THE DEIXIS IN RADITYA DIKA’S UTTERANCES IN STAND-UP COMEDY SHOW.
Tffiffi S}MgKgS XN $&AS}HX-Y& X}SKA*S E}?-TEE.ANCES IN SX'A}SB.
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and Arts, State Umivexsif-v ef &Serlaaa, im Partial Fulfilhmerat clf the
R.equirernents for the Begnee *f Sarjana Sastra
By:
Halnq Malar{
Reg" No.2S9220018
p.?.YF,g+.
-{*-:w:1
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S"ACUT-TY SI1 T.ANGUAGES AND AR.TS
STATE UNII/E}ESITY OF MEI}AT.{
z{Jt3
ABSTRACT
Malau, Harna. The Deixis in Raditya Dika’s Utterances in Stand-up Comedy
Show. Faculty of Languages and Arts. State University of Medan. 2013.
This study deals with the types of deixis in Raditya Dika’s utterances in stand-up
comedy show. The objectives of this study are to find out the types of deixis that
are used by Raditya Dika, to discover the most dominant type that Raditya Dika
dominantly used and to reason the occurence of the dominant type. The data of
this study were the videos of Raditya Dika performing stand-up comedy uploaded
in youtube. There are three selected videos taken as the samples. This research
was based on descriptive design by applying qualitative method and converting
the data numerically. The findings of this study show that those five types of
deixis were found in Raditya Dika’s utterances, they are: person (68.94%), spatial
(5.24%), temporal (5.83%), discourse (8.60%) and social (11.37%). The most
dominant type of deixis found is person deixis with “gue” or “I” as the dominant
deictic word showing that he’s the speaker. Raditya Dika uses person deixis as the
most dominant type because: 1) He conducted first-point of view and spoke his
own experiences or observations to the audience. 2) Comics or comedians in
stand-up comedy show are usually standing and telling their own story, that make
the use of personal pronoun is more often than other pronoun in their utterances.
3) Person deixis may be the feature of stand-up comedy show because of its
characteristics as a unit of Story or Narrative.
Keywords: deixis, utterances, stand-up comedy show.
i
ACKNOWLEDGEMENT
The greatest thanks is firstly addressed to The Almighty God, Jesus Christ
for the merciful life, health and opportunity given to the writer that she is able to
complete this thesis as the partial fulfillment of the requirements for Sarjana
Sastra at English Department of Faculty of Languages and Arts, State University
of Medan.
The writer comes upon a lot of difficulties during the writing of this study,
due to her limited knowledge and experience. However, many people have
directly and indirectly contributed and helped her during completing this study,
they are all as mentioned in following.
1. Great thanks to Prof. Dr. Ibnu Hajar, M.Si. as the Rector of State
University of Medan.
2. Great thanks to Dr. Isda Pramuniati, M.Hum. as the dean of Faculty
of Languages and Arts, for her leadership in academic process.
3. Great thanks to Prof. Dr. Hj. Sumarsih, M.Pd. as the Head of English
and Literature Department for the guidance in the process of completing
this thesis.
4. Gratitude to Prof. Dr. Lince Sihombing, M.Pd. as her supervisor who
always helped and gave suggestions to finish this thesis.
5. Gratitude to Prof. Dr. Busmin Gurning, M.Pd. as her advisor for the
suggestions and guidance during the academic years.
6. Her lighthouses, L. Malau and H. Sihite who are the most important
ones in her whole life that keep on giving love, care, prayer, advice,
inspiration, and motivation that the writer indeed need in order to finish
her study.
7. Her beloved beautiful sisters: Nila Panensia Malau, Sagita Putri
Malau, Zhefanny Zhinta Malau, her only brother Sandi Septian
Malau and her big family who are more than just a poet in her life.
ii
8. Her aunt Dra. Merpi Sihite, her cousin Hulman Soaloon Silaen,
Director of Courses of YPPIA Nurhayati Purba, SS, MA., UKMKP
Unimed especially UP-FBS and EKLESIA CHOIR for all the prayers,
supports and contributions to complete her study.
9. The writer also would like to thank her housemates Ichi, Ina, Venny
for the love, care and supports that enable her to be wise in using time to
finish her thesis.
10. Last but not least, the writer would like to address her thanks to her
friends, Sastra Inggris A and B 2009 that can not be mentioned one by
one, for the supports, laughs and stories that they have been through
together during the academic years. Finally, a million of thanks to those
who have given endless contribution in the process of completing this
thesis.
Medan, February 2013
The Writer,
Harna Malau
Reg. Num. 209220018
iii
TABLE OF CONTENTS
Page
ABSTRACT .......................................................................................................................i
ACKNOWLEDGEMENT ............................................................................................... ii
TABLE OF CONTENTS ................................................................................................iv
LIST OF TABLE .............................................................................................................vi
LIST OF APPENDICES ............................................................................................... vii
CHAPTER I
INTRODUCTION
A. The Background of the Study ................................................... 1
B. The Problem of the Study .......................................................... 5
C. The Objective of the Study ........................................................ 6
D. The Scope of the Study ............................................................. 6
E. The Significance of the Study ................................................... 6
CHAPTER II
REVIEW OF LITERATURE
A. Theoretical Framework ............................................................. 8
B. Pragmatics ................................................................................. 8
C. Deixis........................................................................................ 10
D. Types of Deixis ........................................................................ 12
1. Person Deixis ................................................................ 12
2. Spatial Deixis ................................................................ 14
3. Temporal Deixis ............................................................ 15
4. Discourse Deixis ........................................................... 17
5. Social Deixis ................................................................. 18
E. Story.......................................................................................... 19
1. Comedy ......................................................................... 19
1.1 Stand-up Comedy .............................................. 22
iv
F. Relevant Study .......................................................................... 25
G. Conceptual Framework ............................................................ 26
CHAPTER III
RESEARCH OF METHODOLOGY
A. Research Design ....................................................................... 28
B. Source of Data .......................................................................... 29
C. Technique for Data Collection ................................................. 30
D. Technique for Data Analysis .................................................... 30
CHAPTER IV
DATA AND DATA ANALYSIS
A. Data ........................................................................................... 32
B. Data Analysis ............................................................................ 32
C. Research Findings ..................................................................... 50
CHAPTER V
CONCLUSION AND SUGGESTION
A. Conclusion ................................................................................ 53
B. Suggestion ................................................................................. 54
REFERENCES ............................................................................................................... 55
APPENDIX I .................................................................................................................. 57
APPENDIX II .................................................................................................................. 94
APPENDIX III ............................................................................................................... 115
APPENDIX IV................................................................................................................ 120
APPENDIX V ................................................................................................................. 132
v
LIST OF TABLES
Table
Page
4.1 The number of sentences produced by Raditya Dika
32
4.2 The percentage of occurences of each type in the first video
33
4.3 The percentage of occurences of each type in the second video
34
4.4 The percentage of occurences of each type in the third video
36
4.5 The percentage of occurences each type of deixis in Muhadkly Acho’s
utterances in stand-up comedy show
38
4.6 The comparison between the two comics
39
4.7 The percentage of occurences each type of deixis in Mongol’s
utterances
40
4.8 The comparison between the three comics
40
4.9 The percentage of occurences of deixis in Sitcom OB RCTI ep-281
49
5.0 The percentage of occurences each type of deixis in Raditya Dika’s
utterances in stand-up comedy show
50
vi
LIST OF APPENDICES
Appendix
Page
A. Appendix I
I.
The classification of deixis in the first video
II.
The classification of deixis in the second video
III.
The classification of deixis in the third video
57
68
82
B. Appendix II
I.
The transcription of the first video
II.
The transcription of the second video
III.
The transcription of the third video
94
101
108
C. Appendix III
I.
Brief Biography of Raditya Dika
II.
Youtube
115
119
D. Appendix IV
I.
The classification of deixis in Acho’s utterances (1)
II.
The classification of deixis in Acho’s utterances (2)
120
126
E. Appendix V
I.
The classification of deixis in Mongol’s utterances (1)
II.
The classification os deixis in Mongol’s utterances (2)
132
138
vii
REFERENCES
"Aristotle, Poetics, lines beginning at 1449a". Perseus.tufts.edu.
http://www.perseus.tufts.edu/cgibin/ptext?lookup=Aristot.+Poet.+1449a. Retrieved 2012-06-30.
Adetunji, A. 2006. Inclusion and Exclusion in Political Discourse: Deixis
in Olusegun Obasanjo’s Speeches. Journal of Language and
Linguistics, 5, 177-191.
Christopher, Anne A. 2012. Deixis and Personalization in Ad Slogans.
World Academy of Science, Engineering and Technology, 64, 526530.
Creswell, J. W. 2007. Qualitative inquiry and research design: Choosing
among five traditions (2nd Ed). Thousand Oaks, CA: Sage, page
37.
Cruse, Allan. 2004. Meaning In Language: An Introduction to Semantics
and Pragmatics. (2nd edn) Oxford: University Press.
Crystal, David. 1980. A first dictionary of linguistics and phonetics.
Boulder, CO: Westview.
Denning, Stephen. 2000. The Springboard: How Storytelling Ignites
Action in Knowledge-Era Organizations. Boston, London:
Butterworth Heinemann.
Denzin, Norman K. & Lincoln, Yvonna S. (Eds.). (2005). The Sage
Handbook of Qualitative Research (3rd ed.). Thousand Oaks, CA:
Sage.
Easterling, P. E. 1997a. "A Show for Dionysus." In Easterling (1997c,
36–53)
Fearless delivery sets Will Ferrell apart. The Denver Post, 24 June 2005.
Accessed on 29 March 2010.
Gultom, Citra M. 2011. Deixis in Short Stories of Hello Magazine.
Unpublished Thesis. Medan: State University of Medan.
Henderson, J. 1993. Comic Hero versus Political Elite pp.307-19 in
Sommerstein, A.H.; S. Halliwell, J. Henderson, B. Zimmerman, ed.
(1993). Tragedy, Comedy and the Polis. Bari: Levante Editori.
55
Hopkins, Jim. 2006. "Surprise! There's a third YouTube co-founder".
USA Today. Retrieved November 29, 2008.
Levinson, Stephen C. 1983.
Cambridge University.
Pragmatics. Cambridge, England:
Manalu, Feraden. H.F. 2010. Deixis in the Holy Bible “Ruth”.
Unpublished Thesis. Medan: State University of Medan.
Manurung, Sobrain F. 2011. Deixis in Mariah Carey’s Daydream Album.
Unpublished Thesis. Medan: State University of Medan.
McKay, Helen and Dudley, Berice. 1996. About Storytelling. Sydney,
Australia: Hale and Iremonger.
Morales, Montoya M. 2011. How the Deictic and Anaphoric Role of Na
Filipino Functions as a Cohesive Device in Classroom Interaction.
Philippine ESL Journal, 6, 66-80.
Siregar, B & Manuputty, C.R. Era Baru Stand-Up Comedy.
GATRAnews, 07 January 2013. Accessed on 08 January 2013.
Yule, G. 1996. Pragmatics. New York: Oxford University.
Wilmut, R and Rosengard, P Didn't You Kill My Mother-In-Law : The
Story Of Alternative Comedy In Britain.
56
1
CHAPTER I
INTRODUCTION
A. Background of the Study
Language is the human capacity for acquiring and using complex
systems of communication, since communication is one of the most
fundamental aspects of human’s life. None can imagine what life would be
like, if there’s no communication. As a social creature, human needs language
to communicate properly, building interaction and relationship with others.
Since the antiquity and prehistoric time, people had used language for
communication. This what makes communication has an important role in
human life.
Human uses language, that is a system of sounds and words,to express
their ideas, opinions, feelings, suggestions, desires and interactions both
written and spoken language. Written means the process of expressing ideas
and feelings is done in writing activity, such as in short story, article, poem,
lyric, etc in order to communicate ideas clearly. Spoken means language is
used by speaking to introducing theirselves, asking and giving informations or
instructions, expressing needs and likes, expressing opinions, making requests,
promising, retelling past events, evaluating, persuading and even entertaining
or amusing other people.
1
2
In spoken communication, there are many ways of delivering thoughts
and ideas to other people such as speech, presentation, debate, demonstration,
song and even comedy show.
Comedy is a device to criticize social conditions, and society love it.
Beside it is entertaining, society’s aspiration is also expected to be delivered
through it. Comedic devices include the use of surprise, opposites,
coincidence, under- and overstatement, violation of social conventions,
unexpected developments, surprising consequences, wordplay, and many
more. Numerous subgenres have developed within comedy, including farce,
comedy of manners, slapstick, parody, stand-up comedy and satire.
Stand-up comedy has been well-known and developed in America and
Europe since years ago. But, the existence of stand-up comedy in Indonesia
starts booming when Metro TV first presented it in television in the middle of
September 2011. Nowadays, stand-up comedy show is very well-known by all
ages in Indonesia, and mostly teenagers.
Stand-up comedy is a kind of those spoken communications that use one
of the functions of language, to amuse or entertain other people. Stand-up
comedy is a comedic style, composed of a comic or a comedian who is
speaking in their own person rather than as a dramatic with humorous stories
that commonly taken from social conditions. There are many popular comics
or comedians of Indonesia, they are Abdel Achrian, Isman, IwelWel, Mongol,
Soleh Solihun, Steny Agustaf, Raditya Dika, Ernest Prakasa, Pandji
Pragiwaksono and Cak Lontong.
3
Usually, the comedian performs in front of a live audience, speaking
directly to them. The performer is commonly known as a comic, stand-up
comic, stand-up comedian or simply a stand-up. In stand-up comedy, the
comedian usually recites a fast-paced succession of humorous stories, short
jokes called "bits", and one-liners, which constitute what is typically called a
monologue, routine or act. Stand-up comedy is often performed in comedy
clubs, bars, neo-burlesques, colleges and theaters. Outside of live
performance, stand-up is often distributed commercially via television, DVD,
and the internet. Stand-up is an art form that is openly devoted to getting
immediate laughs from an audience. In stand-up comedy, feedback of the
audience is instant and crucial for the comedian's act. Audiences expect a
stand-up comic to provide a steady stream of laughs, and a performer is
always under great pressure to deliver. This pressure can be thrilling, but also
threatening.
When people do spoken communication include stand-up comedy to
deliver thoughts, the usage of deixis is very closely related. Every word or
phrases spoken are interpreted by deixis, because it encodes features of
context of utterances.
What is deixis? Deixis is a technical term comes from the Greek
deiktikos for pointing or indicating. Deixis is an important field of language
study in its own right and has some relevances to analysis of conversation and
pragmatics. It essentially concerns with the ways in which languages encode
or grammaticalizes the features of the context of utterance or speech event,
4
and also concerns ways in which interpretation of utterances depends on the
analysis of that context of utterance (Levinson 1983: 54). There are five types
of deixis, namely person deixis, spatial deixis, temporal deixis, discourse
deixis and social deixis.
Person deixis concerns with the encoding of the role of paticipants in the
speech even in which the utterance in question is delivered. Spatial deixis
concerns with the specification of locations to anchorage points in the speech
event. Temporal deixis that is also called as time deixis locates points or
intervals on the time axis, using the moment of utterance as a reference point.
While discourse deixis concerns with the use of expressions referring to apart
of the discourse. Social deixis concerns with the aspects of sentences which
reflect certain realities of participants or the social situation in which the
speech event occurs.
Thus, deixis can always be found in human’s daily speech, because it
concerns with the interpretation of utterances. For example, Pertama kali gue
nembak cewek, gue dinajisin. This direct sentence is a sentence of Raditya
Dika’s that was spoken in his performance on 7 August 2011 in Bandung. The
type of deixis he used in that sentence is person deixis, pointed by word gue
(I) refering to his self as the speaker. Another example is Iklan di Indonesia
nggak ada yang benar. Type of deixis that is found in the sentence is spatial
deixis, pointed by the word di Indonesia which concerns for the specification
of location.
5
In this study, the writer is interested in performances of Raditya Dika and
decides to analyze the deixis that he uses in his utterances in stand-up comedy
show. According to the writer herself, Raditya Dika is the funniest and most
expressive comic above others. He is also the most famous comic known by
many stand up’s lovers in Indonesia. Most teenagers know him very well,
because he is also a blogger and writer. Moreover, analyzing his utterances
will also be enjoyable.
Analyzing deixis used by Raditya Dika in stand-up comedy show helps
the readers to find out the types of deixis he used and which type is the most
dominant, and to reason why it is dominantly used. This study will analyze
how often Raditya Dika produces certain types of deixis in his performances.
The writer will clarify them clearly in this study.
B. Problem of the Study
As related to the background of the study above, the problems of the
study can be formulated as following:
1. What types of deixis are used by Raditya Dika in his utterances in stand-up
comedy show?
2. What is the most dominant type of deixis used by Raditya Dika in his
utterances in stand-up comedy show?
3. Why is the dominant type used by Raditya Dika in his utterances in standup comedy show the way it is?
6
C. Objective of the Study
Based on the problem of the study above, the objectives of this study are:
1. to find out the types of deixis that are used by Raditya Dika in his
utterances in stand-up comedy show.
2. to discover the most dominant type of deixis used by Raditya Dika in his
utterances in stand-up comedy show.
3. to reason why is the dominant type of deixis used by Raditya Dika in his
utterances in stand-up comedy show the way it is.
D. Scope of the Study
This study is limited to the five types of deixis used by Raditya Dika in
stand-up comedy show and will be focused on the transcriptions of his
utterances in stand-up comedy show.
E. Significance of the Study
The benefitss of this study are: Theoretically, the findings of this study
can be as insight and enrichment for those who want to conduct a research of
deixis.
Practically, the writer expects that this study will be useful for learners of
English as a second language to learn the ways in which language encode and
the features of the context of utterances, English Department’s students who
study linguistics to expand their understanding about deixis, lecturers of
English as a teaching material to be used in teaching deixis, the readers, stand-
7
up comedy lovers, especially the lovers of Raditya Dika who want to get
knowledge about deixis, and other researcher, this analysis can be used as a
reference for further research that take deixis as his/her analysis.
CHAPTER V
CONCLUSIONS AND SUGGESTIONS
A. Conclusions
After analyzing the use of deixis in Raditya Dika’s utterances in stand-up
comedy show, the conclusions can be taken as follow:
1.
There are five types of deixis used by Raditya in his utterances
performing stand-up comedy show. The calculations for each type
is 697 person deixis (68.94%), 53 spatial deixis (5.24%), 59
temporal deixis (5.83%), 87 discourse deixis (8.60%), and 115
social deixis (11.37%).
2.
The most dominant type is person deixis with 697 occurences
(68.94%).
3.
Having analyzing all the data, the type of deixis that dominantly
used by Raditya Dika performing stand-up comedy is person
deixis with total 697 or 68.94%. Raditya Dika uses person deixis
as the most dominant type because: 1) He conducted first-point of
view and spoke his own experiences or observations to the
audience. 2) Comics or comedians in stand-up comedy show are
usually standing and telling their own story, that make the use of
personal pronoun is more often than other pronoun in their
utterances. 3) Person deixis may be the feature of stand-up
53
54
comedy show because of its characteristics as a unit of Story or
Narrative.
B. Suggestions
Related to conclusions, it is well suggested that:
1.
English lecturer to use this thesis as an addition material for they
lecturing deixis in classroom.
2.
Researchers can take this thesis result as a reference when they
decide to conduct further analysis about deixis for their research,
or for them who want to analyze another unit of pragmatics in
Stand-up Comedy.
UP CffiryX&X}V S{€{}W
A T"K{ESIS
Suhnnitted to the English and l-iterature &egrartment, Faculty of I-mngarages
and Arts, State Umivexsif-v ef &Serlaaa, im Partial Fulfilhmerat clf the
R.equirernents for the Begnee *f Sarjana Sastra
By:
Halnq Malar{
Reg" No.2S9220018
p.?.YF,g+.
-{*-:w:1
-*";
a#w
**Iu-l*sj
i-
F:NG{"} SFT ANS X-}TET{AT{JRE I} ET}ARTME,NT
S"ACUT-TY SI1 T.ANGUAGES AND AR.TS
STATE UNII/E}ESITY OF MEI}AT.{
z{Jt3
ABSTRACT
Malau, Harna. The Deixis in Raditya Dika’s Utterances in Stand-up Comedy
Show. Faculty of Languages and Arts. State University of Medan. 2013.
This study deals with the types of deixis in Raditya Dika’s utterances in stand-up
comedy show. The objectives of this study are to find out the types of deixis that
are used by Raditya Dika, to discover the most dominant type that Raditya Dika
dominantly used and to reason the occurence of the dominant type. The data of
this study were the videos of Raditya Dika performing stand-up comedy uploaded
in youtube. There are three selected videos taken as the samples. This research
was based on descriptive design by applying qualitative method and converting
the data numerically. The findings of this study show that those five types of
deixis were found in Raditya Dika’s utterances, they are: person (68.94%), spatial
(5.24%), temporal (5.83%), discourse (8.60%) and social (11.37%). The most
dominant type of deixis found is person deixis with “gue” or “I” as the dominant
deictic word showing that he’s the speaker. Raditya Dika uses person deixis as the
most dominant type because: 1) He conducted first-point of view and spoke his
own experiences or observations to the audience. 2) Comics or comedians in
stand-up comedy show are usually standing and telling their own story, that make
the use of personal pronoun is more often than other pronoun in their utterances.
3) Person deixis may be the feature of stand-up comedy show because of its
characteristics as a unit of Story or Narrative.
Keywords: deixis, utterances, stand-up comedy show.
i
ACKNOWLEDGEMENT
The greatest thanks is firstly addressed to The Almighty God, Jesus Christ
for the merciful life, health and opportunity given to the writer that she is able to
complete this thesis as the partial fulfillment of the requirements for Sarjana
Sastra at English Department of Faculty of Languages and Arts, State University
of Medan.
The writer comes upon a lot of difficulties during the writing of this study,
due to her limited knowledge and experience. However, many people have
directly and indirectly contributed and helped her during completing this study,
they are all as mentioned in following.
1. Great thanks to Prof. Dr. Ibnu Hajar, M.Si. as the Rector of State
University of Medan.
2. Great thanks to Dr. Isda Pramuniati, M.Hum. as the dean of Faculty
of Languages and Arts, for her leadership in academic process.
3. Great thanks to Prof. Dr. Hj. Sumarsih, M.Pd. as the Head of English
and Literature Department for the guidance in the process of completing
this thesis.
4. Gratitude to Prof. Dr. Lince Sihombing, M.Pd. as her supervisor who
always helped and gave suggestions to finish this thesis.
5. Gratitude to Prof. Dr. Busmin Gurning, M.Pd. as her advisor for the
suggestions and guidance during the academic years.
6. Her lighthouses, L. Malau and H. Sihite who are the most important
ones in her whole life that keep on giving love, care, prayer, advice,
inspiration, and motivation that the writer indeed need in order to finish
her study.
7. Her beloved beautiful sisters: Nila Panensia Malau, Sagita Putri
Malau, Zhefanny Zhinta Malau, her only brother Sandi Septian
Malau and her big family who are more than just a poet in her life.
ii
8. Her aunt Dra. Merpi Sihite, her cousin Hulman Soaloon Silaen,
Director of Courses of YPPIA Nurhayati Purba, SS, MA., UKMKP
Unimed especially UP-FBS and EKLESIA CHOIR for all the prayers,
supports and contributions to complete her study.
9. The writer also would like to thank her housemates Ichi, Ina, Venny
for the love, care and supports that enable her to be wise in using time to
finish her thesis.
10. Last but not least, the writer would like to address her thanks to her
friends, Sastra Inggris A and B 2009 that can not be mentioned one by
one, for the supports, laughs and stories that they have been through
together during the academic years. Finally, a million of thanks to those
who have given endless contribution in the process of completing this
thesis.
Medan, February 2013
The Writer,
Harna Malau
Reg. Num. 209220018
iii
TABLE OF CONTENTS
Page
ABSTRACT .......................................................................................................................i
ACKNOWLEDGEMENT ............................................................................................... ii
TABLE OF CONTENTS ................................................................................................iv
LIST OF TABLE .............................................................................................................vi
LIST OF APPENDICES ............................................................................................... vii
CHAPTER I
INTRODUCTION
A. The Background of the Study ................................................... 1
B. The Problem of the Study .......................................................... 5
C. The Objective of the Study ........................................................ 6
D. The Scope of the Study ............................................................. 6
E. The Significance of the Study ................................................... 6
CHAPTER II
REVIEW OF LITERATURE
A. Theoretical Framework ............................................................. 8
B. Pragmatics ................................................................................. 8
C. Deixis........................................................................................ 10
D. Types of Deixis ........................................................................ 12
1. Person Deixis ................................................................ 12
2. Spatial Deixis ................................................................ 14
3. Temporal Deixis ............................................................ 15
4. Discourse Deixis ........................................................... 17
5. Social Deixis ................................................................. 18
E. Story.......................................................................................... 19
1. Comedy ......................................................................... 19
1.1 Stand-up Comedy .............................................. 22
iv
F. Relevant Study .......................................................................... 25
G. Conceptual Framework ............................................................ 26
CHAPTER III
RESEARCH OF METHODOLOGY
A. Research Design ....................................................................... 28
B. Source of Data .......................................................................... 29
C. Technique for Data Collection ................................................. 30
D. Technique for Data Analysis .................................................... 30
CHAPTER IV
DATA AND DATA ANALYSIS
A. Data ........................................................................................... 32
B. Data Analysis ............................................................................ 32
C. Research Findings ..................................................................... 50
CHAPTER V
CONCLUSION AND SUGGESTION
A. Conclusion ................................................................................ 53
B. Suggestion ................................................................................. 54
REFERENCES ............................................................................................................... 55
APPENDIX I .................................................................................................................. 57
APPENDIX II .................................................................................................................. 94
APPENDIX III ............................................................................................................... 115
APPENDIX IV................................................................................................................ 120
APPENDIX V ................................................................................................................. 132
v
LIST OF TABLES
Table
Page
4.1 The number of sentences produced by Raditya Dika
32
4.2 The percentage of occurences of each type in the first video
33
4.3 The percentage of occurences of each type in the second video
34
4.4 The percentage of occurences of each type in the third video
36
4.5 The percentage of occurences each type of deixis in Muhadkly Acho’s
utterances in stand-up comedy show
38
4.6 The comparison between the two comics
39
4.7 The percentage of occurences each type of deixis in Mongol’s
utterances
40
4.8 The comparison between the three comics
40
4.9 The percentage of occurences of deixis in Sitcom OB RCTI ep-281
49
5.0 The percentage of occurences each type of deixis in Raditya Dika’s
utterances in stand-up comedy show
50
vi
LIST OF APPENDICES
Appendix
Page
A. Appendix I
I.
The classification of deixis in the first video
II.
The classification of deixis in the second video
III.
The classification of deixis in the third video
57
68
82
B. Appendix II
I.
The transcription of the first video
II.
The transcription of the second video
III.
The transcription of the third video
94
101
108
C. Appendix III
I.
Brief Biography of Raditya Dika
II.
Youtube
115
119
D. Appendix IV
I.
The classification of deixis in Acho’s utterances (1)
II.
The classification of deixis in Acho’s utterances (2)
120
126
E. Appendix V
I.
The classification of deixis in Mongol’s utterances (1)
II.
The classification os deixis in Mongol’s utterances (2)
132
138
vii
REFERENCES
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Adetunji, A. 2006. Inclusion and Exclusion in Political Discourse: Deixis
in Olusegun Obasanjo’s Speeches. Journal of Language and
Linguistics, 5, 177-191.
Christopher, Anne A. 2012. Deixis and Personalization in Ad Slogans.
World Academy of Science, Engineering and Technology, 64, 526530.
Creswell, J. W. 2007. Qualitative inquiry and research design: Choosing
among five traditions (2nd Ed). Thousand Oaks, CA: Sage, page
37.
Cruse, Allan. 2004. Meaning In Language: An Introduction to Semantics
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Crystal, David. 1980. A first dictionary of linguistics and phonetics.
Boulder, CO: Westview.
Denning, Stephen. 2000. The Springboard: How Storytelling Ignites
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Butterworth Heinemann.
Denzin, Norman K. & Lincoln, Yvonna S. (Eds.). (2005). The Sage
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Sage.
Easterling, P. E. 1997a. "A Show for Dionysus." In Easterling (1997c,
36–53)
Fearless delivery sets Will Ferrell apart. The Denver Post, 24 June 2005.
Accessed on 29 March 2010.
Gultom, Citra M. 2011. Deixis in Short Stories of Hello Magazine.
Unpublished Thesis. Medan: State University of Medan.
Henderson, J. 1993. Comic Hero versus Political Elite pp.307-19 in
Sommerstein, A.H.; S. Halliwell, J. Henderson, B. Zimmerman, ed.
(1993). Tragedy, Comedy and the Polis. Bari: Levante Editori.
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Hopkins, Jim. 2006. "Surprise! There's a third YouTube co-founder".
USA Today. Retrieved November 29, 2008.
Levinson, Stephen C. 1983.
Cambridge University.
Pragmatics. Cambridge, England:
Manalu, Feraden. H.F. 2010. Deixis in the Holy Bible “Ruth”.
Unpublished Thesis. Medan: State University of Medan.
Manurung, Sobrain F. 2011. Deixis in Mariah Carey’s Daydream Album.
Unpublished Thesis. Medan: State University of Medan.
McKay, Helen and Dudley, Berice. 1996. About Storytelling. Sydney,
Australia: Hale and Iremonger.
Morales, Montoya M. 2011. How the Deictic and Anaphoric Role of Na
Filipino Functions as a Cohesive Device in Classroom Interaction.
Philippine ESL Journal, 6, 66-80.
Siregar, B & Manuputty, C.R. Era Baru Stand-Up Comedy.
GATRAnews, 07 January 2013. Accessed on 08 January 2013.
Yule, G. 1996. Pragmatics. New York: Oxford University.
Wilmut, R and Rosengard, P Didn't You Kill My Mother-In-Law : The
Story Of Alternative Comedy In Britain.
56
1
CHAPTER I
INTRODUCTION
A. Background of the Study
Language is the human capacity for acquiring and using complex
systems of communication, since communication is one of the most
fundamental aspects of human’s life. None can imagine what life would be
like, if there’s no communication. As a social creature, human needs language
to communicate properly, building interaction and relationship with others.
Since the antiquity and prehistoric time, people had used language for
communication. This what makes communication has an important role in
human life.
Human uses language, that is a system of sounds and words,to express
their ideas, opinions, feelings, suggestions, desires and interactions both
written and spoken language. Written means the process of expressing ideas
and feelings is done in writing activity, such as in short story, article, poem,
lyric, etc in order to communicate ideas clearly. Spoken means language is
used by speaking to introducing theirselves, asking and giving informations or
instructions, expressing needs and likes, expressing opinions, making requests,
promising, retelling past events, evaluating, persuading and even entertaining
or amusing other people.
1
2
In spoken communication, there are many ways of delivering thoughts
and ideas to other people such as speech, presentation, debate, demonstration,
song and even comedy show.
Comedy is a device to criticize social conditions, and society love it.
Beside it is entertaining, society’s aspiration is also expected to be delivered
through it. Comedic devices include the use of surprise, opposites,
coincidence, under- and overstatement, violation of social conventions,
unexpected developments, surprising consequences, wordplay, and many
more. Numerous subgenres have developed within comedy, including farce,
comedy of manners, slapstick, parody, stand-up comedy and satire.
Stand-up comedy has been well-known and developed in America and
Europe since years ago. But, the existence of stand-up comedy in Indonesia
starts booming when Metro TV first presented it in television in the middle of
September 2011. Nowadays, stand-up comedy show is very well-known by all
ages in Indonesia, and mostly teenagers.
Stand-up comedy is a kind of those spoken communications that use one
of the functions of language, to amuse or entertain other people. Stand-up
comedy is a comedic style, composed of a comic or a comedian who is
speaking in their own person rather than as a dramatic with humorous stories
that commonly taken from social conditions. There are many popular comics
or comedians of Indonesia, they are Abdel Achrian, Isman, IwelWel, Mongol,
Soleh Solihun, Steny Agustaf, Raditya Dika, Ernest Prakasa, Pandji
Pragiwaksono and Cak Lontong.
3
Usually, the comedian performs in front of a live audience, speaking
directly to them. The performer is commonly known as a comic, stand-up
comic, stand-up comedian or simply a stand-up. In stand-up comedy, the
comedian usually recites a fast-paced succession of humorous stories, short
jokes called "bits", and one-liners, which constitute what is typically called a
monologue, routine or act. Stand-up comedy is often performed in comedy
clubs, bars, neo-burlesques, colleges and theaters. Outside of live
performance, stand-up is often distributed commercially via television, DVD,
and the internet. Stand-up is an art form that is openly devoted to getting
immediate laughs from an audience. In stand-up comedy, feedback of the
audience is instant and crucial for the comedian's act. Audiences expect a
stand-up comic to provide a steady stream of laughs, and a performer is
always under great pressure to deliver. This pressure can be thrilling, but also
threatening.
When people do spoken communication include stand-up comedy to
deliver thoughts, the usage of deixis is very closely related. Every word or
phrases spoken are interpreted by deixis, because it encodes features of
context of utterances.
What is deixis? Deixis is a technical term comes from the Greek
deiktikos for pointing or indicating. Deixis is an important field of language
study in its own right and has some relevances to analysis of conversation and
pragmatics. It essentially concerns with the ways in which languages encode
or grammaticalizes the features of the context of utterance or speech event,
4
and also concerns ways in which interpretation of utterances depends on the
analysis of that context of utterance (Levinson 1983: 54). There are five types
of deixis, namely person deixis, spatial deixis, temporal deixis, discourse
deixis and social deixis.
Person deixis concerns with the encoding of the role of paticipants in the
speech even in which the utterance in question is delivered. Spatial deixis
concerns with the specification of locations to anchorage points in the speech
event. Temporal deixis that is also called as time deixis locates points or
intervals on the time axis, using the moment of utterance as a reference point.
While discourse deixis concerns with the use of expressions referring to apart
of the discourse. Social deixis concerns with the aspects of sentences which
reflect certain realities of participants or the social situation in which the
speech event occurs.
Thus, deixis can always be found in human’s daily speech, because it
concerns with the interpretation of utterances. For example, Pertama kali gue
nembak cewek, gue dinajisin. This direct sentence is a sentence of Raditya
Dika’s that was spoken in his performance on 7 August 2011 in Bandung. The
type of deixis he used in that sentence is person deixis, pointed by word gue
(I) refering to his self as the speaker. Another example is Iklan di Indonesia
nggak ada yang benar. Type of deixis that is found in the sentence is spatial
deixis, pointed by the word di Indonesia which concerns for the specification
of location.
5
In this study, the writer is interested in performances of Raditya Dika and
decides to analyze the deixis that he uses in his utterances in stand-up comedy
show. According to the writer herself, Raditya Dika is the funniest and most
expressive comic above others. He is also the most famous comic known by
many stand up’s lovers in Indonesia. Most teenagers know him very well,
because he is also a blogger and writer. Moreover, analyzing his utterances
will also be enjoyable.
Analyzing deixis used by Raditya Dika in stand-up comedy show helps
the readers to find out the types of deixis he used and which type is the most
dominant, and to reason why it is dominantly used. This study will analyze
how often Raditya Dika produces certain types of deixis in his performances.
The writer will clarify them clearly in this study.
B. Problem of the Study
As related to the background of the study above, the problems of the
study can be formulated as following:
1. What types of deixis are used by Raditya Dika in his utterances in stand-up
comedy show?
2. What is the most dominant type of deixis used by Raditya Dika in his
utterances in stand-up comedy show?
3. Why is the dominant type used by Raditya Dika in his utterances in standup comedy show the way it is?
6
C. Objective of the Study
Based on the problem of the study above, the objectives of this study are:
1. to find out the types of deixis that are used by Raditya Dika in his
utterances in stand-up comedy show.
2. to discover the most dominant type of deixis used by Raditya Dika in his
utterances in stand-up comedy show.
3. to reason why is the dominant type of deixis used by Raditya Dika in his
utterances in stand-up comedy show the way it is.
D. Scope of the Study
This study is limited to the five types of deixis used by Raditya Dika in
stand-up comedy show and will be focused on the transcriptions of his
utterances in stand-up comedy show.
E. Significance of the Study
The benefitss of this study are: Theoretically, the findings of this study
can be as insight and enrichment for those who want to conduct a research of
deixis.
Practically, the writer expects that this study will be useful for learners of
English as a second language to learn the ways in which language encode and
the features of the context of utterances, English Department’s students who
study linguistics to expand their understanding about deixis, lecturers of
English as a teaching material to be used in teaching deixis, the readers, stand-
7
up comedy lovers, especially the lovers of Raditya Dika who want to get
knowledge about deixis, and other researcher, this analysis can be used as a
reference for further research that take deixis as his/her analysis.
CHAPTER V
CONCLUSIONS AND SUGGESTIONS
A. Conclusions
After analyzing the use of deixis in Raditya Dika’s utterances in stand-up
comedy show, the conclusions can be taken as follow:
1.
There are five types of deixis used by Raditya in his utterances
performing stand-up comedy show. The calculations for each type
is 697 person deixis (68.94%), 53 spatial deixis (5.24%), 59
temporal deixis (5.83%), 87 discourse deixis (8.60%), and 115
social deixis (11.37%).
2.
The most dominant type is person deixis with 697 occurences
(68.94%).
3.
Having analyzing all the data, the type of deixis that dominantly
used by Raditya Dika performing stand-up comedy is person
deixis with total 697 or 68.94%. Raditya Dika uses person deixis
as the most dominant type because: 1) He conducted first-point of
view and spoke his own experiences or observations to the
audience. 2) Comics or comedians in stand-up comedy show are
usually standing and telling their own story, that make the use of
personal pronoun is more often than other pronoun in their
utterances. 3) Person deixis may be the feature of stand-up
53
54
comedy show because of its characteristics as a unit of Story or
Narrative.
B. Suggestions
Related to conclusions, it is well suggested that:
1.
English lecturer to use this thesis as an addition material for they
lecturing deixis in classroom.
2.
Researchers can take this thesis result as a reference when they
decide to conduct further analysis about deixis for their research,
or for them who want to analyze another unit of pragmatics in
Stand-up Comedy.