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1 e l b a
T Cataphora‘ me ’wtihEfifeasr eference 2
e l b a
T Cataphora‘ you ’wtihEfifeasr eference 3
e l b a
T Anaphora‘ I ’wtihEf ifeasr eference 4
e l b a
T Anaphora‘ me ’wtihEfifeasr eference 5
e l b a
T Anaphora‘ my ’wtihEf ifeasr eference 6
e l b a
T Anaphora‘ mysefl ’wtihEfifeasr eference 7
e l b a
T Anaphora‘ you ’wtihEfifeasr eference 8
e l b a
T Anaphora‘ your ’wtihEf ifeasr eference 9
e l b a
T Anaphora‘ yoursefl ’wtihEfifeasr eference 0
1 e l b a
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T The use o fvocaitve swtih Efife a santeceden tand anapho irc e
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1 e l b a
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1 e l b a
T Anaphora‘ you ’wtihCurit sasr eference 4
1 e l b a
T Anaphora‘ he ’wtihCurit sasr eference 5
1 e l b a
T Theuseo fvocaitve swtihCurit sa sanapho ircr eference 6
1 e l b a
T Cataphora‘ I ’wtihDeenaasr eference 7
1 e l b a
T Cataphora‘ you ’wtihDeenaasr eference 8
1 e l b a
T Cataphora‘ me ’wtihDeenaasr eference 9
1 e l b a
T Cataphora‘ she ’wtihDeenaasr eference 0
2 e l b a
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2 e l b a
T Anaphora‘ me ’wtihLorrel lasr eference 3
2 e l b a
T Anaphora‘ she ’wtihLorrel lasr eference 4
2 e l b a
T Theuseo fvocaitve swtihLorrel la sanapho ircr eference 5
2 e l b a
T Exophora‘ I ’wtihMichelleasr eference 6
2 e l b a
T Exophora‘ my ’wtihMichelleasr eference 7
2 e l b a
T Exophora‘ you ’wtihMichelleasr eference 8
2 e l b a
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2 e l b a
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S The Study o fPerson Deicitc Shfi tfrom
d e lt it n E k c a r t d n u o S s l r i g m a e r
D I’t sAl lOver .Yogyakatra : Depa trmen tO f
,s r e tt e L h s il g n
E FacutlyO fLetter ,sSanataDharmaUniverstiy ,2012.
l a n a o t s i y d u t s s i h t f o s u c o f e h
T yze the person deixi s tha tappear sin the
s l r i g m a e r
D Musica lMovie Soundrtack Enitlted I’t sAl l Over .The wrtie ri s e
s u a c e b s i x i e d n o s r e p e z y l a n a o t d e t s e r e t n
i thereareal o to fkind so fthe person
d e s u e r a t a h t s i x i e
d in t hi ssong .Thissong ha s tisl y irca saconversaiton t hat i s s
r e t c a r a h c x i s y b g n u
s int hemovie . tIi saboutt heargumentamongsixcharacters s
t a h
t ing in tha tsong ,the ifve character sthere ,Curits ,Deena ,Lorrell ,C .C . ,
e ll e h c i M d n a , e ti h
W ifgh tagains t Efife . There are a lo t o f person deicitc n
o i s s e r p x
e s eus dt okeept he lfowoft heconversaitonandmakeclea rtheconfilc t .
e r e h t g n i n e p p a h
c i p o t e h t o t d e t a l e
R tha tthe wrtie rchooses ,there are three quesiton stha tare n
o it a l u m r o f m e l b o r p e h t n i d e t a l u m r o
f .Thef ris tproblem i saboutt hethekind o f c
ir y l e h t n i d n u o f s i t a h t s i x i e d n o s r e
p .Thesecondi sthedeixi sshi tft ha toccurred e
h t s i d ri h t e h T . s i x i e d n o s r e p f o e s u e h t o t e u
d funciton o f the shitf in
n i g n o s l a n o it a s r e v n o c e h t o t n o it u b ir t n o
c theDreamgirlssoundrtackenitltedI’t s
r e v O l l
A .
f o n o it a n i b m o c a s i y d u t s s i h
T interne tresearch and ilbrary research .The wrtie r e
c r u o s e m o s m o r f s e ir o e h t e h t s e k a
t book sand t hedatafromobservingt hesong c
ir y
l . The main theory taken from Levinson’ s book en itlted Handbook o f m
g a r
P aitcs. Thewrtie ruses pragmaitcapproacht oanalyzet hes ong. t
a h t s w o h s y d u t s s i h t f o t l u s e r e h
T thekind so fperson deicitcexpression salway s r
e f e
r to reference to indicate the person being referred ,such a sfris tperson k
a e p s e h t o t r e f e r o t n u o n o r
p er ,second person pronoun t o refer t o t headdressee t
n a p i c it r a p r e h t o e h t o t r e f e r o t n u o n o r p n o s r e p d ri h t d n
a s ,no rspeake rno rthe
r o r e t n e c c it c i e d e h t tf i h s o t d e s u e r a s n o i s s e r p x e c it c i e d n o s r e p e s o h T . e e s s e r d d a
h c a E . r e h t o n a o t e n o m o r f o g ir
o itmes ther eferencechanges, t herei samovemen t tf
i h s t a h t o g ir o r o r e t n e c c it c i e d f
o s thef ocustowhats peakerr eferst o .Nexti st he e
h t f o n o it c n u
f person deicitc shfi tin t he song i sto emphasizetheconfilc ttha t t
a h t n i s r u c c
o song. Thepurposeoft heexistenceoft hesong i n t hestory wli lbe .r
a e l
a t s r e d n u r e r a e h e h t p l e
h ndwhatt hespeake rmeans .Thati swhydeixi soccursi na
c n o i s s e r p x e c it c i e d , e g a u g n a l f o e g a s u y r e v e n I . e g a u g n a
l an bef oundf requen lty .
, e l p m a x e r o F . n o it a s r e v n o c y li a d n i d n u o f e b n a c s i x i e d f o s m r o f y n a M
:
A Iwen twtihFrancescaandDavid. :
B Uhuh? :
A Francesca’ sroom-mate .And Ailce’ s- a f irend o fAilce’ sfrom i
d e w h a e Y . s u f o x i s e r e w e r e h T . n o d n o
L d al o to fh li lwalking .
) 7 : 2 0 0 2 , g n it t u C (
e h t g n i w o n k t u o h ti w B d n a A n e e w t e b n o it a s r e v n o c e h t g n i d a e r y B
, e r e h t g n i n e p p a h t x e t n o
c the fris tperson pronoun ‘I’i sa deicitc expression t ha t
e h T . g n i k a e p s n o s r e p e h t o t s r e f e
r ‘ su ’ a ‘ end w ’ aredeicitcexpressionst hatr efe r
m o o r s ’ a c s e c n a r F , d i v a D , a c s e c n a r F , r e k a e p s e h t o
t -mate ,Ailce’ s- a f irend o f
e ll e h c i M d n a , n o d n o L m o r f s ’ e c il
A – thes peaker’ swfiet ha tmenitonedelsewhere
.t x e t e h t n i
’ . e t u c s i e h s d n a l u fi t u a e b s i lr i g t a h T ‘ , s y a s n a m a n e h w o s l
A the heare r
o h w t u o b a w o n k t o n l li
w the gi lri suntli t here i saclea rreferencet oward t hose
n o i s s e r p x e c it c i e
d s ‘the gilr ’ and ‘she’ . ‘The gilr ’ refer s to who the man
r e f e r t h g i m ’ e h s ‘ d n a d e n o it n e
m st ot hegri lwhothemanmenitonedbeforeort he
g r e h t
o i lrt hati si nt hecontex to futterance .
s u e h t n
I e o fdeixis ,someoneshould focusto wha taspeake rsays t o ge t
t a h w f o a e d i e h
t a speakerr eferred ot . I nan utterance,t hedeicitccente ro ro irgo
a s , e l p o e p o w t n e h w , e l p m a x e r o F . tf i h s y ll a c i m a n y d l li
w y C and D ,using the
‘ n o i s s e r p x e c it c i e d e m a
s I’i n ,C:‘ Iwould ilket oea tsandwich ’D:‘ sodoI ’ .The
t n e r e f fi d s i d e r e tt u C t a h t ’ I ‘ r o f e c n e r e f e
r fromwha tDsaid .Thef rist‘ I’r eferst o
e f e r s a D h ti w ’ I ‘ d n o c e s e h t o t tf i h s t i n e h t r e k a e p s e h t s a
m o r f e v o
m C to D. Deixi scan also refe rto place o rspace .A sin the example
w o l e
b ,onecanalsor efert os pace,i ns entencebelow ,
? e n o e u l b e h t r o e n o d e r e h T ? r e f e r p u o y o d g a b h c i h w : E
. e n o t a h t r e f e r p I : F
w o n k t o n l li w r e r a e h e h
T thebagt ha tFmenitons .Ther eade rshouldknow
s e r u t s e g e h
t that t hespeake rdoes .I talso wli lno tbeclea renough t o understand
s e t a c i d n i E t a h t g a b e u l b d n a d e r h c i h
w . I tcould be the red bag tha ti splaced
h ti w r e s o l
c the speake ro rthe red bag having more distance wtih the speaker .
h w e m it e h t t u o b a n o it a m r o f n i e v i g t a h t s i x i e d e m it o s l a s i e r e h
T en t heutterance
d ’ I ‘ . n e k a t s
i done the homework ’show sthe pas t itme since i tuse spas ttense .
e c it c i e d h c u s , e n o h p e h t n o n o it a s r e v n o c a e v a h e l p o e p n e h
W xpression swli lno t
s e o d r e n e t s il e h t fi s u o i v b
o on tknow who i sbeing menitoned .T sho e spaceand
s i h t f o s u c o f n i a m e h t e s u a c e b s i s e h t s i h t n i d e n i a l p x e e b t o n l li w s i x i e d e m it
. s i x i e d n o s r e p s i s i s e h t
r w o t y ti s o ir u c s ’ r e ti r w e h t r e g g ir t a n e m o n e h p e s o h
T tie thi sstudy .The
e i v o m l a c i s u m s ’l ri g m a e r D f o e n o m o r f n e k a t e r a y d u t s s i x i e d s i h t f o a t a d
d e lt it n e k c a rt d n u o
s I’t sAl lOver . tIi sasong t elilngaboutt he ifghitng among six ,s
t s a
c whichi si nt hef ormo fasong .Thesongi ssungby 6singer sperformingi n
a n e e D s a s e l w o n K e c n o y e B , .r J , r o l y a T s it r u C s a x x o F e i m a J s a h c u s s lr i g m a e r D
o
J ne s ,Jennfie rHudson a sEfife Whtie ,Anika Non iRose a sLorrel lRobinson ,
e s u a c e b h tr o w s i y d u t s s i h
T thi sstudy need san audio-visua lreferencet o
n i d n u o f e r a t a h t s i x i e d n o s r e p e h t d n a t s r e d n
u thel y irc . tIi sdfiferentt o anothe r
s r a e p p a t a h t n o i s s e r p x e c it c i e d e h t t u o b a s e i d u t s r e ti r w e h T . s i x i e d t u o b a s i s y l a n a
o m l a c i s u m a m o r f n e k a t c ir y l g n o s e h t n
i vie( Dreamgirls) .Thesong i sdfiferen t m
o r
f othe rsong because tii saconversaiton among six person which i ssung by
n o s r e p x i s e s o h
t in a musica lmovie .Thi sstudy i swo trh because through the
d n u o f s i x i e d n o s r e
p therei sacompilcaitont ha tappear swhichi st hedeixiss hif .t
n o it a l u m r o F m e l b o r P . B
e b n a c t a h t s m e l b o r p o w t e r a e r e h t , e v o b a d n u o r g k c a b e h t n o d e s a B
: s w o ll o f s a d e t a l u m r o f
t a h W .
1 ist he reference of t hek find o the person deixi sfound in t hesong l yirc
d e lt it n
e I’t sAl lOver? c
i e d t a h W .
2 it cshfi toccursbyt heuseo fpersondeixis?
e h t s i t a h W .
3 funcitonoft hes hi tfi nt hes ong?
y d u t S e h t f o s e v it c e j b O . C
e n o d s i y d u t s s i x i e d s i h t , e v o b a n o it a l u m r o f m e l b o r p e h t n o d e s a
B ,f rislty ,
e h t t u o d n if o
t referenceoft hekind so fperson deicitcexpressionstha tareusedi n
d e lt it n e k c a rt d n u o s e i v o m l a c i s u m e h
t I’t sAl lOver .Thesecondi st oi dentfiy the c
it c i e d n o s r e
p shitft ha toccur sduet o t heuseo fperson deixis .Las tbu tnotl east ,
e h t e e s o t d e t a l u m r o f s i n o it s e u q d ri h t e h
t funciton fo the deicitc shfi tin the
s l r i g m a e r
s m r e T f o n o it i n if e D . D
t h g i m t a h t g n i d n a t s r e d n u s i m g n i d i o v
A happenint hi sstudy , tii si mpo tran t
u e b l li w t a h t s m r e t e h T . s e i g o l o n i m r e t e m o s f o n o it i n if e d e h t w o n k o
t sed i n t hi s
s i y d u t s
o d e w s g n i h t c i s a b t s o m e h t f o e n o r o f ) k e e r G m o r f ( m r e t l a c i n h c e t s i s i x i e D . 1
g n ir e f f e r f o m r o f a y lr a e l c s i tI . e g a u g n a l a i v ’ g n it n i o p ‘ s n a e m t I . e c n a r e tt u h ti w
b n o it c n it s i d c i s a b t s o m e h t h ti w , t x e t n o c r e k a e p s e h t o t d e it s i t a h
t etween deicitc
.) 9 : 6 9 9 1 , e l u Y ( ’ r e k a e p s m o r f y a w a ‘ s u s r e v ’ r e k a e p s r a e n ‘ g n i e b s n o i s s e r p x e
R .
2 eference i sdeifned a san ac tin which a speake r ,o rwrtier ,use s ilnguisitc
) 7 1 : 6 9 9 1 , e l u Y ( . g n i h t e m o s y fi t n e d i o t ,r e d a e r r o , r e n e t s il e l b a n e o t s m r o f
D .
3 ei cc it shi tfi st heuseo fdeicitcexpressionsi nwayst hats hitft hedeicitccenter
s t n a p i c it r a p r e h t o o
6
I I R E T P A H C
W E I V E R L A C I T E R O E H T
s e i d u t S d e t a l e R f o w e i v e R . A
lt it n e 2 0 0 2 f o r a e y e h t n i g n it ir w s i s e h t r e h n i i n a il e M a n it s u g
A ed The
n e k c i h C f o g n i p l e H d n 2 A f o k o o b e h t m o r f n e k a t s e i r o t s n e t n i s i x i e D f o y d u t S
l u o S e h T r o F p u o
S analyzes thekinds fo deixis tha tappeari n w irtten l anguage. s
e s u e h
S desc irp itveapproach t o descirbet hekind so fdeixisi n t hoset ensto ire s
w o h d n
a theyareusedi nt hesto ires .Nex,tt hedeixi sarei ndenitifedt oablehert o
s i x i e d e h t t n u o
c tha tappears .Thedatashe ifn s d arepersondeixis ,itmedeixi sand
.s e ir o t s n e t e s o h t m o r f s i x i e d e c a l
p In t he analysis ,she i den itifes t he deixist ha t
if dn s in each paragraph i nastory ,shecountsthet ota lo feach t ypeo fdeixi sand
w o h
s s the highest numbe rof deixist ha temerge i n onestory .She fi dn s out t ha t
s i x i e d e c a l p y b d e w o ll o f s i ti d n a s e ir o t s e l o h w e h t n i d e s u y lt s o m s i s i x i e d n o s r e p
i x i e d e m it d n
a .s Fromt hi sstudy ,shef i dn s outt hatt heuseo fdeixi smaynotl ead
e h t y b d e n o it n e m s e c n e r e f e r t c a x e e h t g n i w o n k y b n o i s u f n o c o t r e d a e r e h t
.r e k a e p s
it a w a m h c a R h a d n E e k
I in hert hesi senitltedTheUseo fPerson Deixi si n n
o it a l e
R to Poltieness Funciton is a case study among the student so fEngilsh
o r o g e n o p i D , s e it i n a m u H f o y tl u c a F , 7 0 0 2 s s a l c m a r g o r P t n e m tr a p e
D Universtiy
g n a r a m e
S .
g n ir r e f e r f o m r o f
A expression thati s ited t o t hespeake rcontexti scalled
s e s u e h S .s i x i e
d Levinson’ sbook a sherr eferences .Heresheanalyze sakind of
i h w s i x i e
s e ir o g e t a c l a c it a m m a r g e h t n i y lt c e ri d d e t c e lf e r s i s i x i e d n o s r e p , y ll a r e n e G
d n a , ) e e s s e r d d a ( d n o c e s , ) r e k a e p s ( t s ri f e r a s n o it c n it s i d c i s a b s ti h c i h w , n o s r e p f o
.) ) s ( r e h t o ( n o s r e p d ri h
t
t e t o n
… hat t hespeake ro rspokesman can bedisitnc tfrom t hesourceo f r e d n a t s y b r o r e r a e h d n a , t e g r a t e h t m o r f t c n it s i d t n e i p i c e r e h t , e c n a r e tt u n a
) 8 6 : 3 8 9 1 , n o s n i v e L ( t e g r a t r o s e e s s e r d d a m o r f t c n it s i d
n o s r e p n i n o s r e
P a l pronoun and person afifxe s is a deicitc category
. ) 1 0 1 : 2 9 9 1 , s n i k r e P
( Pronoun s are word s tha t substtiute fo rnouns .Every
r a e l c a e v a h t s u m n u o n o r
p anteceden t t(he word fo rwhich t he pronoun stands) .
. t n e d e c e t n a s ti s a ’ n o s r e p ‘ s a h n u o n o r p l a n o s r e p , o
S Persona lpronouni n genera l
.r e b m u n d n a r e d n e g , n o s r e p s a d e z ir o g e t a c s
i Inaddiitont opersondeixis ,vocaitve
. y r o g e t a c c it c i e d o s l a s i
a .Person s
s ir e t c a r a h c t x e
N itci scategoryo fperson .Personal ,possessive ,andr elaitve
. n o s r e p f o s n o it c n it s i d , n u o n e k il n u , e v a
h
n u o n o r p t s ri f e h
T (e.g .‘I’,’ w ’e ) ist hegrammaitcailzaitonoft hespeaker’ s
. fl e s m i h o t e c n e r e f e
r ‘I’ would mean t‘he person who i sexpeirencing this ’
n e k o t l a c i x e d n
i -relfexivtiy o rrefert o t hemselves ,so t hat ,fo rexample‘I ’mean s
d r o w e h t f o n e k o t s i h t g n ir e tt u s i o h w n o s r e p e h
t ‘I’ .The reference for t he fris t
x if e b t s u m ’ I ‘ n u o n o r p n o s r e
p e d depending on t hecontex to futterance.I tcould
f e r e
b ert o anothe rreferencethough t he word ‘I’ said by a cetrain speaker .Fo r
’ I ‘ .’ ’ y tr a p t a h t o t o g t o n l li w I ‘ , d i a s e h s y a d r e t s e y ‘ ,s y a s n h o J n e h w e k il , e l p m a x e
r e f e
r s to the gri ltha tisJreferred b y John, who utter sthe sentence. The second n
o s r e
b .Genders
r o c c
A ding to Lyon ,gende ri sused to re lfec tthe rtadiitona lgramma rto
, n o y L ( r e t u e n d n a e n i n i m e f , e n il u c s a m n e e w t e b , r e d n e g d n a x e s n e e w t e b r e f fi d
. ) 3 8 2 : 8 6 9
1 Thi scharacteirsitccanbef oundi nt het hridpersons ingula ro fperson .
h c u s e n i n i m e f s i t s ri f e h
T a ‘ e s s ’ , ‘ rh h ’ , ‘ se h ’er ,and ‘hersefl’. The second i s
s a h c u s e n il u c s a
m ‘ eh ’ ,‘ mh ’ , ‘ si h ’i ,and ‘himsefl’ .Las tis neuter .The singula r e
r a s e n
o ‘ ti’ , ‘ sti ’ , ‘tisefl’, and plura lone sare ‘ ythe ’ , ‘ mthe ’ , ‘theri’ , ‘theris’ , ‘themselves’ ,‘ ew ’ ,‘ su ’ ,‘o ’, urs a ‘nd ourselves’.
c .Number s
e h t s i r e b m u n f o y r o g e t a c e h t f o n o it a t s e fi n a m n o m m o c t s o m e h T
l a r u l p d n a r a l u g n i s n e e w t e b n o it c n it s i
d (Lyon ,1968 :281) .I trefers to wha ti s
t n u o
c e d a s one o r singula r (‘I ,’ ‘me’ , ‘my ,’‘mine,’‘you ,’‘your,’‘yours’ ,
h‘ ,’e ‘him,’‘his,’‘she,’ ‘her ,’‘hers’ , i‘’t ,‘tis’ )and more than one o rplura l
‘
(w e,’ ‘us,’ ‘our,’ ‘ours,’ ‘you ,’ ‘your’ ,‘yours,’ t‘hey ,’ t‘hem ,’ t‘heri ,’
’ s ri e h
t‘ .)
d .Vocaitves
s n u o n r e p o r p f o s s a l c b u s a s i e r e h
T having anothe rfunciton to c lla ro
g n i h t r o n o s r e p e h t e t a c i d n
i thati saddressedbyt hei rname.I nEngilsh ,people do
t f o e m a n e h t g n i y a s y l p m i s y b s i h
t he person ,o tfen loudly .Thi sfunciton i s
t n e r e f fi
d fromr eference .Thef ormt ha tanamet ake swhen tii susedf o rcalilngi n
e h
t sel anguagesi scalledt hevocaitve.
, y ll a n o it p o e s u a l c r o e c n e t n e s a o t d e d d a t n e m e l e l a n i m o n a s i e v it a c o v A
e h t g n il a n g i s d n a , d e s s e r d d a t i m o h w o t e l p o e p e r o m r o e n o e h t g n it o n e d
3 .Reference
r o , r e k a e p s a h c i h w t c a n a s i , ) 7 1 : 6 9 9 1 ( e l u Y o t g n i d r o c c a , e c n e r e f e R
e r r o , r e n e t s il a e l b a n e o t s m r o f c it s i u g n il s e s u , r e ti r
w adert oi dentfiys omething.I t
, ) c t e , ii a w a H , m a S e l c n U , e r a e p s e k a h S . g . e ( s n u o n r e p o r p f o s m r o f e h t n i e b n a c
.s n u o n o r p d n a , e ti n if e d n i r o , e ti n if e d e r a t a h t s e s a r h p n u o n
s a h c u s s n o i s s e r p x e l a c i x e d n i e h t g n i d u l c n i e r a e c n a r e tt u n a n i s e c n e r e f e R
l a n o s r e
p pronoun and the tense o f verb (Leech ,1983 :11) .I ti s a context
-e c n a r e tt u f o t c e p s a t n e d n e p e
d -meaning :tii sar elaitont ha thold sbetweens peaker s
r a l u c it r a p n o t u o b a g n i k l a t e r a y e h t t a h w d n a ) s t n e g a y r a n o it u c o l , y ll a r e n e g e r o m (
: 5 9 9 1 , s n o y L ( s n o i s a c c
o 294) .Ther eferirngexpressionhast her angeofr eference
. e g a u g n a l e h t n i g n i n a e m r i e h t y b d e x if s i t a h t
o w t o t n i d e d i v i d s i e c n e r e f e
R .They areexopho irc reference o rexophora
c ir o h p o d n e d n
a reference o rendophora .Exophora i s reference to something
x
e rtailnguisitc o rsomething t ha tdoe snot exist in t he samet ex.t tI i sa stiuaiton
e c n e r e f e r e h t e r e h
w doesno tappeari nt heutterance soft hes peaker ,buti nsteadi n
, d lr o w l a e r e h
t thatr efersto somethingi n t hecontex toft heutteranceo rspeaker .
t
I can be deicitc .Fo rexample ,pronouns are o tfen exopho irc ,in thi scase fo r
. n o o s d n a , ’ e h s ‘ ,’ e h ‘ ,’ u o y ‘ ,’ I ‘ ,s i x i e d n o s r e p
a r o h p o d n
E referst o something i nsideoft het exti n which t her eferencei s
f o k o o b r e h n i ,s n i g g E . d n u o
f An Introduciton t o SystemicFuncitona lLinguisitc
, e t o r w
y ti t n e d i e h t n e h
W o fa referen t tiem i sretireved wtihin the text ,we are h
ti w g n il a e
d endopho irc reference . I t i s endopho irc reference which e h t f o e r u t x e t l a n r e t n i e h t e t a e r c s e it c ir o h p o d n e e c n i s , n o i s e h o c s e t a e r c
r e k a e p s h c a e y b d e s u g n i e b ’ I ‘ ( s e h c ti w s m e t s y s c it c i e d f o ’ e rt n e c ‘ e h t o s
e h T . ) r e r a e h e h t o t r e f e r o t d e s u g n i e b ’ u o y ‘ ,f l e s m i h o t r e f e r o
t speakeri s
: 8 6 9 1 , n o y L ( e c n a r e tt u f o n o it a u ti s e h t f o , e r e w t i s a , e rt n e c e h t t a s y a w l a
5 7 2 -276 .)
e h t n o d e d n u o f e r a h c e e p s n i s e ir o g e t a c c it c i e d l a c i p y t o t o r p e h T
g n it a n i g ir
o deic itc centreo rzero-poin to rorigo:t hespeake r(‘I’) ,place( ‘here’ ) it
d n
a meo futterance( ‘now’) .Thedeicitccenrteallow sust o understand use so f
t x e t n o c e h t n i t p e c n o c l a rt n e c e h t y l s u o i v b o s i s i x i e D . t x e t n o c n i s d r o w
. h c e e p s f o y c n e d n e p e d
5 .Song ,Lyric ,Drama itcPoetry
t r o h s a s i , y r a n o it c i D d r o f x O o t g n i d r o c c a , g n o
S poem o rothe rse to f
a e m r o c i s u m o t t e s s d r o
w n tto be sung (McKean ,2005 :1616) .According to
o t t n a e m s i g n o s a , y d e n n e
K be sung – rtansposing song ly irc sonto the page
n o it c n u f ri e h t s e g n a h
c (Kennedy ,2002 :1640) .Songi sgenerallyf ris tencountered
s
a sound sin the ari .Song stend to be w irtten in simple language tha tmake si t
d n a t s r e d n u d n a n e t s il o t y s a
e ont hef ris theairng .Therefore,i tseemst ha tsomeo f
r e ti r w g n o
s shave created song stha trequ rie et h close atteniton to the word so r
c ir y l g n o
s ofr mt he ilstene.r
s i tI . g n i g n i s r o f e d a m m e o p a s a w , g n i n a e m r e il r a e s ti n i ,f l e s ti c ir y l e h T
, y d e n n e K ( g n o s r a l u p o p f o s d r o w e h t n a e m o t d e s u s i ti n e h w , y a d o t t n e r r u c l li t s
t a h t m e o p f o d n i k , w o n t u B . ) 0 1 : 2 0 0
2 i scalledasl y ircha schangedgrealty .Lyirc
d r o w s s e l n i a t n o c , w o n , s m e o
p -music (since i ti sw irtten on page )and more
, l a r e n e g n i , e r o f e r e h T . r e k a e p s e l g n i s a f o s g n il e e f d n a s t h g u o h t e h t g n i s s e r p x e
d n i k a l li t s s i c ir y
l o fpoemt ha tyoucaneasliyr ecognize.
o c a g n i n i a t n o c s i c ir y l e h t e c n i
S nversaitoni nt hemusica lmovie .Thet erm
e g d e l w o n k c a e b d l u o h s ’ y rt e o p c it a m a r d
‘ d .Dramaitcpoertypresentst hevoiceo f
i w , y lt c e ri d g n i k a e p s ) s r e t c a r a h c r o ( r e t c a r a h c y r a n i g a m i n
a thou tany addiitona l
e h t s e b ir c s e d m e o p c it a m a r d A . r o h t u a e h t y b n o it a r r a
n versestha tarew irttenf o r
. k c a rt d n u o s s ’ e i v o m e h t r o f , e s a c s i h t n i , y a l p a r o f d n a e g a t s e h
t Thet ermi sused
r e f e r o
t todramaitcmonologue ,apoemwhichi sw irtten i n aspeechform t hati s
r o h t u a e h t t o n , r e t c a r a h c a y b e d a
m .Dramaitcmonologuei susedby t hespeake r
s s e r d d a o
t t heothe rcharacter swhor emainslien.tI ft he ilstenerr epile ,s t hepoem
e m o c e
b s dialogue in which the story revealed in the conversaiton between two
. ) 5 1 : 2 0 0 2 , y d e n n e K ( s r e k a e p s
k r o w e m a r F l a c i r o e h T . C
t a h t s i x i e d n o s r e p n o s u c o f ll i w r e ti r w e h t , y r o e h t s i x i e d s i y r o e h t t s ri f e h T
l li
w be usefu l to ifnd the data needed . Those data are the person deicitc
s ri f e h T . n o s r e p o t r e f e r y l n o h c i h w s n o i s s e r p x
e tt heory wli lcollaboratewtih t he
T . e c n e r e f e r f o y r o e h t e h t s i h c i h w y r o e h t d n o c e
s heory o freference i suseful t o
e c n e r e f e r e h t d n if o t r e ti r w e h t p l e h s e ir o e h t e s o h T . 1 r e b m u n n o it s e u q e h t r e w s n a
s i h c i h
w pointed byt heperson deixisi n t hel y ircandt odisitnguishwhethert hose
s i e c n e r e f e
r xe opho irco rendopho irc.
t x e
N ist heory o fdeicitcshi tft ha twli lshowtheshfi to fthedeicitccente r
m o r
f oneparitcipantt o anothe rparitcipan tby t heuse o fperson deixis .Las,t t he
n i a l p x e l li w r e ti r
. y rt e o p c it a m a r d d n a , c ir y l , g n o s f o s e ir o e h t h ti w n o it a r o b a ll o
c By having t hose
n a e c n e r e f e r r a e l c s ti o t e u d r a e l c e b l li w s c ir y l e h t n i s i x i e d n o s r e p e h t ,s e ir o e h
t d
c it c i e d e h
0 2
I I I R E T P A H C
Y G O L O D O H T E M
y d u t S e h t f o t c e j b O . A
s l r i g m a e r
D wa sastory aboutt hej ourneyo fblack singing groupt o r each e
h T .s tr a h c p o p s a m a e r d r i e h
t Dreammette s(Ef ife ,Deena ,Lorrel)l ,a tferl osing o
c t n e l a t l a c o l
a mpeititon ,wa sbeing offered achancet o sing a sabackup singe r
. r o l y a T s it r u C r e c u d o r p d n a r e l a e d c a ll i d a C l a c o l y b y lr a E y m m i J , r a t s g n i s ir a r o f
, t c a o l o s r i e h t e v a h o t n a g e b s lr i g e h T . e if f E h ti w e c n a m o r e v a h o t n a g e b s it r u C
i s e h t s a a n e e D d a h s it r u
C ng l eade rtha tmade Efifeangry because Efifehad t he
n i a m e h t e m a c e b a n e e D n e h w r e ir g n a e m a c e b e if f E . e e r h t e h t f o e c i o v t s e b
atten iton in resul tEfife got ou to fa performance .Curit sresponded by getitng
) e ll e h c i M ( r e b m e m w e n y b d e c a l p e r e if f
E tha tmake sEf ife mad. Therefore, t he
t c il f n o
c wa sshowni nt hes ongenitltedI’t sAl lOve .r r
e v O l l A s ’t
I aw sone o fthe o irgina lsoundrtack o fa musica lmovie d
e lt it n
e Dreamgirls.I twa ssungbysixdfiferen tcastst ha tw aspefrormi ngint hi s e
i m a J s a h c u s e i v o
m Foxx a sCurit sTaylor ,Jr,. Beyonce Knowle sa sDeena
e if f E s a n o s d u H r e fi n n e J , s e n o
J Wh tie ,Anika Non iRose a sLorrel lRobinson ,
. s ir r o M e ll e h c i M s a l a e L n o r a h S d n a , e ti h W . C . C s a n o s n i b o R h ti e
K Thi ssong
a e if f E n e e w t e b d e r r u c c o t c il f n o c e h t t u o b a s u d l o
t nd ifve othe rcharacter stha t
e s u a c e b s a w t I . e if f E t s n i a g
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e d u ti tt a r e h l o rt n o
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P Thel y irc o f
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i e
d xis .I twa sbecause pragmaitc i sconcerned wtih the study o fmeaning a s
) r e d a e r r o ( r e n e t s il a y b d e t e r p r e t n i d n a ) r e ti r w r o ( r e k a e p s a y b d e t a c i n u m m o c
. ) 3 : 6 9 9 1 , e l u Y
( I tstudied the relaitonship sbetween ilnguisitc sform sand the
.s m r o f e s o h t f o s r e s
u I twa sno tusing syntax approach because ti i s the study o f
f o d lr o w e h t g n ir e d i s n o c t o n s i h c i h w s m r o f s c it s i u g n il n e e w t e b s p i h s n o it a l e r
e c n e r e f e
r o r any user so fthose forms .The wrtie rno tetihe rused seman itc
i y d u t s t a h t e s u a c e b h c a o r p p
a sabou tthe relaitonship between ilnguisitc sform s
t u o h ti w g n i h t o t t c e n n o c y ll a r e ti l s d r o w w o h s i t a h t , d lr o w e h t n i s e it it n e d n a
. ) 4 : 6 9 9 1 , e l u Y ( e c n a r e tt u r o n o it p ir c s e d e h t d e c u d o r p o h w e n o e h t g n ir e d i s n o c
e h
T study o f person deixis , reference and shfi t from Dreamgi lrs’
e lt it n e k c a rt d n u o
s dI’t sAl lOver aw sanalyzed pragmaitcally becauset hrough t he i
x i e d f o g n i n a e m s ’ r e k a e p s e h t ,s i x i e d n o s r e p f o e s
u sreference and deicitc sh fi t
d l u o
y d u t S e h t f o d o h t e M . C
ll o c n
I ecitngt hedata,t hewrtie rusedinternetr esearchandl ibraryr esearch
a t a d e h t t c e ll o c o
t from t hel y ircand w irtet hist hesis .The wrtie rfound thel yirc
.s k o o b m o r f s e ir o e h t r e h t o e m o s d n a t e n r e t n i e h t m o r f s e ir o e h t e m o s d n a
a t a D f o d n i K . 1
a t a d e h
T needed i n t hist hesi sw iritng were t heperson deicitc expression
d e lt it n e c ir y l g n o s e h t n i d e r r u c c o t a h
t I’t sAl lOve .r Thedatai ncluded persona l o
r
p noun ;dividedi ntot hreewhichwerethefris tpersonpronouns ucha s‘I’ ,‘ em ’ ,
‘ ew ’ ;the second person pronoun ilke‘ uy ’ ,‘ uo y ’ o (plura)l ;and the th rid person
e k il n u o n o r
p ‘ es ’ ,‘ yh the ’ .Theothe rwa svocaitves .I twasalso divided i nto t wo
e w h c i h
w readdresses ‘(Miss’ )andcal lors ummonsess ucha s(‘baby’ ,‘John’ .)
n o it c e ll o C a t a D . 2
n e h t t e n r e t n i e h t n o c ir y l e h t g n i d n if y b a t a d e h t d e t c e ll o c r e ti r w e h T
e r r o
c citngt hel y ircbywatchingand ilsteningt hemovies oundrtack( I’t sAl lOver ) g n i d n if s a w t x e N . c ir y l t c e r r o c e h t t e g o t r e v o d n a r e v o e i v o m e h t e d i s n
i the
s i x i e d n o s r e p f o y r o e h t e h t n o d e s a b c ir y l e h t n i d e r r u c c o s i x i e d n o s r e
p .
s i s y l a n A a t a D . 3
,t s ri
F the wrtie robserved the kind o fperson deixi stha toccurred in the
b a t a g n i k a m y b c ir y
l le to identfiy ti ,and soritng whethe ri ti sendophora o r
a r o h p o x
e .Next ,the wrtie ridenit ifed whom the person deixi sin the ly irc i s
x e t n o c e h t n o d e s a b , o t d e r r e f e
r ttha thappened in the movie to see the exac t
e h t ,s i s y l a n a e h t f o e s a e g n i k a M . r e k a e p s e h t f o s e r u t s e g e h t y b d e w o h s e c n e r e f e r
. o N
e c n e t n e
S NDoat .a Lyric DPeerixsoisn Reference E xo. AEnnad .o. Cata.
1 2 3 4
d e z y l a n a r e ti r w e h t n e h
T the deicitc shfi toccu rred in the ly irc .I twa s
p x e e h t t u o b
a lanaitonoft heo irgot hat sw a present duet ot heuseo fpersondeixis .
o g ir o e h
T tha tshfi tbecausethereferenceoft hedeicitcexpressionwaschanging.
c it c i e d e h t t u o b a n o it a n a l p x e e h
T shfi twould begiven somesamplest aken f rom
.s n o i s s e r p x e c it c i e d f o e s u e h t y b d e r r u c c o t a h t t fi h s e h t w o h s o t x i d n e p p a e h t
g n i w o n k r e tf
A thedeicitc shitf t hewrtie rwould give explanaiton t o answer t he
o it s e u
q n numbe r3 .I twould be an explanaiton about t he funciton of t he deicitc
tf i h
4 2
V I R E T P A H C
S I S Y L A N A
r e v O l l A s ’t
I i saconversaiton whichi ssungbysixperson i n t hemusica l d
e lt it n e e i v o
m Dreamgrils .Tha tconversaiton i sthe ly irc so fthe song I’t sAl l r
e v
O .Analyzingt hedataf oundint hesongl y irc,t hewrtie rexplainst her eference t x e t n o c e h t n o d e s a b n o s r e p o t r e f e r h c i h w s n o i s s e r p x e c it c i e d e h t g n ir e d i s n o c y b
i ,r e tf a e r e h T . e i v o m e h t n
i ti sused t o i dentfiyt hedeicitcshitfst ha thappen i nt he
c ir y l g n o
s I’t sAl lOver .Las,tt hewrtie rwli lexplaint hes igniifcanceoft hes hitfi n .
g n o s e h t
A .TheReferenceoft heKind so fPersonDeixisi nt heLyric
e c n e r e f e r e h t t u o b a n i a l p x e l li w r e ti r w e h t , tr a p s i h t n
I o fthe kind sof
n o s r e
p deixi stha tcan be found in the ly irc o fDreamgirls o irgina lsoundrtack d
e lt it n
e I’t sAl lOver .Ther eferencearedividedi ntot woexophoraandendophora . g n i k a M . a r o h p a t a c d n a a r o h p a n a e r a h c i h w o w t o t n i d e d i v i d o s l a f l e s ti a r o h p o d n E
,s u o i v b o s i s y l a n a e h
t each explanaiton wli lbe given somesamples o freferences
. e l b a t f o m r o f e h t n i d e z y l a n a
e if f E . 1
h c i h w s n o i s s e r p x e c it c i e d n o s r e p e h t t u o b a n i a l p x e l li w r e ti r w e h t , e r e H
e h t e k a m o t e c n e r e f e r f o e l b a t s e s u r e ti r w e h t , y s a e t i e k a m o T . e if f E o t r e f e r
a n
a lysi sobvious .Thefris tpar twli lbet hecataphorasincet hel y irci sbegun wtih
r o h p a n a e b l li w t r a p d n o c e s e h T . a r o h p a t a
c a which include s some deicitc
s n o i s s e r p x e c it c i e
d which refe rto Efife are the fris tperson pronoun s‘I’ , ‘ em ’ ,
‘ ym ’ , ‘mysefl’ , the second person pronoun s ‘ uy ’ , ‘o your’ , ‘yoursefl’ , and
s e v it a c o
v ‘M -iss Blame- ti- no - et -h wo lrd’ , ‘baby’ ,‘you rwoman’ , etc . Some o f
h T . n u o n o r p e v i x e lf e r d n a e v i s s e s s o p e r a m e h
t osedeicitcexpression sarer eferirng
. e if f E o t
e h
T deicitc expression s‘I’ , ‘ em ’ and ‘mysefl’ are uttered by Efife t hat
e t a c i d n
i herseflast hereference .I tcome sup becausef ris tperson pronoun i st he
i h o t e c n e r e f e r s ’ r e k a e p s e h t f o n o it a z il a c it a m m a r
g m /hersefl .Otherwise ,the
s n u o n o r p n o s r e p d n o c e
s ‘ uy ’ ,‘o your’ ,‘yoursefl’ areuttered by spokesperson o r
) s (t n a p i c it r a
p addressing Ef ife .In t his l y irc ,someparitcipant salso usevocaitve s
g n i y a s y b e if f E s s e r d d a o
t ‘M -issBlame- ti- no - et -h wo lrd’ ,‘baby’, ‘you rwoman’ ,
. h tr o f o s d n a
e c n e r e f e r e h t o t t n i o p s n o i s s e r p x e c it c i e d e s o h
T .They are endopho irc
. a r o h p a n a d n a a r o h p a t a c o t d e d i v i d d n a e c n e r e f e r
a r o h p a t a C . a
e v i s s e s s o p n o s r e p t s ri f e r a 2 d n a 1 r e b m u n a t a d n i s i x i e
D ‘ em ’ and ‘ em ’ ;
3 r e b m u n a t a d n i d n
a i ssecond person ‘ uy ’o . They are cataphora since the (
1 x i d n e p p a n i 2 r e b m u n e c n e t n e s n i s d r a w r e tf a n w o n k s i e c n e r e f e
r Thereyouare ,
). r e v o l l a g n i k o o l n e e b e v ’ I . e if f E
2 d n a 1 e l b a t e h t n I . e n o y b e n o d e n i a l p x e e b l li w n o it a c if i s s a l c e h t , e r e H
e r a e r e h
t three data showi ng catapho irc reference. Table 1 show s deicitc
n u o n o r p n o s r e p t s ri f f o n o i s s e r p x
e ‘ em ’ tha trefers to Ef ife .The reference is
( s it r u C y b d e r e tt u e c n a r e tt u t x e n e h t n i d e if it n e d
h t a h t e v it c e j b o n u o n o r p n o s r e
p a scharacte irsitc a san objec tin the sentence
r e k a e p s e h t e s u a c e
b refer shersel fa ‘ e s m ’ .Thereareonlyt wocataphora‘ em ’ wtih
e c n e r e f e r s a e if f
E int hes ong.
1 e l b a T a r o h p a t a
C ‘me ’wtihEfifeasr eference
. o N
e c n e t n e
S ND oat .a Speaker Lyric PDeeri xsoisn Reference E xo. A naE.ndoC.ata.
1 1 Efife Loveme !Curit swass upposedt o !
e m e v o
l M e Efife - - √
2 Loveme !Curit swass upposedt o e
v o
l m ! e M e Efife - - √
s i x i e d e h t ,t x e
N ‘ uy ’ o in table 2 i suttered by Curits ,he uses t he second
s i h T . t n a e m e h e e s s e r d d a e h t o t t u o t n i o p o t n u o n o r p n o s r e
p i salso cataphora
e r e h t s r e tt u s it r u C e s u a c e
b ferencehemean tatfert hepronoun‘ uy ’ o t(able2) .The
n u o n o r
p ‘ uy ’ o int able2i saddressedt oEfife .Therei sonlyonedatumt ha tshows
a r o h p a t a
c ‘ uy ’. o
2 e l b a T ‘ a r o h p a t a
C you ’wtihEfifeasr eference
. o N
e c n e t n e
S ND oat .a Speaker Lyric PDeerixsoisn Reference E xo. A naE.ndoC.ata. 2 3 Curits Therey ouare ,Efife .’Ivebeen
.r e v o l l a g n i k o o
l Y ou Efife - - √
a r o h p a n A . b
n
I thedatanumbe r6 ,begin from ‘I’ ni , ‘I turn my back and ifnd mysel f
’, t u
o unit lthe las tdeicitc expression stha trefe rto Ef ife (see appendix 2 )are
e r o f e b d e t a t s n e e b s a h , e if f E , e c n e r e f e r e h t e s u a c e b a r o h p a n
a in data numbe r4
(‘Thereyou are ,Efife’) .Thet ablebelow show s5 samples o fdeicitcexpressionI
. a r o h p a n a e r a h c i h
w Ef ifeutterst heword Itor efert ohersel .f 3
e l b a T ‘ a r o h p a n
A I ’wtihEfifeasr eference
. o N
e c n e t n e
S ND oat .a Speaker Lyric PDeerixsiosn Reference E xo. A naE.ndo C.ata. 3 6 Efife I turnmybackand ifndmysel fou ton
t u b e m d e n r a w e v a h d l u o c u o Y . e n il e h
. d n i k o o t n e e b e v a h d l u o w t a h t
5 1 6 Efife Tha’t sa ile !Tha’t sa ile!I ’tsj us tI .l l e w t a h t g n il e e f n e e b t ’ n e v a
h I Efife - √ -
7 2 3 Efife Nowyou’rel ying !You’rel ying !I ’ve ! g n i y l e r ’ u o Y . n i h t o s n e e b r e v e n
f f o g n i k c o n k e r ’ u o y e s u a c ‘ g n i y l e r ’ u o Y
s ’ e h s s k n i h t o h w e c e i p t a h
t bettert han
n a h t r e tt e b t ’ n i a e h S . y d o b y r e v e
t u b g n i h t o n t ’ n i a e h S . y d o b y n a
. n o m m o c
I Efife - √ -
4
1 6 1 Efife I alway sknewyout woweret ogether . I Efife - √ - 6
1 6 3 Efife I alway sknewyout wowereganging .
e m n o p
u I Efife - √ -
e l b a t e h t n i , t x e
N 4 below ,Efife a sthe speake ruses anothe rdeicitc
s i h c i h w n o i s s e r p x
e the fris tperson pronoun objecitve ‘me’ to refe rto hersefl .
’ e m
‘ t in able4aredfiferen twtih‘ me’int able1.I nt ablebelowt heyareanapho irc
b s a h e c n e r e f e r e h t e s u a c e
b eens tatedins entenceno .2( seeAppendix1 .)
4 e l b a T
e c n e r e f e r s a e if f E h ti w ’ e m ‘ a r o h p a n A
. o N
e c n e t n e
S ND oat .a Speaker Lyric PDeerixsoisn Reference E xo. A naE.ndoC.ata. 3 1 0 Efife It urnmybackand ifndmysel fou ton
d e n r a w e v a h d l u o c u o Y . e n il e h
t m tebu
. d n i k o o t n e e b e v a h d l u o w t a h t
e
M Efife - √ -
2
1 5 2 Efife Stayou toft his ,Lorrell !Thisi sbetween d
n a a n e e
D m . e M e Efife - √ -
6
1 6 5 Efife Ialway sknewyout woweregangingup n
o m . e M e Efife - √ -
3
2 8 5 Efife There’ snomoneyditryenoughtobuy e
m out .Your emembert hat ,Curit.s M e Efife - √ - 1
3 1 09 Efife Yeah?Wel,li ’t sbetweenyout oonow , r u o y h c u m s a s i b o j w o n s s i h T . r e t s i s ’l il
t a k o o L . n i
s me .Looka tme .Howmuch ?
n i t e g o t t u o t u p u o y d i d
e
M Efife - √ -
o s r e p t s ri f e h t e d i s e
B n pronoun ‘I’ and ‘ em ’ ,there are anothe rform o f s
n o i s s e r p x e c it c i e
d t hatist hepossessivef ormo fthefris tpersonpronoun ‘ ym ’. tI s
w o h
s et h possessivef eatureoffris tperson ,possesss omething .Thet able5s hows
f o e c n e r e f e r e h
t thedeicitcexpression ‘ ym ’.
5 e l b a T
e c n e r e f e r s a e if f E h ti w ’ y m ‘ a r o h p a n A
. o N
n e S
-e c n e t
. o N
a t a
D Speaker Lyric DPeerixsoisn Reference E xo. A naE.ndoC.ata.
3 7 Efife It urnm ybackand ifndmysel fou tont he t a h t t u b e m d e n r a w e v a h d l u o c u o Y . e n il
e e b e v a h d l u o
w nt ookind.
y
r e h t o n a s i e r e h
T expression referir ng to the speaker . I t i s re lfexive
d e s u s i tI . n u o n o r
p in sentence 3 to re lfec tEfife hersel fas t he speaker .Table6
. n u o n o r p e v i x e lf e r f o m r o f e h t n i n o s r e p t s ri f f o d n i k e h t s w o h s
6 e l b a T
Anaphora‘ mysefl ’wtihEfifeasr eference
. o N
n e
S tence ND oat .a Speaker Lyric PDeerixsoisn Reference E xo. A naE.ndoC.ata. 3 8 Efife It urnmybackand ifndmyseflou ton
e m d e n r a w e v a h d l u o c u o Y . e n il e h t
. d n i k o o t n e e b e v a h d l u o w t a h t t u b
y
M s efl Efife - √ -
t x e
N i sthe second person pronoun ‘ uy ’o .Atlhough the speaker sare
e r a y e h t ,t n e r e f fi
d addressing Ef ife .Table 7 showssamples fo theuse o fdeicitc
n o i s s e r p x
e ‘ uy ’o . In the sentence numbe r 4 , 8 , and 13 below , the deicitc
n i s y b d e r e tt u e r a n o i s s e r p x
e gleperson whliei n numbe r38 ti i suttered t ogethe r
. e ll e h c i M , C . C , ll e r r o L , s it r u C , a n e e D e r a o h w s t s a c 5 y b
7 e l b a T
e c n e r e f e r s a e if f E h ti w ’ u o y ‘ a r o h p a n A
. o N
n e S
-e c n e t
. o N
a t a
D Speaker Lyric DPeerixsiosn eRnecfeer- E xo. A naE.ndoC.ata.
4 1 2 Curits ’Ivebeenwarningy oufo rmonthst o , e t a l n e e b e v ’ u o Y . t c a r u o y p u n a e l c
f o s d n i k l l a g n i v i g , n a e m n e e b e v ’ u o y
k c a lf t i h s ll u b
u o
Y Efife - √ -
8 3 1 Deena Nowwhoy oucalilngcommonyous efl -fl
e s ,t n e g l u d n
i -absorbed ? l a n o i s s e f o r p n o n
u o
Y Efife - √ -
3
1 5 9 Lorrell Yeah?Wel,li ’t sbetweenmet oo .’Ima s e s l e y d o b y n a s a p u o r g s i h t f o t r a p a h c u m
e h t ll a f o d e ri t m ’I , e if f E . d e ri t m ’I d n a
l b o r
p em syou’remakingu.s
u o
Y Efife √ -
8
3 1 31 Deena , , s it r u C
, ll e r r o L
, C . C
e ll e h c i M
g n il l e t e r ’ e w w o n d n
A y oui’t sal love.r Y ou Efife - √ -
f o e l p m a s o s l a e r a e r e h
T thesecond person possessivepronoun ‘your’in
8 e l b a
t . y‘ o ’ ur i sadeterminert ot heword‘ ac’t(datano .13 )and adeterminerf o r g
n i h c ti b ‘ d r o w e h
t ’( datano .46) .Event hought heyarenoun phrasest hatr efert o
e h t t u b , n o s r e p o t t o n d n a g n i h t e m o
d e r r e f e
r .Here ,Michelle also refer sto Ef ife by u tte irng the word ‘your’ .The
e v i s s e s s o
p ‘your’ referst oEfife
8 e l b a T
e c n e r e f e r s a e if f E h ti w ’ r u o y ‘ a r o h p a n A
. o N
n e S
-e c n e t
. o N
a t a
D Speaker Lyric DPeerixsiosn Reference Ex. o AnEando. . Ca a.t 4 1 3 Curits ’Ivebeenwarningyouf o rmonthst o
p u n a e l
c y ouract .You’vebel ate , f o s d n i k l l a g n i v i g , n a e m n e e b e v ’ u o y
k c a lf t i h s ll u b
r u o
Y Efife - √ -
01 4 6 Deena Nowyou ilstent ome ,Mis sBlame- tI-n
O - eT -h Wolrd .See ,’Ivepu tupwtih p u t u p e v a h I . g n o l o o t h c u m r o f u o y
h ti
w y ourbtiching.I ’vepu tupwtih g n i m a e r c s r u o y l l a d n a g n i g g a n r u o y
! o o t
r u o
Y Efife - √ -
23 1 13 Michelle Nowyouwatchy ourmouth ,watch I e s u a c ‘ , e ti h W e if f E s s i M h t u o m r u o y
d n o c e s . o n m o rf e n o t t a h t e k a t t’ n o
d
-. n i a t s u s t’ n a c o h w a v i d e t a r
r u o
Y Efife - - √
9 e l b a
T i sanothe rkind o fre lfexive pronoun tha trefer sto Efife .I ti sa
e v i x e lf e r n u o n o r p n o s r e p d n o c e
s ‘yoursefl’ tha tutteredbyCuritst or efert oEfife .
, e s a c n i , e n o e m o s s s e r d d a o t d e s u s i n o s r e p d n o c e s e s u a c e b e c n e r e f e r e h t s i e if f E
v o i d u a e h t n i ,s it r u
C isua ldata,i saddressingEfife .
9 e l b a T ‘
a r o h p a n
A yoursefl ’wtihEfifeasr eference
. o N
e c n e t n e
S ND oat .a Speaker Lyric PDeerixsiosn Reference E xo. A naE.ndoC.ata. 6 1 8 Curits Efife ,please .Stopexcusingyoursefl.
v ’ u o y ; e t a l n e e b e v ’ u o
Y ebeenmean
. e m it e h t ll a r e tt a f g n it t e g d n a
fl e s r u o
Y Efife - √ -
r e h t o n
A deicitc expression sused to refer ot Efife i svocaitve .The frist
e v it a c o
v si anaphora in data 17 ,i tuse s Efife’ s name a s an expression fo r
g n i s s e r d d
a .Table10onlyshows samples o fvocaitvewtihEf ifeasr eference. T he
e v it a c o
v ‘Mis sBlame- tI- nO - eT -h Wo lrd’ occurs when Deena addresse sEf ife in
, 2 4 o n a t a
d ‘you rwoman’ indatano .78 ,‘baby’ whichi su tteredbyCuritsi ndata
3 8 . o
n ,‘no.s econd-ratediva’ tha tLorrells aidt or efertoEfifei ndatano .120 ,and
a t a d n i ,t s a
