pair is in the sixth with 8 occurrences. Offer-accept/refusal is in the seventh position with 6 occurrences and summon-answer is in the eighth position with 4 occurrences. The adjacency pair with the smallest occurrences is greeting-greeting with only 3 occurrences. Second, among the 100 samples from the movie, there are 72 occurrences of preferred social acts and 28 occurrences of dispreferred social acts. Third, there are four types of responses that occur in the movie; the four types are namely responding to statement, responding to question, responding to request, responding to offer and invitation. The other two types of response, namely responding to apology and responding to thank, do not occur in the movie. The study shows that the response to statement dominates the frequency of the occurrences by 36 times, followed by responding to request which occurs 28 times, question by 21 times, and offer and invitation by 15 times.

1 A. Background of the Study

Talking is a way to make people closer their communities. What they have in their mind can be shared to others by creating a good communication. It can be said that conversation incidentally deals with the social aspects in people's behavior. The importance of talking is defined as interaction primarily serving a social function. When people meet, they exchange everything such as greetings, experiences, business, etc. They wish to be friendly and to establish a comfortable zone of interaction with others. The participants in a conversation need more attention to recognize the meaning in each utterance. The first and the second speakers are considered as the same place of interpreting. It means that they can create balanced situation that is involved in the concept of mind and language. There will be an expectation that the listeners give constant feedback to prompt the speakers in continuing the utterances. Conveying messages and understanding the meaning clearly and accurately are the central focus of the existence of talking.

The need of understanding messages in conversation becomes an important aspect when participants interact with others. They do not have possibility to have a gap. However, it usually happens when the speaker does not

have the same background knowledge. Therefore, the participants are difficult to catch the meaning itself.

The world of conversation has an automatic pattern in the structure of the conversation called adjacency pair. It always consists of the first part and second part, produced by the different speakers (Yule, 1996: 77). The intimacy influences how to understand the logical meaning. It is useful to explore aspects of what is unsaid in the speaker's mind, based on the role of adjacency pairs.

Adjacency pairs exist not only in everyday conversation, but also in movies. One interesting aspect of a movie is the conversations between the characters to make the story flow well. Romeo and Juliet is the example of a

movie which consists of good conversations that make up the storyline. It is an adaptation of one of William Shakespeare’s biggest plays all of time. The adaptation makes the viewers involve emotionally in the flow of the conversations among characters in the movie.

The researcher observed that among the conversations in the movie, there are many adjacency pairs used by the characters. The conversations occurred in this movie show that the adjacency pairs affect the continuous communication in the flowing of the story. The sequences can be interpreted well if it is seen within the aspects of pragmatics. The study of contextual meaning deals with the analysis of what people mean by their utterances than what the words or phrases in those utterances might mean by themselves (Yule: 1996:3).

The researcher is curious to know the types of adjacency pairs, the preferences structures, and the function of responses in the conversations of

Romeo and Juliet movie script. Therefore, the researcher decides to bring the

adjacency pairs topic into a study entitled: A Pragmatic Analysis of the Adjacency

Pairs in the Modern Script of Franco Zeffirelli’s Romeo and Juliet Movie.

B. Identification of the Problems

Daily conversations in human life are very complex dealing with the interpretations of what messages are delivered by the speaker. It requires the hearer to pay more attention to the communication, which often make sufficient variation that cause potential misunderstanding. There is often sufficient variation to cause potential misunderstanding. That is why adjacency pairs are important to know in the terms of understanding the meaning of conversations.

Romeo and Juliet movie represents some patterns of conversation, such as

the form of turn taking, opening conversation, closing conversation, and adjacency pairs. The patterns are used by the speakers throughout the movie.

C. Research Focus

Due to time and resources limitation, it is impossible for researcher to cover all the topics. Therefore, the research focuses on the types of adjacency pairs, preference sequences, and the functions of responses in the modern script of

Romeo and Julietmovie. The data were taken from the script ofRomeo and Juliet

in the modern English script with the consideration that the modern script was much easier to understand and analyze.

D. Formulation of the Problems

Based on the descriptions in the previous part, this research formulates the research problems as follows.

1. What are the types of adjacency pairs in the modern script of Franco Zeffirelli’sRomeo and Julietmovie?

2. What are the preference sequences in the modern script of Franco Zeffirelli’sRomeo and Julietmovie?

3. What are the functions of responses in the modern script of Franco Zeffirelli’sRomeo and Julietmovie?

E. Objectives of the Problem

In line with formulation of the problems above, the objectives of the research are:

4. to describe the types of adjacency pairs in the modern script of Franco Zeffirelli’sRomeo and Julietmovie,

1. to describe the preference sequences in the modern script of Franco Zeffirelli’sRomeo and Julietmovie, and

2. to describe of the functions of responses in the modern script of Franco Zeffirelli’sRomeo and Julietmovie.

F. Significance of the Study

In accordance with the formulation of the problems and the objectives of the research, this study is expected to give contribution to the following parties:

1. Students of the study program of English Language and Literature majoring in linguistics study. This study is expected to give some contributions to pragmatic study, especially in adjacency pairs.

2. The English Teachers. This study is expected to give an alternative idea to teach by using film in language learning.

3. Other researchers. This study expected that the result of this research is used as a starting point to conduct further research.

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Chapter II is divided into four sections. The four sections namely theoretical reviews, conceptual framework, previous study and the synopsis of the Romeo and Juliet movie. In theoretical reviews, the researcher describes several theories related to the research objective. The theories are pragmatics, context, language and conversation, adjacency pairs, and movie. Meanwhile, in conceptual framework, the researcher will explain boundaries of how far she conducts the study. Then, the researcher provides some previous studies which are similar to the researcher’s work. At the end of Chapter 2, the researcher will give the synopsis of theRomeo and Julietmovie.

A. Theoretical Reviews 1. Pragmatics

Pragmatics is defined as the study which deals with the relationship between form of linguistics and the users of it. According to Levinson (1983:9), pragmatics concerns with the study of relationship which includes language and the context and becomes the basis in understanding language meaning. Referring to this statement, pragmatics can be defined as the study which concerns with the links between language and context have relevance to writing grammar. It describes the use of language as well as its relationship between language forms and language uses. Meanwhile, Leech (1983: x) defines pragmatics as the study of meanings of utterances in any situation where the utterance occurs.

Yule (2006: 112) inThe Study of Languagestates “Communication clearly depends on not only recognizing the meaning of words in an utterance but also recognizing what speakers mean by their utterances. The study of what speakers mean, or ‘speaker meaning’, is called pragmatics”. Furthermore, Yule (2006:112) reveals pragmatics in a broader definition with four important points. First, pragmatics is defined as the study of speaker‘s meaning. It relates to the study of meaning which is communicated by a speaker (or writer) and then interpreted by a hearer (or reader). Second, pragmatics refers to the study of contextual meaning including the interpretation of what speaker intends in a given situation and context and the way the context influences what is said by the speaker. In addition, pragmatics also considers of how speakers organize what they want to say in relation to whom they are talking to, where, when, and under what circumstances.

Third, pragmatics is defined as the study which observes how the unsaid is understood as a part of what is communicated. It attempts to identify how a hearer makes assumption of what is said in order to interpret the meaning intended by the speaker. Last, pragmatics refers to the study about the relation between linguistic forms and their users.

In short, pragmatics refers to the study of how language is used when communicating. It is concerned with how people speak a certain the language within a context and the reason of using the language in particular ways.

2. Context

Context is a vital concept in pragmatic analysis since pragmatics explores the meaning of words in a certain context or interaction and how the individuals engaged in the interaction make communication and state information more than the word they use. In other words, context provides more effects to the information than the explicit meaning that the words bear. For example, when a man says “the soup is tasteless” during a lunch, he may want someone to pass him the salt.

The statement above is in line with Yule’s theory. Yule (2006:114) mentions that context refers to the physical environment where a word is employed. Meanwhile, Mey (1993: 39-40) suggests that context is beyond reference and understanding what things are about. Context allows the speaker to give a deeper meaning on their utterances. The utterance “It is a long time since we visited your father”,when spoken in a bed room by a married couple, is totally different in meaning when it is spoken by a husband to his wife while standing in front of a monkey at the zoo, since it is considered to be a joke.

The example above reflects the clear case in pragmatics as the study of contextual meaning. That is why analyzing the meaning of an utterance must pay attention to the context since the meaning of an utterance will be far different if the context is different. Context will set the utterance’s interpretation..

Context of situation or situational context means the speakers are aware of what they can see around them (Cutting, 2002: 3). It becomes a necessary part in communication. The definition is similar to what Widdowson assumes. He reveals that a word in spoken or written language is like in real situation, in which the word can be useless without any context of situation (2004: 37).

Further, Hymes (1974: 55-60) proposes some concepts to explain the context of situation. For convenience, he finds the term SPEAKING as an acronym for the various factors he sees as relevant.

1) Setting and Scene (S)

Settingmeans the time and place, i.e. the concrete physical circumstances where a speech event happens. For example, a bed room in a couple’s house might be a setting for a love and romantic story. Scene means the psychological setting which is abstract, or the cultural definition of the occasion, which involves some features such as range of formality and sense of play or seriousness. For instance, a love story may be told at a cafe where a couple is sitting and dining. At this time, the couple would be delightful, while at some other time, they can be serious and quarelling to each other.

2) Participants (P)

Participants refer to the those who are uttering and to whom they are uttering. Participants may be speaker and hearer, addressor-addressee, or sender-receiver. The social factors, namely age, gender, status, social distance, and role or profession of the participants can be relevant as well, for example, teacher and student.

3) End (E)

End means the conventionally recognized and expected results of an exchange as well as the goals of participants that need to be accomplished on certain occasions. Otherwise, it refers to the purpose, goal, and results of a speech event. For instance, when an uncle tells a story about a grandfather, he may have several goals, namely to entertain audience or honor the grandfather.

4) Act Sequence (A)

Act is defined as the actual form and content of what is said, the precise words employed, the way they are used, and the relationship between what is said and the actual topic at hand. For example, when a mother is telling a story but many responses and interruption raise, the story may end up into a gossiping.

5) Key (K)

Key can be defined as clues that set the tone and manner, where a certain message is conveyed, namely light-hearted, serious, precise, firm, and so on. Key may also be reflected in nonverbal ways through certain behavior, gesture, posture, or even deportment. For example, when a teacher is telling a ghost story to her students, she will imitate monster or a ghost’s gesture.

6) Instrumentalities (I)

Instrumentalities is basically defined as the choice of channel and the actual forms of speech which is used, including chosen language, dialect, code, or register. The choice of channel itself can be in the form of oral, written, or telegraph. For example, a lecturer may speak in casual register using many dialect

features or employ a more formal register and careful grammar as “standard” forms when teaching in a class.

7) Norm of Interaction and Interpretation (N)

Norm means the particular behaviors and properties attached to speaking and also to how it is seen by someone who does not share it. In other words, norms can be social rules that govern the event, action, as well as reaction of the participants, for example, loudness, silence, and gaze return.

8) Genre (G)

Genre means types of utterance that are clearly demarcated, for instance, poem, proverb, riddles, sermon, prayer, lecturer, and editorial. However, sometimes it is uneasy to search for all elements of the context of situation when studying an utterance because not every utterance has context of situation. Thus, only some of them are employed and considered when interpreting an utterance. For example, the utterance is told in the form of anecdote for entertainment.

Another opinion about context of situation is given by Leech. He suggests that context involves related aspects of the physical or social setting within an utterance. In this sense, context of situation plays a major role in the understanding of utterance’s meaning because through context, the speaker and the addressee tell their background to catch the meaning of their utterances (Leech, 1983: 13). Then, Malinowski in Halliday and Hasan (1986: 6) adds that

context as the environment of text that include environments, both verbal and situational, where the text is spoken.

In addition to context of situation, Holmes (2001: 8) put forwards that in any situation, linguistic choices represents the influence of one or more of the following components in general, namely the participants, the setting or social context of interaction, the topic, and the function. The participants can be the ones who are uttering as well as to whom they are uttering. The setting or social context of interaction refers to the situation where they are speaking (physical setting) and the psychological situation where they are speaking (psychological setting). Meanwhile, topic is what is being discussed, whose function is why they are speaking. Those elements become the fundamental components in pragmatics that describe the reason of everybody to not speak in the same way every time. b. Cultural or Social Context

Another context that gives impacts to the way people state something is the cultural or social context. It also influences the linguistic features chosen by the speaker. In this case, Malinowski in Halliday and Hasan (1986: 6) put forwards context of culture as the institutional and ideological background that provides a certain value; it also contains an interpretation. For example, somebody tells X which is considered as an insult in a conversation of a group that occurs in a certain place, but X may be considered not an insult in the other conversation group in another situation, too. This phenomenon occurs since the parties in each conversation belong to different cultures.

Furthermore, any linguistic interaction includes both the immediate sight and sound surrounding the event, as well as the whole cultural history of the participants and the type of practices that they engage in. Thus, it is not proper if someone only considers the context of situation while neglecting the context of culture when communicating.

3. Language and Conversation

Conversation plays a pivotal role in human life as it links the inner relationship between the first and the second speaker. Language contains more complex meaning than the utterances do. It is reflected from one type of conversation or dialogue. According to Hornby (1995: 320), dialogue is conversation in the spoken or written form, talk or discussions between people where opinions are exchanged. In human communication, talking becomes the basic form of speech. It is a type of speech where two or more participants freely alternate in speaking. Conversation among participants occurs almost in communication every day.

Sinclair and Coulthard (1975) argue that there are three characteristics of conversation, namely performing act, response, and reclassification. In categorizing an utterance as performing a certain act, the questions asked are whether it is intended to invite a response, whether it is a response itself, whether it is designed to mark a boundary in the discourse, and etc. An elicitation can solicit a response and take place before the initiating move. In the same move, the concept of continuous classification depends on the type of response. Conversation is a cooperative achievement which involves at least two

participants in reclassification. One participant makes an initiating utterance in order to soliciting a particular response from the others.

A whole conversation usually contains three parts: the opening, the body and the closing; among which, the opening and the closing affect greatly on the structure of conversation than the body which may be often varying in the content of a conversation. When someone needs to conduct a conversation with another, he or she always starts the conversation in a particular linguistic or nonlinguistic form, for instance, mentioning the name or title of the addressee, c. g. "Jean", " Mr. Paul ", " Prof. Tou ", "Excuse me-", 'Pardon me", tapping the addressee on the shoulder, waving a hand, or making a dry cough to him. The act is followed with the conversation’s body that may vary in content. It looks there is no certain rule in formulating the patterns of the body.

The closing means the ending of a conversation. To end a conversation, some forms of linguistic or non-linguistic signals are used to show the ending of a conversation. Because a conversation is regarded as a cooperative social activity, it is quite rude to close a conversation abruptly before the speaker completes his speech, and it is also inappropriate not to close the conversation after the speaker ends what he intends to tell.

4. Adjacency Pairs a. Definition

When one speaker makes an utterance, it is mostly responded by another utterance from another speaker. When the expected response is not yet

forthcoming, interlocutors will show an account of why the response is not forthcoming. This form of conversational organization is well defined by Schegloff and Sacks in their concept of adjacency pairs. Two adjacent utterances made by different speakers are connected to each other in such a way. Through adjacency pairs, participants are allowed to start conversation, negotiate deal, relate facts, change topics, and end the conversation (Schegloff and Sacks 1973:296).

The utterances are connected to set pair types, thus, a certain first pair part forms the expectation of a certain second pair part (Schegloff and Sacks 1973:296). For example, a question will always expect a reply, and an offer also will always expect an acceptance or decline. The kinds of response may be in the form of a bound interactional unit among participants. It will raise a problem in the conversation when the second part response does not happen,. This will result in a significant absence and hence unmeaning.

In a book entitled Spoken Discourse, Edmondson (1981:46) mentions that Schegloff and Sacks (1973) have categorized adjacency pairs into five features, which are: (1) two utterance length, (2) adjacent positioning of the component utterances, (3) different speakers producing each utterance, (4) relative ordering and (5) discriminative relations (the pair type of which a first pair part is a member and this appropriates the choice among second pair parts).

There are a number of possible areas of difficulty that has a relation with adjacency pairs. First, a certain utterance may be intended as one among several first pair parts of adjacency pairs. Second, when answering the telephone, "Hello"

may be regarded as a greeting, or summon. Third, questions can contain information questions or requests for action (“would you like do that for me?”) or criticism (“why did you kill that?”), etc. (Jack C. Richards and Richard W. Schmidt’s words ,2010:12).

b. The Types of Adjacency Pairs

Adjacency pairs take place when an utterance from one speaker leads to a particular kind of response very likely. (Schegloff and Sacks 1973:297) divide the adjacency pairs into nine parts, such as greeting-greeting, question-answer, request-refusal, command-compliance/ incompliance, blame/accusation-admission/denial, offer-acceptance or refusal, assertion-agreement, disagreement, summons-answer, and farewell-farewell. The types of adjacency pairs can be seen below.

1) Greeting - Greeting

Tom : "Hey.Good morning!" Clerk :Good morning, Tom.

(Schegloff and Sacks, 1973:297) The utterances above indicate adjacency pairs with the first part of the conversation is a greeting and the response of the greeting (1stpart) is a greeting, too. This type of adjacency pairs is mostly used when starting a conversation. 2) Question - Answer

Tom :What are this, people kissing or something? Olivia :John says they might get married.

The first turn shows a question. Tom asks Olivia about the people he sees kissing (it is probably done in the waiting room). The second pair part provides a response to the question, the answer.

3) Request - Refusal/acceptance

John : "Sweetie, you're going to go with Daddy,okay?" The daughter : "Okay."

(Schegloff and Sacks, 1973:298) In the uterrances above, the first pair part indicates a request from the father (Tom) to his daughter. He orders his daughter to go with him somewhere. As the response, in the second pair part, the daughter says her acceptance.

4) Command – Compliance / Incompliance

Olivia : "Now we can go through the cave.Duck!"

John : "All right, going into the cave. That's a big, beautiful cave we're in."

(Schegloff and Sacks, 1973:298) Olivia initiates the utterances above by giving a command to the group of people. She orders to go through the cave, but they all have to duck first. In the second pair part, John, a member of the group, gives a response to the command with compliance as the response.

5) Blame/ Accusation – Admission/ Denial Olivia : "Man,you're crazy!"

John : "I amnot crazy! I want my goo-gaa!"

(Schegloff and Sacks, 1973:298) In the conversation above, Olivia makes accusation to John. Olivia accuses John as a crazy man (due to something described earlier). As the response, in the

second pair part, John denies Olivia’s statement by saying that he is not crazy but then he pretends like a crazy man.

6) Offer - Acceptance or Refusal

Olivia. : "Do you want another cup of tea?" John : "No, Thanks. It’s enough."

(Schegloff and Sacks, 1973:298) Olivia is offering John another cup of tea when knowing that John’s cup is almost empty. In the second pair part, John responds with a refusal and says that one cup of tea is enough for him.

7) Assertion -Agreement, disagreement

Tom : Well, you know, sometimes, these things are like a Band-Aid." You just have to rip it off.

Olivia : "Right.Rip it."

(Schegloff and Sacks, 1973:298) From the utterance above, it is obvious that the first part of pair delivers assertion. Tom states that “these things” (probably a problem or something attached) are similar to band aid that is easy to rip off. In the second pair part, Olivia makes a response by stating an agreement about to rip the things off.

8) Summons - Answer Tom : "Olivia!

Where are my notes for the 11:00? Olivia : "Jake. I think they're in there."

(Schegloff and Sacks, 1973:298) The first part of the pair denotes summon. Tom is calling for Olivia to ask about notes for his scheduled meeting. Olivia gives her answer in the second pair part. 9) Farewell - Farewell

Tom : Come on, Liv, let's go. We gotta go. Ella : Bye, Olivia.

Olivia : Bye, Ella.

(Schegloff and Sacks, 1973:299) The utterances above denote adjacency pairs in the form of farewell – farewell. Tom is asking Olivia to leave and Olivia says farewell to Ella, her friend. In the second pair part, Ella makes a response by saying farewell, too.

c. The Preference Structure

Adjacency pairs denote social actions. In general, the first part in the form of a request or an offer is set typically with an expectation that the second part will be an acceptance. An adjacency pair is formed through the contents of the two statements which are uttered successively by two speakers and ordered as the first part and the second part of the adjacency pair, and are coherent in content in terms of semantic and pragmatic aspects. An acceptance is more prefered than a refusal; this structural likelihood is known as preference. Levinson (1983, p. 336) has divided the structure of preference into two acts: preferred and dispreferred social acts. The preferred act means the structurally expected upcoming act, while the dispreferred one is the next act which is structurally unexpected. The difference between the preferred and dispreferred second parts tends to be subjective or psychological rather than logical or rational. In an attempt of avoiding dispreferred or awkward responses (the second parts of adjacency pairs), the speaker could sometimes perform some tentative speech acts which are called as pre-sequences. Pre-sequences are defined as the adjacency pairs designed to meet what is needed in the psychological side. Several every day pre-sequences in conversations are pre-invitations, pre-requests, and pronouncements..

Preference structure has divided second parts into prefered and dispreferred social acts. The most usual patterns of preference structure are given below.

Table. 1 The General Patterns of Preferred and Dispreferred Structures (Levinson, 1983)

Preference Structure

First Part Second Part

Preferred Dispreferred

Assessment Agree Disagree

Invitation Accept Refuse

Offer Accept Decline

Proposal Agree Disagree

Request Accept Refuse

When choosing whether request or offers as first parts, acceptance becomes the prefered and refusal becomes the dispreferred second part. In examples [-a.-d.], the responses in each second part all denote preferred structure. That is why acceptance or agreement is the preferred second part in response to a request [a], an offer [b], an assessment [c.], or a proposal [d].

First Part Second Part

a. Can you help me? Sure

b. Want some coffee? Yes, please.

c. Isn’t that really great? Yes, it is. d. Maybe we could go for a walk That’d be great.

In order to clearly identify how these preferred second parts are expected in the examples above, people must imagine each first part is met with silence. In any adjacency pair, silence which positions the second part may be interpreted as a dispreferred response.

- Father : Hey, you’re gonna do with mommy, Okay? - Son : Okay (accept)

-Father : And I’ll call you every day. - Son : Promise me?

- Father : You’ll be alright. You’ll be alright.

It is obvious that an expectation exists in the next act which contains acceptance, and thus, this act is considered as a preferred structure.

2) The Dispreferred Structure

- Son : Mom!

- Mommy : Not now, darl -Son : But, Mom, please!

-Mommy : I told you, not now. (Refuse)

And listen to me, Jim. This is the time for mom to work. The adjacency pair above shows dispreferred structure where the adjacency pairs indicates unexpected act or refusal from the mommy because she is in a rush before going to work.

d. The Function of Response

Each dialogue has feedback or response within the conversation topic. For the response toward answer, the researcher employs Stenström’s theory. He states that “responding act is addressee’s next obligatory move in the exchange after speaker’s initiation” (p. 109).

1) Responding to Statement

When a speaker makes a statement, he or she will expect a reply from the person he or she is talking to. There are three categories of responding to statement, that is, acknowledging to inform and opine, agreeing to inform and opine, and objecting to inform and opine.

Acknowledge refers to the signal that the addressee agrees what the speaker states as a valid contribution to the conversation. The simplest way of giving a response is by using the “acknowledge” that enables the addressee to respond without stating whether she/he approves/disapproves of that they have heard. The markers can be “ah, all right, I see, oh, ok, quite, really, right, gosh, oh dear, goodness, and so on” (Stenström, 1994:111).

Example: A: I have no news of Wessex at all. B:I see

b) Agreeing to inform and opine

Agreeing indicates that the addressee accepts what the speaker means. There are some markers of agreeing to inform and opine, such as, “absolutely, all right, fine, good, ok, precisely, quite, right, that’s right, yes/no, and so forth” (Stenström, 1994: 112).

Example: A: I just found that Dona will stump up any money to cover the girl’s time.

B:Good.

c) Objecting to inform and opine

Objecting means the indication that the addressee does not accept the speaker’s statement. It is considered strange if the addressee always agrees to all the speaker states. It would either show that the addressee has no opinion or that she/he either does not have anything to tell or she/he is not interested in the topic. Some markers of objecting to inform and opine are “well, yes but, not but” (Stenström, 1994: 113).

B:Yes butShanti, strong-willed person has to take another for better or worse the same as the one without strong wills.

2) Responding to Question

A question always demands a proper answer. Nonetheless, not all answers are right in the sense that they do answer the interviewer’s question. In regards to the response to question, it is categorized into five types, i.e complying, implying, supplying, evading and disclaiming (Stenström, 1994: 114).

a) Complying

Complying is the only direct and adequate type of response to a question. The other responses or questions are not exactly or not considered at all straight to the point. Thus, it is said that complying gives no more than the information being asked for.

Example: A: When is it?

B: Tomorrow at four twenty. b) Implying

Implying means the act which indirectly gives answers to the question or implicitly gives proper information; otherwise, it answers the question indirectly. Example: A: Do you want the applicants to go to the registry office

directly? B: Not many.

The conversation indicates that B answers the question indirectly. B wants the applicants to go to the registry office but not many.

Supplying becomes part of an answer that produces inadequate information. It does not really answer the question or does not give a clear answer. Moreover, supplying attempts to give additional information that sometimes is unrelated the question.

Example: A: Was she a personal friend of yours or? B: Hmm…well… She used to be my senior.

Here, B does not necessarily answer the question, because she does not clarify whether ‘she’ was a personal friend or just a senior. This answer is typically introduced well, often combined with pauses.

d) Evading

Evading is part of answer which neglects to answer directly. Example: A: Um..Well do you have any other argument?

B: Well, they didn’t give any.

In the example, B neglects to answer the question directly by referring to another person who is absent.

e) Disclaiming

Disclaiming denotes that the answer is still unidentified. Usually the addressee states hesitation, and then s/he continues with an answer that is true and straightforward but it does not clearly provide an answer to the question and does not pretend to do so.

Example: A: What will happen when somebody breaks in and robs it – am I covered or?

B: Mm… honestly I don’t know

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 she/he 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?

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

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.

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

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

adaptations from existing pieces of writing. In them, the movement, actions, expression, and dialogues of the characters are also narrated.

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.

After the ball party that night, Romeo watched Juliet on her balcony. He realized that Juliet loved him very much. After that, he made his presence known, and before morning they decided to hold a marriage secretly. Nonetheless, before the wedding day ended, Romeo was kept for killing Juliet’s cousin named Tybalt. Romeo did it because Tybalt had killed Romeo’s friend, Mercutio. His camaraderie toward his friend encouraged him to have a battle with Tybalt. Then, the Prince of Verona had sentenced him to banishment. He then escaped from Verona without informing Juliet.

In another place, Juliet’s father, Lord Capulet, arranged his daughter’s wedding ceremony; he had chosen a man he considered as the right husband for Juliet. Juliet did not agree with the marriage since she did not love the man; her love was only for Romeo. Then, a friar gave her a drug containing poison which could make her get into a deathlike trance until Romeo came and took her away with him. Unfortunatelly, Romeo heard the wrong information and he thought she had passed away. He then made a trip to Verona and committed suicide by drinking poison.

Soon, Juliet woke from her trance and saw the dead body of Romeo. Immediately, she picked off herself with Romeo’s dagger. The two families, the Capulets and the Montagues, found the tragedy has brought a deep sadness two both of them. It made them realized to end the quarrel forever.

The researcher refers to some similar studies discussing adjacency pairs that have been done previously. The first study is a thesis by Fauzi (2010). His thesis concerns on the conversational turn taking strategies used by the interviewer of Metro TV Indonesia This Morning. The result of the study reports that the interviewer employs three kinds of turn taking strategies; they are taking the turn, holding the turn, and yielding the turn. The interviewer chooses taking the turn strategy when he wants to begin a conversation or initiate a conversation; he implements holding the turn when he wants to start speaking; then, he practices yielding the turn when he has nothing to say again in conversation or he has made complete sentences. The interviewer also employs questions to take and yield the turn in the interview process. However, the interviewer does not directly give questions to take and yield the turn, whereas he usually delivers new statements first before giving questions. It is aimed to the interviewee in order the interviewee able to focus on every subtopic question given by the interviewer. In delivering statement itself, three kinds of turn taking strategies have been used. Meanwhile, in this study, the researcher does not take turn taking strategies used by Metro TV interviewer. The researcher’s study is specifically focused on the adjacency pairs used by Romeo and Juliet movie script only.

The second study is a thesis by Sulistyowati (2009). Her study is entitled Turn Taking Strategies Used by the Main Character in “The Pursuit of Happiness” Movie. The study tells about a movie and the researcher analyses of the turn strategies performed by the main characters in the movie. By referring to the Stenström’s theory, Sulistyowati comes to the conclusion that three turn taking

strategies are correlated to each other: starting up strategy, taking over strategy, and interrupting strategy. Though Sulistyowati’s study also deals with a movie, her thesis has different focus from this study. She pays more attention on the turn taking strategies in the Pursuit of Happiness movie, while the researcher in this study focuses on the adjacency pairs in theRomeo and Julietmovie script.

Aside from those two previous studies that have been reviewed, the researcher of this study takes a different object to study. The researcher takes a very famous film adapted from a very popular play entitled Romeo and Juliet, the most tragic-romantic play ever. The researcher conducts the study about the adjacency pairs which exist in the movie. The researcher of this study also decides to use the modern version of the movie script to get better result of the study because the researcher realizes that modern version is really easy to analyze than original version.

C. Conceptual Framework

In order to make the study easier to understand, the researcher needs to construct the theoretical framework. The framework gives the researcher boundaries of how far she would conduct the study. In this study, the researcher studies about the main characters’ conversations in the Romeo and Juliet movie script. The script used in this study is not the original one but the modern one because the original script is rather difficult to comprehend.

The analysis of the conversations is based on the adjacency pairs study proposed by Schegloff and Sacks. They catagorize adjacency pairs into nine:

greeting-greeting, question-answer, request-refusal, command-compliance / incompliance, blame/accusation admission-denial, offer-acceptance or refusal, assertion-agreement, disagreement, summon-answer, and farewell-farewell. The researcher also discusses preference structure that will be divided into preferred structure and dispreferred structure. Finally, the researcher conducts the study about function of the responses. To make the framework clear, the researcher makes an analytical construct below.

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This chapter deals with research methods which include type of research, data and source of the data, research instrument, data collecting technique, trustworthiness of the data, and data analysis. Each of which is presented as follows.

A. Research Types

The research employed descriptive qualitative approach by which descriptive data were gained. Bogdan and Biklen (1982: 39-48) state that qualitative approach is a research bringing about the descriptive data in the form of written or oral data from the subjects of the research being investigated. Meanwhile, Krathwohl (1993: 740) argues that qualitative research describes phenomena in words instead of numbers or measures.

This research was qualitative in nature due to its data characteristics and descriptive analysis. The qualitative research was done to describe particular phenomena or situations analytically that become the focus of the research. This research was also supported by a quantitative analysis is which the researcher used numbers and percentages measuring the occurrences of the types of adjacency pairs, the preferences structures, and the function of responses in the conversations ofRomeo and Julietmovie script.

In this research, the phenomena or situations under observation were the adjacency pairs of the utterances made by the characters in Romeo and Juliet movie. There were three objectives in this study, namely to find out the types of adjacency pairs done by the characters in the movie, to figure out preferences structure and to define the functions of responses.

B. Data and Source of Data

The data were taken from the script of Romeo and Juliet in the modern English script with the consideration that the modern script was much easier to understand and analyze. The difference between the original script and the modern one lied on the use simplicity of the style. The original script was rather difficult to understand, as in the following script:ROMEO: “And we mean well in going to this mask, But ’tis no wit to go”. The modern styles script was much easier to understand, like the following script:ROMEO: “We mean well by going to this masquerade ball, but it’s not smart of us to go”. The researcher decided to use modern script of Romeo and Juliet movie in the study because she thought that the movie script is easier to analyze since the conversations containing Adjacency pairs are already written there. It means the data in the form of written conversation.

The data were in the forms expressions of adjacency pairs found in the conversations in the movie. Conversations in a movie are usually organized and managed by characters sharing the same ideas and information to each other. In the conversations, the participants arrange themselves in each part of the role of

communication, so that the data appear in the form of utterances made by one speaker as the response to the others.

C. Research Instruments

Since this research was qualitative, the main instrument of the research was the researcher itself; this is in line with what has been stated by Bogdan and Biklen (1982: 27). In this study, the researcher played the role as the designer, the data collector, the analyst, the data interpreter, and eventually the reporter of the research findings. In addition, data sheets served as secondary instruments to guide the process of identification and analysis. After all data had been identified, they were transcripted into data sheets to analyze.

D. Data Collecting Techniques

In preparing the data, the researcher did not only collect the data but also selected and classified the data according to particular classifications that had been prepared. In collecting the data from written sources, the writer applied simak and catat (read and write) technique. Sudaryanto (1993:132) says that simak and catat technique is aimed to record relevant data which match the objective of the research. The data collection of this research was done by making transcription according to its classification. The data were documented along with their context or setting to get a complete understanding on the situation. Therefore, the writer watched, listened, and took notes from the conversations in theRomeo and Julietmovie.

E. Data Analysis

Data analysis is a process of organizing and classifying the data into a patterned category and a unit of analysis in order to find a theme and to formulate working hypothesis as the data suggest (Moleong, 2001:103). In analyzing the data in the movie, the writer worked under comprehensive framework in analyzing data. The framework used in this research consisted of the description regarding the types and the function of adjacency pairs.

The data analysis in this study was done by observing the data obtained and then classifying them into three categories: the type, the function, and the preference structure of the adjacency pairs.

After the data were classified and analyzed based on the data sheet and theories in Chapter II, the writer drew conclusions. The conclusions were the answers to the objective of the study as stated in Chapter I.

F. Trustworthiness of the Data

Credibility in research is measured by seeing how credible the research finding is. Meanwhile, credibility is different from transferability. To achieve the transferability in this research, the writer sought and gathered empiric events related to the same context. The dependability was closely related to the data themselves. The last was the criteria of conformability; in this case, the conformability was to make sure that the research is objective. In this research, the writer applied the credibility and conformability to gain trustworthiness.

To achieve the credibility of the data, the writer performed comprehensive observation on the data, so the data were regarded as credible. The credibility of the data was also obtained through triangulation technique. There are four main types of triangulation: by sources, by methods, by researchers or observers, and by theories. In this research, the writer used sources and observers. The sources of this study were in the forms of books, papers, journals; some written sources from internet related to pragmatics theories were also used in the research. In addition, peer discussion was conducted to check the data analysis. The researcher discussed the data with her colleagues from English Department who are majoring Linguistic and asked them to do the validation of the data.

Moreover, the writer also employed conformability to demonstrate the neutrality of the research interpretations. The conformability was checked by measuring how far the findings, while the interpretation of the data was truly based on the data. The writer firstly confirmed the research data to Dr. Margana, M.Hum., M.A as the first consultant, and then to Paulus Kurnianta, M.Hum as the second consultant. The researcher also invited the other competent partners from linguistics class as the triangulation partners. They were Kistin Hidayati and Aghnia Nurrahmah.

In this research, dependability was also tested through triangulation technique. Triangulation is the combination of methods in studying and observing several same phenomena. Triangulation utilizes something outside the data to verify the data themselves or to compare them. Some basic elements of triangulation technique are sources, methods, observer or researcher, and theories. In this research, the validity of the research was done by repeating the observation of the data.

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This chapter consists of two parts, research findings and discussions. The research findings part discusses the data obtained from Romeo and Juliet movie script and covers the frequencies of the occurrence of adjacency pairs in the conversations in Romeo and Juliet movie script, the frequency of the occurrence of the preference, and the frequency of the occurrence of the function of the response. The discussions part explains the findings in more details.

A. Research Findings

1.Frequency of Adjacency Pairs in the Movie

The frequency of adjacency pairs in Romeo and Juliet movie script is presented in Table 3 below.

Table 3. Frequency of Adjacency Pairs in the Movie Adjacency Pairs in the Movie G G Q A R FA C CI BA AD O AR A AD S A F F

Freq 3 22 17 11 9 6 20 4 8

% 3% 22% 17% 11% 9% 6% 20% 4% 8%

Tot 100

Table 5 shows nine types of adjacency pairs, namely (1) greeting-greeting (GG), (2) question-answer (QA), (3) request-refusal/acceptance (R-FA), (4) command compliance/incompliance (C-CI),(5) blame/accusation-admission/denial (BA-AD), (6) offer-acceptance/refusal (O-AR), (7)

assertion-agreement/disagreement (A-AD), (8) summons-answer (S-A), and (9) farewell-farewell (F-F). Table 5 also shows the percentage of each type of adjacency pairs. The most often occurring type is question-answer with 22% or 22 times, followed by assertion-agreement/disagreement with 20% or 20 occurrences. Request-refusal/acceptance adjacency pair is in the third rank with 17% or 17 occurrences and command-compliance/incompliance in the fourth rank with 11% or 11 occurrences. Blame/accusation-admission/denial adjacency pair is in the fifth position with 9% or 9 time occurrences, while farewell-farewell adjacency pair is in the sixth position 8 occurences or 8%. In addition, offer-acceptance/refusal is in the seventh position with 6% or 6 occurrences and summons-answer is in the eighth position with 4% or 4 occurrences. The type of adjacency pair with the smallest occurrences is greeting-greeting with only 3% or 3 occurrences. Based on the data above it can be concluded that in Romeo and Juliet movie, the highest occurrences of adjacency pairs is Question -Answer and the least one is Greeting – Greting.

2. Frequency of the Preference

To show the frequency of the preference, the findings are given in Table 6 below. Table 4. Frequency of the Preference

Preference

Preferred Dispreferred

72 28

72% 28%

100

Table 4 shows that among 100 sample pairs from the movie, Preferred social act ranks first with 72% compared to dispreferred social act with 28%.

3. Frequency of the Function of Response

The frequency of the function of Response is displayed in Table 7 as follows. Table 5. Frequency of the Function of Response

Function of Response (Responding to…) Statement Question Request Offer &

Invitation Apology Thank

36 21 28 15 0 0

36% 21% 28% 15% 0% 0%

100

Table 5 shows six types of responses, namely (1) responding to statement, (2) responding to question, (3) responding to request, (4) responding to offer and invitation, (5) responding to apology, and (6) responding to thank. Table 7 shows that the response to statement dominates the frequency of occurrence by appearing 36 times or 36% followed by responding to a request that appears 28 times or 28%. The smallest occurrence is the response to apology and thank that has 0% occurrence. The last two functions of response have no occurrence because they do not exist in the story/script. The cause is probably related to the social context of the story in which the story is dominated with hatred and desire to take revenge between two families, the Montaque and the Capulet. Because of the hatred and desire to take revenge between those families, apologies and thanks are hard to find.

B. Discussion

In this part, the researcher discusses the adjacency pairs, the preference sequences, and the functions of response in details.

1. Types of Adjacency Pairs in the Modern Script of Romeo and Juliet Movie Adjacency pairs are two adjacent utterances which are produced by different speakers who are related to each other in such a way. The utterances are related to form pair types so that a particular first pair part sets up the expectation of a particular second pair part. For example, a question expects a reply and an offer expects an acceptance or decline.

In this study, there are nine types of adjacency pair found in Romeo and Juliet movie, namely greeting-greeting, question-answer, request-refusal/acceptance, command-compliance/incompliance, blame/accusation-admission/denial, offer–acceptance/refusal, assertion-agreement/disagreement, summons -answer, and farewell -farewell. The writer presents the complete data in the appendix, while in this part, she discusses each type of adjacency pairs found in Romeo and Juliet movie script in details.

a. Greeting – Greeting

The first type of adjacency pair is greeting-greeting. It is when the first part of the conversation is a greeting and the response is a greeting, too. In Romeo and Juliet movie, there are three occurrences of greeting-greeting adjacency pairs and three of them are explained below as the example.

The first evidence about the occurrence of greeting-greeting adjacency pairs can be seen in the conversation between Romeo and Friar Lawrence. Friar Lawrence is the

priest who later declares Romeo and Juliet _{husband and wife. The conversation is as}

follows.

(4:01)

ROMEO: Good morning, father.

FRIAR LAWRENCE: God bless you. Who greets me so early in the morning? Young man, something’s wrong if you’re getting out of bed this early. Every old man has worries, and worried men never get any sleep, but young men shouldn’t have a care in the world.

P : 1. Romeo, 2. Friar Lawrence S : The church

LF : Greeting

(AP/ACT-2/S3/P2/G-G/+/O-I) The above script is a conversation between Romeo and Friar Lawrence when the day has just begun. Very early Romeo goes to church and finds Friar Lawrence seek for some advice related to his relation with Juliet. Before Romeo tells his purposes, he greets Friar Lawrence by saying “Good morning, father”. “Good Morning” is a common greeting used to greet someone when they meet in the morning. The greeting “good morning” is very similar to “good afternoon” and “good evening”, or “Hello”. Realizing that Romeo comes and greets him, Friar Lawrence replies it with a blessing to greet Romeo in return. After giving a blessing to Romeo, the father gives more utterances because he is shocked that in the very early morning, Romeo has come to church to find him. Romeo greets the priest to get his attention toward the matter that Romeo brings.

According to the theory in Chapter II, when a conversation starts with a greeting and is replied by a greeting too, it can be said that greeting-greeting adjacency pairs occur in the conversation. The same theory is also applicable in the next conversation that is written below.

(4:02)

NURSE: Good morning,gentlemen. MERCUTIO:Good afternoon, fair lady. P : 1. Nurse, 2. Mercutio

S : in the morning LF : Greeting

(AP/ACT-2/S4/P6/G-G/+/S)

The above conversation is between the Nurse and Mercutio; both meet in one occasion in the movie. The Nurse nicely greets Mercutio by saying “Good Morning” because she does not want to look unfriendly. However, Mercutio does the opposite; he responds the greeting with a silly greeting. Mercutio greets the Nurse with “Good afternoon”. In fact, the time they meet is in the morning.

The conversation above starts by a greeting and is replied by a greeting, too. It means that greeting-greeting adjacency pair occurs. Another example of greeting-greeting adjacency pair is provided as follows.

(4:03)

JULIET: Good evening, my spiritual confessor.

FRIAR LAWRENCE:Romeo will thank you, my girl, for both of us. .

P : 1. Juliet, 2. Friar Lawrence S : in the evening in church LF : Greeting

(AP/ACT-2/S6/P2/G-G/+/S) The above conversation is between Juliet and Friar Lawrence; both meet at the church. It is told that before Juliet says ‘good evening”, she embraces Romeo first. The setting of the conversation is in the church in the evening. Juliet greets Friar Lawrence with “Good evening” and Friar Lawrence responds it with a statement which indicates a greeting, too. The statement is not a direct greeting but by saying so, it is likely that Friar says ‘good evening’ to responds Juliet’s greeting.

b. Question – Answer

The next type of adjacency pairs is question – answer. The name implies that question – answer type of adjacency pairs contains a question and an answer. The first part of the sentence should be a question and the second part is the response to the question, namely the answer. In the movie, there are around 22 question - answer adjacency pairs; the writer discusses only three of them as the examples because all of them have the similar pattern. The first example of question – answer adjacency pairs can be seen below.

ROMEO:Don’t saints and pilgrims have lips too?

JULIET:Yes,pilgrim—they have lips that they’re supposed to pray with. P : 1. Romeo, 2. Juliet

S : Juliet Balcony LF : question-answer

(AP/ACT-1/S5/P5/Q-A/+/Q) The above conversation is between Romeo and Juliet. They are having a conversation about pilgrims. In the first part of the pair, Romeo asks a question to Juliet whether saints and pilgrims have lips and Juliet answers “Yes”. She states that they have lips, too.

It can be seen that the first part of the conversation is the question and the second part is the answer. According to the theory of adjacency pair, this conversation is a question – answer adjacency pair. The same theory is also applicable to the next conversation, which is the conversation between Juliet and Romeo when Romeo hides in the dark and Juliet stands in her room balcony.

It is the time when Juliet thinks about Romeo, the person she has met in the party the night before. The conversation between both of them is scripted as follows.

(4:05)

JULIET: I haven’t heard you say a hundred words yet, but I recognize the sound of your voice.Aren’t you Romeo? And aren’t you a Montague? ROMEO:I am neither of those things if you dislike them.

P : 1. Romeo, 2. Juliet S : Juliet Balcony LF : Question-Answer

The conversation above clearly shows that Juliet asks Romeo several things related to his identity. It seems that Juliet has been attracted to Romeo after they met in the party just a night before. Juliet asks from her room balcony whether the person in the dark beneath her balcony is Romeo, the person she met in the party. Juliet says that although she only hears few words from Romeo during the party, as seen from the statement “I haven’t heard you say a hundred words yet.”, she still recognizes him from the sound of Romeo, the son of Montague family “...but I recognize the sound of your voice. Aren’t you Romeo? And aren’t you a Montague?”.

Romeo answers it by stating “I am neither of those things if you dislike them” which means he is approving all that Juliet says. Romeo admits he is the son of Montague family.

The conversation above can be said as question –answer adjacency pairs because the first part of the conversation is the question and the second part is the answer. There is one more example of question answer adjacency pairs as seen in the conversation below. The conversation is still between Juliet and Romeo. Juliet is wondering how Romeo could get into her house, reach her room balcony, and hide in the middle of the darkness. The script is as follows.

(4:06)

JULIET: Tell me, how did you get in here? And why did you come? The orchard walls are high, and it’s hard to climb over them. If any of my relatives find you here they’ll kill you because of who you are.

ROMEO:I flew over these walls with the light wings of love.

Stone walls can’t keep love out. Whatever a man in love can possibly do, his love will make him try to do it. Therefore your relatives are no obstacle

P : 1. Romeo, 2. Juliet S : Juliet Balcony LF : Question-Answer

(AP/ACT-2/S2/P3/Q-A/+/S) The conversation in the example above is about Juliet who asks Romeo “Tell me, how did you get in here? And why did you come?”. She is wondering how Romeo could get in to her house that has high walls and she is also surprised that he is very brave. The Montague is the enemy of Juliet’s family and Romeo can be killed if one of Juliet’s families finds him. Romeo answers that he flies over the wall with the wing of love. “I flew over these walls with the light wings of love” Romeo says. He answers the questions and at the same time tries to flatter Juliet that her love could make Romeo do anything, including putting his life in danger just to meet his love.

It is clearly seen that from the conversation, the first part of the adjacency pairs is Juliet who asks questions toward Romeo, and Romeo answers the questions in the second part. According to theory of adjacency pairs, the conversation above can be said as a question-answer adjacency pair. There are 19 more question-answer adjacency pairs in the movie with a similar pattern.

c. Request – Refusal / Acceptance

The third type of adjacency pair is request – refusal/acceptance (R-RA). It is the type of adjacency pairs whose first part contains request and the response contains a refusal or acceptance toward the request. In Romeo and Juliet movie,

there are 15 occurrences of request – refusal/acceptance adjacency pairs. Three of them are described as follows.

(4:07)

JULIET: Oh, do you think we’ll ever meet again?

ROMEO: I have no doubts. All these troubles will give us stories to tell each other later in life.

P : 1. Romeo, 2. Juliet S : Juliet Balcony LF : Request-Acceptance

(AP/ACT-3/S5/P3/R-FA/+/R) The conversation above is betweenRomeo and Juliet. It is the usual secret meeting between them under the Juliet’s balcony. They always have their romantic time at night, when all people sleep and no one knows that Romeo slips into Juliet’s house.

The first part of the conversation is more likely a request rather than a question. Juliet says “Oh, do you think we’ll ever meet again?”. Juliet’s statement can be interpreted as a request to Romeo that they should meet again in the future. By asking whether they will meet again, Juliet puts her hopes that Romeo would see her again.

As a response, he has no doubt that they will meet again and he is willing to face troubles just to meet her. The second part is Romeo’s acceptance of Juliet’s request and ensures that they will meet every day in the same time and at the same place.

The conversation clearly indicates the request-refusal/acceptance adjacency pairs. The first part of the conversation is the request and the response or the second part is the acceptance. To have more details about request-refusal/ acceptance adjacency pairs, the following is another conversation taken from the movie that contains adjacency pairs.

The following conversation is between Peter and Lady Capulet. They talk during a party in Capulet’s house.

(4:08)

PETER: Madam, the guests are here, dinner is served, people are calling for you, people have asked for Juliet, and in the pantry, people are cursing the Nurse. Everything’s out of control. I must go and serve the guests.Please, follow straight after me.

LADY CAPULET:We’ll follow you.

Juliet, the count is waiting for you. P : 1. Peter, 2. Lady Capulet

S : The Party

LF : Request-Acceptance

(AP/ACT-1/S3/P5/R-FA/+/R) Peter is Capulet’s servant and he is talking to Lady Capulet that all the guests have arrived and wanted the party to begin. At that time, in Capulet’s house, there is a dinner party to introduce Juliet to all men from all families in the town, except Montague family. Peter meets his Lady and requests her to meet the guests who have long been waiting for her and Juliet. First, Peter tells his lady the condition of the party and then he requests her to follow after him to the ballroom where the party is conducted. Peter says “Please, follow straight after me”. As a response, Lady Capulet accepts Peter’s request by saying “We’ll follow you”.

O G A FA CI AD AR AD A F I shows a lot of love. But too

much grief makes you look stupid.

JULIET

Let me keep weeping for such a great loss.

91

AP/ACT-3/S5/P5/B A-AD/+/S

JULIET

Yes, madam, he lies beyond my reach. I wish that no one could avenge my cousin’s death except me!

LADY CAPULET We’ll have revenge for it. Don’t worry about that. Stop crying. I’ll send a man to Mantua, where that exiled rogue is living. Our man will poison Romeo’s drink, and Romeo will join Tybalt in death. And then, I hope, you’ll be satisfied.

√

√

√

P: Lady Capulet and Juliet L: Juliet’s room

They talk about Juliet’s cousins death.

92 AP/ACT-3/S5/P5/

O-AR/+/O-I

LADY CAPULET Find out the way, and I’ll find the right man.But now I have joyful news for you, girl.

JULIET

√

_√

_√

P: Lady Capulet and Juliet L: Juliet’s room

Lady Capulet is going to give Juliet good news about Paris proposal

132 DATA Pairs in the Conversation Pref Function of Response

Context Situational Context N

O Code Conversation

G G Q A R FA C CI BA AD O AR A AD S A F

F + - S Q R

O

I A T

such a joyless time.

What’s the news? Please tell me. 93 AP/ACT-3/S5/P7/B A-AD/+/S LADY CAPULET Yes, sir, I told her. But she won’t agree. She says thank you but refuses. I wish the fool were dead and married to her grave!

CAPULET

Wait! Hold on, wife. I don’t understand. How can

this be? She refuses? Isn’t she grateful? Isn’t she proud of such a match? Doesn’t she realize what a blessing this is? Doesn’t she realize how unworthy she is of the gentleman we have found to be her bridegroom?

√

√

√

P: Lady Capulet and Capulet L: Capulet’s house

They talk about Juliet;s decision to refuse Paris’ love 94 AP/ACT-3/S5/P8/ R-FA/-/R NURSE Can’t I say something?

CAPULET

Be quiet, you mumbling fool! Say your serious things at lunch with your gossiping friends. We don’t need to hear it.

√

√

√

P: Nurse and Capulet L: Capulet’s house

The nurse wants to say something but Capulet does not allow her

O G A FA CI AD AR AD A F I

95

AP/ACT-3/S5/P10/ C-CI/+/S

JULIET

Well, you have given me great comfort. Go inside and tell my mother that I’m gone. I made my father angry, so I went to Friar Lawrence’s cell to confess and be forgiven.

NURSE

Alright, I will. This is a good idea.

√

√

√

P: Juliet and Nurse

L: Juliet’s room

Juliet asks the nurse to make some excuses for her mother

96

AP/ACT-4/S1/P1/S -A/+/S

PARIS

I’m happy to meet you, my lady and my wife.

JULIET

That might be the case sir,

afterI’m married.

√

_√

P: Paris and Juliet L: somewhere

Paris meets Juliet

97

AP/ACT-4/S2/P2/ Q-A/+/S

CAPULET

So, my headstrong daughter, where have you been?

JULIET

I went somewhere where I learned that being disobedient to my father is a sin. Holy Father Lawrence instructed me to fall on my knees and beg your forgiveness. (she kneels down)

134 DATA Pairs in the Conversation Pref Function of Response

Context Situational Context N

O Code Conversation

G G Q A R FA C CI BA AD O AR A AD S A F

F + - S Q R

O

I A T

now on I’ll do whatever you say. 98 AP/ACT-4/S2/P3/ O-AR/+/O-I LADY CAPULET No, not until Thursday. There’s plenty of time.

CAPULET

Go, Nurse, go with her. We’ll have the wedding at the church tomorrow.

√

√

√

P: Lady Capulet and Capulet L: Capulet’s house Lady Capulet arranges Juliet’s wedding with Paris 99 AP/ACT-4/S3/P1/F -F/+/O-I LADY CAPULET Good night. Go to bed and get some rest. I’m sure you need it.

JULIET

Good-bye. Only God knows when we’ll meet again.

√

√

√

P: Lady Capulet and Juliet L: Juliet’s room

Lady Capulet visits Juliet in her room and asks her to rest

10 0 AP/ACT-5/S3/P2/F -F/+/O-I BALTHASAR

I’ll go, sir, and I won’t bother you.

ROMEO

That’s the way to show me friendship. Take this.(he gives BALTHASAR money) Live and be prosperous. Farewell, good fellow.

√

√

√

P: Balthasar and Romeo

L: tomb

Romeo is raging in the tomb.