PERSON DEIXIX AS FOUND IN THE LYRICS OF GREEN DAY.
RSRSON DEDIIS AS FOIUND IN
l
TM
LYRICB OF GIT@T D,! Y
TgEsts
Stbnind n Pdttttl F lf @t to th. RqunMt
F0fi. D.pw oIW@.ssttu
8y
YUEEI{I'RI
06
t85 m5
ENGIISE DEPARTMENT . FACULTY OF I;OTTERS
ANDAT,AS I]MVERSTTY
PADAN(:
'l|ll
ABSTRAK
Drl,m skipsi ini, nciulh mcmbanas dciksis pcNonB A.^D, /.n, dal.n
emp.r lagu ciptla airzc,i/,r yai ll Gu s, Anerjcan ldiot, Wak rte up rhe
Mihoritr. Tujuan peneliii$ ini adalrh u tul nrcnde\kriFikrl
Sepknb.r enA
^d
tipe dciksis p€so.r, mcnenlukan luigsi dciksis pcMna bcrd6lr[an konlek drn
ncn8hubungkannya dengan mrlna laan. Dal! dikumPlka. nmgAunatrm mctodc
netho4) .lsnsan teknik cal.r
sihak bcbas 1ib6 carap f,o, P,rtirjPan!
^szfldion
(tutcttknE bthhi'jk)- Selanjltiya dala dianllisk dengM ncnlaunak t.rod?
,zl?ar praarar,* &n nenc€pku to deik is lcMna 4lch sicphcn c Levin$i
(193:l)senar6ri konleksir0asiolch CeolfteyI-eech (1931).
Dei penelnid inidnemuk riF€ tipc dsiksis pesonayang i$diri dai dcikris
onn|petran (16r dtn dci,is), deiksis .tue kedua fs?.ddp?6o" ./eir,, dm
deiLsis omns keliga f/ t / p.^,, z/s;t pad. kccmpat lae! resebur"l ipc dciksis
pcs.na ysgp.lina sringdignakan ulalah deiksisorangkedua *bayak 28 (51.35
%). k.mudian diikuri dciksisoians petufra sebanyak 2il (44.45 %)dmdcikrisonng
keriga sebtryak 2 (i,70 %). Dari empar lirik lagu Fng dianalisa lasl beiudul 2l
Cuni' lebih bdval mengunakan deiklk peson! yliLu seba tak 25 lerllams sekali
deiksh oranC kcdu4 kenudian Minority sebanytk l?, wake Me LP wh.r
seplember Ends sebaya[ 3 dan "Ancdc ldioa sebanv.k 4. PcnLlis
6ahwa sm0a dcikrh per$na yng ada ti.p lagu mengaju padr .cuan,
'nenyimpulkm
y.itu kata gdri .tanl penanz (frr! Prrlok 11/o,o!,s1, kau santi oms kedua
(s?cond pdtun prcnoxns) dan kat^ snri .ttrCu-ctiEd (thir.l pettun Ptonuns).
CIIAPTER
Bicklround of
tbe
I
R6drch
jn rbc Ro.ld
Re.enrly, the developncnl of the dusic industry is on hi8! lever
Matry kinds
ol
music genrts such
por caf be
lthoush the sonEs have some aentos, each oflhe song usutll,
enjoycd b, people
has a relerence th3t
s jv,. ock pu.k rccll" R nB. rd
h ussl bt the conPos.. to convcv mesages
ro
lhc lisrcnd The
rclcrcnce.lthesong may includervh.n rhe sonA is refened lo, a.d to whul sc(nrg il
h inteidcd which
need
lo be incl?dcd by the Lktene^ to catch the toeaning ol lhc
sotrB. Musicalrcadyb€concspanof lileolhuman being. !vl1a $m..ne ffrlsina
bad mood, by LisleninAtorhe tuvdrilcmusic
SonCs
heorshecan becone calfr md happv
aE oien used lo eRpress the emolions of rhe human being and rhcl are
n€dcd in daily lile. Song is
the combination
ol word md music thar are bcaulilul!v
compoed. For the composr, a song h the renecaon ol his or her feeling lowad
somerhinq
q'.h
as
death.lovc. crirjc. waror conflict. whe.e,s tbr lhe lislener a ene
." * * -.*..-,.
Meanw[ile. the lydcs ol a sons can be dcfincd
pocm in which tlE worJs conlain panicular enolions
s
ollhe conposct that
a shod
&lLs the
ln rhc ly.ics
01 thc song, sone inlea.ekrion can be
n'alc
The, hare
mc$agc mJ herning. Mary kinds ollinguistic study in rclatlon ro pru-smrri$ tud
discoutse can bc lound in the lyn.s
pEgmarics. Dcixis relea
1o
ol lhc eDg. lhe sludy deixis helm8s r.
tho plEtromenons rhnr
undcAhJ
llt
rneanine.lc€tuln
w..ds
dd
phrses in an firennce Howcvf. it rcquircs conrexrull inlom.rion
Deixis
fe
cenain lhose lvords in a ian8uage that enrirtly depe.lcDl oD .onlcxl
(frcnikin l99l.p. 162). lr neans $al lhe speakerand lisrcncr should
nrenrdt dcixis
ir
-sesltrrcs
Thesignilicatrceoldeixis
r panicip.nt ir
an
b
the Llrics oflhe sons Contcit includcs who is speaking. rhc rimc
or nlace .l spcaking- lhe
di{ours.
bc known
ol the sFrker, Md $c curenl l@rion in
is
thc
poinling or spccifying lion thcpenpccilveof
lct drspccch orrvritinC, asPea ofa panicipanr
in dn acr ol spccch
or wririrs, aspecrs knoqledce or thc coitcxt in whlch ihe c.hfrunicalion occurs
Sonc lypes oldeixh include are teson dcixh, rime deixis, Plre dcixis, di$oude
f
frhemore rhcrc isa lem thal iscallcd lhedeitic
$ord
Dcitic word isone
lhailakessomcclemenrorism€ninsromthecontcxrorsituation(iethespcaker,
$c
addressee, rhc
lime and rhc
llerslev. Snilh 2007,
pLace)
ol the urlertn.e in which it is usJ (rlurlord,
p.66). ln rhh cnsc, deiclic wod i5 needed in our
communicalion. l he rem oldeiclic lvo'd h.lps lhc
a rcletrins
and
hce( to identify thc tolerence of
erpre$ion. lh€rtrorc, dciclic sord is vcry inpotunl in communication
ii m3kes se ences clctrcr by lhe herrer.
Afle. aml)zine rhe ddra. rhc*.n.r linds oufthat nor al]rvpes ofieBon deirh
fouDd in thc four
sofesof crccn
tr the yrics are firet pe6on
second person
deixisrreLo,!ndlo,r:and
Dtiig d.t..n.itsis.
l)0,
son8s- there
Ihc pc^on dcilic sods which dc lbund
')ay\".
deixis 1 ,,. ond ,ri tne
the
rhiil
porson plural deixis is
pcrson
dcixisonltone
lp:
and lhis
Ihc wrnci fidds out thxt in rhe iyrics oathe tuur (trccn
aE vlrious [inds or pe6on deixh found, .speiall]
d.i\ls i. $hic[ ir poin6 b $e compos$
Bascd on
ri^l
pcMn
de analysis in chaptcr thrcc.
il
crn he concltrdeJ thal lhe conrerr gives clues and flnctons ro detemifc rhc doi.ric
$ord5mdthe.eLdtunshipbrheheanin!ollhesone. lhesnuariononvidcoclipol
rhese songs
reile.ls rhe neaning of rhcs. sodgs indirecil]. llowever, in the l)-rics onc
deitlc $ord found i5 onl! hrs one indicartun but each oirhem has dilfer.nr mc.niig
bascd on
thc
i
cnton of the .om0oser the inrcmioh oftho conp.ser includes
giving. inLmxlon, onicizins. dcbmining,
somelhing. lherefore. the meaning olrhe
thc intcrprctation olthc lyrics
dd
the c.mposei5 liespe.ation
ll'ics gilcs intbmation
and .eiloct.d rr
Ftumkin, v. Rodman, I I, I lyams ,N (1991). ,4n Inbndktuh 1.
La43r!". l honp$n
Wadslvonh O.laddo: H.rcoun Brace lovanolich ColLcge
Heaner Brcndan, rrudord Jam€s R, Smilh Michael B. \2047) S(aunti.t
C.,/.vn,,[ xc$
York: Cambridge Univerity lrcss
rniso Mora rsabcr. (2004). O,
.bunnl
olh
,1
t!0Ae and
l,e Uv af lere al lrarcun Vt it' (onnmitit\:
P.lilir\3).2152
K.s*anij PuRo, B.nrbanq. (1984) Deki\ daldn Boh&r hno,rrlir Jakada: Br ri
Korenah. Alysid Michelle QanS) ThL
Grdh'nar,
dtsr dnn
Li,suiijr Enountc^ d,./ /rc
of shokLlp.ar.
xdtr,/
p3..,
htDs://Lsnrce.libin.ulo.onto.ct...fiolcnrsh Alvrir M
\ mrha W.tds'
fcited, April
?0031
I
10'r',
PhD dcsis
r!17. i.,ro,ror Depadmcnl olErslhh, Univc6ity olToronio
L]'otrs. John. (1977).
t,eech, Georiey
srd,r/l!r:
Cmhridge: clmbridg€ univenity Prcss.
(r981).&u,,rta
Th!
slutolLtumjns
Levinson, S C (1931). Pruardrr.s. Cambridge: Cambridae
Ncw Yort: Loncman
ljiire^ny
Press
Rcnkemr. Jaf. (1991) Intodudian ta Di:rcurs!,4nuly'd. Am$crdom/PhiLdelthia:
J.hn Benlamins Publishing Cofr pdy.
l
TM
LYRICB OF GIT@T D,! Y
TgEsts
Stbnind n Pdttttl F lf @t to th. RqunMt
F0fi. D.pw oIW@.ssttu
8y
YUEEI{I'RI
06
t85 m5
ENGIISE DEPARTMENT . FACULTY OF I;OTTERS
ANDAT,AS I]MVERSTTY
PADAN(:
'l|ll
ABSTRAK
Drl,m skipsi ini, nciulh mcmbanas dciksis pcNonB A.^D, /.n, dal.n
emp.r lagu ciptla airzc,i/,r yai ll Gu s, Anerjcan ldiot, Wak rte up rhe
Mihoritr. Tujuan peneliii$ ini adalrh u tul nrcnde\kriFikrl
Sepknb.r enA
^d
tipe dciksis p€so.r, mcnenlukan luigsi dciksis pcMna bcrd6lr[an konlek drn
ncn8hubungkannya dengan mrlna laan. Dal! dikumPlka. nmgAunatrm mctodc
netho4) .lsnsan teknik cal.r
sihak bcbas 1ib6 carap f,o, P,rtirjPan!
^szfldion
(tutcttknE bthhi'jk)- Selanjltiya dala dianllisk dengM ncnlaunak t.rod?
,zl?ar praarar,* &n nenc€pku to deik is lcMna 4lch sicphcn c Levin$i
(193:l)senar6ri konleksir0asiolch CeolfteyI-eech (1931).
Dei penelnid inidnemuk riF€ tipc dsiksis pesonayang i$diri dai dcikris
onn|petran (16r dtn dci,is), deiksis .tue kedua fs?.ddp?6o" ./eir,, dm
deiLsis omns keliga f/ t / p.^,, z/s;t pad. kccmpat lae! resebur"l ipc dciksis
pcs.na ysgp.lina sringdignakan ulalah deiksisorangkedua *bayak 28 (51.35
%). k.mudian diikuri dciksisoians petufra sebanyak 2il (44.45 %)dmdcikrisonng
keriga sebtryak 2 (i,70 %). Dari empar lirik lagu Fng dianalisa lasl beiudul 2l
Cuni' lebih bdval mengunakan deiklk peson! yliLu seba tak 25 lerllams sekali
deiksh oranC kcdu4 kenudian Minority sebanytk l?, wake Me LP wh.r
seplember Ends sebaya[ 3 dan "Ancdc ldioa sebanv.k 4. PcnLlis
6ahwa sm0a dcikrh per$na yng ada ti.p lagu mengaju padr .cuan,
'nenyimpulkm
y.itu kata gdri .tanl penanz (frr! Prrlok 11/o,o!,s1, kau santi oms kedua
(s?cond pdtun prcnoxns) dan kat^ snri .ttrCu-ctiEd (thir.l pettun Ptonuns).
CIIAPTER
Bicklround of
tbe
I
R6drch
jn rbc Ro.ld
Re.enrly, the developncnl of the dusic industry is on hi8! lever
Matry kinds
ol
music genrts such
por caf be
lthoush the sonEs have some aentos, each oflhe song usutll,
enjoycd b, people
has a relerence th3t
s jv,. ock pu.k rccll" R nB. rd
h ussl bt the conPos.. to convcv mesages
ro
lhc lisrcnd The
rclcrcnce.lthesong may includervh.n rhe sonA is refened lo, a.d to whul sc(nrg il
h inteidcd which
need
lo be incl?dcd by the Lktene^ to catch the toeaning ol lhc
sotrB. Musicalrcadyb€concspanof lileolhuman being. !vl1a $m..ne ffrlsina
bad mood, by LisleninAtorhe tuvdrilcmusic
SonCs
heorshecan becone calfr md happv
aE oien used lo eRpress the emolions of rhe human being and rhcl are
n€dcd in daily lile. Song is
the combination
ol word md music thar are bcaulilul!v
compoed. For the composr, a song h the renecaon ol his or her feeling lowad
somerhinq
q'.h
as
death.lovc. crirjc. waror conflict. whe.e,s tbr lhe lislener a ene
." * * -.*..-,.
Meanw[ile. the lydcs ol a sons can be dcfincd
pocm in which tlE worJs conlain panicular enolions
s
ollhe conposct that
a shod
&lLs the
ln rhc ly.ics
01 thc song, sone inlea.ekrion can be
n'alc
The, hare
mc$agc mJ herning. Mary kinds ollinguistic study in rclatlon ro pru-smrri$ tud
discoutse can bc lound in the lyn.s
pEgmarics. Dcixis relea
1o
ol lhc eDg. lhe sludy deixis helm8s r.
tho plEtromenons rhnr
undcAhJ
llt
rneanine.lc€tuln
w..ds
dd
phrses in an firennce Howcvf. it rcquircs conrexrull inlom.rion
Deixis
fe
cenain lhose lvords in a ian8uage that enrirtly depe.lcDl oD .onlcxl
(frcnikin l99l.p. 162). lr neans $al lhe speakerand lisrcncr should
nrenrdt dcixis
ir
-sesltrrcs
Thesignilicatrceoldeixis
r panicip.nt ir
an
b
the Llrics oflhe sons Contcit includcs who is speaking. rhc rimc
or nlace .l spcaking- lhe
di{ours.
bc known
ol the sFrker, Md $c curenl l@rion in
is
thc
poinling or spccifying lion thcpenpccilveof
lct drspccch orrvritinC, asPea ofa panicipanr
in dn acr ol spccch
or wririrs, aspecrs knoqledce or thc coitcxt in whlch ihe c.hfrunicalion occurs
Sonc lypes oldeixh include are teson dcixh, rime deixis, Plre dcixis, di$oude
f
frhemore rhcrc isa lem thal iscallcd lhedeitic
$ord
Dcitic word isone
lhailakessomcclemenrorism€ninsromthecontcxrorsituation(iethespcaker,
$c
addressee, rhc
lime and rhc
llerslev. Snilh 2007,
pLace)
ol the urlertn.e in which it is usJ (rlurlord,
p.66). ln rhh cnsc, deiclic wod i5 needed in our
communicalion. l he rem oldeiclic lvo'd h.lps lhc
a rcletrins
and
hce( to identify thc tolerence of
erpre$ion. lh€rtrorc, dciclic sord is vcry inpotunl in communication
ii m3kes se ences clctrcr by lhe herrer.
Afle. aml)zine rhe ddra. rhc*.n.r linds oufthat nor al]rvpes ofieBon deirh
fouDd in thc four
sofesof crccn
tr the yrics are firet pe6on
second person
deixisrreLo,!ndlo,r:and
Dtiig d.t..n.itsis.
l)0,
son8s- there
Ihc pc^on dcilic sods which dc lbund
')ay\".
deixis 1 ,,. ond ,ri tne
the
rhiil
porson plural deixis is
pcrson
dcixisonltone
lp:
and lhis
Ihc wrnci fidds out thxt in rhe iyrics oathe tuur (trccn
aE vlrious [inds or pe6on deixh found, .speiall]
d.i\ls i. $hic[ ir poin6 b $e compos$
Bascd on
ri^l
pcMn
de analysis in chaptcr thrcc.
il
crn he concltrdeJ thal lhe conrerr gives clues and flnctons ro detemifc rhc doi.ric
$ord5mdthe.eLdtunshipbrheheanin!ollhesone. lhesnuariononvidcoclipol
rhese songs
reile.ls rhe neaning of rhcs. sodgs indirecil]. llowever, in the l)-rics onc
deitlc $ord found i5 onl! hrs one indicartun but each oirhem has dilfer.nr mc.niig
bascd on
thc
i
cnton of the .om0oser the inrcmioh oftho conp.ser includes
giving. inLmxlon, onicizins. dcbmining,
somelhing. lherefore. the meaning olrhe
thc intcrprctation olthc lyrics
dd
the c.mposei5 liespe.ation
ll'ics gilcs intbmation
and .eiloct.d rr
Ftumkin, v. Rodman, I I, I lyams ,N (1991). ,4n Inbndktuh 1.
La43r!". l honp$n
Wadslvonh O.laddo: H.rcoun Brace lovanolich ColLcge
Heaner Brcndan, rrudord Jam€s R, Smilh Michael B. \2047) S(aunti.t
C.,/.vn,,[ xc$
York: Cambridge Univerity lrcss
rniso Mora rsabcr. (2004). O,
.bunnl
olh
,1
t!0Ae and
l,e Uv af lere al lrarcun Vt it' (onnmitit\:
P.lilir\3).2152
K.s*anij PuRo, B.nrbanq. (1984) Deki\ daldn Boh&r hno,rrlir Jakada: Br ri
Korenah. Alysid Michelle QanS) ThL
Grdh'nar,
dtsr dnn
Li,suiijr Enountc^ d,./ /rc
of shokLlp.ar.
xdtr,/
p3..,
htDs://Lsnrce.libin.ulo.onto.ct...fiolcnrsh Alvrir M
\ mrha W.tds'
fcited, April
?0031
I
10'r',
PhD dcsis
r!17. i.,ro,ror Depadmcnl olErslhh, Univc6ity olToronio
L]'otrs. John. (1977).
t,eech, Georiey
srd,r/l!r:
Cmhridge: clmbridg€ univenity Prcss.
(r981).&u,,rta
Th!
slutolLtumjns
Levinson, S C (1931). Pruardrr.s. Cambridge: Cambridae
Ncw Yort: Loncman
ljiire^ny
Press
Rcnkemr. Jaf. (1991) Intodudian ta Di:rcurs!,4nuly'd. Am$crdom/PhiLdelthia:
J.hn Benlamins Publishing Cofr pdy.