i A THESIS
Presented as Partial Fulfillment of the Requirements for the Attainment of the
Sarjana SastraDegree in English Language and Literature
Rizky Fauzia 09211144028
ENGLISH LANGUAGE AND LITERATURE STUDY PROGRAM ENGLISH EDUCATION DEPARTMENT
FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY
v
ِﺔَّﻨَﺠْﻟا
Artinya : ”Barang siapa yang menempuh jalan untuk
mencari suatu ilmu. Niscaya Allah memudahkannya ke
jalan menuju surga”. (HR. Turmudzi)
o
Doa orang tua adalah kunci keberhasilan kita
o
Selalu bersyukur atas semua yang Allah berikan tanpa
mengeluh sedikitpun
o
Semua usaha tak akan pernah sia-sia apabila kita
bersungguh-sungguh dalam menjalaninya
o
When life gives you a hundred reasons to cry, show life
that you have a thousand reasons to smile
o
Dream what you want to dream, go where you want to go,
be what you want to be. Because you have only one life
and one chance to do all the things you want to do
o
If you can do what you do best and be happy, you’re
DiCaprio-vi
who won’t quit the fight:
My greatest inspirations and the reason of what I
become today,
Bapak
and
Ibu
Bapak Noer Soleh and Ibu Endang Siti Suwarni
My beloved family who never stop believing in me
:
My sibling,
Mas Riris
, My sister in Law
Mbak Vivi
, and my
lovely funniest niece
Ava
My soul for this struggle who always supporting me
all the way
vii
Alhamdulillahi rabbil ‘alamin, the researcher expresses her highest gratitude to Allah subhanahu wa ta’ala for blessing, love, opportunity, health, and mercy to complete this thesis. What is more, this thesis cannot be finished without some help from other people. Thus, great
gratitude is goes to those who have helped the researcher until this thesis is finished:
1. Dr. Margana, M. Hum., M.A. as the first consultant, who has always guided the
researcher and encouraged her in writing and finishing this thesis. As well, many thanks
are given to Paulus Kurnianta, M.Hum, as the second consultant for the continuous
support , for their patience, motivation, enthusiasm, detailed correction and also guidance
in criticizing this thesis,
2. lecturers in English Language and Literature Study Program and in English Education
Department of Yogyakarta State University, for providing the researcher with knowledge,
guidance, and support up to the final stage of her study,
3. her beloved parents, Bapak Noer Soleh and Ibu Endang Siti Suwarni, the researcher thanks them so much for their affection, advice, guidance, instruction and help in life,
their love is beyond any words,
4. her’s sibling, Mas Riris, her sister-in-law Mbak Vivi, and her lovely funniest niece Ava for their advice, kindness, and even critiques to encourage the researcher to be a better
person,
5. her’s partner, Adhityas Rumwaspodo, for always accompanying and supporting her,
giving many advice, endless protection, and for always making her laugh every time,
6. all her friends in English Language and Literature Department who are there to teach
many valuable things, and special thanks to Kistin Hadiyati and Aghnia Nurrahmah who
have helped the researcher to triangulate this study,
7. her close friends, Fanny Ariesta, Aghnia Nurrahmah, Rulmiyatun and mbak Dinda who have given the researcher a cheerful and joyful world and beautiful togetherness; she will
ix
RATIFICATION SHEET………...………. iii
SURAT PERNYATAAN……….………. iv
MOTTOS………... v
DEDICATIONS………..………... vi
ACKNOWLEDGMENTS………....………. vii
TABLE OF CONTENTS………... ix
LIST OF FIGURE AND TABLES……… xii
LIST OF ABBREVIATIONS……… xiii
ABSTRACT………... xiv
CHAPTER I INTRODUCTION………. 1
A. Background of the Study………... 1
B. Identification of the Problem….……… C. Research Focus……….. 3 3 D. Formulation of the Problems...……….. E. Objectives of the Problem……….. 4 4 F. Significance of the Study………... 5
CHAPTER II LITERATURE REVIEW AND CONCEPTUAL FRAMEWORK………. 6
A. Theoretical Reviews……….. 6
1. Pragmatics………... 6
2. Context ………... 8
a. Context of Situation.………... 8
1) Setting and Scene………... 9
x
6) Instrumentalities……….. 10
7) Norm of Interaction and Interpretation……… 11
8) Genre………... 11
b. Cultural or Social Context... 12
3. Language and Conversation……… 13
4. Adjacency Pairs……….. 14
b. The Types of Adjacency Pairs……….... 15
1) Greeting – Greeting………. 16
2) Question-Answer………. 16
3) Request-Refusal/Acceptance………... 16
4) Command-Compliance/Incompliance………. 17
5) Blame/Accusation-Admission/Denial………. 17
6) Offer-Acceptance or Refusal………... 17
7) Assertion-Agreement/Disagreement……… 18
8) Summons-Answer……… 18
9) Farewell-Farewell……… 18
c. The Preference Structure………..………... 18
1) The Preferred Structure………. 20
2) The Dispreferred Structure……….. 20
d. The Function of Response ………. 21
1) Responding to Statement ……… 21
2) Responding to Question ………. 22
3) Responding to Request ………... 24
xi
f. Movie………. 28
a. Elements of Movie……….. 28
b. Movie Genre……… 28
g. The Synopsis ofRomeo and JulietMovie……… 30
B. Related Study……… 32
C. Conceptual Framework………. 33
CHAPTER III RESEARCH METHOD……….. 36
A. Research Types…...………... 36
B. Data and Source Data……… 37
C. Research Instruments..……….……….. 38
D. Data Collecting Techniques………..……… 40
E. Data Analysis………. 40
F. Trustworthiness of the Data………... 41
CHAPTER IV FINDINGS AND DISCUSSION……… 43
A. RESEARCH FINDINGS………..………. 43
1. Frequency of Adjacency Pairs in the Movie………... 43
2. Frequency of the Preference……… 44
3. Frequency of the Function of Response.………. 45
B. DISCUSSION……… 45
1. Types of Adjacency Pairs inRomeo and JulietMovie……… 46
2. The Preference Sequences inRomeo and JulietMovie…………... 74
3. The Functions of Responses in the Adjacency Pairs in the Movie……….. 78
xii
APPENDIX….………... 92
xii
Figure 1 Analytical Construct………... 35
Table 1 The General Patterns of Preferred and Dispreferred
Structures... 19
Table 2 The form of Data Sheet for Types of Adjacency Pairs, the
Preference Sequences, and the Functions of Responses in the
Modern Script of Franco Zeffirelli’sRomeo and JulietMovie…... 39 Table 3 The Types of Adjacency Pairs in the Modern Script of Franco
Zeffirelli’sRomeo and JulietMovie.……….. 43
Table 4 The Preference Sequences in the Modern Script of Franco
Zeffirelli’sRomeo and JulietMovie……… 44
Table 5 The Functions of Responses in the Modern Script of Franco
xiii
G-G : Greeting – Greeting
Q-A : Question – Answer
R-FA : Request – Refusal / Accept
C-CI : Command – Compliance / Incompliance BA-AD : Blame/ Accusation – Admission / Denial O-AR : Offer – Accept / Refusal
A-AD : Assertion – Agreement / Disagreement
S-A : Summon – Answer
F-F : Farewell – Farewell
+ : Preferred
- : Dispreferred
S : Statement
Q : Question
R : Request
OI : Offer / Invite
A : Apology
T : Thank
AP/ACT-/S/P/T/-+/R/
AP : Adjacency Pairs
ACT : Act
S : Scene
P : Page
T : Type
+ : Preferred
- : Dispreferred
Rizky Fauzia 09211144028
ABSTRACT
This study focuses on the adjacency pairs in the Romeo and Juliet movie, with concentration on the types of adjacency pairs, the preference sequences, and the functions of responses. The aims of the study are: (1) to describe the types of adjacency pairs in the movie entitled Romeo and Juliet, (2) to describe the preference sequences in the movie entitled Romeo and Juliet, and (3) to describe the functions of responses in the film entitledRomeo and Juliet.
The study applied a qualitative research method and the data were taken from the script of Romeo and Juliet. The script used in this study was the modern English script with the consideration that the modern script is much easier to understand and analyze. This research was also supported by quantitative analysis in which the researcher used numbers and percentages to measure the occurrences. Corpuses of the data were in the forms of adjacency pairs found in the conversations in the movie.
The findings of the research show that: first, there are nine types of adjacency pairs in the movie. From those nine types of adjacency pairs, the most frequent occurrence is question-answer with 22 occurrences, followed by assertion-agreement/disagreement with 20 occurrences. The request-refusal/accept adjacency pair is in the third with 17 occurrences and command-compliance/incompliance is in the fourth with 11 occurrences. The blame/accusation-admission/denial adjacency pair is in the fifth with 9 occurrences and farewell-farewell adjacency pair is in the sixth with 8 occurrences. Offer-accept/refusal is in the seventh position with 6 occurrences and summon-answer is in the eighth position with 4 occurrences. The adjacency pair with the smallest occurrences is greeting-greeting with only 3 occurrences. Second, among the 100 samples from the movie, there are 72 occurrences of preferred social acts and 28 occurrences of dispreferred social acts. Third, there are four types of responses that occur in the movie; the four types are namely responding to statement, responding to question, responding to request, responding to offer and invitation. The other two types of response, namely responding to apology and responding to thank, do not occur in the movie. The study shows that the response to statement dominates the frequency of the occurrences by 36 times, followed by responding to request which occurs 28 times, question by 21 times, and offer and invitation by 15 times.
1 A. Background of the Study
Talking is a way to make people closer their communities. What they have
in their mind can be shared to others by creating a good communication. It can be
said that conversation incidentally deals with the social aspects in people's
behavior. The importance of talking is defined as interaction primarily serving a
social function. When people meet, they exchange everything such as greetings,
experiences, business, etc. They wish to be friendly and to establish a comfortable
zone of interaction with others. The participants in a conversation need more
attention to recognize the meaning in each utterance. The first and the second
speakers are considered as the same place of interpreting. It means that they can
create balanced situation that is involved in the concept of mind and language.
There will be an expectation that the listeners give constant feedback to prompt
the speakers in continuing the utterances. Conveying messages and understanding
the meaning clearly and accurately are the central focus of the existence of
talking.
The need of understanding messages in conversation becomes an
important aspect when participants interact with others. They do not have
have the same background knowledge. Therefore, the participants are difficult to
catch the meaning itself.
The world of conversation has an automatic pattern in the structure of the
conversation called adjacency pair. It always consists of the first part and second
part, produced by the different speakers (Yule, 1996: 77). The intimacy influences
how to understand the logical meaning. It is useful to explore aspects of what is
unsaid in the speaker's mind, based on the role of adjacency pairs.
Adjacency pairs exist not only in everyday conversation, but also in
movies. One interesting aspect of a movie is the conversations between the
characters to make the story flow well. Romeo and Juliet is the example of a
movie which consists of good conversations that make up the storyline. It is an
adaptation of one of William Shakespeare’s biggest plays all of time. The
adaptation makes the viewers involve emotionally in the flow of the conversations
among characters in the movie.
The researcher observed that among the conversations in the movie, there
are many adjacency pairs used by the characters. The conversations occurred in
this movie show that the adjacency pairs affect the continuous communication in
the flowing of the story. The sequences can be interpreted well if it is seen within
the aspects of pragmatics. The study of contextual meaning deals with the analysis
of what people mean by their utterances than what the words or phrases in those
utterances might mean by themselves (Yule: 1996:3).
The researcher is curious to know the types of adjacency pairs, the
Romeo and Juliet movie script. Therefore, the researcher decides to bring the
adjacency pairs topic into a study entitled: A Pragmatic Analysis of the Adjacency
Pairs in the Modern Script of Franco Zeffirelli’s Romeo and Juliet Movie.
B. Identification of the Problems
Daily conversations in human life are very complex dealing with the
interpretations of what messages are delivered by the speaker. It requires the
hearer to pay more attention to the communication, which often make sufficient
variation that cause potential misunderstanding. There is often sufficient variation
to cause potential misunderstanding. That is why adjacency pairs are important to
know in the terms of understanding the meaning of conversations.
Romeo and Juliet movie represents some patterns of conversation, such as
the form of turn taking, opening conversation, closing conversation, and
adjacency pairs. The patterns are used by the speakers throughout the movie.
C. Research Focus
Due to time and resources limitation, it is impossible for researcher to
cover all the topics. Therefore, the research focuses on the types of adjacency
pairs, preference sequences, and the functions of responses in the modern script of
Romeo and Julietmovie. The data were taken from the script ofRomeo and Juliet
in the modern English script with the consideration that the modern script was
D. Formulation of the Problems
Based on the descriptions in the previous part, this research formulates the
research problems as follows.
1. What are the types of adjacency pairs in the modern script of Franco
Zeffirelli’sRomeo and Julietmovie?
2. What are the preference sequences in the modern script of Franco
Zeffirelli’sRomeo and Julietmovie?
3. What are the functions of responses in the modern script of Franco
Zeffirelli’sRomeo and Julietmovie?
E. Objectives of the Problem
In line with formulation of the problems above, the objectives of the
research are:
4. to describe the types of adjacency pairs in the modern script of Franco
Zeffirelli’sRomeo and Julietmovie,
1. to describe the preference sequences in the modern script of Franco
Zeffirelli’sRomeo and Julietmovie, and
2. to describe of the functions of responses in the modern script of Franco
F. Significance of the Study
In accordance with the formulation of the problems and the objectives of
the research, this study is expected to give contribution to the following parties:
1. Students of the study program of English Language and Literature
majoring in linguistics study. This study is expected to give some
contributions to pragmatic study, especially in adjacency pairs.
2. The English Teachers. This study is expected to give an alternative idea to
teach by using film in language learning.
3. Other researchers. This study expected that the result of this research is
6
Chapter II is divided into four sections. The four sections namely
theoretical reviews, conceptual framework, previous study and the synopsis of the
Romeo and Juliet movie. In theoretical reviews, the researcher describes several
theories related to the research objective. The theories are pragmatics, context,
language and conversation, adjacency pairs, and movie. Meanwhile, in conceptual
framework, the researcher will explain boundaries of how far she conducts the
study. Then, the researcher provides some previous studies which are similar to
the researcher’s work. At the end of Chapter 2, the researcher will give the
synopsis of theRomeo and Julietmovie.
A. Theoretical Reviews
1. Pragmatics
Pragmatics is defined as the study which deals with the relationship
between form of linguistics and the users of it. According to Levinson (1983:9),
pragmatics concerns with the study of relationship which includes language and
the context and becomes the basis in understanding language meaning. Referring
to this statement, pragmatics can be defined as the study which concerns with the
links between language and context have relevance to writing grammar. It
describes the use of language as well as its relationship between language forms
and language uses. Meanwhile, Leech (1983: x) defines pragmatics as the study of
Yule (2006: 112) inThe Study of Languagestates “Communication clearly
depends on not only recognizing the meaning of words in an utterance but also
recognizing what speakers mean by their utterances. The study of what speakers
mean, or ‘speaker meaning’, is called pragmatics”. Furthermore, Yule (2006:112)
reveals pragmatics in a broader definition with four important points. First,
pragmatics is defined as the study of speaker‘s meaning. It relates to the study of
meaning which is communicated by a speaker (or writer) and then interpreted by a
hearer (or reader). Second, pragmatics refers to the study of contextual meaning
including the interpretation of what speaker intends in a given situation and
context and the way the context influences what is said by the speaker. In
addition, pragmatics also considers of how speakers organize what they want to
say in relation to whom they are talking to, where, when, and under what
circumstances.
Third, pragmatics is defined as the study which observes how the unsaid is
understood as a part of what is communicated. It attempts to identify how a hearer
makes assumption of what is said in order to interpret the meaning intended by the
speaker. Last, pragmatics refers to the study about the relation between linguistic
forms and their users.
In short, pragmatics refers to the study of how language is used when
communicating. It is concerned with how people speak a certain the language
2. Context
Context is a vital concept in pragmatic analysis since pragmatics explores
the meaning of words in a certain context or interaction and how the individuals
engaged in the interaction make communication and state information more than
the word they use. In other words, context provides more effects to the
information than the explicit meaning that the words bear. For example, when a
man says “the soup is tasteless” during a lunch, he may want someone to pass him
the salt.
The statement above is in line with Yule’s theory. Yule (2006:114)
mentions that context refers to the physical environment where a word is
employed. Meanwhile, Mey (1993: 39-40) suggests that context is beyond
reference and understanding what things are about. Context allows the speaker to
give a deeper meaning on their utterances. The utterance “It is a long time since
we visited your father”,when spoken in a bed room by a married couple, is totally
different in meaning when it is spoken by a husband to his wife while standing in
front of a monkey at the zoo, since it is considered to be a joke.
The example above reflects the clear case in pragmatics as the study of
contextual meaning. That is why analyzing the meaning of an utterance must pay
attention to the context since the meaning of an utterance will be far different if
the context is different. Context will set the utterance’s interpretation..
Context of situation or situational context means the speakers are aware of
what they can see around them (Cutting, 2002: 3). It becomes a necessary part in
communication. The definition is similar to what Widdowson assumes. He reveals
that a word in spoken or written language is like in real situation, in which the
word can be useless without any context of situation (2004: 37).
Further, Hymes (1974: 55-60) proposes some concepts to explain the
context of situation. For convenience, he finds the term SPEAKING as an
acronym for the various factors he sees as relevant.
1) Setting and Scene (S)
Settingmeans the time and place, i.e. the concrete physical circumstances
where a speech event happens. For example, a bed room in a couple’s house
might be a setting for a love and romantic story. Scene means the psychological
setting which is abstract, or the cultural definition of the occasion, which involves
some features such as range of formality and sense of play or seriousness. For
instance, a love story may be told at a cafe where a couple is sitting and dining. At
this time, the couple would be delightful, while at some other time, they can be
serious and quarelling to each other.
2) Participants (P)
Participants refer to the those who are uttering and to whom they are
uttering. Participants may be speaker and hearer, addressor-addressee, or
sender-receiver. The social factors, namely age, gender, status, social distance, and role
or profession of the participants can be relevant as well, for example, teacher and
3) End (E)
End means the conventionally recognized and expected results of an
exchange as well as the goals of participants that need to be accomplished on
certain occasions. Otherwise, it refers to the purpose, goal, and results of a speech
event. For instance, when an uncle tells a story about a grandfather, he may have
several goals, namely to entertain audience or honor the grandfather.
4) Act Sequence (A)
Act is defined as the actual form and content of what is said, the precise
words employed, the way they are used, and the relationship between what is said
and the actual topic at hand. For example, when a mother is telling a story but
many responses and interruption raise, the story may end up into a gossiping.
5) Key (K)
Key can be defined as clues that set the tone and manner, where a certain
message is conveyed, namely light-hearted, serious, precise, firm, and so on. Key
may also be reflected in nonverbal ways through certain behavior, gesture,
posture, or even deportment. For example, when a teacher is telling a ghost story
to her students, she will imitate monster or a ghost’s gesture.
6) Instrumentalities (I)
Instrumentalities is basically defined as the choice of channel and the
actual forms of speech which is used, including chosen language, dialect, code, or
register. The choice of channel itself can be in the form of oral, written, or
features or employ a more formal register and careful grammar as “standard”
forms when teaching in a class.
7) Norm of Interaction and Interpretation (N)
Norm means the particular behaviors and properties attached to speaking
and also to how it is seen by someone who does not share it. In other words,
norms can be social rules that govern the event, action, as well as reaction of the
participants, for example, loudness, silence, and gaze return.
8) Genre (G)
Genre means types of utterance that are clearly demarcated, for instance,
poem, proverb, riddles, sermon, prayer, lecturer, and editorial. However,
sometimes it is uneasy to search for all elements of the context of situation when
studying an utterance because not every utterance has context of situation. Thus,
only some of them are employed and considered when interpreting an utterance.
For example, the utterance is told in the form of anecdote for entertainment.
Another opinion about context of situation is given by Leech. He suggests
that context involves related aspects of the physical or social setting within an
utterance. In this sense, context of situation plays a major role in the
understanding of utterance’s meaning because through context, the speaker and
the addressee tell their background to catch the meaning of their utterances
context as the environment of text that include environments, both verbal and
situational, where the text is spoken.
In addition to context of situation, Holmes (2001: 8) put forwards that in
any situation, linguistic choices represents the influence of one or more of the
following components in general, namely the participants, the setting or social
context of interaction, the topic, and the function. The participants can be the ones
who are uttering as well as to whom they are uttering. The setting or social
context of interaction refers to the situation where they are speaking (physical
setting) and the psychological situation where they are speaking (psychological
setting). Meanwhile, topic is what is being discussed, whose function is why they
are speaking. Those elements become the fundamental components in pragmatics
that describe the reason of everybody to not speak in the same way every time.
b. Cultural or Social Context
Another context that gives impacts to the way people state something is
the cultural or social context. It also influences the linguistic features chosen by
the speaker. In this case, Malinowski in Halliday and Hasan (1986: 6) put
forwards context of culture as the institutional and ideological background that
provides a certain value; it also contains an interpretation. For example, somebody
tells X which is considered as an insult in a conversation of a group that occurs in
a certain place, but X may be considered not an insult in the other conversation
group in another situation, too. This phenomenon occurs since the parties in each
Furthermore, any linguistic interaction includes both the immediate sight
and sound surrounding the event, as well as the whole cultural history of the
participants and the type of practices that they engage in. Thus, it is not proper if
someone only considers the context of situation while neglecting the context of
culture when communicating.
3. Language and Conversation
Conversation plays a pivotal role in human life as it links the inner relationship
between the first and the second speaker. Language contains more complex meaning
than the utterances do. It is reflected from one type of conversation or dialogue.
According to Hornby (1995: 320), dialogue is conversation in the spoken or
written form, talk or discussions between people where opinions are exchanged.
In human communication, talking becomes the basic form of speech. It is a
type of speech where two or more participants freely alternate in speaking.
Conversation among participants occurs almost in communication every day.
Sinclair and Coulthard (1975) argue that there are three characteristics of
conversation, namely performing act, response, and reclassification. In
categorizing an utterance as performing a certain act, the questions asked are
whether it is intended to invite a response, whether it is a response itself, whether
it is designed to mark a boundary in the discourse, and etc. An elicitation can
solicit a response and take place before the initiating move. In the same move, the
concept of continuous classification depends on the type of response.
participants in reclassification. One participant makes an initiating utterance in
order to soliciting a particular response from the others.
A whole conversation usually contains three parts: the opening, the body
and the closing; among which, the opening and the closing affect greatly on the
structure of conversation than the body which may be often varying in the content
of a conversation. When someone needs to conduct a conversation with another,
he or she always starts the conversation in a particular linguistic or nonlinguistic
form, for instance, mentioning the name or title of the addressee, c. g. "Jean", "
Mr. Paul ", " Prof. Tou ", "Excuse me-", 'Pardon me", tapping the addressee on the
shoulder, waving a hand, or making a dry cough to him. The act is followed with
the conversation’s body that may vary in content. It looks there is no certain rule
in formulating the patterns of the body.
The closing means the ending of a conversation. To end a conversation,
some forms of linguistic or non-linguistic signals are used to show the ending of a
conversation. Because a conversation is regarded as a cooperative social
activity, it is quite rude to close a conversation abruptly before the speaker
completes his speech, and it is also inappropriate not to close the conversation
after the speaker ends what he intends to tell.
4. Adjacency Pairs
a. Definition
When one speaker makes an utterance, it is mostly responded by another
forthcoming, interlocutors will show an account of why the response is not
forthcoming. This form of conversational organization is well defined by
Schegloff and Sacks in their concept of adjacency pairs. Two adjacent utterances
made by different speakers are connected to each other in such a way. Through
adjacency pairs, participants are allowed to start conversation, negotiate deal,
relate facts, change topics, and end the conversation (Schegloff and Sacks
1973:296).
The utterances are connected to set pair types, thus, a certain first pair part
forms the expectation of a certain second pair part (Schegloff and Sacks
1973:296). For example, a question will always expect a reply, and an offer also
will always expect an acceptance or decline. The kinds of response may be in the
form of a bound interactional unit among participants. It will raise a problem in
the conversation when the second part response does not happen,. This will result
in a significant absence and hence unmeaning.
In a book entitled Spoken Discourse, Edmondson (1981:46) mentions that
Schegloff and Sacks (1973) have categorized adjacency pairs into five features,
which are: (1) two utterance length, (2) adjacent positioning of the component
utterances, (3) different speakers producing each utterance, (4) relative ordering
and (5) discriminative relations (the pair type of which a first pair part is a
member and this appropriates the choice among second pair parts).
There are a number of possible areas of difficulty that has a relation with
adjacency pairs. First, a certain utterance may be intended as one among several
may be regarded as a greeting, or summon. Third, questions can contain
information questions or requests for action (“would you like do that for me?”) or
criticism (“why did you kill that?”), etc. (Jack C. Richards and Richard W.
Schmidt’s words ,2010:12).
b. The Types of Adjacency Pairs
Adjacency pairs take place when an utterance from one speaker leads to a
particular kind of response very likely. (Schegloff and Sacks 1973:297) divide the
adjacency pairs into nine parts, such as greeting-greeting, question-answer,
request-refusal, command-compliance/ incompliance,
blame/accusation-admission/denial, offer-acceptance or refusal, assertion-agreement, disagreement,
summons-answer, and farewell-farewell. The types of adjacency pairs can be seen
below.
1) Greeting - Greeting
Tom : "Hey.Good morning!" Clerk :Good morning, Tom.
(Schegloff and Sacks, 1973:297)
The utterances above indicate adjacency pairs with the first part of the
conversation is a greeting and the response of the greeting (1stpart) is a greeting,
too. This type of adjacency pairs is mostly used when starting a conversation.
2) Question - Answer
Tom :What are this, people kissing or something? Olivia :John says they might get married.
The first turn shows a question. Tom asks Olivia about the people he sees kissing
(it is probably done in the waiting room). The second pair part provides a response
to the question, the answer.
3) Request - Refusal/acceptance
John : "Sweetie, you're going to go with Daddy,okay?" The daughter : "Okay."
(Schegloff and Sacks, 1973:298)
In the uterrances above, the first pair part indicates a request from the father
(Tom) to his daughter. He orders his daughter to go with him somewhere. As the
response, in the second pair part, the daughter says her acceptance.
4) Command – Compliance / Incompliance
Olivia : "Now we can go through the cave.Duck!"
John : "All right, going into the cave. That's a big, beautiful cave we're in."
(Schegloff and Sacks, 1973:298) Olivia initiates the utterances above by giving a command to the group of people.
She orders to go through the cave, but they all have to duck first. In the second
pair part, John, a member of the group, gives a response to the command with
compliance as the response.
5) Blame/ Accusation – Admission/ Denial
Olivia : "Man,you're crazy!" John : "I amnot crazy!
I want my goo-gaa!"
(Schegloff and Sacks, 1973:298)
In the conversation above, Olivia makes accusation to John. Olivia accuses John
second pair part, John denies Olivia’s statement by saying that he is not crazy but
then he pretends like a crazy man.
6) Offer - Acceptance or Refusal
Olivia. : "Do you want another cup of tea?" John : "No, Thanks. It’s enough."
(Schegloff and Sacks, 1973:298)
Olivia is offering John another cup of tea when knowing that John’s cup is almost
empty. In the second pair part, John responds with a refusal and says that one cup
of tea is enough for him.
7) Assertion -Agreement, disagreement
Tom : Well, you know, sometimes, these things are like a Band-Aid."
You just have to rip it off. Olivia : "Right.Rip it."
(Schegloff and Sacks, 1973:298)
From the utterance above, it is obvious that the first part of pair delivers assertion.
Tom states that “these things” (probably a problem or something attached) are
similar to band aid that is easy to rip off. In the second pair part, Olivia makes a
response by stating an agreement about to rip the things off.
8) Summons - Answer
Tom : "Olivia!
Where are my notes for the 11:00? Olivia : "Jake. I think they're in there."
(Schegloff and Sacks, 1973:298)
The first part of the pair denotes summon. Tom is calling for Olivia to ask about
notes for his scheduled meeting. Olivia gives her answer in the second pair part.
9) Farewell - Farewell
Olivia : Bye, Ella.
(Schegloff and Sacks, 1973:299)
The utterances above denote adjacency pairs in the form of farewell – farewell.
Tom is asking Olivia to leave and Olivia says farewell to Ella, her friend. In the
second pair part, Ella makes a response by saying farewell, too.
c. The Preference Structure
Adjacency pairs denote social actions. In general, the first part in the form
of a request or an offer is set typically with an expectation that the second part
will be an acceptance. An adjacency pair is formed through the contents of the
two statements which are uttered successively by two speakers and ordered as the
first part and the second part of the adjacency pair, and are coherent in content in
terms of semantic and pragmatic aspects. An acceptance is more prefered than a
refusal; this structural likelihood is known as preference. Levinson (1983, p. 336)
has divided the structure of preference into two acts: preferred and dispreferred
social acts. The preferred act means the structurally expected upcoming act, while
the dispreferred one is the next act which is structurally unexpected. The
difference between the preferred and dispreferred second parts tends to be
subjective or psychological rather than logical or rational. In an attempt of
avoiding dispreferred or awkward responses (the second parts of adjacency pairs),
the speaker could sometimes perform some tentative speech acts which are called
as pre-sequences. Pre-sequences are defined as the adjacency pairs designed to
meet what is needed in the psychological side. Several every day pre-sequences in
Preference structure has divided second parts into prefered and
dispreferred social acts. The most usual patterns of preference structure are given
[image:35.595.110.516.236.354.2]below.
Table. 1 The General Patterns of Preferred and Dispreferred Structures (Levinson, 1983)
Preference Structure
First Part Second Part
Preferred Dispreferred
Assessment Agree Disagree
Invitation Accept Refuse
Offer Accept Decline
Proposal Agree Disagree
Request Accept Refuse
When choosing whether request or offers as first parts, acceptance
becomes the prefered and refusal becomes the dispreferred second part. In
examples [-a.-d.], the responses in each second part all denote preferred structure.
That is why acceptance or agreement is the preferred second part in response to a
request [a], an offer [b], an assessment [c.], or a proposal [d].
First Part Second Part
a. Can you help me? Sure
b. Want some coffee? Yes, please.
c. Isn’t that really great? Yes, it is. d. Maybe we could go for a walk That’d be great.
In order to clearly identify how these preferred second parts are expected
in the examples above, people must imagine each first part is met with silence. In
any adjacency pair, silence which positions the second part may be interpreted as
a dispreferred response.
- Father : Hey, you’re gonna do with mommy, Okay? - Son : Okay (accept)
-Father : And I’ll call you every day. - Son : Promise me?
- Father : You’ll be alright. You’ll be alright.
It is obvious that an expectation exists in the next act which contains acceptance,
and thus, this act is considered as a preferred structure.
2) The Dispreferred Structure
- Son : Mom!
- Mommy : Not now, darl -Son : But, Mom, please!
-Mommy : I told you, not now. (Refuse)
And listen to me, Jim. This is the time for mom to work.
The adjacency pair above shows dispreferred structure where the adjacency pairs
indicates unexpected act or refusal from the mommy because she is in a rush
before going to work.
d. The Function of Response
Each dialogue has feedback or response within the conversation topic. For
the response toward answer, the researcher employs Stenström’s theory. He states
that “responding act is addressee’s next obligatory move in the exchange after
speaker’s initiation” (p. 109).
1) Responding to Statement
When a speaker makes a statement, he or she will expect a reply from the
person he or she is talking to. There are three categories of responding to
statement, that is, acknowledging to inform and opine, agreeing to inform and
opine, and objecting to inform and opine.
Acknowledge refers to the signal that the addressee agrees what the
speaker states as a valid contribution to the conversation. The simplest way of
giving a response is by using the “acknowledge” that enables the addressee to
respond without stating whether she/he approves/disapproves of that they have
heard. The markers can be “ah, all right, I see, oh, ok, quite, really, right, gosh, oh
dear, goodness, and so on” (Stenström, 1994:111).
Example: A: I have no news of Wessex at all. B:I see
b) Agreeing to inform and opine
Agreeing indicates that the addressee accepts what the speaker means.
There are some markers of agreeing to inform and opine, such as, “absolutely, all
right, fine, good, ok, precisely, quite, right, that’s right, yes/no, and so forth”
(Stenström, 1994: 112).
Example: A: I just found that Dona will stump up any money to cover the girl’s time.
B:Good.
c) Objecting to inform and opine
Objecting means the indication that the addressee does not accept the
speaker’s statement. It is considered strange if the addressee always agrees to all
the speaker states. It would either show that the addressee has no opinion or that
she/he either does not have anything to tell or she/he is not interested in the topic.
Some markers of objecting to inform and opine are “well, yes but, not but”
(Stenström, 1994: 113).
B:Yes butShanti, strong-willed person has to take another for better or worse the same as the one without strong wills.
2) Responding to Question
A question always demands a proper answer. Nonetheless, not all answers
are right in the sense that they do answer the interviewer’s question. In regards to
the response to question, it is categorized into five types, i.e complying, implying,
supplying, evading and disclaiming (Stenström, 1994: 114).
a) Complying
Complying is the only direct and adequate type of response to a question.
The other responses or questions are not exactly or not considered at all straight to
the point. Thus, it is said that complying gives no more than the information being
asked for.
Example: A: When is it?
B: Tomorrow at four twenty.
b) Implying
Implying means the act which indirectly gives answers to the question or
implicitly gives proper information; otherwise, it answers the question indirectly.
Example: A: Do you want the applicants to go to the registry office directly?
B: Not many.
The conversation indicates that B answers the question indirectly. B wants the
applicants to go to the registry office but not many.
Supplying becomes part of an answer that produces inadequate
information. It does not really answer the question or does not give a clear answer.
Moreover, supplying attempts to give additional information that sometimes is
unrelated the question.
Example: A: Was she a personal friend of yours or? B: Hmm…well… She used to be my senior.
Here, B does not necessarily answer the question, because she does not clarify
whether ‘she’ was a personal friend or just a senior. This answer is typically
introduced well, often combined with pauses.
d) Evading
Evading is part of answer which neglects to answer directly.
Example: A: Um..Well do you have any other argument? B: Well, they didn’t give any.
In the example, B neglects to answer the question directly by referring to another
person who is absent.
e) Disclaiming
Disclaiming denotes that the answer is still unidentified. Usually the
addressee states hesitation, and then s/he continues with an answer that is true and
straightforward but it does not clearly provide an answer to the question and does
not pretend to do so.
Example: A: What will happen when somebody breaks in and robs it – am I covered or?
B: Mm… honestly I don’t know
There are two kinds of requests, that is, action request and permission
request. “Request is face threatening acts for two reasons. They are costly to the
addressee and benefiting the speaker and they are open to rejections” (Stenström,
1994: 116). There are three responses which are possible to a request, namely
accepting, evading, or rejecting.
a) Accepting
Accepting is an act that can be both positive and fully satisfactory action.
Example of action request:
A: And could you get us some coffee please? B: I’ll. Yes.
Example of permission request:
A: May I open the window? B: Of course you may.
b) Evading
Evading is the of the addressee’s act to show that she/he cannot do or
avoid to do what the speaker intends.
Example: A : Could you see what’s still to come Mia, coz I think they....there are two performance of each one.
B : Trouble is I don’t regularly have a paper it doesn’t get delivered. So, sometimes buy one and...
In the example above, B really wants to carry out what the speaker asks to, but B
cannot perform the order for an clear reason. She does not say so in ordinary and
straightforward words; instead, she tells the reason.
c) Rejecting
Rejecting is an act of disagreeing the speaker’s request.
B: Sorry he’s going to other city this morning.
Here, rejecting is followed with the reason why. This is regarded as quite
obligatory addition; without it, the speaker is possibly seen as rude.
4) Responding to Offers and Invititation
Offers and Invitations are the opposite of request. It is the addressee who
benefits from the proposed action, not the speaker; even, it is quite costly to the
speaker (Stenström, 1994: 118). An offer or invitation may possibly be responded
by some actions, for instance, as accepting, evading or rejecting.
Example of accepting an offer:
A: Rio, can I get you a snack? B: Yes you can thank you.
Example of accepting an invite:
A: Would you like to have a breakfast with me, young Pauline? B: Thanks. That would be nice
Example of evading:
A: When will you visit us? B: M....
A: Can you inform me before Stephany goes?
B: I think I could manage it, m...it’s...you know things become a lil bit excited but m...
Example of rejecting an offer:
A: What about a coffee? B: I could’n have one, thanks.
Example of rejecting an invitation
B: Yes. But I’m afraid I’m just laid up. I don’t know, maybe it’s headache.
5) Responding to Apologies
Stenström states that “responding to an apology is mainly a matter of
being polite” (Stenström, 1994:120).
Example: A: I’m sorry to disturb you. B: No, not a bit.
6) Responding to Thanks
“Responding to thanks is usually answered by the word thank itself”
(Stenström, 1994: 121).
Example: A: Thanks very much. B: Thank you.
The researcher chooses the theory of types of responding acts to answer
and to analyze the research question number three, that is, “What are the functions
of responses in the modern script of Romeo and Juliet movie?” First, the
researcher will identify the responding acts produced by the main characters in the
movie. Then, she will figure out the function of responding acts by using
Stenström’s six classifications of responding acts.
e. Insertion Sequence
Insertion sequence takes place when speakers pause their utterances and
insert an utterance which is not in line with the main topic. In a conversation,
speakers could interrupt themselves and insert an utterance which seems unrelated
Sometimes, the first utterance of adjacency pairs does not immediately accept the
second utterance. The writer found several occasions where a question-answer
sequence will be retarded, while another question-answer sequence interjects.
Not all first parts are immediately followed with their second parts. It
occurs sometimes when one of the participants delays the question-answer
sequence, then another intervenes. According to Yule (1996:78), "insertion
sequence is one adjacency pair within another". Though the utterance may be in
the form of question-answer sequence, other kinds of social action are also
accomplished within this sequence. Sometimes, the next speaker makes not a
second pair part yet another first pair part, because he either does not understand
or does not commit himself until he knows more or he is simply stalling
(Schegloff in Saadoon, 2005:24). This means that between the first and second
parts of an adjacency pair, there is a sequence of turns which intervene and this is
called insertion sequence.
f. Movie
A movie can be viewed as the real representation of life. Hornby (1995:
434) argues that a set of moving pictures displayed on television or at the cinema
that is recorded and contains a story is categorized as movie of film. Films attempt
to bring effects on viewers as well as providing the viewers experiences that they
actual events, animating objects or pictures, and experimenting in the pure form
(Bordwell & Thompson, 2008:28).
a. Elements of Movie
Before analyzing a movie, the researcher must understand the elements.
Pratista, (2008: 29) suggests five elements which characterize a movie, namely:
1) scene: a section of movie that usually consists of some shots, then unified
by time, setting, character, etc.;
2) plot:the structure of incidents that is unified in a movie;
3) character:individuals in a movie that are imaginary;
4) point of view:the vision’s angle of which a story in a movie is told;
5) conflict: a struggle which involves two or more opposing forces in a movie
or film, usually being resolved when the story is ended.
b. Movie Genres
Though there are a number of movies considered crossbreeds or hybrids
with two or more genres (or sub-genres) which are overlapping, Dirks (2010: 13)
believe that every film contains at least one major genre. Some movie genres are
such as action, adventure, comedy, crime and gangster, drama, epic or historical,
horror, musical or dance, science fiction, war, and western. Romeo and Juliet, a
movie chosen in this study, is considered as a drama movie.
A screenplay or script is a written work by screenwriters for a film, video
adaptations from existing pieces of writing. In them, the movement, actions,
expression, and dialogues of the characters are also narrated.
Romeo and Juliet is a 1968 British-Italian romance film based on the
tragic play of the same name (1591–95) by William Shakespeare. The film was
directed and co-written by Franco Zeffirelli, and stars Leonard Whiting and Olivia
Hussey. It is a wonderful drama movie. The story happened in Verona, Italy,
during the later middle ages. It began when two families, the Capulets and the
Montagues, were quarelling and this quarell had lasted for a long time. Romeo,
the son of The Montagues, felt deeply in love with Rosaline but failed to be
together with her. His friends, Benvolio and Mercutio, tried to cheer him up and
then asked him to accompany them for attending the Capulet’s ball that night. At
the ball, Romeo met Juliet, the Capulet’s daughter and then got attracted with her
After the ball party that night, Romeo watched Juliet on her balcony. He
realized that Juliet loved him very much. After that, he made his presence known,
and before morning they decided to hold a marriage secretly. Nonetheless, before
the wedding day ended, Romeo was kept for killing Juliet’s cousin named Tybalt.
Romeo did it because Tybalt had killed Romeo’s friend, Mercutio. His
camaraderie toward his friend encouraged him to have a battle with Tybalt. Then,
the Prince of Verona had sentenced him to banishment. He then escaped from
Verona without informing Juliet.
In another place, Juliet’s father, Lord Capulet, arranged his daughter’s
wedding ceremony; he had chosen a man he considered as the right husband for
Juliet. Juliet did not agree with the marriage since she did not love the man; her
love was only for Romeo. Then, a friar gave her a drug containing poison which
could make her get into a deathlike trance until Romeo came and took her away
with him. Unfortunatelly, Romeo heard the wrong information and he thought she
had passed away. He then made a trip to Verona and committed suicide by
drinking poison.
Soon, Juliet woke from her trance and saw the dead body of Romeo.
Immediately, she picked off herself with Romeo’s dagger. The two families, the
Capulets and the Montagues, found the tragedy has brought a deep sadness two
both of them. It made them realized to end the quarrel forever.
The researcher refers to some similar studies discussing adjacency pairs
that have been done previously. The first study is a thesis by Fauzi (2010). His
thesis concerns on the conversational turn taking strategies used by the
interviewer of Metro TV Indonesia This Morning. The result of the study reports
that the interviewer employs three kinds of turn taking strategies; they are taking
the turn, holding the turn, and yielding the turn. The interviewer chooses taking
the turn strategy when he wants to begin a conversation or initiate a conversation;
he implements holding the turn when he wants to start speaking; then, he practices
yielding the turn when he has nothing to say again in conversation or he has made
complete sentences. The interviewer also employs questions to take and yield the
turn in the interview process. However, the interviewer does not directly give
questions to take and yield the turn, whereas he usually delivers new statements
first before giving questions. It is aimed to the interviewee in order the
interviewee able to focus on every subtopic question given by the interviewer. In
delivering statement itself, three kinds of turn taking strategies have been used.
Meanwhile, in this study, the researcher does not take turn taking strategies used
by Metro TV interviewer. The researcher’s study is specifically focused on the
adjacency pairs used by Romeo and Juliet movie script only.
The second study is a thesis by Sulistyowati (2009). Her study is entitled
Turn Taking Strategies Used by the Main Character in “The Pursuit of
Happiness” Movie. The study tells about a movie and the researcher analyses of
the turn strategies performed by the main characters in the movie. By referring to
strategies are correlated to each other: starting up strategy, taking over strategy,
and interrupting strategy. Though Sulistyowati’s study also deals with a movie,
her thesis has different focus from this study. She pays more attention on the turn
taking strategies in the Pursuit of Happiness movie, while the researcher in this
study focuses on the adjacency pairs in theRomeo and Julietmovie script.
Aside from those two previous studies that have been reviewed, the
researcher of this study takes a different object to study. The researcher takes a
very famous film adapted from a very popular play entitled Romeo and Juliet, the
most tragic-romantic play ever. The researcher conducts the study about the
adjacency pairs which exist in the movie. The researcher of this study also decides
to use the modern version of the movie script to get better result of the study
because the researcher realizes that modern version is really easy to analyze than
original version.
C. Conceptual Framework
In order to make the study easier to understand, the researcher needs to
construct the theoretical framework. The framework gives the researcher
boundaries of how far she would conduct the study. In this study, the researcher
studies about the main characters’ conversations in the Romeo and Juliet movie
script. The script used in this study is not the original one but the modern one
because the original script is rather difficult to comprehend.
The analysis of the conversations is based on the adjacency pairs study
greeting-greeting, question-answer, request-refusal, command-compliance /
incompliance, blame/accusation admission-denial, offer-acceptance or refusal,
assertion-agreement, disagreement, summon-answer, and farewell-farewell. The
researcher also discusses preference structure that will be divided into preferred
structure and dispreferred structure. Finally, the researcher conducts the study
about function of the responses. To make the framework clear, the researcher
36
This chapter deals with research methods which include type of research,
data and source of the data, research instrument, data collecting technique,
trustworthiness of the data, and data analysis. Each of which is presented as
follows.
A. Research Types
The research employed descriptive qualitative approach by which
descriptive data were gained. Bogdan and Biklen (1982: 39-48) state that
qualitative approach is a research bringing about the descriptive data in the form
of written or oral data from the subjects of the research being investigated.
Meanwhile, Krathwohl (1993: 740) argues that qualitative research describes
phenomena in words instead of numbers or measures.
This research was qualitative in nature due to its data characteristics and
descriptive analysis. The qualitative research was done to describe particular
phenomena or situations analytically that become the focus of the research. This
research was also supported by a quantitative analysis is which the researcher
used numbers and percentages measuring the occurrences of the types of
adjacency pairs, the preferences structures, and the function of responses in the
In this research, the phenomena or situations under observation were the
adjacency pairs of the utterances made by the characters in Romeo and Juliet
movie. There were three objectives in this study, namely to find out the types of
adjacency pairs done by the characters in the movie, to figure out preferences
structure and to define the functions of responses.
B. Data and Source of Data
The data were taken from the script of Romeo and Juliet in the modern
English script with the consideration that the modern script was much easier to
understand and analyze. The difference between the original script and the
modern one lied on the use simplicity of the style. The original script was rather
difficult to understand, as in the following script:ROMEO: “And we mean well in
going to this mask, But ’tis no wit to go”. The modern styles script was much
easier to understand, like the following script:ROMEO: “We mean well by going
to this masquerade ball, but it’s not smart of us to go”. The researcher decided to
use modern script of Romeo and Juliet movie in the study because she thought
that the movie script is easier to analyze since the conversations containing
Adjacency pairs are already written there. It means the data in the form of written
conversation.
The data were in the forms expressions of adjacency pairs found in the
conversations in the movie. Conversations in a movie are usually organized and
managed by characters sharing the same ideas and information to each other. In
communication, so that the data appear in the form of utterances made by one
speaker as the response to the others.
C. Research Instruments
Since this research was qualitative, the main instrument of the research
was the researcher itself; this is in line with what has been stated by Bogdan and
Biklen (1982: 27). In this study, the researcher played the role as the designer, the
data collector, the analyst, the data interpreter, and eventually the reporter of the
research findings. In addition, data sheets served as secondary instruments to
guide the process of identification and analysis. After all data had been identified,
D. Data Collecting Techniques
In preparing the data, the researcher did not only collect the data but also
selected and classified the data according to particular classifications that had
been prepared. In collecting the data from written sources, the writer applied
simak and catat (read and write) technique. Sudaryanto (1993:132) says that
simak and catat technique is aimed to record relevant data which match the
objective of the research. The data collection of this research was done by making
transcription according to its classification. The data were documented along with
their context or setting to get a complete understanding on the situation.
Therefore, the writer watched, listened, and took notes from the conversations in
theRomeo and Julietmovie.
E. Data Analysis
Data analysis is a process of organizing and classifying the data into a
patterned category and a unit of analysis in order to find a theme and to formulate
working hypothesis as the data suggest (Moleong, 2001:103). In analyzing the
data in the movie, the writer worked under comprehensive framework in
analyzing data. The framework used in this research consisted of the description
regarding the types and the function of adjacency pairs.
The data analysis in this study was done by observing the data obtained
and then classifying them into three categories: the type, the function, and the
After the data were classified and analyzed based on the data sheet and
theories in Chapter II, the writer drew conclusions. The conclusions were the
answers to the objective of the study as stated in Chapter I.
F. Trustworthiness of the Data
Credibility in research is measured by seeing how credible the research
finding is. Meanwhile, credibility is different from transferability. To achieve the
transferability in this research, the writer sought and gathered empiric events
related to the same context. The dependability was closely related to the data
themselves. The last was the criteria of conformability; in this case, the
conformability was to make sure that the research is objective. In this research, the
writer applied the credibility and conformability to gain trustworthiness.
To achieve the credibility of the data, the writer performed comprehensive
observation on the data, so the data were regarded as credible. The credibility of
the data was also obtained through triangulation technique. There are four main
types of triangulation: by sources, by methods, by researchers or observers, and by
theories. In this research, the writer used sources and observers. The sources of
this study were in the forms of books, papers, journals; some written sources from
internet related to pragmatics theories were also used in the research. In addition,
peer discussion was conducted to check the data analysis. The researcher
discussed the data with her colleagues from English Department who are majoring
Moreover, the writer also employed conformability to demonstrate the
neutrality of the research interpretations. The conformability was checked by
measuring how far the findings, while the interpretation of the data was truly
based on the data. The writer firstly confirmed the research data to Dr. Margana,
M.Hum., M.A as the first consultant, and then to Paulus Kurnianta, M.Hum as the
second consultant. The researcher also invited the other competent partners from
linguistics class as the triangulation partners. They were Kistin Hidayati and
Aghnia Nurrahmah.
In this research, dependability was also tested through triangulation
technique. Triangulation is the combination of methods in studying and observing
several same phenomena. Triangulation utilizes something outside the data to
verify the data themselves or to compare them. Some basic elements of
triangulation technique are sources, methods, observer or researcher, and theories.
In this research, the validity of the research was done by repeating the observation
43
This chapter consists of two parts, research findings and discussions. The
research findings part discusses the data obtained from Romeo and Juliet movie
script and covers the frequencies of the occurrence of adjacency pairs in the
conversations in Romeo and Juliet movie script, the frequency of the occurrence
of the preference, and the frequency of the occurrence of the function of the
response. The discussions part explains the findings in more details.
A. Research Findings
1.Frequency of Adjacency Pairs in the Movie
The frequency of adjacency pairs in Romeo and Juliet movie script is
[image:58.595.112.509.529.629.2]presented in Table 3 below.
Table 3. Frequency of Adjacency Pairs in the Movie Adjacency Pairs in the Movie
G G
Q A
R FA
C CI
BA AD
O AR
A AD
S A
F F
Freq 3 22 17 11 9 6 20 4 8
% 3% 22% 17% 11% 9% 6% 20% 4% 8%
Tot 100
Table 5 shows nine types of adjacency pairs, namely (1) greeting-greeting
(GG), (2) question-answer (QA), (3) request-refusal/acceptance (R-FA), (4)
command compliance/incompliance (C-CI),(5)
assertion-agreement/disagreement (A-AD), (8) summons-answer (S-A), and (9)
farewell-farewell (F-F). Table 5 also shows the percentage of each type of adjacency pairs.
The most often occurring type is question-answer with 22% or 22 times, followed
by assertion-agreement/disagreement with 20% or 20 occurrences.
Request-refusal/acceptance adjacency pair is in the third rank with 17% or 17 occurrences
and command-compliance/incompliance in the fourth rank with 11% or 11
occurrences. Blame/accusation-admission/denial adjacency pair is in the fifth
position with 9% or 9 time occurrences, while farewell-farewell adjacency pair is
in the sixth position 8 occurences or 8%. In addition, offer-acceptance/refusal is
in the seventh position with 6% or 6 occurrences and summons-answer is in the
eighth position with 4% or 4 occurrences. The type of adjacency pair with the
smallest occurrences is greeting-greeting with only 3% or 3 occurrences. Based on
the data above it can be concluded that in Romeo and Juliet movie, the highest
occurrences of adjacency pairs is Question -Answer and the least one is Greeting
– Greting.
2. Frequency of the Preference
[image:59.595.112.371.585.669.2]To show the frequency of the preference, the findings are given in Table 6 below.
Table 4. Frequency of the Preference Preference
Preferred Dispreferred
72 28
72% 28%
100
Table 4 shows that among 100 sample pairs from the movie, Preferred
3. Frequency of the Function of Response
[image:60.595.112.476.198.297.2]The frequency of the function of Response is displayed in Table 7 as follows.
Table 5. Frequency of the Function of Response
Function of Response (Responding to…)
Statement Question Request Offer &
Invitation Apology Thank
36 21 28 15 0 0
36% 21% 28% 15% 0% 0%
100
Table 5 shows six types of responses, namely (1) responding to statement,
(2) responding to question, (3) responding to request, (4) responding to offer and
invitation, (5) responding to apology, and (6) responding to thank. Table 7 shows
that the response to statement dominates the frequency of occurrence by appearing
36 times or 36% followed by responding to a request that appears 28 times or
28%. The smallest occurrence is the response to apology and thank that has 0%
occurrence. The last two functions of response have no occurrence because they
do not exist in the story/script. The cause is probably related to the social context
of the story in which the story is dominated with hatred and desire to take revenge
between two families, the Montaque and the Capulet. Because of the hatred and
desire to take revenge between those families, apologies and thanks are hard to
find.
B. Discussion
In this part, the researcher discusses the adjacency pairs, the preference
1. Types of Adjacency P
