THE ANALYSIS OF WOMEN'S LANGUAGE FEATURES BETWEEN CARLY IN STREET DANCE'2010 MOVIE AND AYA IN MAKE YOUR MOVE'S 2014 MOVIE.

The Analysis of Women’s Language Features Between Carl

y in

Street Dance’s

2010 Movie and Aya in

Make Your Move’s

2014

Movie

THESIS

Submitted as Partial Fulfillment of the Requirements for the Sarjana Degree of English Department Faculty of Arts and Humanities State Islamic

University of Sunan Ampel Surabaya

By:

Maharani Rahma Wati Reg. Number A03212048

ENGLISH DEPARTMENT

FACULTY OF ARTS AND HUMANITIES STATE ISLAMIC UNIVERSITY OF SUNAN AMPEL

SURABAYA 2016

The Analysis of Women’s

Language Features Between Carly in

Street Dance’s 2010 Movie and Aya in Make Your Move’s 2014

Movie

THESIS

Submitted as Partial Fulfillment of the Requirements for the Sarjana Degree of English Department Faculty of Arts and Humanities State Islamic

University of Sunan Ampel Surabaya

The Advisor

Dr. A. Dzo’ul Milal, M. Pd.

NIP. 196005152000031002

Maharani Rahma Wati

Reg Number: A03212048

ENGLISH DEPARTMENT

FACULTY OF ARTS AND HUMANITIES

ABSTRACT

Wati, Maharani Rahma. 2016. The Analysis of Women’s Language Features

Between Carlie in “Street Dance’s 2010” Movie and Aya in “Make Your Move’s 2014” Movie. Thesis. English Department, Faculty of Letters and Humanities, State Islamic University of Sunan Ampel Surabaya.

The Advisor : Dr. A. Dzoul Milal, M. Pd.

Key words : Women’sLanguage, Women’s Langauage Features, Movie.

This study is discusses about the women’s language features using by two female characters in difference movie, Carly in Street Dance movie and Aya in Make Your Move movie. It is focuses on what are the women’s language features used by Carly in Street Dance movie and Aya in Make Your Move movie. Then what are the similarities and differences woman’s language features between Carly and Aya. The last is what are the factors that influence the differences woman’s language features between Carly and Aya and how can it be.

The writer uses a qualitative approach because the data collected are in the form of words. The writer applies several steps in collecting the data: she watches the movie, and then she reads the transcript and underlines each of the features found in each dialogue, the last she gives some codes in those utterances based on women’s language features in Lakoff’s theory. The writer analysis the data based on the theory. After that, she will describe the collected data and explain the data in a text.

The findings of this study show that only seven features of women’s language features used by Carly in Street Dance movie; lexical hedges or fillers, rising intonation on declaratives, taq question, intensifier, ‘super polite’ form, avoidance of strong swear words and empathic stress. Meanwhile, Aya in Make Your Move movie, only use four features; lexical hedges or fillers, rising intonation on declaratives, intensifiers, and emphatic stress. There are four similar feature they used in their utterance; lexical hedges or fillers, rising intonation on declaratives, intensifiers, and emphatic stress. While the differences are taq question, ‘superpolite’ form, and avoidance of strong swear words. This similarity and differences is caused social factor.

INTISARI

Wati, Maharani Rahma. 2016. The Analysis of Women’s Language Features

Between Carlie in “Street Dance’s 2010” Movie and Aya in “Make Your Move’s 2014” Movie. Tesis. Sastra Inggris, Fakultas Adab dan Humaniora. Universitas Islam Negeri Sunan Ampel Surabaya

Pembimbing: Dr. A. Dzoul Milal, M. Pd.

Kata kunci: Bahasa Wanita, Fitur Bahasa Wanita, Film

Penelitian ini membahas tentang fitur bahasa perempuan yang digunakan oleh dua karakter perempuan dalam film perbedaan, Carly dalam film Street Dance dan Aya dalam film Make Your Move. Ini berfokus pada fitur bahasa perempuan apa saja yang digunakan oleh Carly dalam film Street Dance dan Aya dalam film Make Your Move. Lalu apa saja persamaan dan perbedaan fitur bahasa wanita antara Carly dan Aya. Yang terakhir adalah apa saja faktor yang mempengaruhi perbedaan fitur bahasa wanita antara Carly dan Aya dan bagaimana hal itu dapat terjadi.

Penulis menggunakan pendekatan kualitatif karena data yang dikumpulkan dalam bentuk kata-kata. Penulis melakukan beberapa langkah dalam mengumpulkan data: pertama dia melihat film, dan kemudian dia membaca transkrip dan menggarisbawahi setiap fitur yang ditemukan di setiap dialog, yang terakhir dia memberikan beberapa kode pada ucapan mereka berdasarkan fitur bahasa perempuan dalam teori Lakoff. Penulis menganalisis data berdasarkan teori itu. Setelah itu, ia akan menjelaskan data yang dikumpulkan dan menjabarkan data dalam teks.

Temuan penelitian ini menunjukkan bahwa hanya ada tujuh fitur bahasa perempuan digunakan oleh Carly dalam film ‘Street Dance’; lexical hedges or fillers, rising intonation on declaratives, taq question, intensifier, ‘super polite’ form, avoidance of strong swear words dan empathic stress. Sementara itu, Aya di film ‘Make Your Move’, hanya menggunakan empat fitur; lexical hedges or fillers, rising intonation on declaratives, intensifiers, dan emphatic stress. Ada empat persamaan fitur yang digunakan dalam ucapan mereka; lexical hedges or fillers, rising intonation on declaratives, intensifiers, dan emphatic stress. Sementara perbedaannya ada pada taq question, ‘superpolite’ form, dan avoidance of strong swear words. Persamaan dan perbedaan ini disebabkan faktor sosial.

TABLE OF CONTENTS

Inside Cover ... i

Inside Title ... ii

Declaration ... iii

Thesis Advisor’s Approval ... iv

Thesis Examiner’s Approval ... v

Motto ... vi

Dedication ... vii

Acknowledgement ... viii

Table of Contents ... x

List of Tables ... xii

Abstract ... xiii

Intisari ... xiv

CHAPTER I: INTRODUCTION ... 1

1.1. Background of the Study ... 1

1.2. Statement of the Problem ... 6

1.3. Objective of the Study ... 7

1.4. Significance of the Study ... 7

1.5. Scope and Limitation ... 8

1.6. Definition of Key Terms ... 8

CHAPTER II: LITERARY REVIEW ... 11

2.1. Theoretical Framework ... 11

2.1.1. Language and Gender ... 11

2.1.2. Women’s Language ... 13

2.1.3. Lakoff’s Theory of Women’s Language Features ... 15

2.1.3.1. Lexical Hedges or Filler ... 15

2.1.3.2. Tag Questions ... 16

2.1.3.4. ‘Empty’ Adjectives ... 17

2.1.3.5. Precise Color Terms ... 18

2.1.3.6. Intensifiers ... 18

2.1.3.7. Hypercorrect Grammar... 19

2.1.3.8. “Superpolite” Form ... 19

2.1.3.9. Avoidance of Strong Swear Words ... 19

2.1.3.10. Emphatic Stress ... ... 20

2.1.4. Possible Factors that Shape the Features of Female Language .. 21

CHAPTER III: RESEARCH METHODOLOGY ... 22

3.1. Research Approach ... 22

3.2. Subject ... 22

3.3. Instrument ... 23

3.4. Data and Data Sources ... 23

3.5. Data Collections ... 24

3.6. Data Analysis ... 25

CHAPTER IV: FINDINGS AND DISCUSSION ... 27

4.1. Findings ... 27

4.1.1. Women’s Language Features used by Carly in Street Dance movie and Aya in Make Your Move movie ... 27

4.1.2. Women’s language features used by Carly in Street Dance movie 41 4.1.3. Women’s language features used by Aya in Make Your Move movie... 43

4.1.4. Similarities and Difference ... 44

4.1.5. The Factors that Influence the Differences ... 46

4.2. Discussion ... 48

CHAPTER I

INTRODUCTION

This chapter consists of background of the study, statement of the problem, objectives of the study, significance of the study, scope and limitation of the study, and the definition of key terms.

1.1Background of the Study

If we are talking about men and women, there are many things that can be discussed about them, especially about the difference. Although today the distinction would no longer be a big problem, but the differences are still interesting to be studied and analyzed. For example, we use different words to describe similar or identical behavior by men and by women. Certainly, women’s speech differs from men’s speech; and women and men use language differently due to the styles, registers, and the way of using language, interaction, thought, culture, and linguistic attitudes gender, politeness and stereotypes. In fact , there is a number of close relationship between gender and language. Another word, men’s way of using language and women’s way of using language is different. It is because of structure of the language, norm of the society or people of the society who use the language.

Gender is also something we cannot avoid; it is part of the way in which societies are ordered around us, with each society doing that ordering differently. As Eckert and McConnell-Ginet (2003, p. 50 in Wardhaugh 2006) say: ‘The force

2

of gender categories in society makes it impossible for us to move through our lives in a nongendered way and impossible not to behave in a way that brings out gendered behavior in others.” Gender is a key component of identity.

Language and gender have always been an interesting issue both in academic field and everyday life, especially when it is claimed that men and women differ in their linguistic behavior. There are many researchers that analyze about gander and language, with some focuses in different problems like in 2010, Farida decided to analyze the use of the women’s language that are uttered by the the main character of Thirteen movie using Lakoff's theory. Her research is about how women’s language is used by the character of “Thirteen” movie related to the types of women’s language and how does the characteristics of women’s language of “Thirteen” movie.

The results show that not all types of women’s linguistic features occur in the dialogues. There are only seven types of women’s linguistic features occur in the dialogues, they are lexical emphatic stress, intensifiers, empty adjective, tag question, super polite form, lexical hedges, and rising intonation which is affected by the social and education background.

Ratih Puspitasari (2013) was interested in investigating the differences between woman and man which is reflected in LOL movie. In analyzing the data, Puspitasari used gender differentiation theory proposed by Adelaide Haas. It is stated that male speech and female speech style have been observed to differ in their form, topic, content, and use. The finding shows that both women and men

3

swear and use more slang words while man character does not show it. Based on the topic, women are likely to talk about life’s trouble, pornography, and life style.

The content of the conversation of this movie supports the theory that woman has positive value judgment and man has hostile judgment. Based on use, women are assertive while men are nonassertive. In conclusion, based on Adelaide Haas’ theory, Puspitasari found out that women and men language are mostly different. It happened because women like to maintain the relationship between each other while men like to say what they want to say.

The analysis of Gender and Language within in the movie, maybe very interesting to analyzed. In 2014, Siti Dara Nirmala Aulya concerns to find out the linguistic features of woman, Margaret Thatcher, in the film Iron Lady. The utterances were classified and analyzed into 10 (ten) linguistic features by Lakoff (1975) then calculated all to find out the mostly linguistic features used by Margaret Thatcher and drew it in conclusion.

The result of analysis revealed that there were 114 utterances spoken by Margaret Thatcher which can be classified into 8 (eight) woman’s linguistic features. There were 20 lexical hedges and fillers, only 2 (two) tag questions, 8 (eight) rising intonations, 30 adjectives, 33 intensifiers, 14 superpolite forms, 3 (three) expression expressed avoidance of strong swear words, 4 (four) emphatic stress spoken by the main character in the film Iron Lady.

Didin Fitria Andhira (2014) conducted research under the title A Study of Woman’s Speech Features of A Main Character in Iron Lady Movie Used By

4

Phyllida Lloyd. Through the analysis, she found nine types of woman’s speech features that used by the main character while vocabulary (precise colors terms) was not found. It can be found that in spite of called as The Iron Lady and Woman Prime Minister, she still has femininity side as women in common. The dominant type of women’s speech features used by a main characteris Intensifier.

In the next year, 2015, Aprihastiwi Rahayu Ningsih was compared women’s language features between Sarah Silverman in Standup Comedy and Precious in Precious Movie. Her research is to compare natural and planned language process, to show up women’s language features. She found nine features that are used both Sarah and Precious. They are lexical hedges or filler, tag question, rising intonation on declaration, ‘empty’ adjectives, intensifiers, the use of ‘superpolite’ form, avoidance of strong wear words, emphatic stress, and ‘hypercorrect’ grammar. But she didn’t found out any use of precise color term. The dominance feature is intensifier (40%).

In 2016, Laila Nur Aflah was analyzed about features and functions of woman’s language in Anna’s character of Anna Karenina movie. In conclusion, based on Lakoff’s theory, Aflah found out that there are nine feature of women’s language in that movie, they are lexical hedges (12.70%), tag question (1.23%), rising intonation on declaration (40.16%), ‘empty’ adjectives (3.28%), the use of precise color term (0.41%), intensifiers (5.33%), the use of ‘superpolite’ form (5.74%), avoidance of strong wear words (1.23%), emphatic stress (29.91%). But she didn’t found out any use of ‘hypercorrect’ grammar. Besides that, she was

5

In the same year, 2016, Riza Solikha also was analyzed about the way how Michelle Obama acquired the women’s speech features in delivering the speeches as an African American First Lady.

The findings shown that there were only seven features are classified as women’s speech features used by Michelle Obama. They are lexical hedges, rising intonation on declarative, empty adjective, intensifier, hypercorrect grammar, superpolite form, and empathic stress. While the other speech features were not found such as tag question, precise color terms, and avoidance of strong swear words. The researcher also concludes that every feature has different purposes.

Movies, also known as films, are a type of visual communication which use moving pictures and sound. People in every part of the world watch movies as a type of entertainment, a way to have fun. For some people, fun movies can mean movies that make them laugh, while for others it can mean movies that make them cry, or feel afraid. Most movies are made so that they can be shown on big screens at cinemas or movie theatres.

In this era, more people like a movie. It is signifiers that the movie’s quality is better. It can’t be denied, that people are more like for watching movies rather than reading a book or novel. There are some people who watch movies just as mere entertainment, but some are watching it to be used as a motivation.

There are many researchers that analyzing about gender and language within a movie. It makes the writer want to analyze gender and language within a movie also. Different with previous studies, here the writer will be analyzing

6

about gender and language only focusing on women’s language features in a movie and it will be compared with other women’s language features with different movie in the same genre, it is dance movie. The writer will analyze Carly’s language features in Street Dance movie and Aya’s language features in Make Your Move movie. There are several factors why she chooses those movies. First, they have the same movie’s type that is romantic and dance. Second, those movies have the same main character, she is a woman. Third, those movies are the most popular dance movie in a year.

Many people assume that most women use a soft-spoken and good language choices. However, in reality, not all women like that. There are some women who use a different language options, although they have a profession and be in the same environment. That is why the writer is interesting in analyzing and comparing woman’s language features used by two female characters, as main characters, in different movies but in the same kind, that is dance movie. Finally the writer entitles her study “The Comparison of Women’s Language Features Between Carly in Street Dance’s 2010 Movie and Aya in Make Your Move’s 2014 Movie”.

1.2Statement of The Problems

Based on the background of the study, the writer arranges some problems: 1.2.1 What are the women’s language features used by Carly in Street Dance

7

1.2.2 What are the women’s language features used by Aya in Make Your Move movie?

1.2.3 What are the similarities and differences woman’s language features between Carly and Aya?

1.2.4 What are the factors that influence the differences woman’s language features between Carly and Aya? How can it be?

1.3Objectives of The Study

Based on statement of the problem above, the objective of the study is as follows:

1.3.1 To explain the woman’s language features are used by Carly in Street Dance movie.

1.3.2 To explain the woman’s language features are used by Aya in Make Your Move movie.

1.3.3 To identify the similarities and differences woman’s language features between Carly and Aya.

1.3.4 To investigate some factors that influence the differences woman’s language features between Carly and Aya and to know how it is happened.

1.4Significance of The Study

The writer expects that the study meaningfully contribute to increase the understanding of gender and language especially about woman’s language features in sociolinguistics subject. Besides that, there are many aspects which

8

make woman’s language different from other woman’s language that, important to know.

Moreover, the readers can explore some information from this study. They will know what women's language features are most often used in a movie. Beside that the readers will know that every woman has different women’s language features, despite being in the same scope they have their own language. The last one is the writer also hopes that this study will give contribution on the literary study, especially in English Department of UIN Sunan Ampel Surabaya.

1.5Scope and Limitation of The Study

The scope data analyzed in this research are the woman’s language features in two dance movies, that are Max Giwa and Dania Pasquini’s Street Dance and Duane Adler’s Make Your Move movie.

The data analysis in this research limited to woman’s language features are used by female characters in two different movies, they are Carly in Street Dance and Aya in Make Your Move movie.

1.6Definition of Key Terms

In the definition of key terms the writer wants to describe about language and gender, women’s language, women’s language features, Street Dance movie, and Make Your Move movie.

9

Language and gender studies is a subfield of sociolinguistics, which deals with linguistic gender differentiation reflected in pronunciation, vocabulary and grammar, as well as women’s and men’s speech interaction patterns. Additionally, sexism in language is also a topic widely studied.

1.6.2 Women Language

Women language is special language that used by women. Robin Lakoff, an American linguist, argued that women were using language which reinforced their subordinate status; they were ‘colluding in their own subordination’ by the way they spoke. (Holmes, 2001:284)

1.6.3 Women’s Language Feature

Lakoff (in Holmes 2001) suggested that women’s speech was characterized by linguistic features such as the following:

a) Lexical hedges or fillers b) Tag questions

c) Rising intonation on declaratives d) ‘Empty’ adjectives

e) Precise colour term f) Intensifiers

g) ‘Hypercorrect’ grammar h) ‘Superpolite’ forms

i) Avoidance of strong swear words j) Emphatic stress

10

1.6.4 Street Dance Movie

Street Dance 3D (also called StreetDance in the non-3D version) is a 2010 British 3D dance drama film which was released on 21 May 2010. The film was released in RealD 3D, XpanD 3D, and Dolby 3D with Max Giwa and Dania Pasquini directing it. This movie is starring Nichola Burley as Carly, Richard Winsor as Tomas, and Ukweli Roach as Jay. Britain's Got Talent stars George Sampson, Diversity and Flawless made their debut appearances to the big screen. 1.6.5 Make Your Move Movie

Make your move (formerly called Cobu 3D, also known as Make Your Move 3D), is a Romeo and Juliet-inspired 2013 South Korean American in dependent dance film starring K-pop singer BoA and ballroom dancer Derek Hough. The film was directed by Duane Adler who wrote the script for the movies Save the Last Dance (2001) and Step Up (2006). (Wikipedia.org)

CHAPTER II

LITERATURE REVIEW

2.1 Theoretical Framework

In this section is used to review the theories and the problem studies, which are significant in answering the research question in the previous chapter.

This study is focused on the women’s language features using by two female characters in difference movie, the similarities and differences woman’s language features between Carly and Aya, and some factors that influence the differences

woman’s language features between Carly and Aya and to know how it is happened.

2.1.1 Language and Gender

Gender differences in language become established early and are then used to support the kinds of social behavior males and females exhibit. It is mainly when males and females interact that the behavior each uses separately becomes noticeable. As Holmes (1992, p. 330) says,

The differences between women and men in ways of interacting may be the result of different socialisation and acculturation patterns. If we learn the ways of talking mainly in single sex peer groups, then the patterns we learn are likely to be sexspecific. And the kind of miscommunication which undoubtedly occurs between women and men will be attributable to the different expectations each sex has of the function of the interaction, and the ways it is appropriately conducted.

One consequence of such differences is that women’s speech has often been

12

no way denies the existence of male dominance (1993, p. 9). (In Wardhaugh, 2006:328)

The reason why men’s and women’s speech differ is because boys and girls are brought up differently and men and women often fill different roles in society. Moreover, most men and women know this and behave accordingly. If such is the case, we might expect changes that make a language less sexist to result from child-rearing practices and role differentiations which are less sexist. Men and women alike would benefit from the greater freedom of choice that would result. (Wardhaugh, 2006:333)

Trudgill found that women tended to use the prestige form more than men (women over thirty years of age also tended to use the prestige forms of the other phonetic variables he studied more than men). He also found that women (more than men) tended to over-report their pronunciation, that is, when asked about their pronunciation, said they produced more ‘prestigious’ sounds than they actually did. (Jane, 2006:7)

In biological factors pitch of the voice, for instance, is produced by vibration of the vocal cords can be set to vibrate. Thick and heavy vocal cords vibrate more slowly than lighter ones. Since men tend to develop a larger larynx than women, their voices tend to be pitched lower. By considering the pitch, it is not difficult to determine which voice belongs to, whether it belongs to men or women.

13

supportive and non-competitive. While, men are innately predisposed to independence. In social organization as an appearance of power, men use what power they have to dominate each other and, of course, women. While women must learn to dominate others too, women included. Men constantly try to take control, to interrupt, and so on. Women are relatively powerless they opt for more prestigious language forms. Men and women are social beings who have learned to act in certain ways. Men learn to be men and women learn to be women, linguistically speaking. They have learned to do different things with language.

Simply, language and gender studies is a subfield of sociolinguistics, which deals with linguistic gender differentiation reflected in pronunciation, vocabulary and grammar, as well as women’s and men’s speech interaction patterns. Male and female language is different. Women, as a social group, have their own language characteristics. (Qi Pan, 2011)

2.1.2 Women’s Language

When we turn to certain grammatical matters in English, we find that Brend (1975) claims that the intonation patterns of men and women vary somewhat, women using certain patterns associated with surprise and politeness more often than men. In the same vein, Lakoff says that women may answer a question with a statement that employs the rising intonation pattern usually associated with a question rather than the falling intonation pattern associated with making a firm statement. According to Lakoff, women do this because they

14

are less sure about themselves and their opinions than are men. (Wardhaugh, 2006:321)

Women’s linguistic behaviour is often characterised as being concerned with co-operation (more positively polite than men) and avoidance of conflict (more negatively polite than men). This characterisation is based on the assumption that women are powerless and display their powerlessness in language; these forms of politeness are markers of their subordination. (Sara, 2003:203)

Robin Lakoff’s Language and Woman’s Place (LWP), published in 1975, was one of the first publications of its time to address the relationship between language and gender. As a result, LWP served as the impetus for both linguists and feminists alike to look more closely at gender variation in language.

“Women’s language”, a term coined by Lakoff, became a commonly used identifier among language and gender researchers. According to Lakoff, women’s

language describes how women use language and how language is used to talk about women, both which position women as powerless. This position has been adopted by a number of sociolinguistics and feminists. In an effort to support

Lakoff’s rationale with empirical evidence (Lakoff’s argument was based entirely

on personal observation), many studies focused on identifying and quantifying the linguistic resources that men and women utilize when they speak. The overall goal of such studies has often been the classification of certain linguistic features as occurring more often in women or in men.

15

However, other researchers have found that gender variation in language is not as clearly and easily defined as much of the earlier research may claim. The influence of context (local and global), social factors other than gender (ethnicity, age, socioeconomic status), and issues of power have also been found to play a role in how men and women use language.

Women’s language refers not so much, and, not only, to concrete speech forms associated with a feminine speech style, but rather to a network of sites, practices, and discourse that produce the metapragmatic knowledge of how

women speak (or how women should speak)” (Inoue, 2004, p. 39-49). In other

words, women’s language is a term dealing with discourse about how women should speak rather than a term dealing with women’s actual language use. (Vranic, 2013)

2.1.3 Lakoff’s Theory of Women’s Language Features

The beginning of the term ‘women’s language’ began in the 1970s with Robin Lakoff’s search for specific features of women’s speech. Her book

Language and women’s place from 1975 has been very influential on further research on this notion. Lakoff characterized women’s speech features as follow: 2.1.3.1 Lexical Hedges or Filler

Hedges are words that convey the sense that the speaker is uncertain about what he or she is saying, or can not vouch for the accuracy of the statement, such

as “kind of”, “sort of”, “you know”, “I think”, “I suppose”, “I guess”, “well”, “you see”, “like” and etc.

16

Hedges seem to appear more often in women’s speech. There is another justifiable use in which the hedge mitigates the possible unfriendliness or unkindness of a statement, that is, for the sake of politeness. (Qi Pan, 2011)

2.1.3.2 Tag Questions

Tag question is a syntactic device listed by Lakoff, which may express uncertainty. Lakoff proposed that tags are used when a speaker is atating a claim but has less than full confidence in the truth of the claim. In some situations, then, a tag question would be perfectly legitimate sentence form.

She proposed that women used one particular type of tag question more than men. The type in which the speaker’s own opinions are being expressed, as in the example above. The effect is to convey uncertainty and lack of conviction.

Lakoff argued that women frequently used tag questions where they were

reluctant to state a proposition baldly: ‘The way prices are rising is horrendous,

isn’t it?’ (1975: 16). Holmes looked more closely at the functions of tag questions, and identified two main differences between women’s and men’s language use: Women used more ‘facilitative’ tags, inviting the addressee to contribute to the

conversation (e.g. ‘You’vegot a new job, Tom, haven’t you?’). Men, on the other

hand, used more ‘epistemic modal’ tags, expressing uncertainty about the information conveyed (e.g. ‘Fay Weldon’s lecture is at eight isn’t it?’). (Swann, 2003)

Hence, one might be tempted to maintain that tag questions are indicative of linguistic weakness since they imply that the speaker needs to seek

17

hot in here, isn’t it?). However, tag questions can just as readily be interpreted as interactional facilitators, since they may serve to draw listeners into conversation, or even as tools to enshance a confrontational tone (e.g. You do realize you’re late again, don’t you?). (Schilling in Mesthrie, 2011:222)

2.1.3.3 Rising Intonation on Declaratives

Women have more variation in pitch and intonation in general. Also, they tend to exaggerate more and often use a rising intonation in what are considered declarative statements, which creates a sense of uncertainty and indecisiveness. As stated by Lakoff (2004:50), the use of rising intonation indicates that there is unwillingness to be very assertive in carrying an opinion. For example:

a) It’s really good?

b) Oh… it has already six o’clock?

Through this feature, the speaker provides a confirmation since she is unsure if her opinion will be agreed by the addressee so that rising intonation in declaratives is used to show that the speaker leaves the decision open to the addressee in a non-forceful way.

2.1.3.4 ‘Empty’ Adjectives

Women are said to have their own vocabulary for emphasizing certain effects on them, words and expressions. They tend to use adjectives which convey

emotion rather than intellectual thought (‘adorable’, ‘divine’, and the more contemporary ‘sweet’ and ‘cute’). Some of these adjectives are neutral in which both men and women can use them while some of these adjectives are largely used more by women. The representatives of both types are as follows:

18

Neutral Women Only

Great Adorable Terrific Charming Cool Sweet Neat Lovely

Divine 2.1.3.5 Precise Color Terms

Lakoff stated that women make far more precise discriminations in naming colors than do men; words like beige, ecru, aquamarine, lavender, and so on, are unremarkable in a women’s active vocabulary, but absent from that of most men. We might ask why fine discrimination of color is relevant for women, but not for men. A clue is contained in the way many men in our society view other ‘unworldly’ topics, e.g. high culture and the Church, as outside the world of men's work, relegated to women and men whose masculinity is not unquestionable.

2.1.3.6 Intensifiers

The other feature that is found in women’s speech is intensifiers such as so, just, very, such, or quite. Women are likely to use intensifiers to persuade the hearers for give their agreement to the speaker. Numerous documents show that women, compared with men, use more intensifiers to strengthen what they want to express. Some adverbs, like awfully, pretty, terribly, vastly, nice, quite and so, are more easily found in women’s language.

19

2.1.3.7 Hypercorrect Grammar

Lakoff notes that women tend to use “hypercorrect” grammar, including standard pronunciations such as going rather than goin’ and avoidance of non-standard forms like ain’t. She holds that women’s language as she describes it is

“weaker” than men’s, and so she is often characterized as taking a “deficit”

approach. This characteristic is related to “superpolite” language. 2.1.3.8 “Superpolite” Form

This is related to the fact that women are supposed to behave and communicate politely and carefully. Women shows their use of super polite form in their speech through several ways, some of them are by having less assertive, making an indirect request, using euphemism, using hypercorrect grammar, and so on. The more particles in a sentence that reinforce the notion that it is a request, rather than an order, the politer the result. Look at the sentences bellow:

a. Close the door. b. Please close the door. c. Will you close the door? d. Will you please close the door? e. Won't you close the door?

Sentence (a) is a direct order, (b) and (c) simple requests, and (d) and (e) compound requests.

2.1.3.9 Avoidance of Strong Swear Words

Lakoff stated that the difference between using ‘shit’ (or ‘damn’, or one of many others) as opposed to ‘oh dear’, or ‘goodness’, or ‘oh fudge’ lies in how

20

forcefully one says how one feels - perhaps, one might say, choice of particle is a function of how strongly one allows oneself to feel about something, so that the strength of an emotion conveyed in a sentence corresponds to the strength of the particle. Look at these sentences:

a. Oh fudge, my hair is on fire. b. Shit, you broke my glasses!

From the examples above, we can see the different between the sentence a and sentence b. We can classify the sentence a as part of ‘women’s language’, then b as ‘men’s language’.

As children, women are encouraged to be ‘little ladies’. (Lakoff, 1973) Little ladies don’t scream as vociferously as little boys, are chastised more severely for throwing tantrums or showing temper: ‘high spirits’ are expected and therefore tolerated in little boys; docility and resignation are the corresponding traits expected of little girls.

2.1.3.10 Emphatic Stress

Emphatic stress is a special stress that is given by the speaker to some word in a sentence, usually to single out, compare, correct, or clarify things. Women like to use emphatic stress to strengthen the strength of an assertion, for

example “Your mother is really kind!” and “It was a brilliant performance”. The word brilliant is one example of emphatic stress that used to strengthen the meaning of the utterance.

21

2.1.4 Possible Factors that Shape the Features of Female Language

The factors that shape the features of female language are not only the influence of physiology and psychology, but also because of the influence of the society and the culture. The difference of social work distribution, cultural factors and social psychological factors are all responsible for the appearance of these characteristics. (Qi Pan, 2011)

2.1.4.1. Social Factors

As language is closely related to social attitudes and it reflects language’s, creators’ and users’ thought as well as attitudes and cultural values. And people’s attitudes are affected by social ideology and their own value orientation, which will, in turn, have great influence on people’s evaluations about objects. Therefore, early linguists’ attitudes towards women’s language are inevitably influenced by their social ideology and value orientation. Specifically speaking, their evaluation about women’s language is based on several social factors: women’s social status, women’s sex role socialization and dominant gender system.

2.1.4.2. Culture Factors

The relationship between language and culture is interactive and language is one expression, one mirror and carrier of culture. Thus, the image of women’s language, of course, is closely linked to cultures, like sex discrimination, western women’s subculture and Bible, so is the early evaluations about western women’s language. On the whole, in the sense of culture, their evaluations are affected by such factors, like gender culture, gender ideology and gender stereotypes.

CHAPTER III

RESEARCH METHODOLOGY

This part discusses many points related to the research method. Research method is used to show how the writer conducts this research. It consists of research design, subjects, instruments, data and data sources, data collection and data analysis.

3.1 Research Approach

The writer used the qualitative research for analyzing this research. The data are in the forms of words and described based on Lakoff’s theory of ten types

of women’s speech features. In this qualitative approach, the research procedure produced research descriptive data in the form of words written or spoken about behaviors people that can be observed so as to find the truth that is acceptable to human reason. It can be explained that the descriptive research is used to give more information and description about existing condition that occurs at the time of the study.

3.2 Subjects

Subjects in this research are two female characters in two dance movies. First is Carlie in Street Dance’s 2010 movie by Max Giwa and Dania Pasquini. She is a streetdancer who forces her crew to work with ballet dancers from the

23

Royal Dance School in exchange for rehearsal space in order to win the Street Dance Championships. Second is Aya in Make Your Move’s 2014 movie by Duane Adler. Aya and Donie is a pair of star-crossed dancers in New York fined themselves at the center of a bitter rivalry between their brothers’ underground dance clubs.

3.3 Instruments

The instrument that usesd in this research was the writer herself. She collected the data, conducted, and analyzed the data based on the theories reviewed in the previous chapter.

The writer also used a TV or laptop and headset as the main tools for watching VCD to transcript the data. Next, the researcher used paper, notes, pen, in transcribing the data.

3.4 Data and data sources

The source of the data was the whole of the movie. There are two movies here, Street Dance movie with duration 1 hour 38 minutes 32 second and Make Your Move movie with duration 1 hour 49 minutes 57 seconds.

The writer took online script of those movies as the data was published in YouTube on Google search. The data of this research was all of the utterances that

contain women’s language features were spoken by Carly in Street Dance and Aya in Make Your Move movie.

24

3.5 Data collection

The writer applies several steps in collecting the data. 3.5.1 First, the writer buys the DVD, because hers was lost.

3.5.2. Second, she downloads the English subtitle and then watches the movie from DVD to get the data. While watching the movie, the writer hears the audio and reads the transcript of the movie to find out the dialogue lines,

which consist of women’s language features, she underlines the script based on the women utterances.

3.5.3 Then the writer gives some codes in those utterances based on ten women’s language features of Lakoff’s theory.

CODING

LHG Lexical Hedges Or Fillers TQ Tag Questions

RI Rising Intonation On Declaratives EA Empty Adjectives

PC Precise Color Terms I Intensifiers

HG Hypercorrect Grammar SP Superpolite Forms

ASS Avoidance Of Strong Swear Words ES Emphatic Stress

25

3.6 Data analysis

After collecting the data the writer analyzes the data based on the related theories by the following steps:

3.6.1 First, the writer notes the utterances which include categories of women’s language that existed at the movies.

3.6.2 Second, she classifies the data to the types of women’s linguistic features

based on Lakoff’s theory of women’s language to make easier in analyzing

the data.

3.6.3 After that, the writer compares Carly’s and Aya’s language in the same feature. She writes this in the table to make easier for understanding. For example:

Lexical Hedges or Fillers

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie 00:06:43 I thought you wanted

to win? Be UK Champions!

01:18:11,144 Donny, I think you should go.

3.6.4 Then, after classifying according to its kind, the data is sorted out, which one are same and which one are different based on Aya and Carly’s language, to know the differences in their languages. From there we can know which one woman is more often pronounce utterances based on Lakoff’s theory of women’s language.

26

3.6.5 Next, after knowing the results of the previous analysis, writer can concludes the factors that influence their language, such as their background of life or characterization that made by their director. However, to further reinforce those conclusions, writer will look for other factors through the

whole movie’s story.

3.6.6 After that, she will describe and analyze the collected data. Then, the writer will explain the data in a text.

CHAPTER IV

FINDING AND DISCUSSION

This chapter presents the finding and discussion about the data in this research. The writer focuses on the women’s language features used by two female characters in difference movie based on Lakoff’s theory. In this step, the writer wants to analyze and find out the answer of statement of the problem.

4.1 Finding

4.1.1 Women’s Language Features used by Carly in Street Dance movie and Aya in Make Your Move movie

In this section, the writer analyzes and compares women’s language

features used by Carly in Street Dance movie and Aya in Make Your Move movie

based in Lakoff’s theory. From this, we know what are the similarities and differences between Carly and Aya’s language feature, although both of them are woman. There are ten features in Lakoff’s theory, they are lexical hedges or fillers, tag questions, rising intonation on declaratives, empty adjectives, precise color terms, intensifiers, hypercorrect grammar, superpolite forms, avoidance of strong swear words, and emphatic stress.

In this chapter, represented the whole data found as out follows: 4.1.1.1 Lexical Hedges or Fillers

28

We use hedges to soften what we say or write. Hedges are an important part of polite conversation. They make what we say less direct. The most common forms of hedging involve tense and aspect, modal expressions including modal verbs and adverbs, vague language such as sort of and kind of, and some verbs. Another study, for instance, made a distinction between

“fillers” and “hedges”, with sort of classified as a hedge, while well and you see

were described as ‘meaningless particles’ and assigned to the same category as ‘pause fillers’ such us uhm, um, oh, and ah.(Holmes, 2001:286)

After analyzing the lexical hedges or filler feature in the Carly and Aya utterances, the writer found out four hedges in there. They are well, I think/I thought, you know/you knew, and like (see table 4.1.1.1.1, 4.1.1.1.2, 4.1.1.1.3, 4.1.1.1.4 bellow).

Table 4.1.1.1.1 Lexical hedges or fillers “Well”

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie 00:06:55 Well, have a week off

and come back.

- -

00:11:15 Well, why don’t you sponsor us?

- -

00:13:41 Well, we’re dancing in the shopping centre

29

it.

00:34:04 Well, you could do

with the help, couldn’t you?

- -

As shown in table 4.1, there are four well in Carly utterances. While nothing well in Aya utterances. As we know, hedging is one of characteristic of women’s language that can express a lack of confidence and reflect of women’s insecurity about the society around them. Lakoff also said that the use of lexical hedges or fillers by the speakers especially women also indicates that women is not sure about the accuracy of what she is saying. (cited in Fitria’s thesis)

So when Carly said that, there is still uncertainty of what she is saying. For

example, “Well, why don’t you sponsor us?” it indicates that Carly doesn’t brave enough to say that she asking for a sponsor for her, so she adds well as her hedge.

While, there is no well in Aya utterance, it means that Aya always certain with what she talked about. She feels secure about society around them.

Table 4.1.1.1.2 Lexical hedges or filler “I think/I thought”

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie 00:06:43 I thought you wanted

to win? Be UK Champions!

01:18:11,144 Donny, I think you should go.

30

00:28:24 Listen, I’m not a teacher, Miss, and I

think you’ve got the

wrong idea about me.

- -

00:50:00 One minute I think we’re doing good...

- -

00:50:03 ...then I think of ‘The Surge’ and we don't even come close.

- -

01:25:25 I thought you had more ambition.

- -

From table above, there are five I think/I thought hedges used by Carly and only once used by Aya. In utterances “I thought you had more ambition”, she used I thought to show that she expected based on her opinion and she was not confidence enough with her statement. It can conclude that I think of hedges for giving support with own argument. Carly more often say I think than Aya. It indicates that Carly feel not more confidence than Aya.

Table 4.1.1.1.3 Lexical hedges or fillers “You know”

Duration Carly in Street Dance

movie

Duration Aya in Make Your

31

are rule number one. Nick?

00:49:56 You know there’s still a place for you?

01:03:20,671 Okay. Okay. Most guys just take, you know.

00:52:03 You know what? We should all go out tonight.

- -

01:10:20 You knew we’d gel eventually, didn’t you?

- -

As shown table 4.1.1.1.3 Carly used four you know hedges, while there are only two you know in Aya utterances. You know is device to get attention or a way

to check with someone’s interaction partner whether they are listening, following, and attending to the speaker’s saying. (as cited in Ningsih’s thesis from

Umdatun’s thesis)

From table above Carly more often using you know than Aya, it means that she wants to check the focus of her addresses.

Table 4.1.1.1.4 Lexical hedges or fillers “Like”

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie 00:20:07 Other way round,

more like.

00:54:35,647 Drum like dancing. I like that.

32

00:27:41 You’re going to make us look like jokers!

- -

00:48:09 I got goose bumps, like.

- -

The last word of lexical hedges that found by the writer is like. Different with previous hedges, in here Carly only used three times like, and Aya only once. Carly used like in “Other way round, more like.” to show a doubt of what has been said. It means that maybe she was in wrong place or maybe not. So, she felt doubt toward her own statement.

4.1.1.2 Taq Question

According to Lakoff, the use of taq question indicates the uncertainty related to something unknown by speaker which encourages them to ask. From the data, the writer was found that Carly used tag question until 10 times, while Aya did not say it at all. Carly wants to show her certainty or hesitancy about what she is saying. She just wanted to confirm to her partner whether what she said is true or wrong. In other hand, it was indicated that Carly not confidence enough with her statement. She still needs some opinions from other people, her hearer. While, we can look there is no taq question used by Aya. From this, we can know that Aya confidence with all stetment that she is saying.

33

Table 4.1.1.2 Tag Questions

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie 00:06:28 I’m going to sort it,

alright?

- -

00:07:50 ...and then he’ll want me back, won’t he?

- -

00:13:22 I don’t suppose you rent these rooms for a fiver,

do you?

- -

00:17:55 I’ve messed up, haven’t I?

- -

00:42:00 You should be able to do that, yeah?

- -

00:44:59 He’s never going to call, is he?

- -

00:27:41 You knew we’d gel eventually,didn’t you?

- -

01:02:29 That’s not bad, is it? 01:14:14 This has been the plan

all along, hasn’t it?

- -

00:13:08 They’re not really feeling it though, are

34

they? They look bored stiff.

4.1.1.3 Rising Intonation on Declaratives

Through this feature, the speaker provides a confirmation since she/he is unsure if her/his opinion will be agreed by the addressee so that rising intonation in declaratives is used to show that the speaker leaves the decision open to the addressee in a non-forceful way. Sometimes it has the rising inflection typical of yes-no question and seems like being especially hesitant.

Table 4.1.1.3 Rising Intonation on Declaratives

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie 00:27:00 Just trainers

tomorrow, yeah?

01:29:43,669 Don’t I get 2 minutes?

From the table above, we know that Carly and Aya is same. They are only

used this feature once. Carly said, “Just trainers tomorrow, yeah?” wants make sure to Tomas and his friends that she and her team will be practice together with

Tomas and his dance team. While Aya said “Don’t I get 2 minutes?” wants to tell

35

4.1.1.4 Intensifiers

Sometimes women, compared with men, use more intensifiers to strengthen what they want to express. This feature like so, just, very, such, or quite often used by women. After analyzing this research, the writer was found three word of intensifiers feature. They are so, just and much. The writer describes more detail in below:

Table 4.1.1.4.1 Intensifiers “So”

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie

- - 00:55:33,747 I know. There’s so

much.

- - 01:10:15,336 I was so proud of you

tonight

- - 01:15:41,745 So much hate in his

eyes.

As shown the table, Carly did not used so in Street Dance movie. While, Aya was used three times in Make Your Move movie. Aya used so for showing the strong emotions or making the strong assertions of the speaker. In utterance “I was so proud of you tonight” consists of the intensifier so that used by Aya to express her feeling to Donie. That utterance is said by Aya when Donie after giving dance performance that was amazing to her. She expresses her strong

36

feeling that she proud to Denis by adding intensifier so which is one of women’s speech features.

Table 4.1.1.4.2 Intensifiers “Just”

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie 00:06:06 Can’t we just talk

about it? I've made up my mind

00:39:50,930 She just needs to see us live in front of a crowd.

00:06:47 Why didn’t you tell me? I just. I looked like such an idiot.

01:03:20,671 Okay. Okay. Most guys just take, you know.

They want to control me

00:07:29 He said it was just a time out.

- -

00:08:04 I just dance. You see the bigger picture.

- -

00:09:33 Can’t we just find somewhere to rehearse and get on with it?

- -

37

people

00:23:41 Let’s just have a go.

They’ll be crap.

- -

00:26:36 That’s just the way it is, ballet boy

- -

00:30:54 Spread out. Just move like you are in a club.

- -

00:45:25 I know it’s over with me and the crew and everything, I just wish

you’d of said...

- -

00:54:26 It’s not a game, it’s a battle. Just throw own some moves

- -

There are 11 times Carly used just in her utterance. But Aya only twice used it. In “It’s not a game, it's a battle. Just throw own some moves” Carly tried to get her team to do it earnestly. It is because they faced not just a game, but a battle in a competition. By using just will persuade the addressee to take them seriously and to strengthen the meaning that not only that but also there is another.

38

Table 4.1.1.4.3 Intensifiers “Much”

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie

- - 00:39:30,951 A little too much

bass, if you ask me.

- - 00:44:24,744 But how much of

yourself have you given up?

In this much feature, only Aya was used it. Almost same with so, word much used to give emphasis to her opinions. Here, Aya would like to give emphasis for her statement in order her hearer certain what she said.

4.1.1.5 Superpolite Forms

Women shows their use of super polite form in their speech through several ways, some of them are by having less assertive, making an indirect request, using euphemism, using hypercorrect grammar, and so on. In this research, the writer found out eight utterances with consists of superpolite form in Carly utterance only.

Lakoff argued that in some case, women’s request has sense as a polite command; it doesn’t need obedience overtly, but suggest something to be done as a favor to the speaker. Carly used please polite form. Please indicating that to

39

please.”, Carly asked tomas to be more relaxed when doing street dance by using super polite forms, in order that Tomas doesn’t have any optional except do what has requested by her.

Table 4.1.1.5 Superpolite Forms

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie

00:12:46 That’s $ 5.50, please. - -

00:21:57 Oh, my God. I’m so

sorry. We’ll pay for

the damage.

- -

00:25:02 ...give me a ring back when you can, please.

- -

00:27:46 Not good enough. Focus, please.

- -

00:41:17 Tomas, relax a bit, please.

- -

00:41:35 Okay, I’m going to pick it up from this section, please.

- -

00:41:46 Stop there, please. - -

01:07:26 Can everyone come together please, I’ve

40

got something to say.

4.1.1.6 Avoidance of Strong Swear Words

Women are avoided to show her emotional feeling by using some strong words as like shit and hell because as women, they have been chosen by their society to keep the good norm.(cited in Fitria’s thesis)

The writer only found out two utterances in this research. These utterances used by Carly when she talks with Helena, a lecturer in Ballet class. She choose to avoid swear word to respect Helena.

Table 4.1.1.6 Avoidance of Strong Swear Words

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie 00:18:47 Oh, my God, it’s you

guys!

- -

00:21:57 Oh, my God. I’m so sorry.

We’ll pay for the damage.

- -

4.1.1.7 Emphatic Stress

41

things.Women like to use words which are used to emphasize the statement or strengthen the meaning of a statement.

Table 4.1.1.7 Emphatic Stress

Duration Carly in Street Dance

movie

Duration Aya in Make Your

Move movie 00:13:04 No, they’re very good. 00:16:00,292 I’ll take care of my

own problems. 00:22:14 This is amazing. 00:30:17,357 No. Let me go!

From table above, Carly and Aya used emphatic stress feature to clarify

their own statement. In utterance “No, they’re very good.” Carly denied Helena’s

statement about Helena’s class ballet is still looks not good enough. Then Carly used the word “very” to clarify that Helena’s class ballet is great.

4.1.2 Women’s language features used by Carly in ‘Street Dance’ Movie Women’s language features used by

Carly in Street Dance Movie

Utterance

Lexical Hedges or Fillers 16

Tag Question 10

Rising Intonation on Declaratives 1

‘Empty’ adjectives -

42

Intensifiers 11

‘Hypercorrect’ grammar -

‘Super polite’ Form 8

Avoidance of Strong Swear Words 2

Emphatic Stress 2

Total 50

Based on the data above, the researcher is found any 50 words that

indicate women’s language features. The writer was classified them into seven

women’s language features based on Lakoff’s theory. They are lexical hedges or fillers, tag question, rising intonation on declaratives, intensifiers,’super polite’ form, avoidance of strong swear words, and emphatic stress while the writer doesn’t find that Carly used three types of women’s language features that are precise colors term, ‘empty’ adjectives and ‘hypercorrect’ grammar.

From that seven features, Carly more dominance to use lexical hedges or fillers than other features. From the data (see table 4.1.1.1.1, 4.1.1.1.2, 4.1.1.1.3, 4.1.1.1.4) above, we know that she used the hedges as you know, well, like, and I think. From the analysis above, she used hedges to take a moment for thinking about what she would say next. In addition, she also avoids for making mistakes when she speaks. Carly more often use the word I think to express his opinion in a more subtle way, in other word she tried to soften her utterance.

43

4.1.3 Women’s Language Features used by Aya in ‘Make Your Move’ Movie Women’s language features used by

Aya in Make Your Move movie

Utterance

Lexical Hedges or Fillers 4

Tag Question -

Rising Intonation on Declaratives 1

‘Empty’ adjectives -

Precise Colour Term -

Intensifiers 7

‘Hypercorrect’ grammar -

‘Super polite’ Form -

Avoidance of Strong Swear Words -

Emphatic Stress 2

Total 14

Very different with Carly, the writer only found 14 words contained in

Aya’s utterances. Those words, then classifyed become four women’s language

features. They are lexical hedges or fillers, rising intonation on declaratives, intensifiers, and emphatic stress. There are six other features that doesn’t used by Aya that are precise colors term, ‘empty’ adjectives, ‘hypercorrect’ grammar, tag question, ‘super polite’ form, and avoidance of strong swear words.

The women’s language features that dominance used by Aya is Intesifiers. As we know, this feature serves to enhance and give additional emotional context

44

to the word it modifies. Aya used this feature for showing the strong emotions or

making the strong assertions of the speaker, so the hearer cann’t deny or disagree

with her statement. We make a simple meaning that Aya used Intensifiers to persuade her hearers agree with her uttterance.

4.1.4 The Similarities and Differences of Woman’s Language Features between Carly and Aya

Women’s Language Features

Usage

Carly Aya

Lexical Hedges or Fillers  

Tag Question  x

Rising Intonation on Declaratives  

‘Empty’ adjectives - -

Precise Colour Term - -

Intensifiers  

‘Hypercorrect’ grammar - -

‘Super polite’ Form  x

Avoidance of Strong Swear Words  x

Emphatic Stress  

Total 7 Features 4 Features

45

utterance. They are Lexical Hedges or Fillers, Rising Intonation on Declaratives, Intensifiers, and Emphatic Stress. While the difference features between Carly and Aya, in other word only Carly used it while Aya didn’t use, are taq question, ‘superpolite’ form, and avoidance of strong swear words.

The first similar feature is Lexical Hedges or Fillers. From those data, we know that both of Carly and Aya used hedges to take a moment for thinking about what they would say next. Besides that, they try to avoid make mistakes when they are speaking. In other word they tried to soften their utterances.

Then, Carly and Aya used Rising Intonation to provide a confirmation since they are unsure if their opinion will be agreed by the addressee so that rising intonation in declaratives is used to show that the speaker leaves the decision open to the addressee in a non-forceful way. Simply, we can say that both of them want to get response.

Next, the similar women’s language feature they use is Intensifiers. Carly and Aya used this feature for showing the strong emotions or making the strong

assertions of the speaker, so the hearer cann’t deny or disagree with her statement.

We make a simple meaning that they used Intensifiers to persuade the hearers agree with their utterance.

The last similar feature is Emphatic Stress. They used this feature to emphasize their statement or strengthen the meaning of a statement. Simply, the usage of this feature is to emphasize an utterance.

46

4.1.5 The Factors that Influence the Differences Women’s Language Features between Carly and Aya

Before we jump into the analysis, let’s review a little bit about who was

Carly and Aya, and how their lives. 4.1.5.1 Carly in Street Dance movie

In Street Dance movie, told Carly is an independent young woman. She lived with her young brother, Eddie. She worked at one of the food seller’s sandwich shop. She is a street dancer and has a dancing team. After the head of the dance team, her boyfriend, leaving his team in order to join the champion’s dancing team, she was appointed as head of the team replaces Jay. She was confused thinking about the fate of her dancing team.

At a time when she delivered sandwich to the building ballet dancer, she met Mrs. Helena. Then she offered to practice in that building with on requisite. They must dance together with other dancing team that is very different genre

with her, they are ballet’s dancing team. Here she was confused thinking of ways

how makes ballet dancers and street dancers can unite into a beautiful dance. With some creativity and hard work, finally both teams were able to unite presents a beautiful dance in a competition and win it.

4.1.5.2 Aya in Make Your Move movie

While in Make Your Move movie, Aya is a woman Korean blood, born in Japan, and she lives in America with her older brother, Kaz. She has a dancing

47

She has a dream, someday her team can be produced by a famous producer in America. One day he met with Donie, they begin to fall in love. But the obstacles, their older brother hostile to each other. Many problems arise in their lives. Until one day Donie get an idea of how to rebuild his relationship with Aya. Then he held a show. From here everything is well. Aya and Donie get their relationship again. Nick and Kaz forgive each other. And the famous producer was amazed at the appearance of Cobu and plans to soon produce and sponsor them.

4.1.5.3 Factor that Shape Women’s Language Feature

There are some factor that shape the features of female language. They are not only the influence of physiology and psychology, but also because of the influence of the society and the culture. The difference of social work distribution, cultural factors and social psychological factors are all responsible for the appearance of these characteristics. (Qi Pan’s Journal, 2011)

4.1.5.3.1 Social Factors

Specifically speaking, their evaluation about women’s language is based on several social factors: women’s social status, women’s sex role socialization and dominant gender system.

In social, Carly is often interacting to others who have different professions with her. She is a seller, and then she should be friendly and polite when talking to buyers. In addition, she also often meets people who have a high social class such as Helena, a teacher at a school dance. When talking to Helena,

48

Carly definitely use polite language and soften. That is why she is more using

women’s language feature than Aya in her utterances.

Meanwhile, Aya is a dancer who often dances in nightclubs. She often encountered is the world night. Although, she was a music teacher at a primary school, but she did not interact much with her students. Therefore, it is natural that

she very rarely use women’s language feature. 4.1.5.3.2 Culture Factors

The image of women’s language, of course, is closely linked to cultures, like sex discrimination, western women’s subculture and Bible, so is the early evaluations about western women’s language. On the whole, in the sense of culture, their evaluations are affected by such factors, like gender culture, gender ideology and gender stereotypes.

Compared with the social factor, culture factor does not affect the use of

women’s language features in Carly and Aya’s utterances. In the movie was not

told about the cultures that exist in their environment.

4.2 Discussion

Women’s language features used by Carly and Aya

Carly’s Utterance

Aya’s Utterance

Lexical Hedges or Fillers 16 4

Tag Question 10 -

49

Precise Colour Term - -

Intensifiers 11 7

‘Hypercorrect’ grammar - -

‘Super polite’ Form 8 -

Avoidance of Strong Swear Words 2 -

Emphatic Stress 2 2

Total 50 14

Based on table above, the writer was found seven women’s language

features in Carly’s utterance. They are lexical hedges or fillers, tag question, rising intonation on declaratives, intensifiers,’super polite’ form, avoidance of strong swear words, and emphatic stress. The dominance features is Lexical Hedges and Filler with 16 words in her utterances.

In Aya’s utterances, the writer was found only four features. They are lexical hedges or fillers, rising intonation on declaratives, intensifiers, and emphatic stress. And the dominance features is Intensifier with 7 words in there.

From this difference, we know that not all women have the same women’s language although they have the same profession. Many factors affect the difference, such as social factors. The environment also affects the differences in

women’s language features used by women. Carly and Aya have similarity profession, but they have different life environment. That’s why their women’s language features is different.

50

The Connection between this Research with Islamic Religious

Here, the writer connects the analysis with hadits, as mentioned below: Al-Bukhari in his shahih book number 6475 and Muslim his shahih book number 74 narrated the hadith of Abu Hurairah that the Prophet said.

ْت ْصيل ْوأ اًرْيخ ْلقي ف رخآْا ْويْلاو هَاب نمْؤي اك ْنمو

“Barangsiapa yang beriman kepada Allah dan hari akhir maka hendaknya dia berkata yang baik atau diam”

“Whoever believes in Allah and the last day then he should speak good or

keep quiet”

Imam Nawawi commented on this hadits when explaining hadits Arba’in. He explains, “Imam Shafi’i explained that the purpose of this hadits is that if someone wanted to say, let him think first. If the predicted words will not bring disadvantages, then please he spoke. However, if the estimated his message would bring disadvantages or doubt, is it bring harm or not?, then he should not talk”.

Some scholars said, “If you were to buy the paper to the angels who record your charity, surely you will be more silent than to speak”.

CHAPTER V

CONCLUSION AND SUGGESTION

This chapter consists of the conclusion and suggestions. The conclusion is

created based on the research problem’s analysis, while suggestion is purposed to

give information to the next researchers who are in doing further research in this area.

5.1. Conclusion

Based on Lakoff’s theory, there are ten women’s language features, they are lexical hedges or fillers, tag question, rising intonation on declaratives,

‘empty’ adjectives, precise colors term, intensifiers, ‘hypercorrect’ grammar, ‘super polite’ form, avoidance of strong words, and emphatic stress. In this research, the writer can conclude that she finds only seven features of women’s

speech features used by Carly in Street Dance movie. The total utterance of lexical hedges is sixteen. Rising intonation on declaratives is only one word and taq question in total ten. Next, there are eleven occurring in intensifier, two in super polite form, four in avoidance of strong swear words and the last feature is empathic stress is four. Finally, the total utterances of all features are fifty. But, there are three feature which is not used by Carly, they are precise colors term,

‘empty’ adjectives and ‘hypercorrect’ grammar. Here Carly more often uses

lexical hedges or fillers than other features.

Meanwhile, the writer finds four women’s language features only used by

52

intonation on declaratives, intensifiers, and emphatic stress. Lexical hedges or fillers is appear four times in her utterances. Rising intonation on declaratives only once used by Aya. There are seven words in intensifiers and two words in emphatic stress There are six other features that doesn’t used by Aya that are precise colors term, ‘empty’ adjectives, ‘hypercorrect’ grammar, tag question,

‘super polite’ form, and avoidance of strong swear words. The women’s language

features that dominance used by Aya is Intesifiers.

From the data analysis, the writer having done discussion and find that only four similar feature they used in their utterance. They are Lexical Hedges or Fillers, Rising Intonation on Declaratives, Intensifiers, and Emphatic Stress. While the difference features between Carly and Aya, in other word only Carly used it while Aya didn’t use, are taq question, ‘superpolite’ form, and avoidance of strong swear words. This similarity and differences is caused social factor. In social, Carly is often interacting to others who have different professions with her, from lower until higher class. That is why she is more using women’s language feature than Aya in her utterances.

Meanwhile, Aya is a dancer who often dances in nightclubs. She often encountered is the world night. Therefore, it is natural that she very rarely use

women’s language feature.

5.2 Suggestion

The research about language and gender is more interesting than other subject. Especially about women’s language. From ten women’s language feature

50

The Connection between this Research with Islamic Religious

Here, the writer connects the analysis with hadits, as mentioned below: Al-Bukhari in his shahih book number 6475 and Muslim his shahih book number 74 narrated the hadith of Abu Hurairah that the Prophet said.

ْت ْصيل ْوأ اًرْيخ ْلقي ف رخآْا ْويْلاو هَاب نمْؤي اك ْنمو

“Barangsiapa yang beriman kepada Allah dan hari akhir maka hendaknya dia berkata yang baik atau diam”

“Whoever believes in Allah and the last day then he should speak good or keep quiet”

Imam Nawawi commented on this hadits when explaining hadits Arba’in. He explains, “Imam Shafi’i explained that the purpose of this hadits is that if someone wanted to say, let him think first. If the predicted words will not bring disadvantages, then please he spoke. However, if the estimated his message would bring disadvantages or doubt, is it bring harm or not?, then he should not talk”. Some scholars said, “If you were to buy the paper to the angels who record your charity, surely you will be more silent than to speak”.

51

CHAPTER V

CONCLUSION AND SUGGESTION

This chapter consists of the conclusion and suggestions. The conclusion is created based on the research problem’s analysis, while suggestion is purposed to give information to the next researchers who are in doing further research in this area.

5.1. Conclusion

Based on Lakoff’s theory, there are ten women’s language features, they are lexical hedges or fillers, tag question, rising intonation on declaratives, ‘empty’ adjectives, precise colors term, intensifiers, ‘hypercorrect’ grammar, ‘super polite’ form, avoidance of strong words, and emphatic stress. In this research, the writer can conclude that she finds only seven features of women’s speech features used by Carly in Street Dance movie. The total utterance of lexical hedges is sixteen. Rising intonation on declaratives is only one word and taq question in total ten. Next, there are eleven occurring in intensifier, two in super polite form, four in avoidance of strong swear words and the last feature is empathic stress is four. Finally, the total utterances of all features are fifty. But, there are three feature which is not used by Carly, they are precise colors term, ‘empty’ adjectives and ‘hypercorrect’ grammar. Here Carly more often uses lexical hedges or fillers than other features.

Meanwhile, the writer finds four women’s language features only used by Aya in Make Your Move movie. They are lexical hedges or fillers, rising

52

intonation on declaratives, intensifiers, and emphatic stress. Lexical hedges or fillers is appear four times in her utterances. Rising intonation on declaratives only once used by Aya. There are seven words in intensifiers and two words in emphatic stress There are six other features that doesn’t used by Aya that are precise colors term, ‘empty’ adjectives, ‘hypercorrect’ grammar, tag question, ‘super polite’ form, and avoidance of strong swear words. The women’s language features that dominance used by Aya is Intesifiers.

From the data analysis, the writer having done discussion and find that only four similar feature they used in their utterance. They are Lexical Hedges or Fillers, Rising Intonation on Declaratives, Intensifiers, and Emphatic Stress. While the difference features between Carly and Aya, in other word only Carly used it while Aya didn’t use, are taq question, ‘superpolite’ form, and avoidance of strong swear words. This similarity and differences is caused social factor. In social, Carly is often interacting to others who have different professions with her, from lower until higher class. That is why she is more using women’s language feature than Aya in her utterances.

Meanwhile, Aya is a dancer who often dances in nightclubs. She often encountered is the world night. Therefore, it is natural that she very rarely use women’s language feature.

5.2 Suggestion

The research about language and gender is more interesting than other subject. Especially about women’s language. From ten women’s language feature

53

based on Lakoff theory, we can know the way a woman interact with other through her language choice in her utterance.

The writer wants to give some suggestions for the readers and the next writer. Firstly, in order to enrich our knowledge about women’s language features and their purposes or functions. The writer suggests making the different research with her using different theory as possible or still use Lakoff’s theory with supported by other linguists that define Lakoff’s theory. Second, taking the data from other source such as analyze women’s language features that used by people around you in the real live, women language in school, traditional market, office, and etc.

REFERENCES

Aflah, Laila Nur. 2016. Features and Functions of Women’s Language in Anna’s Character of Anna Karenina Movie. Thesis. State Islamic University of Sunan Kalijaga Yogyakarta.

Andhira, Didin Fitria. 2014. A Study of Women’s Speech Features of A Main Character in Iron Lady Movie Used by Phyllida Lloyd. Thesis. Surabaya: State Islamic University of Sunan Ampel Surabaya.

Aulya, Siti Dara Nirmala. 2014. Woman Linguistic Feature Performed by Margaret Thatcheri in The Film Iron Lady: A Thesis. Malang: Universitas Brawijaya.

Holmes, Janet. 2001. An Intoduction to Sociolinguistics-2nd ed. Malaysia: Pearson Education Limited.

Jane Sunderland. 2006.Language and Gender: An advanced resource book. London and New York: Roudledge Taylor & Francis e-Library.

Lakoff, Robin. 1973. Language and Woman’s Place: Language in Society, Vol. 2, No. 1 (Apr., 1973), pp. 45-80. New York: Cambridge University Press. Mesthrie, Rajend ; Joan Swann, Ana Deumert and William L. Leap. 2000. Introducing Sociolingustic-2nd ed. Edinburgh University Press.

Mesthrie, Rajend . 2011. The Cambridge Handbook of Sociolinguistics. New York: Cambridge University Press.

Mills, Sara. 2003. Gender and Politeness: Studies in Interactional Sociolinguistics. New York: Cambridge University Press.

Mu’minin, Farida Mas Huriyatul. 2010. An Analysis on Women’s Language Used

by the Main Character of “Thirteen” Movie. Thesis. State Islamic University of Maulana Malik Ibrahim Malang.

Pan, Qi. 2011. Theory and Practice in Language Studies, Vol. 1, No. 8, pp. 1015- 1018. Finland: ACADEMY PUBLISHER Manufactured.

Puspitasari, Ratih. 2013. WOMAN AND MAN’S SPEECH STYLE USED BY THE MAIN Woman and Man’s Speech Style Used by The Main Characters In LOL (LAUGHING OUT LOUD) Movie; A Journal Article. Malang: Universitas Brawijaya.

55

Precious Movie. Thesis. State Islamic University of Sunan Ampel Surabaya.

Sholikha, Riza. 2016. Woman Language Features In Michelle Obama’s Speech As An African American First Lady. Thesis. State Islamic University of Sunan Ampel Surabaya.

Vranic, Anja. 2013. Japanese Women’s Language: Identity, gender, and real language use in contrast to language ideology; A Thesis. Japan: University of Oslo.

Wardhaugh, Ronald. 2016. An introduction to sociolinguistics-5th ed. United Kingdom: Blackwell Publishers.

https://almanhaj.or.id/3197

https://en.wikipedia.org/wiki/Make_Your_Move_(film) https://en.wikipedia.org/wiki/StreetDance3D_(film)