iv
A child educated only at school is an
uneducated child.
~George Santayana
It's so hard when I have to, and so easy
when I want to.
~Annie Gottlier
Follow your inner
moonlight.
~A. Ginsberg
v
TO
MY
PARENTS
FOR
THEIR
LOVE
IN
MY
EVERY
vii
ACKNOWLEDGEMENTS
Beyond my inner power, there must be Jesus Christ who always be with me and gives more faith in every decision I make. Therefore, a thank to Christ for accompanying me finishing this study so splendidly that I hope this study will not only enrich people’s knowledge academically but also enrich people’s humanism.
Very much thanks I have to say to my advisor, Adventina Putranti, S.S, M. Hum. who does not only care about my thesis but motivates me a lot as well. Also for Elisa Dwi Wardhani, S.S, M. Hum. who has been patient to guide me in study until I arrive at this point. For Harris H. Setiadjid, S.S, M. Hum., thanks for your helpful hand in revising my thesis.
The greatest thanks are for my family, to my mother, Fransis Samitri, who always supports me with love and care. I admit that sometimes I do not hear you, but my heart is always belongs to you and wherever you are, there is my home. My father, Max Jonathan, I thank you for your advice so that I can be who I am now. Also, to my sister, Sinta Dewi, S.E., who makes me realize that I am not alone in this world. I thanks for every supports that all of you give to me. It will be the precious treasure for the rest of my life.
Big thanks I also present to Christiansent Panggabean as the one who has always been there when I need answer for everything (if he could not answer, I would ask Google), a shoulder to cry (seems like an old song, right? But it is true), and as somebody to share with in every situation. For my two fabulous girls, Antonia Rahayu, S.S. and Yovita Aurelia, thanks for being my friends since the very beginning of our time in this campus. It has been lovely time spent with you all. For Florentinus Agus, Widiana Martiningsih, S.S. and the rest of ‘baby-guys’ in Warung Kopi Lidah Ibu, thanks for your attention, encouragement, time, and space for me to do my thesis.
viii
LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS ………. vi
ACKNOWLEDGEMENTS ……….. vii
TABLE OF CONTENTS ……….…. viii
CHAPTER I: INTRODUCTION ……….. 1
A. Background of the Study ……… 1
1. Semantic Roles of Adverbials ………. 6
2. Grammatical Functions of Adverbials ………. 7
3. Verbs of Speaking ……… 15
4. Stylistics ……….. 17
C. Theoretical Framework ………. 19
CHAPTER III: METHODOLOGY ……… 20
A. Object of the Study ……….. 20
CHAPTER IV: ANALYSIS………. 23
A. The use of Adverbs ending with –ly modifying verbs of speaking……….. 23
ix
Verbs of Speaking ………...…………...…………. 26
3. Types of Adverbs ending with –ly Modifying Verbs of Speaking as They Used in Three Positions of occurrence ……..………. 29
B. Significances Emphasized by the Author from the Use of Adverbs ending with –ly Modifying Verbs of Speaking to the Story in the Confession of a Shopaholic ………. 30
1. Narrator’s Point of View ………....……. 31
2. Truth Value of Narrator’s point of view ……..….…..……. 35
3. Contradiction between Narrator’s Actions and Thoughts ………..……… 37
4. Conformity between Narrator’s Actions and Thoughts ……….………. 40
5. Narrator’s Comment on the Content of saying ……… 45
CHAPTER V : CONCLUSION ……… 50
BIBLIOGRAPHY ………. 52
APPENDICES ……… 53
APPENDIX 1 ………. 53
x
LIST OF ABBREVIATION
EP : End Positionoccurrence of adverbs ended with –ly modifying verb of speaking in the speech
IP: Initial Position occurrence of adverbs ended with –ly modifying verb of speaking in the speech
xi
LIST OF TABLE
TABLE 1: SAMPLE OF THE OCCURRENCE OF ADVERBS ENDING WITH –LY IN ONE SPEECH...25 TABLE 2: GRAMMATICAL FUNCTIONS AND SEMANTIC ROLES OF
ADVERB ENDING WITH –LY MODIFYING VERBS OF SPEAKING IN THE CONFESSION OF A SHOPAHOLIC IN AMOUNT...28 TABLE 3: TYPES OF ADVERBS ENDING WITH –LY AS THEY ARE
xii
LIST OF APPENDICES
APPENDIX 1: Categorization of the adverbs ending with –ly modifying verbs od speaking ... 53
xiii
ABSTRACT
JONATHAN, IRENE SARTIKA DEWI. Significances from the Use of Adverbs Ending With –Ly Modifying Verbs of Speaking in Sophie Kinsella’s Confession of a Shopaholic. Yogyakarta: Department of English Letters, Faculty of Letters. Sanata Dharma University, 2011.
Confession of a Shopaholic is one of bestselling popular novels in year 2000 written by a British author, Sophie Kinsella. It tells the story of British woman in her twenties named Becky and her complication because of money spending and bank statements. Kinsella descriptively exposes Becky’s experience and charms the reader to see the world from a shopaholic point of view. In this thesis, the author’s way to describe the story which uses adverbs ending with –ly to modify verb of speaking is analyzed to find its significances.
There are two problems formulated in this thesis. The first is the use of adverb end with –ly modifying verbs of speaking in the Confession of a Shopaholic. The second is the significances that are emphasized by the author from the use of the adverbs ending with –ly modifying verbs of speaking to the story in the Confession of a Shopaholic.
In this study, library research is used to find any source related to the style of writing. The writer uses syntactic and stylistics approach to answer the problem formulations.
xiv
ABSTRAK
JONATHAN, IRENE SARTIKA DEWI. Significance from the Use of Adverbs Ending With –Ly Modifying Verb of Speaking in Sophie Kinsella’s Confession of a Shopaholic. Yogyakarta: Program StudiSastraInggris, FakultasSastra. UniversitasSanata Dharma, 2011.
Confession of a Shopaholic adalah salah satu novel popular terlaris di tahun 2000 oleh pengarang berkebangsaan Inggris, Sophie Kinsella. Novel ini menceritakan kisah wanita berumur dua-puluhan bernama Becky dan kesulitannya karena pemborosan dan tagihan-tagihan dari bank. Kinsella secara apik menggambarkan pengalaman-pengalaman Becky dan berhasil memukau pembaca untuk dapat melihat dunia dari sudut pandang seseorang yang gila belanja. Dalam tesisi ni, cara pengarang untuk mendeskripsikan ceritanya dengan menggunakan kata keterangan berakhiran –ly untuk memodifikasi kata kerja bicara dianalisa untuk mengetahui signifikansinya.
Rumusan masalah pertama dalam tesis ini adalah cara penggunaan kata keterangan berakhiran –ly untuk memodifikasi kata kerja bicara dalam Confession of a Shopaholic. Yang kedua adalah signifikansi yang ditekankan oleh pengarang dari penggunaan keterangan berakhiran –ly untuk memodifikasi kata kerja bicara pada cerita dalam novel.
Dalam tesis ini, kajian pustaka digunakan untuk memenuhi segala sumber mengenai gaya penulisan. Penulis menggunakan pendekatan sintaksis dan stilistika untuk menjawab rumusan masalah.
1
CHAPTER I INTRODUCTION
A. Background of the Study
Language is primarily spoken. In fact, we also engage to written language. Talking about written language, we might refer to certain form of text or any things that contain text such as newspaper, beverages menu, recipe, or novel. There must be something in a text that makes us able to denote a text type and also give name on it. Conversely, we can also make one of those types by choosing any use of language in a particular context which we can say as language variety. Language variety is a particular set of distinctive linguistic feature, representing a category of text given by a situation (Crystal, 1995: 290).
The focus of this study is the style in novel. Novel is one of literary works
which uses a great number of linguistic aspects. Just like poetry, novel deals with
large number of language applications, not only to construct its body but also to
deliver its content or message esthetically. This study tries to describe the
significance of some lexical choice that is used by the author.
Sophie Kinsella’s Confession of Shopaholic is used in this discussion
because this popular novel shows some characteristics in its use of language. The
focus is on its use of adverb because the application of adverb in this novel is
considerable in number and variation. Moreover, not like the verb which is an
obligatory component of a clause, the use of adverb is optional in building a
sentence. It is worthy to reckon how it builds the meaningfulness of the story by
modifying the verbs. The adverbs will be observed by its semantic and syntactical
class in which they perform as in page 19 in the novel at which I notice the
various use of adverbs,
I’ve always slightly uneasy around him. (1)
It said that his IQ was phenomenally high and he had a photographical
memory. (2)
… I’m staring up at some boring graph, nodding intelligently… (3)
I say, equally coolly. (4)
“I know you journalists are terribly busy.” (5)
In sentence (1) the semantic class of adverb slightly is as a diminisher
subjunct to modify adjective. Different classes applied for the phenomenally in
modify adjective. In sentence (3) adverb intelligently functions as a manner
adjunct which modifies verb. Later, in sentence (4), the adverb equally modifies
other adverb that is coolly which modifies the verbal process verb (say) and
functions as a manner adjunct but equally itself functions as Equative conjunct.
The author might not choose to use the adverb, but the character’s way and point
of view in making utterances would not as clear and communicative as when she
uses the adverb ending with –ly.
This sort of examples derives my curiosity to the rest pattern of the use of
adverbs in this novel and how it creates dynamic impression while reading it.
Thus, this study is worthy because it adds reader’s understanding about English
adverb through its various application in crafting an artistic literary work,
especially in a novel. In the same way, this study adds a better understanding of a
novel to the readers by recognizing one of the applied language features, which is
adverb ending with –ly.
B. Problem Formulation
According to the background mentioned above, two problems which are
tried to be answered are formulated as follows:
1. How are adverbs ending with –ly modifying verbs of speaking used in the
Confession of a Shopaholic?
2. What significances are emphasized by the author from the use of the
adverbs ending with –ly modifying verbs of speaking to the story in the
C. Objectives of the Study
According to the problem formulations, this study attempts to observe the
use of the adverbs ending with –ly modifying verbs of speaking in a literature
work entitled Confession of a Shopaholic. The first to be identified is how the
adverbs ending with –ly modifying verbs of speaking occur in the novel. The
identification of their occurrence includes their positions and types. By noticing
that, some given purposes from the author can be elicited. Aspects which are
performed by the adverbs to the verbs of speaking will be recognized by their
semantic roles and the grammatical function. The last is to discover the
significances projected by the author from the use of adverbs ending with –ly
modifying.
D. Definition of Terms
In order to avoid misinterpreting in analyzing the data of this study, it is
important to have understanding in several definitions of linguistics terminology
and especially the terms in the stylistic field itself.
1. Adverb ending with –ly: adverb built derivationally by adding suffix –ly to
the adjective, usually will mean in …. manner or in … way with the
adjective fill the vacant position.
2. Verb of speaking: any verb which has some semantic properties related to
the semantic properties of word ‘speak’ which are done by producing
sound or using words, containing information or expressing a need of
5
CHAPTER II
THEORETICAL REVIEW
A. Review of Related Studies
The former study relates to the application of English adverb is “The
Dynamic Semantics of Aspectual Adverbs”.
It is logically guaranteed to be veridical and directly referential, since it is caused by privileged access to the speaker’s private information state. Clauses with aspectual adverbs effectively combine factual and subjective information about what is happening. They constitute a good case study of how temporal information gets shared in the common ground by triangulation between communicating agents in the world. Aspectual adverbs are often used in temporal reasoning, where premises affect the contextually determined reference time, shifting it at times to a later one during the interpretation of the premises.
(www.cssp.cnrs.fr/eiss5/ter-meulen/ter-meulen-eiss5.pdf)
Meulen’s study is relevant to this study because we will see the various
kinds of English adverbs and observe the function of those adverbs in developing
the story a novel. This is worthy every word because it shows how significant the
role of the English adverb is in the written language as seen in the aim of this
study. Meulen’s study is more or less aiming the same purposes with my study
that is to evaluate adverbs to see the information that be shared by the adverb. But,
the difference of this study and Meulen’s is that this study focuses only in the case
of adverbs which occur with the verbs of speaking which based on the work’s
prominence feature.
Another similar thing is discussed in the “External Temporal Specification
It is interesting to note, however, that the adverb quickly in combination with telic motion verbs yields two semantic readings. With verbs of ‘directed motion’ (such as come back and arrive) which express ‘an achieved location’ (cf. Rappaport Hovav and Levin 1998:102), the adverb
quickly may either mean that the act itself was performed quickly, or that the event occurred very soon – consider the sentence He quickly came back. That is, quickly with these verbs either marks short duration of movement (in the sense ‘temporal sum total of individual kinetic quanta’), or expresses the notion ‘without delay’. In the latter meaning, quickly not only refers to the movement as occurring soon after some other event, but also refers to the state of mind of the actor. In the light of this, quickly in this sense functions also as a subject-oriented adverb in that it expresses the quality demonstrated by the subject in carrying out the action.
(www.phil.muni.cz/angl/thepes/thepes_01_05.pdf)
Although the study above focuses of the motion verb, but in its
examination also consider the use of adverbs that significantly contribute certain
sense of meaning and functions and also the state of mind of the actor. This point
of observe also be noticed in my study to discover semantic class and the
grammatical function in order to determine the emphasizing idea which is shown
by language behavior of the writer that patterned in the work of literature.
Both of these studies shows that the English adverb, in this case adverbs
ending with –ly, are researchable since the use of them is optional but has its own
significance.
B. Review of Related Theories 1. Semantic roles of adverbials
Here are the adverbials categorized by their semantic role taken from A
Comprehensive Grammar of the English Language by Randolph Quirk. Adverbial
Position and Duration (forward span [until] and backward span [since]),
Frequency and Relationship. Adverbial roles as Process, they are Manner (casually, slowly), Means (in Math, by bus), Instrument (with a fork, using
dictionary), Agentive (by John Æ Passive voice). Adverbial as Respect is to identify a relevant point in respect which the clause concerned derives its truth
value. Adverbials roles as Contingency, they are to clarify Cause, Reason, Purpose, Result, Condition, and Concession. Adverbials roles as Modality: the three aspects of modality are to emphasize the positive or negative poles of
statement. Adverbialroles as Degree are Amplification, which is concerned with asserting a generalized high degree and Diminution as its opposition.
2. Grammatical functions of adverbials
There are four main division of grammatical function of adverbials.They
are Adjunct, Subjunct, Disjunct, and Conjunct.
a. Adjunct
Adjunct in sentence is only adverbial which complete sentence elements
like Subject, Complement, and Object. Adjunct can also be the focus of cleft
sentence. Adverb as adjunct generally has greater freedom position in the clause
than other elements. Adjunct is further divided into two categories, they are:
Predication (Obligatory and Optional) and Sentence. And here are the realizations
i. Adjunct of space
Adjunct of space has two groups relate to space or place. They are Position
and Direction. Where verbs like be, live, and put take an obligatory predication
adjunct, these verbs will be completed with the explanation of Position (on, in, at)
or Direction (ahead, west, locally, here).
ii. Adjunct of time
Adjunct of time is the adverb that explains any matter which is related to
time. Some aspects are explain by the adjunct of time are position, duration/span,
and frequency. The use of this adverb is markedly with the use of noun phrase or
prepositional phrase for example: in 2000, at 10 o’clock. Further, the time
position is divided into two modes of orientation. They are to denote a point or
period of time (e.g. now ‘at this time’, simultaneously ‘at the same time’) and to
give additional implication to another period of time (e.g. later ‘afterwards’
eventually ‘in the end’).
The time duration/span adjunct is the adverb to give explanation relates to
time as linear dimension. There are three types of this adjunct. First is forward
span (e.g. until, till). Second is backward span (e.g. since, so far, and lately).
Third is duration adjunct. Duration adjunct is divided into Definite Frequency and
Indefinite frequency. Definite frequency is the times by which frequency is
measured and if it is not measured, it is called indefinite frequency. Period
frequency (e.g. daily, annually) and occasion frequency (e.g. twice, three times)
(e.g. commonly, usually), continuous (e.g. always, continually), high frequency
(e.g. frequently, often), and low frequency (e.g. seldom, rarely)
iii. Process adjunct
All four semantic types of process adjunct can be realized by prepositional
phrase. First is, Manner Adjunct which is performed by derivational adjective + suffix -ly usually can be paraphrased by in a … manner or in a … way where the
adjective fill the blank position.It also serves the response to a How question. It is
because how is only expected to elicit manner adjunct. Second is Means Adjunct: e.g. I go to mall by Taxi. The third is Instrument Adjunct: e.g. The Corruptor was killed by a knife. And the fourth is Agentive Adjunct: The royal wedding was seen by millions in television.
iv. Respect Adjunct and Contingency Adjunct
Respect adjunct is adverb that explains the content of sentence in its
association with certain adjective as the related point. For example legally in this
sentence, ‘She’s advising them legally.’ Legally means ‘with respect to law’.
Meanwhile, Contingency Adjunct is realized by the prepositional phrases e.g.
because of, on account of (reason), for (purpose), if (condition), though
(concession).
b. Subjunct
Subjunct as adverbial has criteria to explain a greater or lesser extent of a
sentence where the adverb takes place. This category is divided to two big
aspects; they are wide orientation and narrow orientation. Each of them is then
i. Wide orientation
Wide orientation is adverbial that explain a point of reference to be the
superordinate of the whole clause in where the subjunct performs. This adverb is
divided into two aspects; they are Viewpoint subjunct and Courtesy subjunct.
Viewpoint subjunct is roughly paraphrased by ‘if we consider what we are saying from an [adjective] point of view’ or ‘if we consider what we are saying
from the point of view of [noun phrase]. View point subjunct is most commonly
derived from adjectives by the addition of –ly suffix. For example:
‘architecturally, it is a magnificent conception’ means ‘from the architectural
point of view, it is a magnificent conception’. Courtesy subjunct is chiefly by a small group of adverbs used in rather accepted expression of politeness and
propriety. Courtesy subjunct require the active subject of the passive agent to be
of personal reference. For example: ‘He kindly offered me a ride.’ ‘He’ is the
active subject, ‘me’ is the passive agent’, and ‘kindly’ is the courtesy subjunct that
expresses the filled requirement of politeness and propriety.
ii. Narrow Orientation
Narrow Orientation is information about point of reference relates to
individual clause element. This subjunct is divided into four aspects, they are:
Item subjunct, Emphasizers, Intensifiers, and Focusing. Item subjunct effects a characterization of the referent of the element of clause. Item subjunct is
distinguished into Subject Orientation (has a special relations with the Subject,
e.g. ‘Casually, Leslie greeted the Stranger’ means ‘Leslie was casual’) and
intelligent child’ here ‘really’ is part of the verb). Subject orientation is distinguished into General group and Volitional group. General group appears to be an open class. E.g. ‘For once, they have frankly admitted their mistakes.’
Volitional group has subject oriented adverb. E.g. deliberately, reluctantly, purposely.
EmphasizersSubjunct is concerned with expressing the semantic role of modality which has a underlining effect on the truth value of the clause part of the
clause to which they apply. Most Emphasizers normally precede the item they
emphasize. As subjunct, Emphasizers differ from adjuncts in several ways. 1.
They cannot be contrasted with one another in alternative interrogation or
alternative negation. 2. They cannot be the focus of focusing subjunct or a cleft
sentence. 3. Cannot be the focus of clause comparison. 4. Cannot be premodified
by however, how, and so. However, it sometimes can be premodified by quite or
very. This subjunct has two distinct groups: (A) actually, certainly, indeed,
plainly, surely (they are expressing the comment that what is said is true and seem
to be free to co-occur with any verb or predication). (B) Frankly, honestly, simply,
fairly (they are conveying the speaker’s assertion that his words are the
unvarnished truth. The addition of the comment or assertion in no way alters but
merely emphasizes the truth of communication. This aspect is seemed to be
limited.
Intensifier Subjunct is generally concerned with the semantic category of Degree. An intensifying subjunct signifies the point on an abstractly conceived
extent’. They are Negative: barely, hardly, little, scarcely and Nonassertive: in the least, at all, a bit.
Focusing Subjunct can draw attention to a part of sentence as wide as the predication or as narrow as a single constituent of an element. This subjunct can
be Restrictive and Additive. Restrictive Subjunct which indicates that the utterance concerned is true in respect of the part focused has Exclusives that restrict the application of the utterance exclusively to the part focused: alone,
exactly, exclusively, merely, etc and Particularizers thatrestrict the application of the utterance predominantly to the part focused: chiefly, especially, largely,
mainly, purely, etc. Additive Subjunct indicates that the utterance concerned is
additionally true in respect of the part focused: again, also, either, equally, even,
similarly, etc.
c. Disjunct
Disjunct has a superior role as compared with the sentence element. They
are syntactically more detached and in some respect ‘superordinate’, in that way
seem to have a scope that extent over the sentences as whole. Disjunct is divided
into two subclasses. First is Style disjunct (conveying the speaker’s comment). The relationship between a style disjunct and the clause to which it is attached can
be often the same formal item as the style disjunct is a process adjunct, with a
verb of speaking, the subject of which is ‘I’. It draws attention not only to what is
said by but to how it is said, it is often an implicit comment on language itself.
may say so, honestly, seriously, truly, briefly, blankly, etc.) and Respect (e.g. in broad terms, personally, generally, figuratively, literally, strictly, etc.)
Second is Content disjunct which is divided Degree of truth and Value Judgment. Degree of truth is disjunct which presents a comment on the truth value of what it is said, expressing the extent to which, and condition under which
speaker believes that what he is saying is true. This disjunct has three main
groups: Group 1 express conviction, either as direct claim (undeniable) or as an appeal to general perception (evidently). E.g. admittedly, certainly, decidedly,
surely, undoubtedly, plainly, etc. Group 2 express some degree of doubt. E.g.
arguably, apparently, likely, maybe, perhaps, possibly, seemingly. Supposedly,
etc.
Value judgment expresses some evaluation of or attitude towards what is said. There are two main groups: Group 1 express judgment on what is being said as a whole and they formally apply the same judgment simultaneously to the
subject of the clause. E.g. correctly, incorrectly, justly, wrongly, etc. Group 2 the judgment carries no implication that it applies to the subject of the clause. E.g.
amazingly, astonishingly, curiously, strangely, funnily, oddly (judge that what is
said is strange or unexpected), appropriately, inevitably, naturally, predictably,
understandably (what is said is judged to be appropriate or expected), annoyingly,
disappointingly, pleasingly, delightfully (what is said is judge to be cause
satisfaction or the reverse), unfortunately, fortunately, happily, unhappily, sadly
(what is said is judge to be fortunate or unfortunate), amusingly, hopefully,
d. Conjunct
Conjunct is more like disjunct than adjunct in having a relatively detached
and ‘superordinate’ role as compared with the other clause element. But it is
unlike disjunct in not typically filling the semantic roles characteristic of adjunct.
It has function as conjoining independingent units rather than one of contributing
another facet of information to a single integrated unit. It is distinguished clearly
in six subdivisions: Listing (first, second, correspondingly, equally, likewise, again, also, further, moreover), Summative (altogether, overall, then, therefore, thus, in sum), Appositive (namely, thus, in other, for instance, etc.) Resultive
(accordingly, hence, now, so, therefore, as a result, etc.) Inferential (else, otherwise, in that case, etc.) Contrastive (better, rather, alternatively, again, better, worse, on the other hand, contrariwise, conversely, instead, anyhow,
anyway, incidentally, by the way, meantime, meanwhile, originally)
3. Verb of Speaking
Verb of speaking is to call any verb which has some semantic properties
related to the semantic properties of word ‘speak’ which are done by producing
sound or using words, contain information or express a need of information. The
meanings of the verbs of speaking that are collected from the novel are manually
searched in the Oxford Dictionary for Advance Learner. They are:
a. Add: to say something more to make a further remark.
b. Admit: to say that you have done something wrong or illegal.
The scale is seen as applying to a predicate or to some part of predicate, such as
predication, the verb phrase, or even an item within the verb phrase. The verbs in
question are largely expressive of attitude. Intensifiers Subjunct has Amplifiers
and Downtoners. Amplifiers have Maximizers and Boosters to amplify scale upwards. Maximizers denote the upper extreme of the scale. E.g. absolutely, completely, entirely, fully, perfectly, totally, utterly, etc. Boosters denote degree, a high point on the scale. E.g. badly, bitterly, strongly, terribly, intensely, deeply,
severely, etc. Downtowners have generally lowering effect on the force of the verb or predication and many of them apply a scale to gradable verbs. They are
Approximators, Compromisers, Diminishers, and Minimizers. Approximators
are to express an approximation to the force of the verb, while indicating that the
verb concerned expresses more than is relevant. Approximators differ from most
downtowner in that they imply the denial of the truth value of what is dented by
the verb. E.g. nearly, practically, virtually, as good as etc. Compromisers have only a slight lowering effect and tend, as with (a), to call in question the
appropriateness of the verb concerned. E.g. kind of, sort of, quite, rather, enough,
more or less, etc. Diminishers are to scale downwards and roughly mean ‘to a small extent’. Diminishers are distinguished into Expression and Attitude.
Expression diminishers seek to express only part of the potential force of the item concerned. E.g. mildly, partially, slightly, in some respect, in part, etc. Attitude diminishers, seek to imply that the force of concerned is limited. E.g.
d. Ask: to say or write something in the form of a question, in order to get
information.
e. Begin: to start speaking.
f. Call: to shout or say something loudly to attract somebody’s attention
g. Continue: to start speaking again after stopping.
h. Cry: to shout loudly.
i. Cut in: to interrupt somebody when they are speaking.
j. Echo: to repeat what somebody else has just said, especially because
you find it surprising.
k. Exclaim: to say something suddenly and loudly, especially because of
strong emotion or pain
l. Explain: to tell somebody about something in a way that makes it easy
to understand
m. Finish: to come to an end or to bring something to an end.
n. Hiss: to make sound like a long’s’.
o. Repeat: to say or write something again or more than once.
p. Reply: to say or write something as an answer to somebody/something.
q. Retort: to reply quickly to a comment, in an angry, offend or humorous way.
r. Say: to speak or tell somebody something, using words.
s. Tail off: to become smaller or weaker.
t. Whisper: to speak very quietly to somebody so that other people cannot
u. Wail: to cry or complain about something in a loud high voice.
4. Stylistics
The use of adverbs ending with –ly modifying verbs of speaking in this
novel is prominent and essential. Therefore this study is based on the theory of
stylistics. Verdonk says in his book: “So, stylistics, the study of style, can be
defined as the analysis of distinctive expression in language and the description of
its purposes and effects (2002: 4).” In other words, stylistics has to observe any
different and unique feature of language in a text that makes it works in delivering
the author’s message and affecting the reader through text body. It refers to the
identification of patterns of language use in speech and writing in a given context,
by a given person, and for a given purpose (Leech, 1981: 10). Any possible things
that motivate the author are also the part which stylistics deals with. Thus, style is
indeed a distinctive way of using language for certain purpose and effect. Adverbs
ending with –ly modifying verbs of speaking are the feature which are used by the
author as her distinctive way of using language. This is what the Stylistics theory
calls as unique language feature. She uses adverbs ending with –ly modifying
verbs of speaking for describing further implication which are meant to be
considered.
a. Foregrounding
“Such conspicuous elements hold a promise of stylistic relevance and
thereby rouse the reader’s interest and emotions. In stylistic this psychological
effect is called foregrounding. (2004: 6)” The distinctive language features can be
the placement, and the variation and of course can be the foregrounding.
Foregrounding is the way of prominent features of style forming a significant
relationship with other features of style in an artistically coherent pattern of
choices. It is noticed that adverbs ending with –ly modifying verb of speaking are
used in a great number in occurrences and varieties. It will be proved if they can
raise the reader interest and emotions as it is purposed by the author. Thus, these
aspects should be observable for some followed consequences.
b. I-narrator
It is known that an author may not write as himself but he can act as other
person in who involves or just observes events in a story. I-narrator is a term
given to distinguish between author and the narrator in the literary work. Someone
must speak to tell the story. However, it is not always the author to tell as himself
but it can be the author to tell as somebody else.
The choice of a first person narrator where the ‘I’ is also a primary character in the story produces a personal relationship with the reader which inevitably tends to bias the reader in favour of the narrator/character.
(Leech, 1981: 265)
I-narrator in novel is the character in which by its voice and point of view
that the author tell the story. In other words the use of I-narrator is to engage the
reader to the experience of the narrator. It builds a personal relationship between
the narrator and the reader. Sophie Kinsella uses I-narrator in Confession of a
Shopaholic. ‘I’ position here is filled by the main character of the novel, so
the story’s point of view is strengthened by seeing the significance of adverbs
ending with –ly modifying verbs of speaking used in the novel.
C. Theoretical Framework
The theories written above are to answer the problems of this study. The
Stylistics theory of foregrounding is the boundary to indentify the occurrence of
the adverbs ending with –ly modifying the verbs of speaking. Theory of the
semantic role and the grammatical function help us to know what the aspects
performed by adverbs ending with –ly to verb of speaking. The theory of
foregrounding helps to the basic notification to the prominent feature which has
its significances. Theory of I-narrator helps to clarify the point of view in which
the happening in the novel occurs. All these theory will be elaborated to set out
20
CHAPTER III METHODOLOGY A. Object of the Study
The object of this study is adverbs ending with –ly in the novel. Adverb ending with –ly is constructed by a derivational process which is adding the suffix –ly to an adjective. The adjective might have a dynamic quality so that it can modify other part of speech such as adjective, another adverb, and the most common is the verb. The modified verb that will be examined is verbs of speaking.
As commonly known, adverb is one of parts of speech in English sentence. This part of speech may be optional in the matter of use. But, it will give significance when it is used to complete a single sentence. Here, the writer is trying to evident that the author has a tendency to use the adverbs ending with –ly rather than to leave the verbs of speaking unmodified.
The novel that the writer uses as the data source is Confession of a Shopaholic written by Sophie Kinsella. The novel was first published in England in year 1997 and in America in year 2000. Sophie Kinsella is a British author who basically a Financial Journalist. This novel is one of her debuts in the work of literature. Confession of a Shopaholic itself is the first book of five Shopaholic
series and has been in the movie in year 2009. The copied work that the writer has is from the American publisher.
modern society view is considered as a negative behavior that is related to the
consumerism issue. But, in this work, reader can see how life is going by the point
of view of a British Shopaholic which is the major character in the novel. The
author is able to exploit the bitter and sweet of a shopaholic’s life through the
languages in the literature text complete with a clear point of view. The reader is
invited to know how the main character thinks and acts and also her opinion
towards other people and her surrounding. This is reflected in the way the author
use the language which is the adverbs ending with –ly modifying the verbs of
speaking.
Lexically, Sophie Kinsella has a rich diction of English words which is her
native language and it is employed throughout the novel corpus to be a good
expression of what she thinks through the main character’s thought. The writer
finds an important linguistic feature that is used by the author. It is the various
adverbs ending with –ly that modify verbs of speaking. Its application makes the
way of the main character thinks, acts, and also the other characters’ acts in the
main character’s point of view are apparent.
B. Method of the Study
In this study, library research is used to find any source that is relevant to
the adverbials and style in writing. To identify what the adverbs ending with –ly is
performing, this study uses syntactical analysis. Then, the Stylistics theories are
to examine the data that had been collected. The primary data is the adverbs
ending with –ly modifying the verb of speaking in the Confession of a Shopaholic.
C. Research procedure 1. Kind of data
The data of this study is objective data that had been collected from the
novel. The data are the verbs of speaking in the Confession of Shopaholic which
are modified by adverbs ending with –ly.
2. Data collection
The data collection itself was done in several steps. First, the writer reads
the whole novel to get the whole story in Confession of a Shopaholic. This step is
done in order to know who the I-narrator is and to understand the situation in
which speeches are made. Second, the writer collects the verbs of speaking
modified by the adverbs ending with -ly that occurred in the novel. Third, the
writer finds any distribution of adverbs ending with –ly that appeared to modify
the verbs of speaking.
3. Data analysis
The analysis was done also in several steps of work. First, the writer
collected the verbs of speaking which modified by adverbs ending with –ly.
Second, the writer analyzed them by their semantic roles and the grammatical
functions. Third, the writer tried to figure out the significances of the adverbs
23
CHAPTER IV ANALYSIS
A. The Use of Adverbs ending with –Ly Modifying Verbs of Speaking 1. Position of adverb ending with –ly modifying verbs of speaking
After reading the whole novel, what comes to be the prominent language features in use are adverbs ending with –ly modifying verbs of speaking. In amount, there are more or less three hundred occurrences of the adverbs ending with –ly modifying verbs of speaking. It can be seen from the data collected in the appendix. If it is observed by their position, the adverbs themselves mostly come to precede the verbs of speaking. Choice of WORD ORDER for adverb of ‘manner’, for instance, may be a matter of FOCUS or EMPHASIS. (Wales, 2001:9) In this novel, the narrations that provide the adverbs with –ly mostly appear in the ending of saying and in middle of speech or inserted. Few narrations also occur before the speech. The position of the adverbs is important when there is more than one verb in a sentence. For instance, when the adverb is placed after a clause, then it modifies the whole action described by the clause.
God he’s scary. And now we’re on our own. I think I might quickly run away.
(11) “Well, I saybrightly. “I must go and …” Æ middle position But Luke is leaning forward to me.
(12) “SBG announced that they’ve taken over Rutland Bank this morning,” he says quickly. Æ Ending position
(13) “I know they did,” I reply haughtily. “I read it in the FT.” And before he can say anything else, I walk off, to talk to Elly. Æ Middle position
(70) There’s a silence and Suze says seriously, “I think you might have chosen the wrong option, Becky. I don’t think you a Cut Back of person.”Æ Initial position
(p. 112)
These are some examples of the occurrences of the adverbs ending with –
ly modifying verbs of speaking. When the speaking content appears before the
information how it is being said, it creates the nuclear stress. It makes a vivid
representation of narrator’s thought as it happens. The direct thought from the
narrator is opposite to her action. She says that she is scared of him but the way
she speaks to him is not the way someone who is scary but in cheerful and lightly
way (11). It can be seen that the author explains how the narrator behaves in her
difficult situation by not being apparently scared but she is able to manage her
manner spontaneously. ‘“I know they did,” I reply,’ may be acceptable to respond
to Luke’s saying (12) and even there is a presentation of the thought following
Becky’s saying. However, with the addition ‘haughtily’ the clarity of how it is
said and the purposed mean is more apparent and firm. Possible purpose that the
author wants to tell is that the narrator “I” does not want to be underestimated and
does not want to continue a friendly conversation with him (Luke). This is known
even before the direct thought come after the speech. Thus, the author informs the
reader descriptively how the speaker safes her face. Insertion of the direct thought
or narration in the middle of speech that describes the way something is done is an
indication that it is a spontaneous response of the speaker and until the end of
speech the narrator still uses the same manner in replying.
Unlike end position and middle position occurrences, the occurrences in
manner of the speaker. So that reader is able to observe the expression of the
speaker before the speech content is told. The reader is prepared to hear the saying
in certain attitude so the way or expression of the speaker is important to be first
noticed before the speech itself.
Table 1: The occurrence of Adverbs ending with –ly in one speech Initial Position (IP)
(Total=2)
Middle position (MP) (Total=101)
End position (EP) (Total=202)
The table above shows the occurrence of the adverb ending with –ly
modifying verb of speaking in a speech. Some of them occur in the initial position
but the founding is only two data. Initial position tends to invite reader to the
expression of the speaker first then hear what they say in its kind of expression.
Middle position has pretty many occurrences in number which are 101 data.
Middle position is to gain readers’ attention to the first part of the saying and then
the adverb is immediately inserted in the speech to be noticed also as direct
information to the reader about how something is said and the ambiance will last
until the end of speech. End position has the most occurrences in the text which
are 202 data. In the Style in Fiction by Geoffrey N. Leech, it is said that there is a
general tendency for NEW information to be occurred after the GIVEN
information. (p. 212) To be put in the end posistion the reader will bear the ‘news’
as the main focus in the sentence. End position of the adverb is chosen in order
make the reader aware about what is said as first point of noticing and after that
2. Classification of the adverbs ending with –ly modifying verbs of speaking
Based on the systematic classification of adverbs given in the Quirk and
Greenbaum, here are the categorizations of the adverbs ending with –ly modifying
verbs of speaking found in the Confession o f a Shopaholic. The data is taken only
a few to represent each category. The rest of categorization is on the appendix
where the data are numbered in no other importance but occurrence.
Content disjunct, manner adjunct, and style disjunct are the grammatical
function that occur to modify the verbs of speaking. Moreover, the semantic role
that takes place to modify the verbs of speaking is adverb of manner. All of these
categories are natural adverbials to modify verbs of speaking. Below are the
presentations of each grammatical function accompanied by the semantic role.
a. Content disjunct + Adverb of manner
(38) “I’ll have it,” I say determinedly, and reach inside my bag for checkbook.
(p. 51)
(74) “Yes,” I say shakily. “Maybe I’ll do that.” (p. 112)
(107) “It’s my cousin!” she says triumphantly. “He really likes you.” (p. 138)
(109) “Of course not,” I say feebly. (p. 138)
(119) “You took them!” Says the girl incredulously. “You bloody took them!
You wouldn’t let me try them on, and then you hid them.” (p. 146)
(134) “Hi!” I say confidently to the woman at receptionist. (p. 161)
(140) “Absolutely,” I say confidently. “I wrote an article on that very subject
(175) “What?” I say disbelievingly. “Were you spotted on the street or
something?” (p.206)
(177) “Oh, yes, my designs are inspired by the imaginative spirit of Gaudi.
I’m going to phone up Charlie now,” she adds happily. “I’m sure he’s something
at Tatler. (p. 207)
(188) “Sometimes they’re really good and other time …” I tail of a bit feebly
and smile at him. “You know.”(p. 219)
(244) “Good,” I echo, a little less certainly, and look out of the window. (p.
282)
b. Manner adjunct + Adverb of manner
(5) “Can you hold it until then?” I say beseechingly. (p. 17)
(18) “Exotic Opportunities,” I whisper scornfully to Elly and point to the
leaflet. (p. 24)
(19) “All used up,” hisses Elly apologetically. (p. 24)
(37) “That particular piece was features in Elle decoration last month,” says
the man mournfully, and produce a cutout page. (p.50)
(69) “But … why?” asks Suze perplexedly. (p. 111)
(93) “I don’t know who he was!” replies Maria defensively. (p. 126)
(111) “We have to take the top item,” I explain hurriedly. “Sorry about that.”
(p. 143)
(105) “Not really,” I begin disgruntledly.” “I’ve been making this things … ”
(115) “Oh God I’m sorry. I thought it was three. I’m new.” I add
apologetically. (p. 145)
(138) “They’re an extremely challenging area,” I add quickly. (p. 164)
(192) “But anyway, she left me a scarf,” I continue hurriedly. “So, I’ll
remember her through that. Poor Aunt Ermintrude.” (p.222)
(200) “Mum, don’t worry!” I exclaim sharply. “I’m not pregnant!” (p. 243)
(227) “I just happened to be awake,” he explains sheepishly. “Thought I’d just
come down, have a little look …”(p. 268)
(230) “What about my article?” I wail piteously. “Did you like that?” (p. 269)
(272) “Luke?” repeats Emma slightly impatiently. (p. 309)
c. Style disjunct + Adverb of manner
(81) “It’s the old story,” I say wisely. (p.118)
(114) “Are you?” I say innocently. (p. 145)
(275) “Excellent stuff,” adds Rory earnestly. (p.311)
(283) “No,” I say honestly. “I haven’t. But I’ve watched a lot of telly.” (p.
317)
Table 2: Grammatical functions and semantic roles of adverb ending with –ly modifying verbs of speaking in the Confession of a Shopaholic in amount
Grammatical function & Semantic role
Content disjunct +
Adverb of manner
Manner adjunct +
Adverb of manner
Style disjunct +
Adverb of manner
Total 31 268 6
Adverbs of manner function as content disjunct appear 31 times in the
which function as manner adjunct have the most frequent occurrence in the novel
which is 268 times. They are to describe how something is said. It can be the
manner, tone, purpose, or the expression of the speaker. Adverbs of manner
function as style disjunct are to describe speaker comment on the language itself.
They appear 6 times in the novel. The complete data of these adverbs can be seen
in the appendix.
3. Types of adverbs ending with –ly as used in three positions of occurrence
In this part, whether the position of occurence has influenced the type of
adverbs which used or vice versa is being identified. The table shows the amount
of adverbs’ types looked from their position.
Table 3: Types of adverbs ending with –ly as used in the three positions of occurences
Types of Adverbs
ending With –ly Initial Position
Middle Position
End
Posistion Total Precentage
Content Disjunct +
Adverb of Manner
1 13 17 31
Precentage 3,22% 41,94% 54,84% 100%
Manner Adjunct +
Adverb of Mfanner
1 86 181 268
Precentage 0,35% 32,11% 67,54% 100%
Style Disjunct +
Adverb of Manner
0 2 4 6
Precentage 0% 33,33% 66,67% 100%
It is indentified that the all types of adverbs ending with –ly occur only
adverb of manner and content disjunct + adverbs of manner only appears once in
the IP and 0 occurence for style disjunct + adverb of manner. The three types of
adverbs ending with –ly occur in EP for more than 53% of occurences. 54,84% is
for content disjunct + adverb of manner, 67,54% is for manner adjunct + adverbs
of manner, and 66,67% is for style disjunct + adverb of manner. In EP, the
occurence of three types of adverbs ending with –ly is under 42%. 41,94% is for
content disjunct + adverb of manner, 32,11% is for manner adjunct + adverbs of
manner, and 33,33% is for style disjunct + adverb of manner.
It can be concluded that the highest occurence of the three types of adverbs
ending with –ly is in the EP. The positioning of the adverbs ending with –ly in the
EP persuades the reader to think again about the way something is said rather than
about what is actually said since a verb describes the action already. Adverbs
ending with –ly simply qualifies the action. Adverbs shift the reader's focus from
the words themselves to the speaker's accent, tone, and pace in speaking them. So,
it can be said the the author put the adverbs ending with –ly in order to contrive
the dialogue so that the nuance of the speech can be ‘heared’ by the reader.
B. Significances emphasized by the author from the use of the adverbs ending with –ly modifying verbs of speaking to the story in the Confession of a Shopaholic
Like the theory which commonly known, the adverbs ending with –ly are
mostly the derivational form of adjective added by suffix –ly. Adverb ending with
these questions come into the conversation. From a stylistic perspective, adverbs
especially adverbs ending with –ly are to give more description to a passage. The ability to exploit adverbs is an advantage in describing a story with a style since
description is one of the primary rhetorical forces of any language. When
description in writing is controlled, it controls also the way the reader sees the
object of a shared discourse. Thus, if an author has a good understanding of how
adverbial information can be applied to basic syntactic action, that person will be
able to cover the presentation of language’s symbolic action in ways that might
bring the readers’ attention to the author’s defined notions of truth and value. So
that, the description which the author emphasizes by putting the adverbs ending
with -ly is observable.
In this analysis, it is observed that how something is done can clarify more
other aspects. It is also expected to be figured out how dynamic this style builds
the story, deepens the expression of the character, clarifies the view point, and
engages the reader to the story. The sequence where the character speaks is given
by several following paragraphs to give the context in order to support the
analysis. Here are findings from analyzing the use of adverbs ending with –ly
modifying verbs of speaking:
1. Narrator’s point of view
Adverbs in the novel are used by the author to convey the happening from
the point of view of the main character. Confession of a Shopaholic uses what so
description of the happening, the characters’ manner in speaking, and the situation
is in the point of view of the main character. The example below shows that even
it is the way of someone else acts; it is described as it is seen by the main
character who is the narrator of the story.
So after a bit I sidle up to a very tall guy on his own, and smile at him.
“Becky Bloomwood, Successful Savings,” I say.
“Geoffrey Norris, freelance,” he says, and flashes his badge at me. Oh for God’s sake. The place is crawling with freelancers!
“Who do you write for?” I ask politely, thinking at least I might up some tips.
(85) “It depends,” he says shiftily. His eyes keep darting backward and forward, and he’s refusing to meet my eye.
“I used to be on Monetary Matters. But they sacked me.” “Oh dear,” I say.
“They’re bastard over there,” he says, and drains his coffee.” “Bastard! Don’t go near them. That’s my advice.”
(p. 120)
‘Shift’ as adjective means to be dishonest; looking guilty about something
as its literal meaning. From Becky’s point of view when he does say, it is clear the
man is not honest. The adverb tells this before the narration informs that Becky
sees the man darts and refuses her eye which a way of somebody tells untruth.
The author has been very informative of this viewpoint. Here, the reader has no
other choice to see the confrontation with other point of view since what is
provided is only from the main character point of view. So that, reader will only
undergo as what happens to the main character.
In the next scene, Becky is in trouble because of hiding the zebra-print
jeans which she thinks she will buy. However, this is not a good etiquette of a
understand how angry a customer will be if they are being poorly serviced. With
the adverbs put in the speeches, reader is supposed to know what and how the
other characters speak to Becky when she sees that.
(118) “Wait a minute!” says the girl sharply. “What’s that?”
I follow her gaze and freeze. The Zebra-print jeans have rolled out from under the curtain. For a moment we all stare at them.
“Gosh!” I manage at last. “There they are!”
“And what exactly are they doing there?” asks Danielle.
“I don’t know!” I say. “May be they …” I swallow, trying to think as quickly as I can. “May be…”
(118) “You took them!” says the girl incredulously. “You bloody took them! You wouldn’t let me try them on, and then you hid them!”
(p. 146)
Here, the narrator is the one who see the way of her speaking partner in
making the utterances. The author puts manner adjunct ‘sharply’ to built up the
emotion of the reader as it is felt by the narrator. A critical, rough or severe way
attracts reader’s tension to the problem that Becky faces in the story.
‘Incredulously’ is adverb of manner which shows that somebody is not willing or
not able to believe something. Becky sees the girl is talking in this way and the
tartness does not only happen to Becky but also meant to be felt by the reader.
Using this content disjunct, the author invites the reader to undergo what
happens on Becky. And so far, it can be seen this adverb keeps in line with the use
of I-narrator where everything happens in the story is from the view point of the
main character.
We lapse into silence, and I take a few sips of champagne.
“Do you like EastEnders?” I ask eventually. “Or are you a … a
Coronation Street person?”
(187) “I’ve never watched either, I’m afraid,” says Tarquin apologetically. “I’m sure they’re very good.”
Above is part of Becky’s conversation with Tarquin in where adverb
‘apologetically’ is used to describe Tarquin’s act of speaking. Tarquin shows his
sorry for doing something wrong or causing a problem with what he has said. It is
sure that the one who describe this action is the narrator and by her point of view
when dealing with Tarquin. Look at other evidence below.
The article written by Becky appears to be the topic of a TV show entitled
Morning Coffee. Here, Becky as the writer has to face to face with Luke who is
the Flagstaff Life’ Public Relation accompaniment.
(269) “Investment is a game luck,” says Luke blandly. “Sometimes you win—”
“It wasn’t luck!” I hear myself crying furiously. “Of course it wasn’t luck! Are you telling me it was compete coincidence that they were advised to switch their funds two weeks before the windfall announcement?”
(p. 307)
A common typical in a talk show is that two parties stand on opposition.
Becky comes to defend for their relatives as a professional in financial journalist.
In the other hand Luke comes to defend his client. Although they have met each
other before, in this context both of them try to be professional and objective. This
message is made by the author in the way Luke speaking showing that he has no
strong emotions or excitement to the case. His manner is flat and showing how
calm Luke is. This is what Becky sees from her point of view and the adverb
clarifies the manner.
Each evidence here has proved that the adverbs that are used to modify
verbs of speaking able to inform the reader about the way other character’s act.
also the storyteller or narrator. It can be concluded that the choice of using the
I-narrator and the adverbs ending with –ly works significantly to build the story.
2. Truth value from narrator’s point of view
Sometimes, someone can make utterance in certain manner that confirms
the intention. When a speaker must respond to an utterance that has not been
expected or a surprising coincidence, she is supposed to show a manner. Here we
can see that adverbs are able to give the implication that the speaker evaluates
other’s utterance which cannot be seen only by the content of saying
In this occurrence below, Becky is with Luke, someone who she never
admits for having a little interest in. Knowing that Luke asks her to choose a
suitcase for his girlfriend, make Becky feel humiliated.
(158) “You should have told me we were choosing a case for your girlfriend,” I say doggedly, staring down at the table. “It would have made things … different.”
There’s a silence and I raise my eyes, to see Luke looking at me as though I’m crazy.
“Rebecca,” he says, “you’re getting this all out of proportion. I wanted your opinion on suitcases. End of story.”
“And are you going to tell your girlfriend you asked my advice?” “Of course I am!” says Luke, and gives a little laugh. “I expect she’ll be rather amused.”
I stare at him in silence, feeling mortification creep over me. My throat is tight, and there’s a pain growing in my chest. Amused. Sacha will be amused when she hears about me.
(p. 182)
Some people may share that Becky’s experience is not a good situation.
Literally, adjective ‘dogged’ means showing determination or not giving up
easily. The author shows the Becky’s willpower in that unpleasant happening with
manner conveys the truth that Becky actually does not know and even does not
accept that Luke has already had a girl friend. See others example bellow.
When I get home, Suze is sitting on the floor, surrounded by magazines.
“Hi!” she says brightly. “Guess what? I’m going to be in Vogue!” (175)“What?” I say disbelievingly. “Were you spotted on the streets or something?” Suze has got an excellent figure. She could be easily be a model. But still … Vogue!
“Not me, silly!” she says. “My Frames.”
“Your frames are going to be in Vogue?” Now I really am disbelieving.
(p. 206)
Adverb ‘disbelievingly’ is one model of value judgment from content
disjunct types. It shows clearly that Becky does not believe that something is true
or that somebody is telling the truth whereas the content itself shows that she is
astonished to the news (as it sounds if the adverb is not adjusted). Becky’s way in
responding Suze’s saying is the author design to play up the expression of the
character.
The next proof is taken from the story that happens after the TV show in
where Becky appear as a great financial advisor.
… “I thought you did very well up there, with all your advice.” “Oh,” I say in surprise. “Well… thanks. That’s really…” I clear my throat. “How did you get into the studio, anyway? I thought thEy had quite tight security.”
“They do,” replies Derek Smeath. “But my daughter works in television.” He smiles fondly. “She used to work in this very show.”
(292) “Really?” I say incredulously.
God, how amazing. Derek Smeath has a daughter. He’s probably has a whole family, come to that. A wife, and everything. Who would have thought it?
Adverb ‘incredulously’ which means showing an inability to believe
something is Becky’s comment to her speech. It shows that the fact she has just
heard is out of the blue. It is an unexpected situation that she just goes trough.
Thus, the evidences above prove that the use of adverbs ending with -ly
modifying verbs of speaking can covey some evaluation towards what is said.
3. Contradiction between narrator’s actions and thought
Contradiction between someone’s way in speaking and what she/he has in
mind can happen often. The action here means the speaking act of the main
character and the thought is only the narration that is given by the main character
who is also the storyteller. The matter is how reader knows this if there is only the
speaking content and the narrator explanation about the thought. This question
will be solved by putting adverb which modifies the verb of speaking.
“They’re bastard over there,” he says, and drains his coffee. “Bastard! Don’t go near them. That’s my advice.”
(86) “Ok, I’ll remember that!” I say brightly, edging away. “Actually, I just have to … “And I turn, and walk quickly away. Why do I always find myself talking to weirdos?
(p. 120)
In the occurrence above, it can be seen how Becky responds to the man.
Adverb ‘brightly’ which means cheerful and lively, is a manner adjunct. This is
off course counted as a good conduct. Shown by this adverb Becky is able to
manage herself to give a good respond to other although the way she answers is
contradict to her thought about the man. It is noticed also that her manner is
contradict to the matter of fact. So, the adverb ‘brightly’ that is put by the author
modifying verb of speaking is able to contribute its implication to the story.
The author also successfully personalizes Becky as someone who is able
to keep someone’s feeling away from being hurt. However, this is also her way to
avoid further conflict with others. This is the similar example
Now he’s closed his eyes and is swaying. This is getting embarrassing.
“Da diddle-idy da-a-da-a daaaah dah … ”
(62) “Lovely,” I say brightly. “You can’t beat Wagner, can you?” “Tristan,” he says. “Und Isolde.”He opens his eyes. “You’d make a beautiful Isolde.”
I’d make what? While I’m still staring at him, he lifts my hand to his lips and starts kissing it. For a few seconds I’m too shocked to move.
(p.96)
This is a part when Becky should be face to face with Tarquin, a cousin of
her best friend who is a bit bore. Becky has to keep patient to cope with him but
the things get bad when Tarquin starts to make a loud voice in the restaurant. For
Becky, this is an embarrassment, but at first she still can manage her manner to
deal with it although it contradicts with her feeling. She answers ‘lovely’ in bright
and cheerful way intends to be polite and respects Tarquin yet she is not
comfortable with the way Tarquin acts. Let’s see other example.
“Well, that would be fine by me,” I say, trying not to sound too joyful. “I mean, I’d miss the future- but then, baking’s good too, isn’t it?”
Jill laughs. I think she thinks I’m joking or something.
“The client is a triple-A-rated foreign bank, looking for a new recruit in the London arm of their debt financing division.”
(139) “Right,” I say intelligently.
