THE VERBAL HUMOR IN THE SPONGEBOB MOVIE: SPONGE OUT OF WATER ANIMATED FILM.
The Verbal Humor in The SpongeBob Movie: Sponge Out of Water
Animated Film
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:
RISMA NUR IZZAH
Reg. Number: A73212116
ENGLISH DEPARTMENT
FACULTY OF ARTS AND HUMANITIES
STATE ISLAMIC UNIVERSITY OF SUNAN AMPEL
SURABAYA
2016
ABSTRACT
Izzah, Risma Nur. 2016. The Verbal Humor in The Spongebob Movie: Sponge
Out of Water. Thesis. English Department. Faculty of Letters and
Humanities. The State Islamic University of Sunan Ampel Surabaya.
The Advisor : M. Thoriqussu’ud, M. Pd.
Key words
: verbal humor, violation maxim, The Spongebob Movie: Sponge Out
of Water, animated film.
Textually, an aspect of language in which exploited is often happen in the
humor conversation to achieve humorous effect. Moreover the violation maxim in
humor conversation also could amuse the hearer. The aim of this research is to
know how the humor conversation formed in The Spongebob Movie: Sponge Out of
Water, animated film. In analyzing the humor conversation, this research focuses
on the verbal humor and violation maxim.
This research employs a descriptive qualitative research. The data is
collected from the script of The Spongebob Movie: Sponge Out of Water, Animated
Film by downloaded form internet in which had adjusted to the movie manually.
The data are categorized based on some theories. The first is the general theory of
verbal humor proposed by Attardo Salvatore (1991) and the second is maxim
principle proposed by Paul Grice (1875).
The results of this study show that there are 9 kinds of verbal humor in The
Spongebob Movie: Sponge Out of Water, Animated Film. Those are Absurd,
Ambiguity, Irony, Malapropism, Paraprodoskian, Hyperbole, Sarcasm, Repartee, and
Pun. Absurdity appears most often to amuse the audiences. While the violation
maxims appear in this animated film. Those are violation maxim of quantity,
violation maxim of quality, violation maxim of relation, and violation maxim of
manner. From 44 data, there are 27 violation maxim data in this research. This
finding indicates that the humor conversation is also formed by violation maxim to
amuse the audiences.
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INTISARI
Izzah, Risma Nur. 2016. The Verbal Humor in The Spongebob Movie: Sponge
Out of Water. Tesis. Sastra Inggris. Fakultas Adab dan Humaniora.
Universitas Islam Negeri Sunan Ampel Surabaya.
Pembimbing : M. Thoriqussu’ud, M. Pd.
Kata Kunci : verbal humor, violation maxim, The Spongebob Movie: Sponge Out
of Water, animated film.
Secara teks, sebuah aspek bahasa yang disalahgunakan sering terjadi dalam
percakapan humor untuk menghasilkan efek lucu. Selain itu, pelanggaran maxim
dalam percakapan humor juga bisa membuat tertawa pendengarnya. Penelitian ini
bertujuan untuk mengetahui bagaimana percakapan humor itu terbentuk dalam
film animasi, The Spongebob Movie: Sponge Out of Water. Dalam menganalisa
percakapan humor, penelitian ini fokus pada verbal humor dan pelanggaran maxim.
Penelitian ini menggunakan metode penelitian secara qualitatif deskriptif.
Data dikumpulkan dari naskah film animasi, The Spongebob Movie: Sponge Out of
Water, yang diunduh dari internet dan disesuaikan dengan filmnya secara manual.
Data dikategorikan berdasarkan beberapa teori. Pertama adalah teori verbal humor
yang dikemukakan oleh Attardo Salvatore (1991) dan yang kedua adalah teori
prinsip maksim yang dikemukakan oleh Paul Grice (1875).
Hasil dari penelitian ini menunjukan ada 9 macam verbal humor dalam
film animasi, The Spongebob Movie: Sponge Out of Water. Yaitu Absurd, Ambiguity,
Irony, Malapropism, Paraprodoskian, Hyperbole, Sarcasm, Repartee, dan Pun.
Absurdity sering muncul untuk membuat penonton tertawa. Sementara itu,
pelanggaran-pelanggaran maksim juga muncul dalam film animasi ini. Yakni
pelanggaran maksim kualitas, pelanggaran maksim kuantitas, pelanggaran maksim
relevansi dan pelanggaran maksim pelaksanaan. Dari 44 data, ada 27 data
pelanggaran maksim dalam penelitian ini. Hasil ini menunjukkan bahwa percakapan
humor terbentuk dari pelanggaran maksim untuk membuat penonton tertawa.
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TABLE OF CONTENTS
Inside Cover ................................................................................................
i
Inside Title ...................................................................................................
ii
Declaration ..................................................................................................
iii
Thesis Advisor’s Approval Sheet ................................................................
iv
Thesis Examiner’s Approval Sheet ..............................................................
v
Motto ...........................................................................................................
vi
Dedication ...................................................................................................
vii
Acknowledgement ......................................................................................
viii
Table of Contents ........................................................................................
x
Abstract .......................................................................................................
xii
Intisari .........................................................................................................
xiii
CHAPTER I: INTRODUCTION ...........................................................
1
1.1. Background of the Study ...................................................................
1
1.2. Statement of the Problem ..................................................................
7
1.3. Objective of the Study .......................................................................
7
1.4. Significance of the Study ...................................................................
8
1.5. Scope and Limitation .........................................................................
8
1.6. Definition of Key Terms ...................................................................
9
CHAPTER II: THEORETICAL BASES ..............................................
10
2.1. Discourse Analysis ............................................................................
10
2.2. General Theory of Verbal Humor ......................................................
12
2.2.1. Absurd ....................................................................................
14
2.2.2. Ambiguity ...............................................................................
14
2.2.3. Antaclasis................................................................................
14
2.2.4. Antiphrasis ..............................................................................
15
2.2.5. Enthymeme .............................................................................
15
2.2.6. Humorous Triple.....................................................................
16
2.2.7. Hyperbole ...............................................................................
16
2.2.8. Irony........................................................................................
16
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2.2.9. Malapropism ...........................................................................
17
2.2.10. Paraprodoskian .......................................................................
17
2.2.11. Pun ..........................................................................................
17
2.2.12. Reparte ....................................................................................
18
2.2.13. Sarcasm ...................................................................................
18
2.2.14. Spoonerism .............................................................................
18
2.3. The Cooperative Principle ..................................................................
19
CHAPTER III: RESEARCH METHODOLOGY .................................
24
3.1. Research Design ................................................................................
24
3.2. Research Instrument ..........................................................................
24
3.3. Data and Data Sources .......................................................................
25
3.4. Data Collection ..................................................................................
25
3.5. Data Analysis .....................................................................................
26
CHAPTER IV: FINDINGS AND DISCUSSION ..................................
30
4.1. Research Finding ...............................................................................
30
4.1.1. Kinds of Verbal Humor .....................................................................
32
4.1.1.1 Absurd ...............................................................................
33
4.1.1.2 Ambiguity ..........................................................................
36
4.1.1.3 Irony ...................................................................................
37
4.1.1.4 Malapropism ......................................................................
39
4.1.1.5 Paraprodoskian ...................................................................
40
4.1.1.6 Hyperbole ...........................................................................
41
4.1.1.7 Sarcasm ..............................................................................
43
4.1.1.8 Reparte ...............................................................................
44
4.1.1.9 Pun .....................................................................................
45
4.1.2. Violation Maxim of Humor Conversation .......................................
46
4.1.2.1. Violation maxim of quality ................................................
47
4.1.2.2. Violation maxim of quantity .............................................
47
4.1.2.3. Violation maxim of relation ..............................................
48
4.1.2.4. Violation maxim of manner ..............................................
49
4.2. Discussion ..........................................................................................
50
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CHAPTER V: CONCLUSION ................................................................
56
5.1. Conclusion ...........................................................................................
56
5.1.1. Kinds of Verbal Humor..........................................................
56
5.1.2. Violation Maxim of Humor Conversation .............................
57
5.2. Suggestion .............................................................................................
57
REFERENCES ............................................................................................
59
APPENDIXES .............................................................................................
61
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CHAPTER I
INTRODUCTION
This chapter presents background of study, research problems, objectives of
the study, significance of the study, scope and limitation, and definition of key terms.
1.1 Background of Study
Humor is used as device to attract attention for some purposes such as making
others laugh. Humor is something related to funny. It is possible to claim that
something is funny, even though no one laughed at the time. In other hand, it can
often happen that people laugh but the other claim ‘that is not funny’ (Ross, 2005:1).
Rush (1998) said that “Humor replaced the comic and was treated as a
neutral term; i.e. not restricted to positive meanings”. Humor can be defined in terms
of its effect and response. In other words, humor can be inferred from its effect, i.e.,
intended (laugh) or unintended (no reaction). However, Vandaele (2002) said that
"humour is whatever has a humorous effect" (Hassaine, 2014:91-92).
According to Manser (1989), There are three types of communication in
humor. First, speaker totally intend to joke and hearer received it as a joke. Second,
speaker does not intend to joke but the hearer regarded as something funny. Third,
speaker totally intend to joke but hearer regarded as something that is not funny at all.
Widjaja (1983) stated that humor achieved when the message which speaker gave is
understood by the hearer (Rahmanadji, 2007:218).
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Eventhough humor differs from individual to individual, there is one
distinction which seems that the humorous effect is achieved, that is Freud’s
distinction between verbal humor and conceptual humor. Verbal humor is when an
aspect of language is exploited in order to achieve a humorous effect, while
conceptual humor is a concept or idea that is thought as humorous thing without
using aspects of language (kim, 2009:2).
According to Psychology which concerned with people, humor has positive
effect. Study about correlation between sense of humor and anxiety to the exam
described that psychologically, students who have high sense of humor possessed low
anxiety to the exam. This study similar with Yovetick, Dale & Hudak which
described that a person who has high sense of humor felt less anxious than a person
who has low sense of humor in anxious situation (Zulkarnain, 2009:52).
Other positive effect of humor described in study about humor in Islamic
psychology. Physically, humor increased body resistance. Study Dr. Lee Berk and Dr.
Stanley stated that humor benefits for health. They are increased immunity cells
which work on attack virus, increased body resistance to attack infection of upper
respiration and increased diafragma activity as like aerobic exercises (Istiningtyas,
2014:5). Beside Physical or psychological effect, Islam viewed that humor is benefit
as worship. Humor are social charity, spiritual medicine and sign of happiness
(2014:12).
From the explanation above, the researcher interests in analyzing verbal
humor in a film. Attardo Salvatore (1991) claimed that humor could be applied in
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textual linguistic. However, humor nowadays is spoken. “It is possible to approach
humor in literature because it covers a wide of spectrum of genres and styles but lot
of contemporary humor is spoken” (Ross, 2005:73). The researcher take an animated
film as object of research. This study is important to understand how humor
conversation is formed in order to achieve humorous effect.
The study about humor has been conducted by many researchers in several
object such spoken text at present. First, Jeannine Schwarz (2010) in her study about
Linguistic Aspects of Verbal Humor in Stand-up Comedy, explored the ways in which
stand-up comedians organized and perform their material in order to create humor,
elicit laughter, and make the audiences appreciate their performance. In this term,
stand-up comedy was choosen as data source. She investigated a corpus of authentic
material presented by the stand-up commedians, Seinfeld and Wright: I'm Telling You
for the Last Time by Jerry Seinfeld; I Have a Pony and I Still Have a Pony by Steven
Wright. The data was the performance of two stand-up comedians then transcribed
the performance. So the authentic in this case, it means audio and video recordings of
actual performances. She focused on the performance because in the written texts
linguistic features which researcher precisely focus such discourse markers or
disfluencies are completely omitted. In addition, she used DVD of the television in
order to have basic analyzing the the occurrence of paralinguistic and non-scripted
behavior, such as body language (gestures, facial expressions etc.). The material was
chosen because it displays in detail the comedian’s strategies for organizing their
performances. She classified the humor based on general theory of verbal humor of
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Raskin (1985): superiority, incongruity, and relief theory. Then she analysed joke
techniques (such paralanguage, ridicule, satire, and so on), the figurative language
(such wordplay, allusion, hyperbole, and so on)
and linguistic features (such
repetition, formulaicity, discourse markers, disfluencies, and intonation) used in
stand-up comedy. By the transcription of their performance, she found combination
of various linguistic features of joke telling such as wordplay and punning, hyperbole,
repetitions, timing, and paralinguistic choices in the way both 2 American comedians
organize and perform their material. She precisely indicated the length of the pauses
in order to analyze the comedian's strategy of timing. Then, concerning the audience's
reaction, she only indicated the most important periods of laughter, in which the
audience obviously reacted with continuous laughter because of their appreciation of
the joke or in which they hesitated and only reacted with weak laughter. In addition,
they developed a specific stage persona and create their own style of performing.
Second, M. Belén Alvarado Ortega (2013) in his study about Interactional
Ironic Humorous Utterances in Spanish started analysis from applying GRIALE
theoretical model, the study of irony and humor in Spanish and its relationship to
politeness into 4 conversation samples, then carried out the framework of the General
Theory of Verbal Humor (GTVH) by Attardo (2001a, 2008) and Attardo and Raskin
(1991). Later examined utterances Corpus de conversaciones coloquiales [Corpus of
Colloquial Conversations] of Briz and the Val.Es.Co. group (2002) and the Covja
(Corpus de la variedad juvenil universitaria del español hablado en Alicante)
[Corpus of the young university variety of the Spanish spoken in Alicante]. He
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analyzed these conversational utterances where humor and other phenomena
appeared as communicative strategies. After analyzing of colloquial conversation
utterance examples and applied the theories, he got utterances which contain nonprototypical irony and humor. Then he found the examples confirm that irony and
humor are mostly utilized to show solidarity (positive effect). This is based on an idea
that authors such Attardo (2001b: 174), Kotthoff (2007: 264), Holmes and Marra
(2002: 1684) or Hay (2000: 716) often linked exclusively to humor. He proved it in
(1), (2) and (3) that irony and humor coexist and may cause a positive effect, thus
following scheme proposed theory of Alvarado (2009). In other words, their
conversational strategies used to include or exclude someone from the conversational
group. This means that the tradition of belief that negative irony was linked to humor
is no longer valid. Finally, he sum up that humorous ironic statements with humorous
effect arose in conversation from Peninsular Spanish. Irony and humor are in turn
positively related to politeness. Irony and humor are mostly utilized solidarity, which
is called as positive effect. Humor with a positive effect is one of the values which the
ironic utterance can convey in conversation after breaking listener’s expectations.
Third, Anindia Ayu Rahmawati (2013) in her study about the Verbal Humor
in The Rio animated film and Its Translating in Indonesia Subtitling categorized the
verbal humor and described how verbal humor dialogue is translated in the
audiovisual product, especially in subtitling in The Rio, animated film. She analyzed
the humor in Rio animated film based on the situational context and also the
utterances told by the characters. She designed her research as a descriptive
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qualitative research. The data were collected manually from the VCD of Rio animated
film. The VCD became the data source because the subtitling in the VCD version is
more complete and clear than the DVD version. The data were words, phrases or
sentences which contain verbal humor and its Indonesian subtitles. Firstly, she
defined and categorized the material into group depend on what kind of verbal humor
that found. For example, wordplay elements, such as homophony or homonyms.
Secondly, these categories analyzed further and discussed based on their subtitling
strategies. Thirdly, three respondents who have certain qualifications to assess the
acceptability of the translation were involved in this research. In analyzing the data,
she used the table, and questionnaire that is given to three respondents. Table is used
to make the analysis easier while questionnaire is used to gain information from the
respondents about translation quality assessment in term of acceptability. Started
from Verbal Humor Theory proposed by Spanakaki (2007) she found wordplay,
allusion and verbal irony. Then, based on subtitling strategies theory proposed by
Gottlieb (2001) she found eight subtitling strategies the translator applied in
translating the verbal humor dialogues. They are expansion, paraphrase, transfer,
imitation, transcription, condensation, and decimation.
By all of these, the researcher conducts the kinds of verbal humor in The
SpongeBob Movie: Sponge Out of Water” animated film. It is chosen as the object of
the research because Spongebob Squarepants is a film that represents life of marine
creatures under the sea in form of animation. Beside that SpongeBob SquarePants is
the animation film that enjoyed by all ages. Carey Bryson, Kid’s Movies Expert,
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stated that cartoon SpongeBob SquarePants originally created for kids ages 6-11, this
cartoon became a pop culture phenomenon. According to Nickelodeon, the show has
been the number one animated kid’s show on television for over 10 years, but
millions of viewers in every age category tune in to watch the cartoon every month
(Source: kidstvmovies.about.com).
Meanwhile, this study is using Discourse Analysis approach. The researcher
analyzes text and context of humor conversation in order to find the kinds of verbal
humor within the film and its violation maxim principle in order to achieve the goal
of humor conversation. This study is extremely different with the previous studies.
This study describes the kinds of verbal humor in The SpongeBob Movie: Sponge
Out of Water” animated film and the violation maxim principle of humor
conversation.
1.2
Research Problems
Based on the background of the study presented above, the researcher
formulates the research problems as follows:
1.
What kinds of verbal humor are in The SpongeBob Movie: Sponge Out of
Water?
2.
What are the violation maxim of humor conversation in The SpongeBob
Movie: Sponge Out of Water?
1.3
Research Objectives
In accordance with the formulation of the problems, the objectives of the
study are as follows:
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1.
To describe the kinds of verbal humors are in The SpongeBob Movie: Sponge
Out of Water.
2.
To describe violation maxim principles of humor conversation are in The
SpongeBob Movie: Sponge Out of Water.
1.4
Significance of the Study
This research is expected to be useful both theoritically and practically.
1.
Theoritically, this research can enrich knowledge of linguistic fields especially
in discourse analysis fields. It can also become source of information and
comprehensive understanding about verbal humor and violation maxim principle of
humor conversation in The SpongeBob Movie: Sponge Out of Water, animated film.
2.
Practically, this research can make people understand about the humor
conversation in virtual world. By having practice through this study they can
understand that humor conversation can be formed by the violation maxim. It might
also help next researcher to understand deeper in studying verbal humor in other
source of data.
1.5
Scope and Limitation
The scope of this research is a discourse analysis because the researcher
focuses on two problems. They are analyzing text and context in The SpongeBob
Movie: Sponge Out of Water, animated film which released in March 27th, 2015.
This study limits in using theory of verbal humor from Attardo Salvatore (1991) and
the four maxim of cooperative principles based on Paul Grice (1975).
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1.6
Definition of Key Terms
Verbal humor is an aspect of language in which exploited in order to achieve
a humorous effect (Kim E. J: 2009).
Violation Maxim is the condition where the speaker does not purposefully
fulfill certain maxim (Anneke and Helen : 2008).
Animated film is a film made of individual drawing, paintings, or
illustrations that photograped in frame by frame (stop-frame cinematography) which
often directed to children. (filmsite.org)
The SpongeBob Movie: Sponge Out of Water is An American animated
film which published at March 27th, 2015 produced by Nickelodeon Movies and
Paramount Animation. SpongeBob SquarePants, the world’s favourite sea dwelling
invertebrate, comes ashore to our world for his most super-heroic adventure yet.
(nick.co.uk)
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CHAPTER II
THEORETICAL BASES
This chapter presents some theories related with the topic of the resesrch,
which is the verbal humor. In this part, the researcher divides the discussion of
theories into three sub chapters. The first is tells about Discourse Analysis since
it has become the primary theory that covers all theory used in this reseach. The
second is about the General Theory of Verbal Humor proposed by Attardo
Salvatore (1991). The third is about theory of maxim principle proposed by Paul
Grice (1985). All theories about are used to assist the researcher in answering
the statement of problem in this study.
2.1
Discourse Analysis
Brown and Yule (1983) said that Discourse Analysis is a primarily
linguistic approach to the analysis of discourse. The object of Discourse
Analysis is a discourse. The representation of discourse is a text. Discourse
Analysis is analyzing written or spoken text in writing, conversation which
contains sequence of sentences, propositions, speech, or turn-taking (Brown and
Yule, 1983:5). The distinction of text had been studied by some researcher but
this no means that the distinction between spoken discourse and written text
universally accepted distinction. German writers use ‘text’ to refer to speech as
well, while Hoey (1983) and Widdowsin use ‘discourse’ to refer to writing.
Actually there is no clear distinction between written and spoken discourse
(Coulthard; 1985:3). While¸ Fairclough (2004) said that texts differ in the
discourses because they draw upon to represent particular aspects of the world,
10
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and they articulate different discourses together in various ways. Discourses can
be differentiated in terms of semantic relations (synonymy, hyponymy,
antonymy) between words – how they classify parts of the world – as well
collocations, assumptions, and various grammatical features (Fairclough,
2004:133). The analysis of discourse is the analysis of language in use. It means
that any kind of language we used in this world is included as a discourse. There
is no clear distinction between spoken or written text because it is linked each
other. “The analysis of discourse is, necessarily, the analysis of language in
use.” (Brown and Yule, 1983:1).
James Paul Gee (2011) said that “Any speech data can be transcribed in
more or less detailed ways”. It means that a discourse analysis is made from the
details of speech (gaze, gesture and action) or writing that are arguably deemed
relevant in the context and that are relevant to the arguments the analysis is
attempting to make. (Gee, 2011:117). Moreover, the dialogue and conversation
that occurred in the movie can be included as a text. Then, the script is also
included as discourse because it made from detail of speech but in form of
writing.
Beyond the discourse itself, the discourse analysis is also study about the
context within the text. Context is something ‘beyond the sentence’. Since
beginning of the 1970s, linguists have become increasingly aware of the
importance of context in the interpretation of sentences (Brown and Yule,
1983:35).
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In analyzing text and context in the animated film, The researcher focuses
on humor conversation. In this case, General Theory of Verbal Humor (GTVH)
is used for the analyzing humor. Then the researcher also analyzing maxim
violation in humor conversation using Grice’s theory of maxim.
2.2
General Theory of Verbal Humor
The General Theory of Verbal Humor (GTVH) is revised version of The
Script-based Semantic Theory of Humor (SSTH) which is done by Attardo and
Raskin (1991). GTVH is a linguistic theory which includes in other areas of
linguistics as well, including textual linguistic, the theory of narrativity and
pragmatics inside. These broadenings are achieved by the introduction of six
other Knowledge Resources (KR) that have to tap into when generating a joke.
There are the script opposition (SO), logical mechanism (LM), The target (T),
narrative strategy (NS), the language (LA) and the situation (SI) (Attardo:
2001:22).
In the General Theory of Verbal Humor, the script opposition (now
called SO) is only one of six possible dimensions of a joke. The others are the
target of the joke (TA), the logical mechanism by which the SO is resolved
(LM), the situation in which the joke is set (SI), the language (LA), and the
narrative strategy used to tell the joke (NS) (Raskin: 2008).
The language used to tell joke (LA) is variety. Linguistic field mixed up
in this case. In any condition, for example stand-up comedian, the comedian
surely prepared the script of joke telling. Thus, the language used of the
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comedian can be analyzed. For instance, a wordplay which chosen to make
audiences laugh on his performance.
According to Salvatore Attardo (1991), there are three general theories of
humor that can be found in contemporary academic literature; Superiority
theory, Incongruity theory, and Relief theory. See the following table:
Table 1 : General Theories of Humor
Theory
Superiority
Incongruity
Relief
Definition
Someone laugh about misfortune of
others, means that misfortune show
the person’s superiority on the
background of shortcomings of other.
For example, someone who bullies
other through his/her fat body.
Emphasize on humor that rise on
someone’s feeling when faces odd
situation or different at all from
his/her expectation. For example a
cartoon movie that in the beginning
show a fisherman who fishing a lake
seriously but in the end he splashes
down on the lake.
Describes the relation between humor
and someone’s psychology. It means
that humor influences the laughter’s
psychology. The result of relief
theory is humor can reduce
someone’s tension psychologically
such release of nervous energy and
release of fears tension from inside of
the body then revealed or expressed
by humor.
Several communication media such movies, stand-up comedies,
television programs show humor at present. According to incongruity theory
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14
humor arises from perception an incongruity between a set of expectation and
what is actually perceived. Linguistic field involved into this theory. The
comedian selected words using in his joke telling. Attardo Salvatore (2008)
stated that “The incongruity theories are essentialist (i.e., the attempt to pinpoint
what makes humor funny), linguistics has tended to side (largely
unwittingly)with this kind of theory”(Raskin and Ruch, 2008:104).
Katrina E. Triezenber in Raskin’s book The Primer of Humor Research
(2008) stated that there are several literary terms that would seem to qualify a
joke. Here are the following explanations of several common literary terms
usually used in the discussion of humor:
2.2.1
Absurd
A side from the general meaning of illogical or impossible, absurd can
specifically refer to the purposelessness of existence. This definition comes from
the existentialist writings of Albert Camus (2008:531). For example, “two
elephants were flying – one to the north, and the red one to the west.”
2.2.2 Ambiguity
Ambiguity is the statement of having more than one possible meaning
(2008:531). For example, “a good life depends on a liver” – liver may be an
organ or simply a living person. “She was on the phone” – she was talking
through the phone, or actually on top of the phone. 2
2.2.3 Antaclasis
Antaclasis or antanaclasis is a pun composed of two homographs or
homophones, with different meanings. This means a phrase or word is
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15
repeatedly used (2008:531). For example in Shakespeare’s Literary, Othello,
“put out the light, then put out the light”. The first meaning is that Othello would
extinguish the candle and in second reference its meaning is that he would end
Desdemona’s life (literarydevices.net).
2.2.4 Antiphrasis
Antiphrasis is the use of a word as its own antonym. A kind of irony that
is a figurative speech in which a phrase or word is employed in a way that is
opposite to its literal meaning in order to create an ironic or comic effect
(2008:531). For example, “yes, I killed him. I killed him for money-and a
woman-and I didn’t get the money and I didn’t get the woman. Pretty, isn’t
it?”(Double Indemnity by Billy Wilder and Raymond). The speaker made ironic
statement by using opposite sense of the word pretty. He has committed murder,
yet he describes his act as pretty (literarydevices.net).
2.2.5 Enthymeme
Enthymeme is an argument with an unstated premise. This unstated
premise is often the grounds for a humorous conclusion to the argument. Mark
Twain was a particular master of this usage (2008:532). In short, enthymeme is
an argumentative statement in which the speaker omits one of the major or
minor premises, does not clearly pronounce it, or keeps this premises implied.
For example, “where there is smoke, there is fire”, the hidden premise is the fire
causes the smoke.
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16
2.2.6 Humorous triple
Humorous triple is a sequence of three statements, the last of which is in
humorous opposition to the first two. Much of Woody Allen’s dialogue consists
of humorous triples (2008:532). For example, “there’s an old joke – um.. Two
elderly women are at a Catskill mountain resort, and one of ’em says, “Boy, the
food at this place is really terrible. ‘the one says, ‘Yeah, I know; and such small
portions.’ Well, that’s essentially how I feel about life.” (Annie Hall: 1977). In
other word, the speaker means that you just cannot please some ruddy people
(literarydevices.net).
2.2.7 Hyperbole
Hyperbole is common speech which used by comedians. That is a figure
of speech which involves an exaggeration of ideas for the sake of emphasis. In
short, hyperbole is dramatic overstatement (2008:532). For example, when you
meet a friend after long time, you say, “ages have passed since I last saw you”.
The word ages, exaggerates this statement to add emphasize to your wait. In
real, you may not have met your friend for three or four hours a day.
2.2.8 Irony
Irony is a figure of speech in which words are used in such a way that
their intended meaning is different from the actual meaning. In short, using
words to imply the opposite of their literal meaning or situation where the
outcome is the opposite from expectation (2008:532). Simply words, it is a
difference between the appearance and the reality. For example, when in
response to a foolish idea, you say “what a great idea”. Other example in
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Shakespeare’s Romeo and Juliet Act I Scene V, “go ask his name; if he be
married. My grave is like to be my wedding bed”. Juliet commands her nurse to
find out who Romeo was. If he were married, then she is going to die on her
wedding bed (literarydevices.net).
2.2.9 Malapropism
Malapropism is incorrect using of long word. It means the using of
incorrect word in place of a similar sounding word that produces nonsensical
and humorous expression. The word “malapropism” derived from “Mrs.
Malaprop”, a character in Sheridan’s comedy “The Rivals”, who has habit of
replacing words with incorrect and absurd utterances producing a humorous
effect (2008:532). For example, “his capacity for hard liquor is incredulous”. It
is replacing the word incredible into incredulous.
2.2.10 Paraprosdokian
Paraprosdokian is a phrase or list with an amusingly out-of-place ending.
It is type of wordplay which is final part of phrase or sentence is unexpected or
surprised. (2008:533) For example, “Trin Tragula-for that was his name-was a
dreamer, a thinker, a speculative philosopher or, as his wife would have it, an
idiot..” (The Restaurant at the End of the Universe by Douglas Adams). The
final part of phrase is a surprise to the readers and create comic effect.
(literarydevices.net)
2.2.11 Pun
Pun is a play on word, in which a humorous effect is produced by using
a word of multiple meaning or word of similar sound but different meaning. Pun
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18
is also called as paronomasia that is intentionally or accidentally used in jokes
and witty remarks (2008:533). For example, in Oscar Wilde’s Importance being
Earnest Act III, “I always told you, Gwendolen, my name was Ernest, didn’t I?
Well, it is Ernest after all. I mean it naturally is Ernest”. Here Jack discovers his
father name which makes him truly earnest (literarydevices.net).
2.2.12 Repartee
Repartee is an expression which is rapid, witty dialogue, funny either
explicitly through its content or implicitly because it contrasts so sharply with
everyday speech. This implies on the power of answering quickly, pointedly, or
wittily. (2008:533) For example, “if I were married to you, I’d put poison in
your Coffe”. “If you were my wife, I’d drink it.”.
2.2.13 Sarcasm
Sarcasm is verbal expression of irony or satire, often with a particular
vocal intonation. Sarcasm purposes to amuse and hurt someone or some section
of society simultaneously. In sum, sarcasm often depends on the vocal tone
(2008:533). For example, “good fences make good neighbors” (Mending walls
by Robert Frost). This line point out in a sarcastic way to neighbors who have
made a wall between them. However, the wall fall apart when winter, therefore
the neighbors meet and mend the wall, hence they spend more time together in
this way (literarydevices.net).
2.2.14 Spoonerism
Spoonerism is a phrase in which the first letters or syllables or two or
more words have been switched, often creating a humorous effect. In other
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19
word, spoonerism is an either intentional or unintentional transposition of the
sound of two or more words (2008:534). For example, “go help me sod”. This
line means to so “so help me God”. “mad bunny” means to “bad money”.
2.3
The Cooperative Principle
People have several ways in delivering their ideas when they do
communication. As Garfinkle (1967) observed, “it is never possible to say what
one means in ‘so many words’ ” (Coulthard, 1985:30). It means that speaker
requires hearer to ‘work’ in order to derive the message from the words uttered.
Indirectly, speaker has implicated something else in doing conversation. The
Speaker provided information from which hearer can deduce extra information.
Exploring the phenomenon of conversational implicature, Grice (1975)
suggested that both speaker and hearer are interconnected to each other. There
are turn-talking and also implied meaning of the message uttered. In this term,
Grice named as co-operative principle “Conversationalists are oriented to and
by an over-arching co-operative principle” (1985:31).
Grice is setting out this principle in four major areas. There are relation,
quality, quantity, and manner, which their significance spelled out by maxims.
Maxim of relation is that the utterance should be relevant; Maxim of quality is
that the speaker should not say something that he does not believe to be true or
for which he lack adequate evidence; Maxim of quantity is that making
contribution as informative as is required; do not make contribution more
informative than is required; Finally, maxim of manner is that the utterance
should be brief, orderly, avoid ambiguity and obscurity of expression.
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20
These maxims represent a descriptive statement of how conversational
contribution. Conversational contributions are firstly, there will be occasions
when speaker decides to violate a maxim quietly and unostentatiously, for
instance, the speaker may lie, or does not give as much of the relevant
information as he could, or he may offer utterances which are only later seen to
be ambiguous. Secondly, and much more importantly, there will be occasions
when speaker is seen to break a maxim either because he has been faced with a
clash. This case spelled out by flouting maxim. For instance, the speaker
deliberately fails to observe a maxim in order to create an implicature (1985:31).
Anneke and Helen (2008) in The Multiple Violations of Conversational in
Lying Done by the Characters in Some Episodes of Desperate Housewives stated
that violation is the condition where the speaker does not purposefully fulfill
certain maxim. Usually the conversation between speaker and hearer can be
unsuccessful if the speaker does violation maxim since they will misunderstand
each other. Speaker who does violation maxim means does not allow the hearer
to know the truth and only understand the surface meaning of speaker’s
utterances (Tupan and Natalia, 2008:63-64).
Darighgoftar & Ghaffari (2012) stated that Gricean Maxims are not always
obeyed and their violation or floating bears more information than if they were
obeyed. For instance, telling a joke, writing a book and making a movie are
different situations in which conversation principle can be violated or flouted, to
surprise people so they burst into laughter, to better develop the plot of the story,
or to create a special effect (Sobhani and Saghebi, 2014:92).
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21
However, violation maxim is often occured in humor conversation. Indeed,
the speakers violate maxim intentionally so that hearer laugh on their humor.
Each humor conversation may contain the speaker’s purpose. Sometimes people
disobey some maxims in having conversation in order to achieve their purpose.
Nanda (2014) in the Violating Maxims of Main Characters in the Hangover
movie’s script stated that violation maxim of quantity is giving too much or too
less information than is required. For example in The Hangover movie’s script:
PHIL : can’t you see the fun part in anything?
STU : Yeah, we’re stuck in traffic in a stolen police car…with a
missing child in the back seat. Which part of this is fun?
In the example, Stu violated the maxim of quantity. He talked to Phil much
than his need. Phil is only asking about did he see the fun part of their situation
but Stu has answered by giving much information that is not gave exactly
information of Phil’s need. It is showed that Stu added extra information in his
utterances and did not give the point. It could make Phil confused on Stu’s
utterances (Nanda, 2014:162).
Violation maxim of quality is telling untrue information and hiding the
truth. It happens because the speaker want to save their face embarrassed and
make other people did not angry with him. An example is still taken from The
Hangover movie’s script:
MELISSA
STU
: Is that a baby?
: Why would there be a baby? We’re at a winery. That’s a
goat.
Stu has violated maxim of quality in this conversation because he lied to
Melissa about the baby. In fact, he was in the car and the sound is baby’s crying.
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22
His utterance is proved that he is telling untrue information about the baby to
Melissa (Nanda, 2014:162).
Violation maxim of relation is giving inappropriate information to the
topic of conversation or change the topic because the speaker or hearer may hide
and avoid talking about something. An example is still taken from The Hangover
movie’s script:
STU : Oh, my God. Oh, my God. You just nailed the baby.
ALAN : Are my glasses okay?
Alan has violated maxim of relation because he said irrelevant statement.
He may be avoided responding Stu’s statement because he does not care of the
baby and prefer his attention of his glasses. Beside, this violation may create
humor side among the conversation (Nanda, 2014:163).
Finally, violation maxim of manner is giving obscurity expression which is
not easy to understand, prolixity, not in orderly or unclear information. It may
happen because the speaker tried to trick the hearer(s) to keep secret or to create
humor. An example is still taken from The Hangover movie’s script:
: Sir…. If I may, um… I’m assuming that squad car
belongs to one of you.
POLICE OFFICER : yeah.
PHIL
: Look, I’m not a cop. I’m no hero. I’m school
teacher. But if one of my kids went missing on a
field trip…that would look really bad on me.
POLICE OFFICER : What are you getting at?
PHIL
By this conversation, Phil has violated maxim of manner by giving
prolixity information. He did not give clear statement which makes the police
officer hard to understand his utterance. From his utterance, he tried to trick the
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23
police officer in order to give him remission of their punishment because of stole
in police car. Unfortunately the police officer did not understand and confuse on
Phil’s utterance. So, he has to explain it clearly (Nanda, 2014:164). Here is the
clear-cut understanding about violation maxim:
Table 2: The Violation Maxim
Violation Maxim
Quality
Quantity
Relation
Manner
Definition
telling untrue information
hide the truth
give too much or too less information than is
required
give inappropriate information to the topic of
conversation
change the topic
obscurity
not easy to understand
prolixity
not in orderly
unclear information
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CHAPTER III
RESEARCH METHOD
In this chapter, the writer describes the research design, research
instrument, data and data sources, data collection and data analysis.
3.1
Research Design
This research is descriptive qualitative research. Qualitative r
Animated Film
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:
RISMA NUR IZZAH
Reg. Number: A73212116
ENGLISH DEPARTMENT
FACULTY OF ARTS AND HUMANITIES
STATE ISLAMIC UNIVERSITY OF SUNAN AMPEL
SURABAYA
2016
ABSTRACT
Izzah, Risma Nur. 2016. The Verbal Humor in The Spongebob Movie: Sponge
Out of Water. Thesis. English Department. Faculty of Letters and
Humanities. The State Islamic University of Sunan Ampel Surabaya.
The Advisor : M. Thoriqussu’ud, M. Pd.
Key words
: verbal humor, violation maxim, The Spongebob Movie: Sponge Out
of Water, animated film.
Textually, an aspect of language in which exploited is often happen in the
humor conversation to achieve humorous effect. Moreover the violation maxim in
humor conversation also could amuse the hearer. The aim of this research is to
know how the humor conversation formed in The Spongebob Movie: Sponge Out of
Water, animated film. In analyzing the humor conversation, this research focuses
on the verbal humor and violation maxim.
This research employs a descriptive qualitative research. The data is
collected from the script of The Spongebob Movie: Sponge Out of Water, Animated
Film by downloaded form internet in which had adjusted to the movie manually.
The data are categorized based on some theories. The first is the general theory of
verbal humor proposed by Attardo Salvatore (1991) and the second is maxim
principle proposed by Paul Grice (1875).
The results of this study show that there are 9 kinds of verbal humor in The
Spongebob Movie: Sponge Out of Water, Animated Film. Those are Absurd,
Ambiguity, Irony, Malapropism, Paraprodoskian, Hyperbole, Sarcasm, Repartee, and
Pun. Absurdity appears most often to amuse the audiences. While the violation
maxims appear in this animated film. Those are violation maxim of quantity,
violation maxim of quality, violation maxim of relation, and violation maxim of
manner. From 44 data, there are 27 violation maxim data in this research. This
finding indicates that the humor conversation is also formed by violation maxim to
amuse the audiences.
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INTISARI
Izzah, Risma Nur. 2016. The Verbal Humor in The Spongebob Movie: Sponge
Out of Water. Tesis. Sastra Inggris. Fakultas Adab dan Humaniora.
Universitas Islam Negeri Sunan Ampel Surabaya.
Pembimbing : M. Thoriqussu’ud, M. Pd.
Kata Kunci : verbal humor, violation maxim, The Spongebob Movie: Sponge Out
of Water, animated film.
Secara teks, sebuah aspek bahasa yang disalahgunakan sering terjadi dalam
percakapan humor untuk menghasilkan efek lucu. Selain itu, pelanggaran maxim
dalam percakapan humor juga bisa membuat tertawa pendengarnya. Penelitian ini
bertujuan untuk mengetahui bagaimana percakapan humor itu terbentuk dalam
film animasi, The Spongebob Movie: Sponge Out of Water. Dalam menganalisa
percakapan humor, penelitian ini fokus pada verbal humor dan pelanggaran maxim.
Penelitian ini menggunakan metode penelitian secara qualitatif deskriptif.
Data dikumpulkan dari naskah film animasi, The Spongebob Movie: Sponge Out of
Water, yang diunduh dari internet dan disesuaikan dengan filmnya secara manual.
Data dikategorikan berdasarkan beberapa teori. Pertama adalah teori verbal humor
yang dikemukakan oleh Attardo Salvatore (1991) dan yang kedua adalah teori
prinsip maksim yang dikemukakan oleh Paul Grice (1875).
Hasil dari penelitian ini menunjukan ada 9 macam verbal humor dalam
film animasi, The Spongebob Movie: Sponge Out of Water. Yaitu Absurd, Ambiguity,
Irony, Malapropism, Paraprodoskian, Hyperbole, Sarcasm, Repartee, dan Pun.
Absurdity sering muncul untuk membuat penonton tertawa. Sementara itu,
pelanggaran-pelanggaran maksim juga muncul dalam film animasi ini. Yakni
pelanggaran maksim kualitas, pelanggaran maksim kuantitas, pelanggaran maksim
relevansi dan pelanggaran maksim pelaksanaan. Dari 44 data, ada 27 data
pelanggaran maksim dalam penelitian ini. Hasil ini menunjukkan bahwa percakapan
humor terbentuk dari pelanggaran maksim untuk membuat penonton tertawa.
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TABLE OF CONTENTS
Inside Cover ................................................................................................
i
Inside Title ...................................................................................................
ii
Declaration ..................................................................................................
iii
Thesis Advisor’s Approval Sheet ................................................................
iv
Thesis Examiner’s Approval Sheet ..............................................................
v
Motto ...........................................................................................................
vi
Dedication ...................................................................................................
vii
Acknowledgement ......................................................................................
viii
Table of Contents ........................................................................................
x
Abstract .......................................................................................................
xii
Intisari .........................................................................................................
xiii
CHAPTER I: INTRODUCTION ...........................................................
1
1.1. Background of the Study ...................................................................
1
1.2. Statement of the Problem ..................................................................
7
1.3. Objective of the Study .......................................................................
7
1.4. Significance of the Study ...................................................................
8
1.5. Scope and Limitation .........................................................................
8
1.6. Definition of Key Terms ...................................................................
9
CHAPTER II: THEORETICAL BASES ..............................................
10
2.1. Discourse Analysis ............................................................................
10
2.2. General Theory of Verbal Humor ......................................................
12
2.2.1. Absurd ....................................................................................
14
2.2.2. Ambiguity ...............................................................................
14
2.2.3. Antaclasis................................................................................
14
2.2.4. Antiphrasis ..............................................................................
15
2.2.5. Enthymeme .............................................................................
15
2.2.6. Humorous Triple.....................................................................
16
2.2.7. Hyperbole ...............................................................................
16
2.2.8. Irony........................................................................................
16
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2.2.9. Malapropism ...........................................................................
17
2.2.10. Paraprodoskian .......................................................................
17
2.2.11. Pun ..........................................................................................
17
2.2.12. Reparte ....................................................................................
18
2.2.13. Sarcasm ...................................................................................
18
2.2.14. Spoonerism .............................................................................
18
2.3. The Cooperative Principle ..................................................................
19
CHAPTER III: RESEARCH METHODOLOGY .................................
24
3.1. Research Design ................................................................................
24
3.2. Research Instrument ..........................................................................
24
3.3. Data and Data Sources .......................................................................
25
3.4. Data Collection ..................................................................................
25
3.5. Data Analysis .....................................................................................
26
CHAPTER IV: FINDINGS AND DISCUSSION ..................................
30
4.1. Research Finding ...............................................................................
30
4.1.1. Kinds of Verbal Humor .....................................................................
32
4.1.1.1 Absurd ...............................................................................
33
4.1.1.2 Ambiguity ..........................................................................
36
4.1.1.3 Irony ...................................................................................
37
4.1.1.4 Malapropism ......................................................................
39
4.1.1.5 Paraprodoskian ...................................................................
40
4.1.1.6 Hyperbole ...........................................................................
41
4.1.1.7 Sarcasm ..............................................................................
43
4.1.1.8 Reparte ...............................................................................
44
4.1.1.9 Pun .....................................................................................
45
4.1.2. Violation Maxim of Humor Conversation .......................................
46
4.1.2.1. Violation maxim of quality ................................................
47
4.1.2.2. Violation maxim of quantity .............................................
47
4.1.2.3. Violation maxim of relation ..............................................
48
4.1.2.4. Violation maxim of manner ..............................................
49
4.2. Discussion ..........................................................................................
50
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CHAPTER V: CONCLUSION ................................................................
56
5.1. Conclusion ...........................................................................................
56
5.1.1. Kinds of Verbal Humor..........................................................
56
5.1.2. Violation Maxim of Humor Conversation .............................
57
5.2. Suggestion .............................................................................................
57
REFERENCES ............................................................................................
59
APPENDIXES .............................................................................................
61
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CHAPTER I
INTRODUCTION
This chapter presents background of study, research problems, objectives of
the study, significance of the study, scope and limitation, and definition of key terms.
1.1 Background of Study
Humor is used as device to attract attention for some purposes such as making
others laugh. Humor is something related to funny. It is possible to claim that
something is funny, even though no one laughed at the time. In other hand, it can
often happen that people laugh but the other claim ‘that is not funny’ (Ross, 2005:1).
Rush (1998) said that “Humor replaced the comic and was treated as a
neutral term; i.e. not restricted to positive meanings”. Humor can be defined in terms
of its effect and response. In other words, humor can be inferred from its effect, i.e.,
intended (laugh) or unintended (no reaction). However, Vandaele (2002) said that
"humour is whatever has a humorous effect" (Hassaine, 2014:91-92).
According to Manser (1989), There are three types of communication in
humor. First, speaker totally intend to joke and hearer received it as a joke. Second,
speaker does not intend to joke but the hearer regarded as something funny. Third,
speaker totally intend to joke but hearer regarded as something that is not funny at all.
Widjaja (1983) stated that humor achieved when the message which speaker gave is
understood by the hearer (Rahmanadji, 2007:218).
1
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Eventhough humor differs from individual to individual, there is one
distinction which seems that the humorous effect is achieved, that is Freud’s
distinction between verbal humor and conceptual humor. Verbal humor is when an
aspect of language is exploited in order to achieve a humorous effect, while
conceptual humor is a concept or idea that is thought as humorous thing without
using aspects of language (kim, 2009:2).
According to Psychology which concerned with people, humor has positive
effect. Study about correlation between sense of humor and anxiety to the exam
described that psychologically, students who have high sense of humor possessed low
anxiety to the exam. This study similar with Yovetick, Dale & Hudak which
described that a person who has high sense of humor felt less anxious than a person
who has low sense of humor in anxious situation (Zulkarnain, 2009:52).
Other positive effect of humor described in study about humor in Islamic
psychology. Physically, humor increased body resistance. Study Dr. Lee Berk and Dr.
Stanley stated that humor benefits for health. They are increased immunity cells
which work on attack virus, increased body resistance to attack infection of upper
respiration and increased diafragma activity as like aerobic exercises (Istiningtyas,
2014:5). Beside Physical or psychological effect, Islam viewed that humor is benefit
as worship. Humor are social charity, spiritual medicine and sign of happiness
(2014:12).
From the explanation above, the researcher interests in analyzing verbal
humor in a film. Attardo Salvatore (1991) claimed that humor could be applied in
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textual linguistic. However, humor nowadays is spoken. “It is possible to approach
humor in literature because it covers a wide of spectrum of genres and styles but lot
of contemporary humor is spoken” (Ross, 2005:73). The researcher take an animated
film as object of research. This study is important to understand how humor
conversation is formed in order to achieve humorous effect.
The study about humor has been conducted by many researchers in several
object such spoken text at present. First, Jeannine Schwarz (2010) in her study about
Linguistic Aspects of Verbal Humor in Stand-up Comedy, explored the ways in which
stand-up comedians organized and perform their material in order to create humor,
elicit laughter, and make the audiences appreciate their performance. In this term,
stand-up comedy was choosen as data source. She investigated a corpus of authentic
material presented by the stand-up commedians, Seinfeld and Wright: I'm Telling You
for the Last Time by Jerry Seinfeld; I Have a Pony and I Still Have a Pony by Steven
Wright. The data was the performance of two stand-up comedians then transcribed
the performance. So the authentic in this case, it means audio and video recordings of
actual performances. She focused on the performance because in the written texts
linguistic features which researcher precisely focus such discourse markers or
disfluencies are completely omitted. In addition, she used DVD of the television in
order to have basic analyzing the the occurrence of paralinguistic and non-scripted
behavior, such as body language (gestures, facial expressions etc.). The material was
chosen because it displays in detail the comedian’s strategies for organizing their
performances. She classified the humor based on general theory of verbal humor of
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Raskin (1985): superiority, incongruity, and relief theory. Then she analysed joke
techniques (such paralanguage, ridicule, satire, and so on), the figurative language
(such wordplay, allusion, hyperbole, and so on)
and linguistic features (such
repetition, formulaicity, discourse markers, disfluencies, and intonation) used in
stand-up comedy. By the transcription of their performance, she found combination
of various linguistic features of joke telling such as wordplay and punning, hyperbole,
repetitions, timing, and paralinguistic choices in the way both 2 American comedians
organize and perform their material. She precisely indicated the length of the pauses
in order to analyze the comedian's strategy of timing. Then, concerning the audience's
reaction, she only indicated the most important periods of laughter, in which the
audience obviously reacted with continuous laughter because of their appreciation of
the joke or in which they hesitated and only reacted with weak laughter. In addition,
they developed a specific stage persona and create their own style of performing.
Second, M. Belén Alvarado Ortega (2013) in his study about Interactional
Ironic Humorous Utterances in Spanish started analysis from applying GRIALE
theoretical model, the study of irony and humor in Spanish and its relationship to
politeness into 4 conversation samples, then carried out the framework of the General
Theory of Verbal Humor (GTVH) by Attardo (2001a, 2008) and Attardo and Raskin
(1991). Later examined utterances Corpus de conversaciones coloquiales [Corpus of
Colloquial Conversations] of Briz and the Val.Es.Co. group (2002) and the Covja
(Corpus de la variedad juvenil universitaria del español hablado en Alicante)
[Corpus of the young university variety of the Spanish spoken in Alicante]. He
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analyzed these conversational utterances where humor and other phenomena
appeared as communicative strategies. After analyzing of colloquial conversation
utterance examples and applied the theories, he got utterances which contain nonprototypical irony and humor. Then he found the examples confirm that irony and
humor are mostly utilized to show solidarity (positive effect). This is based on an idea
that authors such Attardo (2001b: 174), Kotthoff (2007: 264), Holmes and Marra
(2002: 1684) or Hay (2000: 716) often linked exclusively to humor. He proved it in
(1), (2) and (3) that irony and humor coexist and may cause a positive effect, thus
following scheme proposed theory of Alvarado (2009). In other words, their
conversational strategies used to include or exclude someone from the conversational
group. This means that the tradition of belief that negative irony was linked to humor
is no longer valid. Finally, he sum up that humorous ironic statements with humorous
effect arose in conversation from Peninsular Spanish. Irony and humor are in turn
positively related to politeness. Irony and humor are mostly utilized solidarity, which
is called as positive effect. Humor with a positive effect is one of the values which the
ironic utterance can convey in conversation after breaking listener’s expectations.
Third, Anindia Ayu Rahmawati (2013) in her study about the Verbal Humor
in The Rio animated film and Its Translating in Indonesia Subtitling categorized the
verbal humor and described how verbal humor dialogue is translated in the
audiovisual product, especially in subtitling in The Rio, animated film. She analyzed
the humor in Rio animated film based on the situational context and also the
utterances told by the characters. She designed her research as a descriptive
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qualitative research. The data were collected manually from the VCD of Rio animated
film. The VCD became the data source because the subtitling in the VCD version is
more complete and clear than the DVD version. The data were words, phrases or
sentences which contain verbal humor and its Indonesian subtitles. Firstly, she
defined and categorized the material into group depend on what kind of verbal humor
that found. For example, wordplay elements, such as homophony or homonyms.
Secondly, these categories analyzed further and discussed based on their subtitling
strategies. Thirdly, three respondents who have certain qualifications to assess the
acceptability of the translation were involved in this research. In analyzing the data,
she used the table, and questionnaire that is given to three respondents. Table is used
to make the analysis easier while questionnaire is used to gain information from the
respondents about translation quality assessment in term of acceptability. Started
from Verbal Humor Theory proposed by Spanakaki (2007) she found wordplay,
allusion and verbal irony. Then, based on subtitling strategies theory proposed by
Gottlieb (2001) she found eight subtitling strategies the translator applied in
translating the verbal humor dialogues. They are expansion, paraphrase, transfer,
imitation, transcription, condensation, and decimation.
By all of these, the researcher conducts the kinds of verbal humor in The
SpongeBob Movie: Sponge Out of Water” animated film. It is chosen as the object of
the research because Spongebob Squarepants is a film that represents life of marine
creatures under the sea in form of animation. Beside that SpongeBob SquarePants is
the animation film that enjoyed by all ages. Carey Bryson, Kid’s Movies Expert,
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stated that cartoon SpongeBob SquarePants originally created for kids ages 6-11, this
cartoon became a pop culture phenomenon. According to Nickelodeon, the show has
been the number one animated kid’s show on television for over 10 years, but
millions of viewers in every age category tune in to watch the cartoon every month
(Source: kidstvmovies.about.com).
Meanwhile, this study is using Discourse Analysis approach. The researcher
analyzes text and context of humor conversation in order to find the kinds of verbal
humor within the film and its violation maxim principle in order to achieve the goal
of humor conversation. This study is extremely different with the previous studies.
This study describes the kinds of verbal humor in The SpongeBob Movie: Sponge
Out of Water” animated film and the violation maxim principle of humor
conversation.
1.2
Research Problems
Based on the background of the study presented above, the researcher
formulates the research problems as follows:
1.
What kinds of verbal humor are in The SpongeBob Movie: Sponge Out of
Water?
2.
What are the violation maxim of humor conversation in The SpongeBob
Movie: Sponge Out of Water?
1.3
Research Objectives
In accordance with the formulation of the problems, the objectives of the
study are as follows:
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1.
To describe the kinds of verbal humors are in The SpongeBob Movie: Sponge
Out of Water.
2.
To describe violation maxim principles of humor conversation are in The
SpongeBob Movie: Sponge Out of Water.
1.4
Significance of the Study
This research is expected to be useful both theoritically and practically.
1.
Theoritically, this research can enrich knowledge of linguistic fields especially
in discourse analysis fields. It can also become source of information and
comprehensive understanding about verbal humor and violation maxim principle of
humor conversation in The SpongeBob Movie: Sponge Out of Water, animated film.
2.
Practically, this research can make people understand about the humor
conversation in virtual world. By having practice through this study they can
understand that humor conversation can be formed by the violation maxim. It might
also help next researcher to understand deeper in studying verbal humor in other
source of data.
1.5
Scope and Limitation
The scope of this research is a discourse analysis because the researcher
focuses on two problems. They are analyzing text and context in The SpongeBob
Movie: Sponge Out of Water, animated film which released in March 27th, 2015.
This study limits in using theory of verbal humor from Attardo Salvatore (1991) and
the four maxim of cooperative principles based on Paul Grice (1975).
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1.6
Definition of Key Terms
Verbal humor is an aspect of language in which exploited in order to achieve
a humorous effect (Kim E. J: 2009).
Violation Maxim is the condition where the speaker does not purposefully
fulfill certain maxim (Anneke and Helen : 2008).
Animated film is a film made of individual drawing, paintings, or
illustrations that photograped in frame by frame (stop-frame cinematography) which
often directed to children. (filmsite.org)
The SpongeBob Movie: Sponge Out of Water is An American animated
film which published at March 27th, 2015 produced by Nickelodeon Movies and
Paramount Animation. SpongeBob SquarePants, the world’s favourite sea dwelling
invertebrate, comes ashore to our world for his most super-heroic adventure yet.
(nick.co.uk)
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CHAPTER II
THEORETICAL BASES
This chapter presents some theories related with the topic of the resesrch,
which is the verbal humor. In this part, the researcher divides the discussion of
theories into three sub chapters. The first is tells about Discourse Analysis since
it has become the primary theory that covers all theory used in this reseach. The
second is about the General Theory of Verbal Humor proposed by Attardo
Salvatore (1991). The third is about theory of maxim principle proposed by Paul
Grice (1985). All theories about are used to assist the researcher in answering
the statement of problem in this study.
2.1
Discourse Analysis
Brown and Yule (1983) said that Discourse Analysis is a primarily
linguistic approach to the analysis of discourse. The object of Discourse
Analysis is a discourse. The representation of discourse is a text. Discourse
Analysis is analyzing written or spoken text in writing, conversation which
contains sequence of sentences, propositions, speech, or turn-taking (Brown and
Yule, 1983:5). The distinction of text had been studied by some researcher but
this no means that the distinction between spoken discourse and written text
universally accepted distinction. German writers use ‘text’ to refer to speech as
well, while Hoey (1983) and Widdowsin use ‘discourse’ to refer to writing.
Actually there is no clear distinction between written and spoken discourse
(Coulthard; 1985:3). While¸ Fairclough (2004) said that texts differ in the
discourses because they draw upon to represent particular aspects of the world,
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and they articulate different discourses together in various ways. Discourses can
be differentiated in terms of semantic relations (synonymy, hyponymy,
antonymy) between words – how they classify parts of the world – as well
collocations, assumptions, and various grammatical features (Fairclough,
2004:133). The analysis of discourse is the analysis of language in use. It means
that any kind of language we used in this world is included as a discourse. There
is no clear distinction between spoken or written text because it is linked each
other. “The analysis of discourse is, necessarily, the analysis of language in
use.” (Brown and Yule, 1983:1).
James Paul Gee (2011) said that “Any speech data can be transcribed in
more or less detailed ways”. It means that a discourse analysis is made from the
details of speech (gaze, gesture and action) or writing that are arguably deemed
relevant in the context and that are relevant to the arguments the analysis is
attempting to make. (Gee, 2011:117). Moreover, the dialogue and conversation
that occurred in the movie can be included as a text. Then, the script is also
included as discourse because it made from detail of speech but in form of
writing.
Beyond the discourse itself, the discourse analysis is also study about the
context within the text. Context is something ‘beyond the sentence’. Since
beginning of the 1970s, linguists have become increasingly aware of the
importance of context in the interpretation of sentences (Brown and Yule,
1983:35).
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In analyzing text and context in the animated film, The researcher focuses
on humor conversation. In this case, General Theory of Verbal Humor (GTVH)
is used for the analyzing humor. Then the researcher also analyzing maxim
violation in humor conversation using Grice’s theory of maxim.
2.2
General Theory of Verbal Humor
The General Theory of Verbal Humor (GTVH) is revised version of The
Script-based Semantic Theory of Humor (SSTH) which is done by Attardo and
Raskin (1991). GTVH is a linguistic theory which includes in other areas of
linguistics as well, including textual linguistic, the theory of narrativity and
pragmatics inside. These broadenings are achieved by the introduction of six
other Knowledge Resources (KR) that have to tap into when generating a joke.
There are the script opposition (SO), logical mechanism (LM), The target (T),
narrative strategy (NS), the language (LA) and the situation (SI) (Attardo:
2001:22).
In the General Theory of Verbal Humor, the script opposition (now
called SO) is only one of six possible dimensions of a joke. The others are the
target of the joke (TA), the logical mechanism by which the SO is resolved
(LM), the situation in which the joke is set (SI), the language (LA), and the
narrative strategy used to tell the joke (NS) (Raskin: 2008).
The language used to tell joke (LA) is variety. Linguistic field mixed up
in this case. In any condition, for example stand-up comedian, the comedian
surely prepared the script of joke telling. Thus, the language used of the
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comedian can be analyzed. For instance, a wordplay which chosen to make
audiences laugh on his performance.
According to Salvatore Attardo (1991), there are three general theories of
humor that can be found in contemporary academic literature; Superiority
theory, Incongruity theory, and Relief theory. See the following table:
Table 1 : General Theories of Humor
Theory
Superiority
Incongruity
Relief
Definition
Someone laugh about misfortune of
others, means that misfortune show
the person’s superiority on the
background of shortcomings of other.
For example, someone who bullies
other through his/her fat body.
Emphasize on humor that rise on
someone’s feeling when faces odd
situation or different at all from
his/her expectation. For example a
cartoon movie that in the beginning
show a fisherman who fishing a lake
seriously but in the end he splashes
down on the lake.
Describes the relation between humor
and someone’s psychology. It means
that humor influences the laughter’s
psychology. The result of relief
theory is humor can reduce
someone’s tension psychologically
such release of nervous energy and
release of fears tension from inside of
the body then revealed or expressed
by humor.
Several communication media such movies, stand-up comedies,
television programs show humor at present. According to incongruity theory
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humor arises from perception an incongruity between a set of expectation and
what is actually perceived. Linguistic field involved into this theory. The
comedian selected words using in his joke telling. Attardo Salvatore (2008)
stated that “The incongruity theories are essentialist (i.e., the attempt to pinpoint
what makes humor funny), linguistics has tended to side (largely
unwittingly)with this kind of theory”(Raskin and Ruch, 2008:104).
Katrina E. Triezenber in Raskin’s book The Primer of Humor Research
(2008) stated that there are several literary terms that would seem to qualify a
joke. Here are the following explanations of several common literary terms
usually used in the discussion of humor:
2.2.1
Absurd
A side from the general meaning of illogical or impossible, absurd can
specifically refer to the purposelessness of existence. This definition comes from
the existentialist writings of Albert Camus (2008:531). For example, “two
elephants were flying – one to the north, and the red one to the west.”
2.2.2 Ambiguity
Ambiguity is the statement of having more than one possible meaning
(2008:531). For example, “a good life depends on a liver” – liver may be an
organ or simply a living person. “She was on the phone” – she was talking
through the phone, or actually on top of the phone. 2
2.2.3 Antaclasis
Antaclasis or antanaclasis is a pun composed of two homographs or
homophones, with different meanings. This means a phrase or word is
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repeatedly used (2008:531). For example in Shakespeare’s Literary, Othello,
“put out the light, then put out the light”. The first meaning is that Othello would
extinguish the candle and in second reference its meaning is that he would end
Desdemona’s life (literarydevices.net).
2.2.4 Antiphrasis
Antiphrasis is the use of a word as its own antonym. A kind of irony that
is a figurative speech in which a phrase or word is employed in a way that is
opposite to its literal meaning in order to create an ironic or comic effect
(2008:531). For example, “yes, I killed him. I killed him for money-and a
woman-and I didn’t get the money and I didn’t get the woman. Pretty, isn’t
it?”(Double Indemnity by Billy Wilder and Raymond). The speaker made ironic
statement by using opposite sense of the word pretty. He has committed murder,
yet he describes his act as pretty (literarydevices.net).
2.2.5 Enthymeme
Enthymeme is an argument with an unstated premise. This unstated
premise is often the grounds for a humorous conclusion to the argument. Mark
Twain was a particular master of this usage (2008:532). In short, enthymeme is
an argumentative statement in which the speaker omits one of the major or
minor premises, does not clearly pronounce it, or keeps this premises implied.
For example, “where there is smoke, there is fire”, the hidden premise is the fire
causes the smoke.
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2.2.6 Humorous triple
Humorous triple is a sequence of three statements, the last of which is in
humorous opposition to the first two. Much of Woody Allen’s dialogue consists
of humorous triples (2008:532). For example, “there’s an old joke – um.. Two
elderly women are at a Catskill mountain resort, and one of ’em says, “Boy, the
food at this place is really terrible. ‘the one says, ‘Yeah, I know; and such small
portions.’ Well, that’s essentially how I feel about life.” (Annie Hall: 1977). In
other word, the speaker means that you just cannot please some ruddy people
(literarydevices.net).
2.2.7 Hyperbole
Hyperbole is common speech which used by comedians. That is a figure
of speech which involves an exaggeration of ideas for the sake of emphasis. In
short, hyperbole is dramatic overstatement (2008:532). For example, when you
meet a friend after long time, you say, “ages have passed since I last saw you”.
The word ages, exaggerates this statement to add emphasize to your wait. In
real, you may not have met your friend for three or four hours a day.
2.2.8 Irony
Irony is a figure of speech in which words are used in such a way that
their intended meaning is different from the actual meaning. In short, using
words to imply the opposite of their literal meaning or situation where the
outcome is the opposite from expectation (2008:532). Simply words, it is a
difference between the appearance and the reality. For example, when in
response to a foolish idea, you say “what a great idea”. Other example in
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Shakespeare’s Romeo and Juliet Act I Scene V, “go ask his name; if he be
married. My grave is like to be my wedding bed”. Juliet commands her nurse to
find out who Romeo was. If he were married, then she is going to die on her
wedding bed (literarydevices.net).
2.2.9 Malapropism
Malapropism is incorrect using of long word. It means the using of
incorrect word in place of a similar sounding word that produces nonsensical
and humorous expression. The word “malapropism” derived from “Mrs.
Malaprop”, a character in Sheridan’s comedy “The Rivals”, who has habit of
replacing words with incorrect and absurd utterances producing a humorous
effect (2008:532). For example, “his capacity for hard liquor is incredulous”. It
is replacing the word incredible into incredulous.
2.2.10 Paraprosdokian
Paraprosdokian is a phrase or list with an amusingly out-of-place ending.
It is type of wordplay which is final part of phrase or sentence is unexpected or
surprised. (2008:533) For example, “Trin Tragula-for that was his name-was a
dreamer, a thinker, a speculative philosopher or, as his wife would have it, an
idiot..” (The Restaurant at the End of the Universe by Douglas Adams). The
final part of phrase is a surprise to the readers and create comic effect.
(literarydevices.net)
2.2.11 Pun
Pun is a play on word, in which a humorous effect is produced by using
a word of multiple meaning or word of similar sound but different meaning. Pun
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is also called as paronomasia that is intentionally or accidentally used in jokes
and witty remarks (2008:533). For example, in Oscar Wilde’s Importance being
Earnest Act III, “I always told you, Gwendolen, my name was Ernest, didn’t I?
Well, it is Ernest after all. I mean it naturally is Ernest”. Here Jack discovers his
father name which makes him truly earnest (literarydevices.net).
2.2.12 Repartee
Repartee is an expression which is rapid, witty dialogue, funny either
explicitly through its content or implicitly because it contrasts so sharply with
everyday speech. This implies on the power of answering quickly, pointedly, or
wittily. (2008:533) For example, “if I were married to you, I’d put poison in
your Coffe”. “If you were my wife, I’d drink it.”.
2.2.13 Sarcasm
Sarcasm is verbal expression of irony or satire, often with a particular
vocal intonation. Sarcasm purposes to amuse and hurt someone or some section
of society simultaneously. In sum, sarcasm often depends on the vocal tone
(2008:533). For example, “good fences make good neighbors” (Mending walls
by Robert Frost). This line point out in a sarcastic way to neighbors who have
made a wall between them. However, the wall fall apart when winter, therefore
the neighbors meet and mend the wall, hence they spend more time together in
this way (literarydevices.net).
2.2.14 Spoonerism
Spoonerism is a phrase in which the first letters or syllables or two or
more words have been switched, often creating a humorous effect. In other
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word, spoonerism is an either intentional or unintentional transposition of the
sound of two or more words (2008:534). For example, “go help me sod”. This
line means to so “so help me God”. “mad bunny” means to “bad money”.
2.3
The Cooperative Principle
People have several ways in delivering their ideas when they do
communication. As Garfinkle (1967) observed, “it is never possible to say what
one means in ‘so many words’ ” (Coulthard, 1985:30). It means that speaker
requires hearer to ‘work’ in order to derive the message from the words uttered.
Indirectly, speaker has implicated something else in doing conversation. The
Speaker provided information from which hearer can deduce extra information.
Exploring the phenomenon of conversational implicature, Grice (1975)
suggested that both speaker and hearer are interconnected to each other. There
are turn-talking and also implied meaning of the message uttered. In this term,
Grice named as co-operative principle “Conversationalists are oriented to and
by an over-arching co-operative principle” (1985:31).
Grice is setting out this principle in four major areas. There are relation,
quality, quantity, and manner, which their significance spelled out by maxims.
Maxim of relation is that the utterance should be relevant; Maxim of quality is
that the speaker should not say something that he does not believe to be true or
for which he lack adequate evidence; Maxim of quantity is that making
contribution as informative as is required; do not make contribution more
informative than is required; Finally, maxim of manner is that the utterance
should be brief, orderly, avoid ambiguity and obscurity of expression.
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These maxims represent a descriptive statement of how conversational
contribution. Conversational contributions are firstly, there will be occasions
when speaker decides to violate a maxim quietly and unostentatiously, for
instance, the speaker may lie, or does not give as much of the relevant
information as he could, or he may offer utterances which are only later seen to
be ambiguous. Secondly, and much more importantly, there will be occasions
when speaker is seen to break a maxim either because he has been faced with a
clash. This case spelled out by flouting maxim. For instance, the speaker
deliberately fails to observe a maxim in order to create an implicature (1985:31).
Anneke and Helen (2008) in The Multiple Violations of Conversational in
Lying Done by the Characters in Some Episodes of Desperate Housewives stated
that violation is the condition where the speaker does not purposefully fulfill
certain maxim. Usually the conversation between speaker and hearer can be
unsuccessful if the speaker does violation maxim since they will misunderstand
each other. Speaker who does violation maxim means does not allow the hearer
to know the truth and only understand the surface meaning of speaker’s
utterances (Tupan and Natalia, 2008:63-64).
Darighgoftar & Ghaffari (2012) stated that Gricean Maxims are not always
obeyed and their violation or floating bears more information than if they were
obeyed. For instance, telling a joke, writing a book and making a movie are
different situations in which conversation principle can be violated or flouted, to
surprise people so they burst into laughter, to better develop the plot of the story,
or to create a special effect (Sobhani and Saghebi, 2014:92).
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However, violation maxim is often occured in humor conversation. Indeed,
the speakers violate maxim intentionally so that hearer laugh on their humor.
Each humor conversation may contain the speaker’s purpose. Sometimes people
disobey some maxims in having conversation in order to achieve their purpose.
Nanda (2014) in the Violating Maxims of Main Characters in the Hangover
movie’s script stated that violation maxim of quantity is giving too much or too
less information than is required. For example in The Hangover movie’s script:
PHIL : can’t you see the fun part in anything?
STU : Yeah, we’re stuck in traffic in a stolen police car…with a
missing child in the back seat. Which part of this is fun?
In the example, Stu violated the maxim of quantity. He talked to Phil much
than his need. Phil is only asking about did he see the fun part of their situation
but Stu has answered by giving much information that is not gave exactly
information of Phil’s need. It is showed that Stu added extra information in his
utterances and did not give the point. It could make Phil confused on Stu’s
utterances (Nanda, 2014:162).
Violation maxim of quality is telling untrue information and hiding the
truth. It happens because the speaker want to save their face embarrassed and
make other people did not angry with him. An example is still taken from The
Hangover movie’s script:
MELISSA
STU
: Is that a baby?
: Why would there be a baby? We’re at a winery. That’s a
goat.
Stu has violated maxim of quality in this conversation because he lied to
Melissa about the baby. In fact, he was in the car and the sound is baby’s crying.
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His utterance is proved that he is telling untrue information about the baby to
Melissa (Nanda, 2014:162).
Violation maxim of relation is giving inappropriate information to the
topic of conversation or change the topic because the speaker or hearer may hide
and avoid talking about something. An example is still taken from The Hangover
movie’s script:
STU : Oh, my God. Oh, my God. You just nailed the baby.
ALAN : Are my glasses okay?
Alan has violated maxim of relation because he said irrelevant statement.
He may be avoided responding Stu’s statement because he does not care of the
baby and prefer his attention of his glasses. Beside, this violation may create
humor side among the conversation (Nanda, 2014:163).
Finally, violation maxim of manner is giving obscurity expression which is
not easy to understand, prolixity, not in orderly or unclear information. It may
happen because the speaker tried to trick the hearer(s) to keep secret or to create
humor. An example is still taken from The Hangover movie’s script:
: Sir…. If I may, um… I’m assuming that squad car
belongs to one of you.
POLICE OFFICER : yeah.
PHIL
: Look, I’m not a cop. I’m no hero. I’m school
teacher. But if one of my kids went missing on a
field trip…that would look really bad on me.
POLICE OFFICER : What are you getting at?
PHIL
By this conversation, Phil has violated maxim of manner by giving
prolixity information. He did not give clear statement which makes the police
officer hard to understand his utterance. From his utterance, he tried to trick the
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police officer in order to give him remission of their punishment because of stole
in police car. Unfortunately the police officer did not understand and confuse on
Phil’s utterance. So, he has to explain it clearly (Nanda, 2014:164). Here is the
clear-cut understanding about violation maxim:
Table 2: The Violation Maxim
Violation Maxim
Quality
Quantity
Relation
Manner
Definition
telling untrue information
hide the truth
give too much or too less information than is
required
give inappropriate information to the topic of
conversation
change the topic
obscurity
not easy to understand
prolixity
not in orderly
unclear information
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CHAPTER III
RESEARCH METHOD
In this chapter, the writer describes the research design, research
instrument, data and data sources, data collection and data analysis.
3.1
Research Design
This research is descriptive qualitative research. Qualitative r