i ABSTRACT
Nur Latifah, A Pragmatic Approach to the Incongruity of Humor in the Dialog of Kung Fu Panda Movie. Thesis. Jakarta: Letters and Humanities Faculty, State Islamic University Syarif Hidayatullah, September 2009.
This research is a study of the incongruity of Humor in the dialogues of Kung Fu Panda Movie based on the violation of cooperative principle in pragmatics. It is aimed to know the violation of cooperative principle which can create the incongruity of humor. The writer uses a descriptive qualitative method in which she tries to describe the violation of cooperative principle that creates the incongruity of humor. The unit analysis is taken by the writer from a manuscript of Kung Fu Panda movie released in June 26th 2008.
The thesis examines the analysis of the incongruity of humor through the dialogues violated the cooperative principles. The incongruity of humor will be elaborated through Grice theory of cooperative principle. The writer observes the context which supported the analysis then she identifies the violation of cooperative principle in Kung Fu Panda movie’s dialogues and the implicature of those dialogues.
ii
APPROVEMENT
A PRAGMATIC APPROACH TO THE INCONGRUITY OF HUMOR IN THE DIALOGUES OF KUNG FU PANDA MOVIE
A Thesis
Submitted to the Letters and Humanities Faculty in Partial Fulfillment of the Requirements for the Degree of Strata 1
NUR LATIFAH 105026000910
Approved by: Advisor
Dr. Muhammad Farkhan, M.Pd NIP. 150 299 480
ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA
iii
LEGALIZATION
The thesis entitled “ A Pragmatic Approach to the Incongruity of Humor in the Dialogues of Kung Fu Panda Movie” has been defended before the Letters and Humanities Faculty’s Examination Committee on November 03, 2009. The thesis has already been accepted as a partial fulfillment of the requirement for the degree of strata one.
Jakarta, November 03, 2009
Examination Committee
Chair Person, Secretary,
Dr. Muhammad Farkhan, M.Pd Drs. Asep Saefuddin, M.Pd
NIP. 150 299 480 NIP. 150261902
Members:
iv
DECLARATION
I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except wher due acknowledgement has been made in the text.
Jakarta, September 29, 2009.
v
AKCNOWLEDGEMENT
In the name of Allah, the most Gracious and the most Merciful.
Praise and gratitude are only for Him, the Lord of the universe, who has given his extraordinary mercy by succeeding the writer in making this thesis. May blessing and salutation be upon the most honorable prophet and messenger Muhammad SAW, his families, his companions, and his congregations.
In terms of the completion of the writer’s study, she wants to express her deepest gratitude to Prof. Dr. Komarudin Hidayat as the Rector of UIN Syahid Jakarta, Dr. Abdul Chair, MA as the Dean of Letters and Humanities Faculty, Dr. Muhammad Farkhan, M.Pd as the Chief of English Letters Department, Drs. Asep Saefuddin, M.Pd as the Secretary of English Letters Department, and all inspiring lecturers of English Letters Department for having taught and educated her during her study at State Islamic University Syarif Hidayatullah Jakarta.
The writer dedicates her much love and thanks to her beloved parents for their guidance, struggles, sacrifice, support, pray, and material and psychological support. She offers everything to them, and to her brothers for motivating her to graduate.
Her foremost and deepest thanks to Boogie for teaching her the skill of life which she never learnt it at any formal school in this world. S’ Agapo.
vi
advice, Bang Sholah for teaching me the balance of life, A’ Izzi for his kindness to make me smile, her great classmates in class A as well as her friends in class B and C, Imaria friends (Ida, Ayu, Mardel, Yuni, Hanum, Jannah, Hikna, Rini, and Nurul) for the wonderful friendship, and all of her friends wherever they are that can’t be voiced here.
Thanks are also addressed to all staffs of some libraries in Jakarta; such as Letters and Humanities Library, State Islamic University Syarif Hidayatullah Jakarta Library, Atma Jaya Library, Indonesia University Library, British Council Library and Regional Library of South Jakarta.
Finally, she hopes this thesis will be beneficial for the readers who are especially interested in pragmatics.
Jakarta, September 2009
vii
TABLE OF CONTENTS
ABSTRACT ... i
APPROVEMENT... ii
LEGALIZATION ... iii
DECLARATION ... iv
AKCNOWLEDGEMENT ... v
TABLE OF CONTENTS... vii
CHAPTER I. INTRODUCTION ... 1
A. Background of the Study... 1
B. Focus of the Study ... 5
C. Research Question ... 5
D. Objective of the Study ... 5
E. Significance of the Study ... 6
F. Research Methodology ... 6
1. Method of Research ... 6
2. Technique of Data Analysis ... 6
3. Unit of Analysis ... 7
4. Instrument of Research... 7
CHAPTER II. THEORETICAL FRAMEWORK………. .. 7
A. Pragmatics ... 7
1. Cooperative Principle ... 10
2. Implicature... 13
3. Context ... 14
B. Humor ... 15
viii
a. Theory of Incongruity... 16
b. Theory of Hostility ... 17
c. Theory of Liberation... 18
CHAPTER III RESEARCH FINDINGS ... 20
A. Data Description ... 20
B. Data Analysis... 26
CHAPTER IV CONCLUSIONS AND SUGGESTIONS... 58
A. Conclusions ... 58
B. Suggestions... 60
ix
CHAPTER I INTRODUCTION A. Background of the Study
Human being and communication are two related items. Human being as social creature can’t live alone without another human. Then, he needs communication to interact with other meanwhile communication only can take place if the people are involved in. “Communication itself means a process by which information is exchange between individuals through a common system of symbols, signs, or behavior”.1
Toward the definition, the writer assumes at least two summaries. First, communication is a process by which information is exchanged between individuals. Then, there are two persons or more involved in communication. The person who utters his idea or information is called the speaker and the person who hears the speaker’s idea or information is called the hearer. Second, communication between individuals can be done through some media such a common system of symbols, signs, or behavior. It can be suggested that the media are language, gestures, the visual arts - painting and sculpture, etc. Although there are some media can be used, but language is the primary and most sophisticated media means in communication between people because the people can’t communicate in any real sense without language. Thus, the essence of language which argued by the Danish linguistics philosopher Otto Jespersen in his book Philosophy of Grammar that is a human activity -activity in the part of one
1
x
individual to make him self understood by another and activity on the part of that other to understand what was in the mind of the first.2 Therefore, when the people use language, they are obviously engaged in communication activity to make themselves understood by another and hope the other understand the idea they want to inform.
To have the communication gone well, the speaker and the hearer have to expect that there are principles in communication which manage their act, their using language, and the interpretation of their act and speech. They are responsible for their act and for the violation to the communication principles3. Therefore, they have to adhere to the rule of communication, which are clarity, consciousness, and directness, by giving their contribution to communication as informative and effective as it is required and going in line with the context. Communication, furthermore, requires them to cooperate because the communication only comes alive in mutually accepted and pragmatically determined context. For the example, the person asks for help by uttering “help!” and “can you help me?” for different purpose and condition. He tends to utter “help!” if he is in an emergency condition meanwhile he tends to utter “can you help me?” if he is not in an emergency situation. The situation will be strange if the burned house victim asks for help by uttering “help” and the person whose pen fell asks for help by uttering “can you help me?” in the same intonation with the burned house victim.
2
Jan Renkema, Discorse Studies. (Amsterdam: John Benyamins Publishing Company, 1993), p. 8.
3
xi
Toward the explanation above, then, it can be assumed that there is underlying principle which determines the way in which language is used with a maximum efficiency and effectiveness. The principle is called cooperative principle introduced by Herbert Paul Grice who classified it into four maxims to have the communication gone well4. If the speaker violates to the cooperative principle, it can be suggested that there are some possibilities why he violates it, such as he aims to imply his utterances and conveys more than literal meaning which is called implicature, or he is not cooperative, or he tries to create humor.
Humor is any creative works of human intended to lead the comic effect. Humor is friendly, insulting, aggressive, cheerful, and also fun. The work of humor is not easy because sometimes it will be useless if it is performed before the people don’t have any sense of humor or doesn’t recognize at least one of the universal character of humor such absurdity, superiority, liberation, incongruity, etc. The creative work of humor can be a picture, discourse, or other created materials produced to make laughter for those catching them through the senses, such as comic, cartoon, poetry, drama, and dialog of film.5
One of the dialog of film which can be involved to the creative works of humor is dialog of Kung Fu Panda movie. Kung Fu Panda movie is a 2008 American animated comedy released on 6 June 2008 and produced by DreamWorks Animation's studio. Initially, the idea for the film was to make it a parody and spoof, but John Stevenson, the co-director of Kung Fu Panda movie,
4
Ibid, p. 25. 5
xii
was not particularly keen on the idea so instead chose the direction of simplistic comedy.6
Kung fu panda has been nominated in some awards such in golden trailer award for best animation, teen choice award for choice summer movie: comedy, and win in Annie Award for ten categories that one of them is best script.7 Kung Fu Panda opened in 4,114 theaters resulting in the number one position at the box office. The film held its worldwide premiere at the 61st Cannes Film Festival, where it received massive and sustained applause at the end of the film's screening. Since its release, Kung Fu Panda has received very positive and favorable reviews from critics. Rotten Tomatoes reported that 88% of critics gave the film positive reviews, based on 156 reviews. The film has an approval rating of 74% from a select group of critics and an approval rating of 92% from users of the site and The Chicago Tribune called the film "one of the few comedies of 2008 in any style or genre that knows what its doing".8 Opened in many theaters, Kung Fu Panda movie is easier to be analyzed because it presented universal humor which every one can has the sense of it.
Toward the explanation above, the writer is interested in analyzing the violation of cooperative principle in dialog of Kung Fu Panda movie, the incongruous homur in those dialog, and the implicature of those dialog. The writer is interested to analyze this topic because there are many humor researches based
6
Tom O’ neil, Kung Fu Panda, March 19, 2009. http://goldderby.latimes.com/awards_ goldderby/2009/01/kung-fu-panda-d.html.
7
Dominic Von Ruedemann, 'Kung Fu Panda' dropkicks 'Wall-E' at Annie Awards’, suite101, March 19, 2009. http://hollywoodanimatedfilms.suite101.com/article.cfm/kung_fu_ panda_wins_annie_ award, p. 2.
8
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on psychology theory meanwhile humor actually can be analyzed through its language using semantics or pragmatics theory.
B. Focus of the Study
On the background of the study, the writer tells that the creative works of humor can be a picture, discourse, or other created materials produced to make laughter for those catching them through the senses. Then, the writer solely focuses her research to the violence to the maxims of cooperative principle in the dialogues of Kung Fu Panda movie, the incongruos humor in those dialogues, and the implicature of those dialogues.
C. Research Question
To make more convenient and simply in the research, the writer formulates her research through the following questions:
1. Which maxims of the cooperative principle are being violated in the dialog of Kung Fu Panda movie?
2. How do the incongruity of humors in those dialogues of Kung Fu Panda movie which are violating the maxims of cooperative principle occur?
3. What are the implicature of those dialogues of Kung Fu Panda movie which are violating the maxims of cooperative principle?
D. Objective of the Study.
The aim of this research is to analyze the incongruous humor through pragmatics approach, specifically to:
xiv
2. Identify how the incongruity of humors in those dialogues which are violating the maxims of cooperative principle occur.
3. Identify the implicature of those dialog which are violating the maxims of cooperative principle.
E. Significances of the Study
With this existence of this research, the writer hopes that it will be a stimulation to analyze humor based on pragmatics which is still rare. The writer also hopes this reserch will be profitable andbeneficialfor the readers especially the ones who have interest in humor analysis based on pragmatics.
F. Research Methodology 1. Methodology of the Study
The method applied in this research is descriptive qualitative method. Then, the writer will describe the data which are violating the cooperative principle, the incongruity of humor, and the implicature.
2. Data Analysis.
An analysis of the data obtained qualitative cooperative principle based on Grice theory. In order to succeed this research, the writer benefitedthe qualitative analysis data by implementing the following procedures:
a. Collecting the whole books that are relevant to pragmatics and humor theory.
b. Reading and understanding some theories of pragmatics and humor theory..
xv
d. Identifying the dialogues of Kung Fu Panda movie that are violated the cooperative Principle and created the incongruity of humor, and the implicature of the dialogues.
e. Concluding the data which have been collected. 3. Unit of the Analysis.
The unit of analisis that is researched by the writer is the dialogues of Kung Fu Panda movie released on 6 June 2008 and produced by DreamWorks Animation's studio.
4. Instrument of The Research
xvi CHAPTER II
THEORETICAL FRAMEWORK
A. Pragmatics
Pragmatics is different from the study of grammar. Pragmatics is the study of language use which offers a complementary perspective on language, providing an insight into the linguistic choices that users make in social situations. It is not too important whether they observe a particular syntactic rule or not. Meanwhile, the study of grammar focuses on the language system. “The term ‘pragmatics’ is derived from Greek pragma which means ‘action’. Action is defined as intentional behavior.”9
The definition of pragmatics has been stated by some linguists. Parker stated in his book “Linguistics for non Linguists” that quoted by Kunjana Rahardi says “pragmatics is distinct from grammar, which is the study of language. Pragmatics is the study of how language is used to communicate”.10
Parker’s statement of the definition of pragmatics is emphasized and supported by the statement of Jacob L. Mey and Jean Stiwell Peccei. Jacob L. Mey argued that “pragmatics is the study of the conditions of human language uses as these are determined by the context of the society”.11
9
Philipp Strazny, (ed.), “Pragmatics”, Encyclopedia of Linguistics vol 2 (New York: Taylor & Fransis Book, Inc., 2005), p. 869.
10
Kunjana Rahardi. Pragmatik: Kesantunan Imperative Bahasa Indonesia (Jakarta: Erlangga, 2002), p. 49
11
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Jean Stilwell Peccei assumed that “pragmatics is the study concentrated on aspects of meaning that can’t be predicted by linguistics knowledge alone and takes into account knowledge about the physical and social world”12
Based on some definitions above, the writer assumes that pragmatics is the study of meaning that can’t be identified by linguistics knowledge alone or grammar but it is also determined by knowledge of context of society.
The example:
John : What time is it? James : The class has begun.
If the dialog above is analyzed semantically or grammatically, that dialog consists of interrogative sentence “what time is it? And the answer “the class has begun” consists of noun phrase “the class” and verb phrase “has begun”. That dialog describes that John asks James what time it is and James answers that the class has begun. Then, grammatical analysis as a formal analysis can’t explain the idea of that dialog. Furthermore, pragmatics analysis is able to complete it to get the idea of it. Concerning to the context, James answers John’s question explicitly. They can infer what time in that moment by concerning to the time when the class begins and they have the same assumption of the time so then the question has been answered already by saying the class has begun.
According to the explanation above, grammatical and lexical knowledge are generally only two or several factors in the interpretation process. Aside from physical setting, participants’ personal background knowledge and their attitude toward each other, sociocultural assumptions concerning role and status
12
xviii
relationship as well as social values associated with various massage (sic) components also play an important role.13 Then, to have the conversation come alive in mutually accepted and pragmatically determined context, the speaker and the hearer have to cooperate and adhere to the rule of communication which is called the cooperative principles.
1. Cooperative principles
Grice suggested that there is an underlying principle that determined the way in which language is used with the maximum efficiency and effectiveness to achieve rational interaction in communication. He called this overarching dictum the cooperative principle which is proposed in stating that participants expect that each will make a “conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged."14
The cooperative principle is subdivided into four maxims. Maxim means a succinct formulation of some fundamental principle or rule of conduct.15 The cooperative principle and its component maxims ensure that in an exchange of conversation, the right amount of information is provided and that the interaction is conducted a truthful, relevant, and perspicuous manner. A Speaker may respond to the maxim by obeying the rule, violate one of the four, choose one of them, or
13
A. Hamid Hasan Lubis. Analisis Wacana Pragmatik (Bandung : Angkasa, 1986), p. 70. 14
Steve Hoenisch, Grice’s Cooperation Principle and Conversational Maxims, Accessed on February 14, 2009. www.criticism.com/da/grice-maxims.php.
15
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sacrifice among the four if the condition demanding the speaker to choose, or just ignoring the rule.16 The four maxims of cooperative principle are:
a) the maxim of quantity
This maxim proposes the speaker to give his contribution sufficiently informative for the current purpose of the conversation and doesn’t give more information than required.17
Example:
a. John : Excuse me, do you know what time it is? Henry : Yes.
b. John : Excuse me, do you know what time it is? Henry : five o’clock.18
In the discourse a, it can be identified that Henry violates the maxim of quality because he doesn’t give sufficiently informative for the current purpose of the conversation. John apparently doesn’t need a short answer, yes or not, but he needs extra information for his question. On the other hand, the maxim of quality is fulfilled all the way in the discourse b. Henry has sent sufficient information for the question being asked by John.
b) the maxim of quality
This maxim requires the speaker not to say what he believes to be false and lack adequate evidence.19
16
Steve Hoenisch, Grice’s Cooperation Principle and Conversational Maxims, Accessed on February 14, 2009. www.criticism.com/da/grice-maxims.php
17
Alison Ross. The Language of Humour (London : Routledge, 1998), p. 40. 18
Salvatore Attardo. Lingustic Theories of Humor (Berlin : Mouton de Gruyter, 1994), p. 272.
19
xx Example:
c. Sandy : What is your name? Jack : My name is jack d. Sandy : What is your name?
Jack : You can call me Spiderman.
In conversation c, both Sandy and Jack adhere to the maxim of quality because they believe what they say is not false or lack of evidences. In contrast to conversation c, Jack violates the maxim of quality in conversation d because he is not a Spiderman. Then, his said is lack of evidence.
c) the maxim of relevance
This maxim requires the speaker to give the information as required for the goal of conversation.20
Example:
e. Boogie : What do you like to drink? Ray : I like to drink coffee f. Boogie : What do you like to drink?
Ray : I have bought a linguistics book.
Boogie and Ray have accorded the maxim of relevance in conversation e. Ray has given the relevant information boogie asks for meanwhile Ray violates the maxim of relevance in conversation f. He gives irrelevant answer to Boogie’s question.
d) the maxim of manner
This maxim proposes the speaker to be brief, be orderly, avoid obscurity of expression, and avoid ambiguity.21
20
Soenjono Dardjowidjojo. Psikolinguistik : Pengantar pemahaman Bahasa Manusia. (Jakarta: Yayasan Obor Indonesia, 2005), p. 110.
21
xxi Example:
g. Glory : What movie do you want to watch? Horror or comedy? Victoria : I want to watch comedy
h. Glory : What movie do you want to watch? Horror or comedy?
Victoria : Actually, the drama is good movie but I don’t understand the plot or action movie is also good but I don’t like the actors.
In conversation g above, Glory and Victoria have evoked their ideas clearly. All statements are understood well by them. This fact is real evidence that the maxim of manner has been satisfied in conversation g. In conversation h, Victoria seems to violate the maxim of manner. She doesn’t say her ideas briefly. 2. Implicature
The cooperative principle goes both ways: speakers (generally) observe the cooperative principle, and listeners (generally) assume that speakers are observing it. This allows for the possibility of implicatures, which are meanings that are not explicitly conveyed in what is said, but that can nonetheless be inferred.22
The word “implicature” is derived from the verb “to imply” as is its cognate “implication”. Originally, ‘to imply’ means ‘to fold something into something else’ (from the Latin verb plicare “to fold”); hence, that which is implied is “folded in” and has to be ‘unfolded” in order to be understood.23
The notion of implicature was originated by the Oxford philosopher Herbert Paul Grice who introduced it at Harvard in 1967.24 As John J. Gumperz in his book “Discourse Strategies” stated that the term implicature is used to account for what a speaker can imply, suggest, or mean as distinct from what the speaker
22 Steve Hoenisch,
Grice’s Cooperation Principle and Conversational Maxims, Accessed on February 14, 2009. www.criticism.com/da/grice-maxims.php
23
Jacob L. Mey (2001), op.cit. p. 45. 24
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literally says.25 Therefore, the literally meaning can’t be identified by linguistics knowledge alone or grammar but it is also determined by knowledge of context of society. The following example is from the classic article Logic and Conversation by Herbert Paul Grice:
“Suppose that A and B are talking about A mutual friend C, who is now working in a bank. A asks B how C is getting on in his job, and B replies, Oh quite well, I think; he likes his colleagues and he hasn’t been to prison yet.”26
The form of B’s statement does not say everything about the meaning and therefore the function. A can derive from B’s remark that B does not hold a high opinion of C. in fact, B has basically said that C is a potential criminal. Yet, this can not be derived from the literal meaning of B’s words. Why then can A draw these conclusions? Because A can assume that there is some relevance to B’s, at first glance, superfluous addition concerning prison. The only reason B would add that remark is if B meant to imply that C is a potential criminal.27
3. Context
Pragmatics view context primarily as “knowledge”; although a key part of such knowledge is “knowledge of situation”. The term of knowledge is what speakers and hearers can be suggested to know and how that knowledge guides the uses of language and the interpretation of utterances.28
25
A. Hamid Hasan Lubis (1986), op.cit. p. 76. 26
Jan Renkema (1993), op. cit. p. 8. 27
Ibid
28
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Dell Hymes identified the relevant context which quoted by A. Hamid Hasan Lubis as advesser or speaker, advessee or hearer, topic, setting, channel, code, massage from (sic), event.29
B. Humor
Rollo May, a humanistic psychologist, argued that humor is the capacity to perceive, appreciate, or express what is funny, amusing, incongruous, ludicrous, etc.30
Humor is the quality that makes something laughable or amusing; funniness: could not see the humor of the situation, the ability to perceive, enjoy, or express what is amusing, comical, incongruous, or absurd, or That which is intended to induce laughter or amusement: a writer skilled at crafting humor.31
The goal of humor is to violate pragmatic knowledge to a funny end. Then, it can liberate the perceivers of humor from the telic state, the situation which is full of pressure, to the paratelic state, the situation when the perceivers of humor are liberated from pressure.32
1. Theory of humor
The number of different theories of humor from the times of ancient Greek philosophers through the present is so extensive. Victor Raskin believed that
29
A. Hamid Hasan Lubis (1986), op.cit. p. 84.
30 Steven M. Sultanoff. Integrating Humor into Psychotherapy, in Play Therapy with
Adults. ed. Charles Schaefer, (New York: Wiley and sons, 2002). Accessed on February 4, 2009. http://www.humormatters.com. P. 17.
31
Alison Ross (1998), op.cit. p. 7. 32
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existing theories could be divided into three groups: incongruity theories, hostility theories, and release theories. 33
a. The theory of Incongruity
The theory of incongruity is often called by biosociation. Many researcher have noted that incongruity is fundamental to humor.34 This theory was proposed by Aristotle. It stated that humor appears as a result of understanding the incongruity between the expected, and the achieved result.35 Then, when something is perceived or understood that was not expected or predictable from the situation as understood up to the moment of surprise can create a joke.36
Incongruous means inconsistent; not fitting well together; disjoined; unsuitable; which all sound of negative term. The term incongruity refers to the possibility for two meanings being understood from the utterance.37 The humor will often have the following elements:
a. There is a conflict between what is expected and what actually occurs in the joke.
b. The conflict is caused by an ambiguity at some level of language.
c. The punch line is surprising, as it is no the expected interpretation, but it resolves the conflict.38
33
Igor Krichtafovitch, Humor Theory, Linguistics. Accessed on January 28, 2009. http://www.amazon.com/Humor-Theory-Laughter-IgorKrichtafovitch/dp/1598002228. p. 14.
34
E. Judith Weiner, “The Incongruity of Jokes, Riddles, and Humorous Situation”, Social interaction and Discourse Structures, Vol. 2. (1997), p. 139.
35
Tom Veatch, Humor Theory, Linguistics. Accessed on February 15, 2009. http://www.lebed.com/HumorTheory/Humorheoryfinal3.htm.
36
Tom Veatch, Humor is Affective Absurdity, Linguistics. Accessed on November 22, 2008. http://www. Tomveatch.com/else/humor/paper/node32.html.
37
Alison Ross. (1998), op.cit. p. 7. 38
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In this theory, humor is symbolized by X and a circumstance of intersection in the mind of two disjointed but logically justified associative contexts is symbolized by M1 and M2. The humor occurs when X = M1 and X = M2 but M1 = M2
The example:
Dialogue in a French film:
“Sir, I would like to ask for your daughter’s hand.” “Why not? You have already the rest.39
The word “hand” is perceived first in a metaphorical frame of reference, then suddenly in a literal bodily context. Here is the conflict between the expected and the achieved result occur and create a comic effect. Hand is identified as a humor, X, the circumstance when hand is perceived in a metaphorical frame of reference is identified as M1 and the circumstance when hand is perceived in a literally bodily context as M2. This situation can be formulated in the following:
M1 = M2
Hand in a metaphorical = = hand in a literally frame of reference bodily context X
Hand (Wilson 1979 :31) b. The theories of hostility
This theory often called by the theory of superiority. Such theories state that funniness consists of attaining a feeling of superiority over something, or in
39
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overcoming an obstacle, or aggression, in the attack of some object.40 The philosopher Thomas Hobbes (author of Leviathan, 1651) characterized laughter as a ‘sudden glory’ at a triumph of our own or at indignity suffered by someone else. He claimed that those who laugh are momentarily released from awareness of their own lack of ability. These accords with a commonsense perception of much humor being a form of mockery – a way of attacking others, so maintaining power and status by gaining support from other who join in the laughter. People most likely to laugh, according to Hobbes, are those ‘that are conscious of the fewest abilities in themselves; who are forced to keep themselves in their own favor, by observing the imperfections of other men41.
The example:
Jennifer : Before we go for your Record Choice, let’s see if wee can paint a picture of the young Eleanor Wood, and maybe recall a few childhood memories for you. You excelled in school academically and at sport. I love to imagine this picture of you, this Cornish dumpling, probably goalie in the hckey team, cheerfully bouncing around in goal, lifting everyone’s spirits. You were, I should imagine, a happy, jolly, sturdy person.
Dawn : I suppose so.
Jennifer : The class clown, perhaps? So many people with physical disadvantages like yourself often end up compensating. Was it, dare I say, your chunkiness, the fact that you were and are a fuller-figured person, that made you more determined to succeed?
Dawn : Oh all right, you can describe me as chunky, ample, bubbly, huggable, and so on, as log as I can describe you as slow-witted, uninteresting, obtuse, dull, tedious, mentally stagnant…because what you’re really wanting to say about me is ‘fat’and what I’m skirting around about you is ‘stupid’.42
40
Tom Veatch, Humor Theory, Linguistics. Accessed on February 15, 2009. http://www.lebed.com/HumorTheory/Humorheoryfinal3.htm. Accessed on November 22, 2008.
41
Alison Ross (1998), op.cit p. 53 42
xxvii c. The theories of liberation
According to this theory, humor is a result of the release of a type of psychic energy, liberating man from a certain amount of restraint. One of the more famous of these theories belongs to Freud.43 The adherents of a similar viewpoint include such authors as Spencer (1860), Penjon (1893), Kline (1907), Gregory (1924), Eastman (1936) and Monro (1951). These authors postulate that human actions are limited by numerous prohibitions – sustention of rational behavior, the need for straightforward expression of thought, and adherence to common sense. The humorous manner of expression of thought and way of socialization frees us from these restrictions.
The example:
Seorang majikan marah kepada bawahannya yang selalu terlambat masuk kantor.
“Kemarin ban mobilmu kempes. Kemarinnya lagi mobilmu mogok. Pagi ini jalanan macet. Besok kamu bilang mobilmu nabrak pohon.”
“Jangan begitu, Pak. Nanti perusahaan rugi.”44
43
Tom Veatch, Humor Theory, Linguistics. Accessed on February 15, 2009. http://www.lebed.com/HumorTheory/Humorheoryfinal3.htm. Accessed on November 22, 2008.
44
xxviii CHAPTER III
RESEARCH FINDING
A. Data Description
In this chapter, the writer will examine the analysis of the way to appear humor through the dialogues violated the cooperative principles. The humor will be elaborated through Grice theory of cooperative principle. The data are collected from the dialogues in Kung Fu Panda movie. They can be presented below:
1. Speaker
[image:28.612.116.513.253.705.2]Speaker is one of the elements of context which is fundamental to determine the meaning of speech based on Pragmatics theory. The speakers who engaged in dialog of Kung Fu Panda movie are shown at the following table:
Table I
The Table of the Speakers engaged in Dialog of Kung Fu Panda Movie
No Speakers Details Proofs
1 Po A young, lazy,
irreverent, slacker, clumsy, giant panda. He is kung fu fanatic who works in his father’s noodle restaurant and unexpectedly chosen to fulfill an ancient prophecy to be the Dragon Warrior.
Tigress : Master, are you pointing at...me?
Oogway : Him.
Po : Who--? {Po tries moving out of the way of Oogway's finger, but it keeps following him} Oogway : You.
Po : Me?
xxix
Shifu : Yes. Look at you...this fat butt. Flabby arms... Po : Those are sensitive in the flabby parts.
Shifu : And this ridiculous belly (Scene 27)
Po : I lied. I don't dream about noodles, Dad! I love kung fuuuuuuuuuuuuuuuuu- (Scene 17)
2. Po’s dad His name is Mr. Ping, the goose father. He sells noodle in his restaurant
Po's Dad : And then you will fulfill your destiny and take over the restaurant, just as I took it over from my father, who took it over from his father, who won it from a friend in a game of mahjong.
(scene 6) 3. Oogway The tortoise. He is
the master of kung fu in the Jade Palace
Shifu : Master Oogway? You summoned me Is
something wrong?{Reveal Master Oogway... a wise, old tortoise}
(Scene 8)
4. Shifu The red mouse. He
is Master
Oogway’s protégé who trains the Furious Five in the Jade Palace.
End next to palace on an old red panda (SHIFU) playing a flute. He is surrounded by the bushes and trees that nestle between the Palace buildings back on Shifu, still playing. (Scene 8)
Shifu enters the hallway of the bunkhouse. The Five burst out of their rooms and land, ready for inspection.
Furious Five : Good morning master!
(Scene 39) 5. The furious
five (Tigress, Monkey, Mantis, Viper,
A quintet of warriors trained in kung fu by tortoise Master Oogway,
xxx Crane) and his protégé,
Master Shifu.
Mantis! The Furious Five! ( Scene 15)
Shifu : Well done, students... if you were trying to disappoint me. {He uses his flute to correct the Five's
technique}Tigress, you need more ferocity. Monkey, greater speed. Crane – height. Viper – subtlety. Mantis— (Scene 7)
6. Tai Lung Shifu’s former pupil and foster-son. He is the vengeful and treacherous snow leopard.
They approach TAI LUNG, a giant, muscular snow leopard bound in a giant piece of tortoise shell armor and chains. (Scene 23)
Shifu peeks out of the Training Hall and finds a baby leopard cub on the steps.
Tigress : Shifu found him as a cub. And he raised him as a son.
(Scene 46) 7. Kg. Shaw The pig as the
villager of the valley of peace.
Throngs of Villagers are streaming into the arena… Two Pigs pass by. Kg Shaw : Sorry, Po.
Jr Shaw : We'll bring you back a souvenir ( Scene 12–13)
8. Jr. Shaw The pig as the villager of the valley of peace.
Throngs of Villagers are streaming into the arena… Two Pigs pass by. Kg Shaw : Sorry, Po.
xxxi 2. The Violation of Cooperative Principle
[image:31.612.115.507.217.680.2]Geoffrey Leech in his book “The Principles of Pragmatics” argued that humor can be created from the violation of cooperative principle.45 In the dialog of Kung Fu Panda movie, the writer finds some violation of the cooperative principle which can create the incongruity of humor and their implicature. The dialogues are identified below:
Table II
The Violation of cooperative Principle that Create the Incongruity of humor and their implicature
No. Data Indication Incongruity
of Humor
Implicat ure
Scene
1 Po's Dad : Oh, because it was a stupid dream. Can you imagine, me making tofu? (Laughs at the thought) No. We all have our place in this world. Mine is here. And yours is—
Po : I know. Is here.
Po's Dad : No, it's at tables two, five, seven, and twelve. {He loads Po's arms with bowls of soup} Service with a smile!
Maxim of quality.
X = here M1 = in the restaurant M2 = at tables two, five, seven, and twelve X = M1 X = M2 M1 = M2
Po’s dad aims to force Po to stop talking and serve the villagers exactly.
6 – 7
2. Po : Come on! Come on, ya—almost there... {He stops, flopping onto his back to catch his breath. WIDEN TO REVEAL he's only made it up
Maxim of quality
X = Almost there M1 = Near by the Jade Palace
He doesn’t believe that he is only makes seven 12-13 45
xxxii seven steps} What? No!
Oh No! (Two Pigs pass by)
M2 = Po only makes seven steps X = M1 X = M2 M1 = M2
steps
3. Crane : Look, you don't belong here.
Po : {Po looks stung to be hearing this from one of his heroes}I know. I know. You're right. I just - my whole life I've dreamed of-Crane : {of-Crane stops
Po before he
embarrasses himself even more} No no no... I meant you don't belong here. I mean, in this room. This is my room. Property of Crane.{Po is mortified, but covers}
Maxim of manner
X = You don’t belong here
M1 = You don’t belong to the Jade Palace M2 = You don’t belong to the Crane’s room X = M1 X = M2 M1 = M2
Crane implies that Po has to get out from his room because he wants to sleep.
33-34
4. Po : {Po makes a googly-eyed face} Doieeeee...
Tigress : (charging at Po) Oh! That is ill! Mantis : {Mantis pops up and halts Tigress} Wait! My fault! I accidentally tweaked his facial nerve. {Po falls face first to the floor, revealing his back is covered with needles} And may have also stopped his heart.
Maxim of manner
X=“Doieeee e...” with googly-eyed face
M1 = ill because hearing Tigress’ mockery M2 = Ill because acupuncture
Po implies to stop the acupunct ure because he is hurt.
xxxiii
X = M1 X = M2 M1 = M2
5. Po : (Normal)
Ears. It's not working for you? I thought they were pretty good. {Po looks at the stone-faced Five. Tigress jumps to her feet}
Monkey : It's Shifu. Po : Of course it's Shifu. What do you think I'm doing? {He finally notices Shifu standing there, doing a
slow burn.
Embarrassed, he places the soup bowls on his chest like a bra}
Po : Ooh! Master Shifu!
Maxim of manner
X = It’s Shifu M1 = Monkey understands what Po does
M2 =
Monkey says it to tell
Po that
Shifu has entered the room X = M1 X = M2 M1 = M2
Po warns Po that Shifu has entered the room and Monkey orders Po to stop imitating Shifu 53-54
6. Shifu : Look at you
Po : Yeah, I
know. I disgust you Shifu : No no, I mean... how did you get up there?
Maxim of manner
X = Look at you M1 = Po expectas that Shifu utters it to berate and humiliate him
M2 = Shifu utters it to tell Po that he has done a perfect spit X = M1 X = M2 M1 = M2
xxxiv 7. Shifu : You did?!
[Shifu smiles and shakes his head in disbelief] Wow. It is as Oogway foretold —You are the Dragon Warrior. You have brought peace to this Valley. And to me. Thank you. Thank you, Po. Thank you. [Shifu closes his eyes. He is still. Po starts freaking out]
Po : No! Master! No No No! Don’t die, Shifu. Please...
Shifu : (eyes
snapping open) I’m not dying, you idiot—ah, Dragon Warrior. I’m simply at peace. Finally.
Maxim of manner
X = Thank you
(Closing the Eyes) M1 = Shifu is dying M2 = Shifu feels in peace X = M1 X = M2 M1 = M2
S hifu implies his statement and action to express his feeling of peaceful after Po defeated Tai Lung and he needs a silent situation to feel peaceful.
82
B. Data Analysis
For analyzing, the writer uses the data from the dialogs of kung fu panda movie. First, she observes the context which supported the analysis. Second, she identifies the violation of the cooperative principle in dialog of Kung Fu Panda movie, the incongruous humor in those dialogues, and the implicature of those dialogues.
1. Datum 1
Po : Dad Dad Dad, it was just a dream.
Po's Dad : No, it was the dream. We are noodle folk. Broth runs through our veins.
Po : But Dad, didn't you ever, I dunno, want to do something else? Something besides noodles?
xxxv
{Dad gets a wistful look in his eyes} I thought about running away and learning how to make tofu.
Po : So why didn't you?!
Po's Dad : Oh, because it was a stupid dream. Can you imagine, me making tofu? (Laughs at the thought) No. We all have our place in this world. Mine is here. And yours is—
Po : I know. Is here.
Po's Dad : No, it's at tables two, five, seven, and twelve. {He loads Po's arms with bowls of soup} Service with a smile!
a. Context
Pragmatics is a study of how the linguistic elements interact with the contextual factors to produce the utterance interpretation.46 The contextual factors which are supported the analysis can be identified as below:
1) Character : Po and Po’s dad.
2) Setting : In the kitchen in his father’s restaurant
3) Context of situation : The restaurant is crowded. Po goes late to work. His father, Mr. Ping, asks him what he does until he comes late for working. He tells his father that he has a crazy dream. He lies to his father by saying that he dreams about noodle but actually he dreams about becoming the kung fu warrior, his obsession. His father is very excited hearing his dream because his father has been waiting for this moment. His father believes that his dream about noodle is the sign that he is almost already to be entrusted with the secret ingredient of his grandfather’s secret ingredient soup then he will fulfill his destiny to take the restaurant from his father.
46
xxxvi b. The violation of cooperative principle
Humor is non-cooperative communication because it is created from the violation of cooperative principle. The violation of cooperative principle in datum 1 to create the humor is identified below:
1) Maxim of quality
In this maxim, the speaker is required to not say what he believes to be false or lack of evidence.47 The maxim of quality in the conversation in datum 1 is seen in the information contributed by Po and his father. Po shares his idea that his dream is only a dream by saying “Dad Dad Dad, it was just a dream”. He also debates his father why his father did not learn to make tofu. It is reflected by his statement “But Dad, didn't you ever, I dunno, want to do something else? Something besides noodles?“ and it is emphasized by his statement “So why didn't you?” It means that Po believes what he says are true. After hearing Po’s questions, Po’s father answers that when he was young and crazy he thought about running away and learning how to make tofu. But he did not do it because he thought that it was a stupid dream. He believed that everybody has his own place in the world. He believed that his place is in the restaurant to make noodles. It is depicted in his statement “Actually...When I was young and crazy... I thought about running away and learning how to make tofu”. He shared his reason why he did not learn to make tofu by saying “Oh, because it was a stupid dream. Can you imagine, me making tofu? No. We all have our place in this world. Mine is here.
And yours is—“. Po assumed that his place is also in the restaurant to make
47
xxxvii
noodles but his father says that is wrong. His father says that Po’s place in the world is at table two, five, seven, and twelve. It is described clearly in his statement “No, it's at tables two, five, seven, and twelve”. It seems that Po’s father gives information what he believes to be false. He says that Po’s place in the world is at table two, five, seven, and twelve while they talking about the place of noodle seller. In sum, Po’s father violates the maxim of quality.
2) Maxim of quantity
Po repeats the word “dad” in his statement “Dad Dad Dad, it was just a dream” to emphasize his speech. It means that he doesn’t violate this maxim. Po utters some questions which elaborated in his questions “But Dad, didn't you ever, I dunno, want to do something else? Something besides noodles?“ and “So why didn't you?”. He utters his question sufficiently. Hearing Po questions, His father, Mr. Ping, has sent some information for the questions being asked by Po. He says, “Actually... When I was young and crazy... I thought about running away and
learning how to make tofu”. He also answers, “Oh, because it was a stupid dream. Can you imagine, me making tofu? No. We all have our place in this world. Mine
is here. And yours is—“. The information that has been sent by Po’s father is uttered sufficiently. Based on some facts above, the writer concludes that the speakers have fulfilled the maxim of quantity all the way
3) Maxim of relevance
xxxviii
father answers, “When I was young and crazy... I thought about running away and learning how to make tofu.” Po asks him any more, “So why didn't you?!” his father answers, “Oh, because it was a stupid dream. Can you imagine, me making tofu? No. We all have our place in this world. Mine is here.” Based on the conversation above, both Po and his father have sent the relevant statement. Po’s father always sends the relevant answer for some questions being asked by Po. Hearing his father’s answers, Po also sends the relevant statements and questions to represent his feelings. In conclusion, all the speakers involved in conversation have accorded the maxim of relevance.
4) Maxim of manner
In datum 1, there are two questions that asked by Po. He asked did his father ever want to do something else beside noodle and he asks why his father did not learn to make tofu. Po asked his questions straightforwardly. His father answers that actually, when he was young and crazy he thought about running away and learning how to make tofu but he thought that it was a stupid dream. His father answers his questions clearly. All speakers have evoked their ideas clearly. All statements are understood well by them. This fact is real evidence that this maxim has been satisfied in the conversation.
xxxix c. Humor
As argued by Aristotle, humor appears as a result of understanding the incongruity between the expected, and the achieved result.48 The dialog in datum 1 seems the conflict between what Po expects and what actually occurs. When his father says that his place is here, it leads Po and also the perceivers of humor to assume what Mr. Ping wants to say. Then, Po cuts in his father’s speech and says that he knows his place is also here. The punch line occurs when his father says it is wrong. Po’s place is at tables two, five, seven, and twelve. Then, it creates the different situation between what Po expects and what actually occurs. Of course, his father’s answer surprises Po and the perceivers of humor who has the assumption what Mr. Ping wants to say. Then, his father’s answer brings them from the telic state to the paratelic state. This situation can be formulated in the following:
M1 = M2
In the restaurant = = At tables two, five, seven, and twelve
X Here
Here is the humor which is identified as X and in the restaurant and at tables two, five, seven, and twelve are the situations made by the humor which are identified as M1 and M2.
48
xl d. Implicature
The implicature of this dialogue can be seen in the last conversation when Po’s dad says that Po’s place is at table two, five, seven, and twelve. Based on the context situation, the restaurant is crowded. Then, by saying it, Po’s dad aims to force Po to stop talking and serve the villagers exactly.
2. Datum 2
[Where's Po? PAN DOWN a long, long, long, long flight of stairs. Po stands at the bottom with his noodle cart, looking up at the daunting task before him. Po struggles to pull his noodle cart up the stairs]
[The sun beats down on Po, but he presses forward. Climbing. Climbing. Po is still struggling up the stairs]
Po : Come on! Come on, ya—almost there... {He stops, flopping onto his back to catch his breath. WIDEN TO REVEAL he's only made it up seven steps} What? No! Oh No! (Two Pigs pass by) Kg Shaw : Sorry, Po.
Jr Shaw : We'll bring you back a souvenir a. Context
The contextual factors which are supported the analysis in datum 2 can be identified in the following:
1) Character : Po, Kg Shaw, and Jr Shaw.
2) Setting : In the stairs, in the bottom of jade palace with his noodle cart.
xli b. The cooperative Principle
The violation of cooperative principle in datum 2 to create the humor is identified below:
1) Maxim of quality
Po says that he almost arrives to jade palace but when he stops and flop onto his back to catch his breath he is aware that he is only seven stairs from the bottom. He says, “Come on! Come on, ya—almost there” but when he is aware he says, “What? No! Oh No!”. What Po says that he is almost to the Jade Palace is lack of evidence. In sum, Po violates maxim of quality.
2) Maxim of quantity
This maxim proposes the speaker to give his contribution sufficiently informative for the current purpose of the conversation and doesn’t give more information than required.49 Po expresses his feeling when he comes almost to the Jade Palace and when he realizes that he is only seven steps from bottom by saying “Come on! Come on, ya—almost there. What? No! Oh No!”. He expresses his feeling sufficiently. Kg. Shaw and Jr Shaw express their sympathy when they know that Po only makes seven steps. Kg. Shaw says, “Sorry, Po” and Jr. Shaw says, “We'll bring you back a souvenir". They express their sympathy sufficiently. It means that all the speaker give their contribution sufficiently informative. It proves that this maxim has accorded well in datum 2.
49
xlii 3) Maxim of relevance
Po’s statement “Come on! Come on, ya—almost there. What? No! Oh No!” is relevant to the situation when he is struggling to go to the Jade Palace and feeling that he is almost there. His statement “What? No! Oh No!” is also relevant to the situation when he is aware that he is still far from the Jade Palace. The statement of Kg Shaw saying that he is so sorry for Po and the statement of Jr Shaw saying that he’ll bring Po a souvenir are relevant to the Po’s situation when he realizes that he is still at the bottom of the Jade Palace. All facts prove that this maxim has been fulfilled.
4) Maxim of manner
Po expresses his happiness and sadness clearly by saying “Come on! Come on, ya—almost there. What? No! Oh No!” Kg Shaw and Jr Shaw also say their idea clearly about their sympathy by saying “We'll bring you back a souvenir”. Then, the speakers in datum 2 share their ideas straightforwardly. They adhere to this maxim well.
In sum, the writer finds the maxim of quality is not adhered to in dialog in datum 2.
c. Humor
xliii
realizes that he is still far from the Jade Palace. Here the punch line occurs. The situation is not fitting well between Po’s statement and what he and the perceivers of humor expect. It creates a comic effect. It is formulated below:
M1 = M2
Near by the Jade Palace = = Po only makes seven steps
X Almost there
Po’s statement “Almost there” is the humor which is identified as X because it creates the conflict between Po’s expectation and the happened situation. Po’s expectation that he almost arrives to the Jade Palace is identified by M1 and the happened situation that he is still far from he Jade Palace is identified by M2. d. Implicature
Po’s statement “Almost there” makes the audiences understand that he is almost to the Jade Palace and they also understand when Po says “What? No! Oh No!” by observing the Po’s statement and the happened situation. Po implies that he doesn’t believe that he is only makes seven steps.
3. Datum 3
Po : You guys were totally amazing at the Battle of Weeping River. Outnumbered a thousand to one, but you didn't stop, and then you just...HI-YAH! {Po does a spastic series of Kung Fu moves. We hear a RIP, and reveal that he's kicked his foot through the paper wall} Ooo, sorry about that.
Crane : Look, you don't belong here.
xliv
Crane : {Crane stops Po before he embarrasses himself even more}No no no... I meant you don't belong here. I mean, in this room. This is my room. Property of Crane. {Po is mortified, but covers} Po : Oh, okay. Right right. Yeah, you want to get to sleep. Crane : Yeah.
Po : I'm keepin' you up. We got big things tomorrow. Alright. You're awesome. Last thing I'm gonna say. Okay. Bye bye. [Po shuts the door. Crane sighs. The door flies open. Po enters with an eager smile] What was that?
Crane : I didn't say anything. a. Context
The contextual factors which are supported the analysis in datum 3 can be identified in the following:
1) Character : Po and Crane.
2) Setting : In the bunkhouse, in the night.
3) Context of situation : Po is dejected after his first day of training but advised by Master Oogway, he refuses to quit. He goes back to the bunkhouse. Po peeks around the corner. He tiptoes into the hall. The floorboards strain beneath him. Po takes a gentle step but Po's foot goes through the floor. Po tries to recover. Po rolls his ankle and stumbles through a bedroom door. Crane is staring back at him. Po tries to have the conversation with Crane but he says that he should probably get to sleep. Po is sad and feels dejected.
b. The Cooperative Principle
xlv 1) Maxim of quality
Crane tells the fact that Po is not belong here because they are in Crane’s room. He says, “Look, you don't belong here. No no no... I meant you don't belong here. I mean, in this room. This is my room. Property of Crane” and Po also realizes that he is in Crane’s room and Crane wants to get sleep. He utters, “Oh, okay. Right right. Yeah, you want to get to sleep”. Crane is sure that the idea in his statement is true and Po is honest about what he realizes. In sum, the maxim has been well-fulfilled.
2) Maxim of quantity
Po expresses his amazement by saying “You guys were totally amazing at the Battle of Weeping River. Outnumbered a thousand to one, but you didn't stop,
and then you just...HI-YAH!” He also expresses his awareness by saying “I know. I know. You're right. I just - my whole life I've dreamed of- Oh, okay. Right right.
Yeah, you want to get to sleep. I'm keepin' you up. We got bigthings tomorrow.
Alright. You'reawesome. Last thing I'm gonna say. Okay. Bye bye”. Po says his ideas effectively. Crane says, “Look, you don't belong here. No no no... I meant you don't belong here. I mean, in this room. This is my room. Property of Crane”.
Crane also says his statement effectively. Then the writer identifies that all speakers adhere to the maxim of quantity because they say their ideas in right portion.
3) Maxim of relevance
xlvi
He feel dejected the Crane explains that he means that Po doesn’t belong to there room. Crane sends the appropriate statement to cheer Po when he is upset for feeling dejected. He utters, “No no no... I meant you don't belong here. I mean, in this room. This is my room. Property of Crane”. Then, Po is aware that Crane wants to get sleep and he go out of Crane’s room. Po also gives the relevant respond for Crane’s statement when he says that there is his room. Po understands that Crane wants to get sleep. He says, “Oh, okay. Right right. Yeah, you want to get to sleep. I'm keepin' you up.” In sum, the maxim has been satisfied.
4) Maxim of manner
In this maxim, the speaker is required to be brief, be orderly, avoid obscurity of expression, and avoid ambiguity.50 Crane utters, “Look, you don't belong here”. This statement creates an mbiguity for Po. Po says, “I know. I know. You're right. I just - my whole life I've dreamed of-“. He creates an ambiguity for Po. He means that Po does not belong in his room but Po misunderstands. Po suggests that Crane’s statement means he does not belong to the Jade Palace. Crane doesn’t send his message directly. He doesn’t say that Po has to get out from his room. Then, Po misunderstands. It means that Crane, in this conversation, seems to violate the maxim.
Toward the explanation above, the writer concludes the maxim of manner is violated in dialog in datum 3.
50
xlvii c. Humor
Crane expects Po gets out from his room by his statement that Po is not belong here, but the achieved result from Crane’s statement is Po feels that he is refused and he is not appropriate to be the Dragon warrior. Hearing Po’s statement, Crane is panic. The panic situation creates a punch line because it can bring Po and the perceivers of humor from the telic state to paratelic state. To feel the punch line, the perceivers of humor have to get the ambiguity from the sentence “you don’t belong here”. The ambiguity creates the situation not fitting well between what Crane expects and the achieved result. It means that in datum 4 are two meanings that being understood from the statement “you don’t belong here”. The term incongruity refers to the possibility for two meanings being understood from the utterance.51 It can be formulated as below:
M1 = M2
You don’t belong to the = = You don’t belong to the Jade Palace Crane’s room
X
You don’t belong here
The Statement “You don’t belong here” is the humor which identified as X because it creates a conflict between Po’s expectation and Crane’s purpose. Po’s expectation that he doesn’t belong to the Jade Palace is identified as M1 and Crane’s purpose that Po doesn’t belong to his room is identified as M2.
51
xlviii d. Implicature
The implicature in this conversation is seen from Crane’s statement saying that Po is not belonging here. Actually, Crane implies that Po has to get out from his room because he wants to sleep.
4. Datum 4
Po : (Trying to ease the tension) Guys, guys. I know about Tai Lung. {Tigress turns to Po} He was a student, the first ever to master the thousand...{Tigress approaches Po and leans in towards him} (nervously trailing off)...scrolls of... kung fu... and...then he turned bad... and now he's in jail.
Tigress : {Tigress shakes her head at the panda's ignorance} He wasn't just a student. {Shifu peeks out of the Training Hall and finds a baby leopard cub on the steps} Shifu found him as a cub. And he raised him as a son. {Baby Tai Lung pulls on Shifu's whiskers}...and when the boy showed talent in Kung Fu... {Baby Tai Lung punches the training dummy across the floor} ...Shifu trained him. {Shifu teaches Baby Tai Lung how to punch} He believed in him. He told him he was destined for greatness.{Hard cut to a full-grown Tai Lung demolishing a training dummy} It was never enough for Tai Lung. He wanted the Dragon Scroll. But Oogway saw darkness in his heart and refused. Outraged, Tai Lung laid waste to the valley. He tried to take the scroll by force. And Shifu had to destroy what he had created. {Tai Lung ransacks a village on his way up to the Jade Palace. He crashes through the doors, running towards a waiting Shifu and Oogway. Shifu leaps at Tai Lung to deliver a kick} But how could he? {Seeing only baby Tai Lung running towards him, Shifu pulls his kick short. Tai Lung counters with a devastating strike and Shifu crashes to the ground holding his broken leg.Tai Lung leaps for the scroll, but Oogway stops him with strikes at his pressure points. He falls to the ground in a heap} Shifu loved Tai Lung like he'd never loved anyone before... {Young Tigress in the training hall strikes the dummy in the same manner as Tai Lung. Shifu corrects her form. Nothing more. Young Tigress looks crestfallen}...or since. {The sad, young Tigress cross-dissolves to adult Tigress}{Everyone is quiet in the moment} And he has a chance to make things right, to train the true Dragon Warrior. And he's stuck with you: a big, fat panda who treats it like a joke. Po : {Po makes a googly-eyed face} Doieeeee...
Tigress : (charging at Po) Oh! That is ill!
xlix
tweaked his facial nerve. {Po falls face first to the floor, revealing his back is covered with needles} And may have also stopped his heart.
a. Context
The contextual factors which are supported the analysis in datum 4 can be identified in the following:
1) Character : Po, Tigress, and Mantis. 2) Setting : Bunkhouse – Evening
3) Context of situation : After training, Po gets acupuncture from Crane and Mantis. While acupuncturing, Po tells them that Shifu tries to get rid of him. The others look at each other and chuckle awkwardly. Mantis says that he can seem kind of heartless but he isn’t always like that. Viper supports Mantis’ argument by saying that according to legend, there was once a time when Master Shifu actually used to smile. But that was before... Crane stops his speech and makes Po curious to know. Suddenly, tigress enters the room and continues the crane’s speech. Crane argues that they aren’t really supposed to talk about him. But tigress disagree and argue if Po is going to stay in the Jade Palace, he should know.
b. The Cooperative Principle
The violation of cooperative principle in datum 4 to create the humor is identified below:
1) Maxim of quality
Po says that he know Tai Lung. He utters, “Guys, guys. I know about Tai Lung. He was a student, the first ever to master the thousand...scrolls of... kung
l
Lung is true because he is a kung fu fanatic. Meanwhile, Tigress says that Tai Lung is not only a student. She believes that it is true and not lack of evidence because she is one of a quintet of warriors who trained in kung fu by master Oogway and master Shifu in the Jade Palace. While talking about Tai Lung, Mantis says that he tweaks Po’s facial nerve and it can stop Po’s heart. He says it truly. It depicted by his statement “Wait! My fault! I accidentally tweaked his facial nerve. And may have also stopped his heart”. All the statement that said by Tigress, Po, and Viper are true. Based on some proofs, the writer identifies that all speakers engaged in this conversation adhere to this maxim.
2) Maxim of quantity
li
informative as required. The speakers don’t say anything much more than it is needed in this conversation. Then, the maxim has been adhered to.
3) Maxim of relevance
Po evokes his idea about Tai Lung. Feeling unsatisfied with
