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T C A R T S B A e n i d l a r e G a h t e r a g r a M , a ll e b r
A .(2013) .A Study on t he Use o fPoltienes sby the a
d a r P s r a e W l i v e D e h T f o s r e t c a r a h
C Movie. Yogyakatra :Engilsh Language .
y ti s r e v i n U a m r a h D a t a n a S , m a r g o r P y d u t S n o it a c u d E
y d u t s s i h
T analyzed The Devi lWear sPrada movie ,an Ame ircan movie e
m a n e m a s e h t f o l e v o n a n o d e s a
b by Lauren Weisberger .The movie revolved t
n a t s i s s a r o i n u j g n il g g u rt s a s a s h c a S a e r d n A d n u o r
a a tRunwayMagazine - a job
t a h
t “am liilongi lr swouldkillf or”sinceworkingf o rMriandaP ireslty,t heedtior -n
i -chief ,fo ra yea ropened a chance to ge ta job in any renowned magazine . e h s , r e v e w o H . t s il a n r u o j a e b o t y ti n u tr o p p o n a s a b o j r e h d e d r a g e r a e r d n A
s k o o l l a c i n y c d e v i e c e
r andi nsutls abouthe roufttisfrom he rbos sandcolleagues . s
e l p m a x e l a e r d e t c i p e d e i v o m e h
T o f the use o fpoltienes sin the characters ’ u
h T . s e c n a r e tt
u ,st he wrtier i ntended t o analyze t he poltienes sphenomena found n
i TheDevi lWear sPradamovie .T woresearchproblem swereformulatedi nt hi s s
e i g e t a rt s s s e n e ti l o p e h t e r a t a h W ) 1 ( : y d u t
s shown in The Devi lWear sPrada e
i v o
m ? )(2 Wha taret hef actor saffecitngt hecharacters ’poltienessi ns peaking? n
o s n i v e L d n a n w o r B d e y o l p m e r e ti r w e h
T ’ s(1987) theoryto ifndout t he f
o s r e t c a r a h c e h t y b s e i g e t a rt s s s e n e ti l o
p The Devi lWear sPrada movie. Also , y
k s l o p
S ’ s (1998 )theory of the poltienes sfactor swas included to ifnd out the s
s e n e ti l o p g n i k a e p s ’ s r e t c a r a h c e h t g n it c e f f a s r o t c a
f .Thewrtie rappileddocumen t
s i s y l a n
a a sthe method o fthe study ,in which The Devi lWear sPrada movie’ s t
p ir c
s becamet hep irmarysourceo fthestudy .Thesecondarysourceoft hi sstudy o
s e ir o e h t d e n i a t n o
c f poltienes ssrtategie sand poltienes sfactors. The wrtie rand e
h
T Devi lWear sPradamovie’ss c irp,tf u trher ,wa semployedast hei nsrtuments. ,
s i s y l a n a e h t n o d e s a
B the wrtie rfound tha tthe character so fThe Devi l s
r a e
W Prada movie appiled fou rpoltienes ssrtategies ,namely Bald-on Record , f
f O d n a , e v it a g e N , e v it i s o
P -record o r Indriec t Poltienes sS rtategie s in thei r d
l a B , y ll a n o it i d d A . s e c n a r e tt
u -onRecordPoltienes ssrtategywa sappileda smany y
t n e w t s
a -nine itmes . Posiitve and Negaitve Poltienes s srtategie s each wa s f
f O . s e m it n e e t e n i n d n a n e v e l e d e y o l p m
e -record o rIndriec tPoltienes ssrtategy .
y g e t a rt s d e z il it u t s o m e h t s a
w The t ota lnumbe rof t he characters ’utterance son y
tr o f s a w y g e t a rt s s i h
t - if ve. The use o fpoltienes ssrtategie swere addiitonally s
m o i d i f o e s u t n e u q e r f h ti w d e d n o p s e r r o
c . The second ifnding ,fu trhermore, t
a h t d e l a e v e
r the factor saffecitng the characters ’poltienes sin speaking were n
a , y ti r a d il o s ,s n o it a u ti s l a i c o s ,s e l y t s e g a u g n a
l dpowerr elaiton.
: s d r o w y e
K The Devi l Wear s Prada movie , b -aldon poltieness , posiitve f
f o , s s e n e ti l o p e v it a g e n , s s e n e ti l o
ii i v K A R T S B A e n i d l a r e G a h t e r a g r a M , a ll e b r
A .(2013) .A Study on t he Use o fPoltienes sby t he l i v e D e h T f o s r e t c a r a h
C Wear s Prada Movie. Yogyaka tra : Program Stud i s ir g g n I a s a h a B n a k i d i d n e
P ,Universtia sSanataDharma . i n i i d u t
S menganailsa sebuah flim be jrudu lThe Devi lWear sPrada yang i a n e g n e m a ti r e c r e b i n i m li F . r e g r e b s i e W n e r u a L a y r a k l e v o n i r a d i s a t p a d a i d , a m a n r e t h a l a j a m h a u b e s i d n e t s i s a i a g a b e s a jr e k e b g n a y s h c a S a e r d n
A Runway .
n e t s i s a i a g a b e s i s i s o
P d i Runway membuka peluang bag isiapapun yang mampu a g g n i h e s n u p a n a m h a l a j a m i d a jr e k e b a m ir e ti d k u t n u n u h a t e s a m a l e s a jr e k e b i k u l u ji d t u b e s r e t i s i s o
p “peke jraan yang diinginkan jutaan gadi .s” Andrea i a g a b e s a y n n a a jr e k e p p a g g n a g n e
m kesempatan untuk menti i ka ir r sebaga i a p a d n e m u rt s u j a i , n u m a N . s il a n r u
j tpandangan sini sdan cemooh dar ibo sdan n
a k e
r -rekanke jranyakarenagayabusananyayangdianggapkuno .FlimTheDevi l a d a r P s r a e
W menggambarkan contoh nyata penggunaan kesopanan oleh para . a y n r e t k a r a
k Oleh karena tiu ,melalu istud iin ipenuils menganailsa fenomena m li f i d n a n a p o s e
k The Devi lWear sPrada. Terdapa tdua pokok permasalahan ) 1 ( : u ti a y , i n i i d u t s m a l a
d apas ajasrtateg ikesopananyangdtiamplikandalamThe ? a d a r P s r a e W l i v e
D (2 )faktor apa sajakah yang mempengaruh ikesopanan para m a l a d r e t k a r a
k berbicara? s
il u n e
P menerapkan teor i dar i Brown dan Levinson (1987 ) untuk i g e t a rt s i s a k if it n e d i g n e
m -strateg ikesopanan yang digunakan oleh para karakter . r o t k a f i u h a t e g n e m k u t n u n a k a n u g i d ) 8 9 9 1 ( y k s l o p S i r a d i r o e
T -fakto r yang
s il u n e P . a r a c i b r e b m a l a d r e t k a r a k a r a p n a n a p o s e k i h u r a g n e p m e
m menggunakan
e d o t e
m anailsi sdokumen dengan naskah flim The Devi lWears Prada sebaga i i t u p il e m i n i n a it il e n e p m a l a d r e d n u k e s r e b m u s , u ti a r a t n e m e S . a m a t u r e b m u s ir o e
t -teor isrtateg ikesopanan dan faktor-faktornya. Insrtumen yang digunakan h a l a d a i n i n a it il e n e p m a l a
d penuil sdannaskahf limTheDevi lWear sPrada. a n a k r a s a d r e
B nailsis , penuil s menemukan bahwa para karakte r n a n a p o s e k i g e t a rt s t a p m e e k n a k p a r e n e
m dalam berbicara ,antara lain B - ,ald on , e v it a g e N , e v it i s o
P dan O -ff record/Indirec t Poltieness . Sebaga i informas i n a k p a r e n e m r e t k a r a k a r a p , n a h a b m a
t B -ald on Record sebanyak dua puluh . il a k n a li b m e
s Posiitve dan Negaitve Poltienes sdigunakan sebanyak sebela sdan n a k g n a d e S . il a k s a l e b n a li b m e
s O -ff record/Indirec tPoltienes sdtierapkan pailng u ti a y , k a y n a
b empa t puluh ilma kail . Penggunaan srtateg i kesopanan juga b
u h r e
b ungan dengan penggunaan ungkapan oleh para karakter .Penemuan kedua r o t k a f a w h a b n a k a t a y n e
m -fakto ryang mempengaruh ikesopanan para karakte r . n a a s a u k e k n a d , s a ti r a d il o s ,l a i s o s i s a u ti s , a s a h a b a y a g i t u p il e m a r a c i b r e b m a l a d :i c n u k a t a
K flimTheDevi lWear sPrada ,bald-onpoltieness ,posi itvepoltieness , f f o , s s e n e ti l o p e v it a g e
x i
T N E M E G D E L W O N K C
A S
. s r a e y r u o f t s a p e h t n i s t s e t e h t ll a h g u o r h t e fi l y m r o f d o G o t e b s k n a h T
e b e m a n s i H y a M . l u f g n i n a e m e r o m e fi l y m e d a m s a h e
H honouredandglo ir ifed.
s i s e h t y m o t e d u ti t a r g d n u o f o r p y m s s e r p x e o t e k il d l u o w I , t s o m e r o F
, r o s i v d
a Made Frida Yuila ,S.Pd. ,M.Pd., who ha sbeen my inspriaiton a s I d n a e c n e it a p r e H . y d u t s s i h t f o n o it e l p m o c e h t n i s e l c a t s b o e h t ll a h ti w e l g g u rt s
g n i v a h e n i g a m i t o n d l u o c I . s i s e h t y m e t e l p m o c o t e m d e p l e h e g d e l w o n k e s n e m m i
. y d u t s s i h t r o f r o s i v d a r e tt e b a
s i h
T thesis would no thave beenpossible wtihout t he help and suppor to f J
C F e u h o n o D ' O t e r a g r a M . r
S ,Drs .Barl iBram ,M.Ed. ,Ph.D., andmy f athe r s
u i n o t n A . s r
D .They were alway saccessible and wliilng to help m e wtih my y
m , tl u s e r a s A . r a m m a r g n i y lr a l u c it r a p , h s il g n E n i m e l b o r
p research proces s
. e m r o f g n i d r a w e r d n a h t o o m s e m a c e b
k n a h t o t e k il d l u o w
I StellaMarisM ereandE ilzabethNindyaParamtia a
t s e i r
A for t he t hesi sdiscussions ,preciou s itme spent i n t he ilbrary, da n help i n s
e ir o e h t g n i d n a t s r e d n
u . I also thank Liilana , S ahel Novtiasari , Veronica i
n a y t s il u
S , Adyaningrum Cinta , Feilctia Devi , Father Anton, Chris itna i
n a y g o y A a n a i r a
x y m o t s e o g e d u ti t a r g t s e p e e d y
M mother Sarw tiri ,S.Pd. and my father s
u i n o t n A . s r
D fo rthei rlove and conitnuou ssuppor tthroughou tmy l fie .Thi s .
r e h t o m y m y ll a i c e p s e , m e h t t u o h ti w e l b i s s o p m i y l p m i s s i s i s e h
t Iremembe rhe r
t n u o c n e I n e h w t r o p p u s t n a t s n o
c ered dfiifculite sandI r emember ,mos to fall ,he r .
s e h s i d s u o i c il e d
t u o h g u o r h t e m d e tr o p p u s s a h o h w e n o y r e v e k n a h t o t e k il d l u o w
I the
r o f r e v e r o f l u f e t a r g e b l li w I . s s e c o r p e ri t n
e t helove.
i x
S T N E T N O C F O E L B A T
Page
E G A P E L T I
T ... .i E
G A P L A V O R P P
A S... ii
E G A P N O I T A C I D E
D ... vi T
A T
S EMENTOFWORK’SORIGINALITY... v I
S A K I L B U P N A U J U T E S R E P N A A T A Y N R E
P ... vi
T C A R T S B
A ... vii K
A R T S B
A ... vi ii G
D E L W O N K C
A EMENTS... .i x
S T N E T N O C F O E L B A
T ... xi
N O I T C U D O R T N I .I R E T P A H
C ... 1 .
A ResearchBackground... 1 .
B ResearchProblem... 4 .
C ProblemLimtiaiton ... 4 .
D ResearchObjecitves ... 4 .
E ResearchBeneftis... 5 .
ii x
E R U T A R E T I L D E T A L E R F O W E I V E R . II R E T P A H
C ... 8
.
A Theoreitca lDesc irpiton... 8 .
1 Pragmaitcs... 9 .
2 SpeechActs... 01 .
3 Locuitonary,I llocuitonary ,andPe lrocuitonaryActs.. 0 .1 )
a Locu itonaryAct... 11 )
b IllocuitonaryAct... 11 )i Asseritve .s... 11 )i
i Driecitves... 21 )i
ii Commisives... .. 21 )
v
i Expressives... 21 )
v Declaraitons... 31 )
c Pe lrocuitonaryAct... 31 .
4 Socioilnguisitcs... .1 3 .
5 Poltieness... . 4.... 1 .
6 PosiitveFace ... 51 .
7 NegaitveFace... 51 .
8 FaceThreateningActs... 61 .
9 Poltienes sSrtategies... 61 )
a B -ald onRecord ... 71 )
ii i x )
c NegaitvePoltieness ... 81 )
d O -ff recordorI ndriect ... 81 .
0
1 Factor sAffecitngt heCharactersi nSpeaking... 81 )
a LanguageStyles ... 91 )
b Register sandDomains... 91 )
c SlangandSoildartiy ... 02 )
d LanguageandGender ... 12 )
e Socia lSrtait ifcaiton ... 22 .
B Theoreitca lFramework ... 23 .
I II R E T P A H
C RESEARCHMETHODOLOGY ... 4.... 2 .
A ResearchMethod... 42 .
B ResearchSet itng... 52 .
C ResearchSubject ... 62 .
D Insrtument sandDataGathe irngTechnique... 62 .
E DataAnalysi sTechnique ... 82 .
F ResearchProcedure ... 82 .
V I R E T P A H
C RESEARCHFINDINGSANDDISCUSSION ... 03
.
A ThePoltienes sSrtategie sShown n
i TheDevi lWear sPrada M eo vi ... 0.... 3 .
1 O -ff recordI/ndriec tPoltieness ... 31 .... .
v i x .
3 NegaitvePoltieness ... 44 .
4 PosiitvePoltieness... 84 .
B TheFactor sAffecitngtheCharacters ’Poltieness g
n i k a e p S n
i ... 45 .
1 LanguageStyles ... 45 .
2 Socia lStiuaitons... 55 .
3 Soildartiy ... 6.... 5 .
4 Powe rRelaiton ... 75
. V R E T P A H
C CONCLUSIONS,I MPLICATIONS , D
N
A SUGGESTIONS ... 95 .
A Conclusions ... 65 .
B Impilcaitons... 61 .
C Suggesitons ... 26 .
1 T oFutureResearchers... 26 .
2 T oLanguageLearners... 63 S
E C N E R E F E
R ... 64 X
I D N E P P
1
I R E T P A H C
N O I T C U D O R T N I
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b y tha tparites ,such a sEngilsh teachers ,Engilsh
s r e d a e r d n a , s r e h c r a e s e r e r u t u f ,s r e n r a e
l makeuse oft he r esutl soft hestudy .The
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P ha sasubstanital r ole in keepingthe harmony o fa communtiy .
g n i y a s f o r e tt a
m please andthank you int he irgh tplace .Speakingpol tieness ,on e
h t o e h
t rhand, cover smore t han t hat .Poltieness i sa signi ifcan taspect i n socia l
. n o it c a r e t n
i People need t o consider t hei rspeaking poltieness t o avoid offending
s r e h t
o fo ri ti sone o fthe mos timpo tran tpa tr so fcou tresy .Engilsh language
a l u c it r a p , s r e n r a e
l lryEFLa ndESLl earner ,ss tli lencounterdfi ifculitesi ns howing
y e h t t a h t d n u o f n e tf o s i ti , tl u s e r a s A . s s e n e ti l o p f o s n o i s s e r p x e e t a ir p o r p p a e h t
. y a w r a il u c e p a n i h s il g n E k a e p
s tI i scrucial ,howeve ,r to be able to no tonly
n i y lt n e u lf k a e p
s theEngilshl anguagebu talsoapplyt heconcept so fpoltienessi n
L F E s a , s n a i s e n o d n I . s r e h c a e t e g a u g n a l h s il g n E e r u t u f s a e g a u g n a l t e g r a t e h t
r e k a e p s e v it a n a n e h w , e c n a t s n i r o F . t n e m il p m o c a o t l a i n e d w o h s n e tf o , s r e n r a e l
, s y a
s “You rEngilshi sgood”,Indonesian swli lilkelyanswe r“No ,o fcourseno.t”
n i n o m m o c n u s i e s n o p s e r h c u
S the Engilsh society and i sconsidered impoltie .
s r e n r a e l L F
E tend t o regard t hi sresponse a sa kind o fdisagreemen t(Daikuhara ,
e s u e g a u g n a l s ’ L F E r o L S E , s u h T . ) 1 2 1 : 6 8 9
1 are sit ll in lfuenced by thei rfris t
e g a u g n a
l .
e i v o m a n o s e s u c o f y d u t s s i h
T enitlted The Devi lWear sPrada .Andrea o t s e ir t ,t s il a n r u o j g n ir i p s a d n a e t a u d a r g y ti s r e v i n U n r e t s e w h tr o N t n e c e r a , s h c a S
e v i v r u
s working unde rpressure a tRunway Magazine since her haughty senio r
s e t a m it s e r e d n u t n a t s i s s
a h er capablitiy o fworkingand adapitng t o the new work
t n e m n o ri v n
e .Simlia lry ,Mrianda P ireslty ,he rboss i swell-known fo rbeing frim
k r o w e h s n o s a e r y l n o e h T . s e e y o l p m e r e h o
t s a tRunwayi s t o pursue a j ob a sa
3
a d a r P s r a e W l i v e D e h
T movie pervades aspects belonging t o poltieness . :
7 8 9 1 ( n o s n i v e L & n w o r B o t g n i d r o c c
A 92 ,)t herearef ou rpol tienesss rtategiesi n
e r a y e h t ; y t e i c o
s B -ald On Record ,Posiitve ,Negaitve ,a nd O -ff record/Indriec t
n A s ll e t y li m E . s s e n e ti l o
P drea ,fo rinstance, to go to a ce train store to pick up
, s y a s y li m E . a d n a ri M y b d e r e d r o s e h t o l c e m o
s “Do you have some pry
t n e m ti m m o
c – somehideou ssk ri tconveniton youhave t ogo t o?” Thi sutterance
o t s r e f e
r O -ff recordorI ndriec tPoltienes sbecauset hespeakeri sbeings arcasitct o
. n o i h s a f f o e s n e s r o o p r e h g n it a u n i s n i y b e e s s e r d d a e h t
a d a r P s r a e W l i v e D e h
T movie wa schosen rf o i tcontain sa grea tdea lo f
s n o it a s r e v n o c r i e h t n i s r e t c a r a h c e h t g n o m a a n e m o n e h p s s e n e ti l o
p and poltieness
fl e s
ti focuse sonf orm so fsocia lbehaviori nvolving l anguage .Thi smoviedepicts
e l p o e p y n a m y b d e t c e l g e n n e e b s a h s s e n e ti l o p w o
h a swell ,especially young
d u ti tt a e v it a g e n r i e h t t u o b a e r o m n r e c n o c o h w , s tl u d
a e sin lfuenced by thei r
. y t e i c o s
s e z y l a n a r e ti r w e h
T the use o fpoltienes sby t he character so fThe Devi l a
d a r P s r a e
W movie because movie can eventually be medium to study ,
s c it s i u g n il o i c o
s speci ifcallypoltieness .The wrtie rbeileves t ha tbyacqui irng t he
i w s r e n r a e l e g a u g n a l h s il g n E , s s e n e ti l o p f o s t p e c n o
c l lbe able to speak Engilsh
a t a d r e h tr u f e v i g l li w y d u t s s i h T . s t x e t n o c l a i c o s t n e r e f fi d n i y l e ti l o
p ont heuseof
n i s s e n e ti l o
p TheDevi lWear sPradamovieandt hemajorf actor sin lfuencing the
.
B ResearchProblems
d e s a
B on the background o f the study , two research problem s are
.s w o ll o f s a d e t a l u m r o f
.
1 Wha tare the poltienes ssrtategie sshown in The Devi lWear sPrada
e i v o m ?
.
2 Wha taret hef actor saffecitngt hecharacters ’poltienessi ns peaking?
.
C ProblemLimtia iton
d e ti m il s i y d u t s e h
T t o the use o fpoltienes sby The Devi lWear sPrada
s ’ e i v o
m s ix characters . The character s are Andrea Sachs , Emliy Chartlon ,
, y lt s e ir P a d n a ri
M Nigel ,Ch irsitan Thompson ,and Nate Cooper .The wrtie ronly
e s o h t n o s e s u c o
f xs i character sbecause they appea rmore frequenlty than the
s r e t c a r a h c r e h t
o od ,which means t hey are t he one swho play i mpo tran troles i n
. e i v o m e h
t Thedata of t he t wo research problem swli lbe analyzed based on the
f o s e ir o e h
t Brown and Levinson (1987 )and Spolsky (1998) .The methodology
d e ti m il s i y d u t s s i h t n i d e s
u t o documen tanalysi sand the study i sdone by
e h t g n i z y l a n
a movie’ss c irp.t
.
D ResearchObjec itves
e h
T studyi sdonei nordert o ifndou:t
.
5
.
2 the factor saffecitng the main characters ’speaking poltienes sin The a
d a r P s r a e W l i v e
D movie.
.
E ResearchBeneftis
l u f e s u e b l li w t a h t s ti f e n e b s e t u b ir t n o c y d u t s e h t t a h t s e v e il e b r e ti r w e h T
y l b a t o
n :rf o
.
1 EngilshTeachers
y c n e i c if o r p h s il g n E ’ s r e n r a e l s s e s s a o t s r e h c a e t e g a r u o c n e l li w y d u t s s i h T
n
i thegramma ra swel lasi nthes ocioilnguisitcs aspect ,p irncipallypoltieness .
.
2 EngilshLearners
h s il g n E r i e h t y l p p a o t s r e n r a e l n o it a c u d e h s il g n E p l e h l li w y d u t s e h T
r p e g a u g n a
l o ifciency approp irately i n t heri t eaching-learning process .Thi sstudy
t e l b a e b o t s r e n r a e l h s il g n E p l e h o s l a l li
w oapplyEngilshexpressionsi nt heform
. y l e ti l o p d n a y l e t a ir p o r p p a s n o it a s r e v n o c f o
.
3 Readers
a l e r n o it a m r o f n i l u f e s u e d i v o r p l li w y d u t s s i h
T ted t o speaking poltienes s
y ll u f e p o h d n a s r e d a e r s ti r o
f i ten irche s thei rknowledge o fpoltienes sin socia l
t x e t n o
c s .Thus ,reader sare capable o fapplying poltienes sbehavio ra swel la s
.
4 FutureResearchers
s s i h
T tudy wli lhopefully be a good reference t o future researcher sto
t c u d n o
c fu trhe rresearch on socioilnguisitcs .Thi sstudy wli lalso give valuable
r e d n u h c r a e s e r t c u d n o c m e h t p l e h o t s s e n e ti l o p g n i k a e p s o t d e t a l e r n o it a m r o f n i
. c i p o t e m a s e h t
.
F De ifni itono fTerms
s r e d a e r e h t t s i s s a o t r e d r o n
I i n understanding the topic discussed ,the
y d u t s s i h t n i d e s u s m r e
t arede ifnedasf ollow .s
.
1 Poltieness
According to Holme s(1996 :5) ,“Poltienes srefer sto a behavio rwhich
r o f n r e c n o c e v it i s o p s e s s e r p x e y l e v it c
a others ,a swel la snon-imposing distance
d o o g f o n o i s s e r p x e n a f o m r o f e k a t y a m s s e n e ti l o p , s d r o w r e h t o n I .r o i v a h e
b -wli l
s i h c i h w r o i v a h e b e v i s u rt n i n o n r a il i m a f e r o m e h t s a l l e w s a , e ir e d a r a m a c r o
b a
l eled “poltie” in everyday usage”. According to Brown and Levinson (1987 :
2
9 ,) there are fou r pol tienes ss rtategies , namely Bald- On Record, Posiitve ,
, e v it a g e
N a dn fO -f record/Indriec tPoltieness .Thecharacters ’utterance sdesc irbed
s
a apar tofpol tienes saspects aret he mainconcern i n thi sstudy .Thi sstudywli l
t n e s e r
p the speaking poltienes so f the character so fThe Devi lWear sPrada
7
.
2 TheDevi lWear sPrada a d a r P s r a e W l i v e D e h
T i s a 2006 Ame ircan comedy-drama movie
g n ir i p s a n a , s h c a S a e r d n A d n u o r a s e v l o v e r y r o t s e h T . l e k n a r F d i v a D y b d e t c e ri d
k r o w t a e v i v r u s o t d r a h g n i y rt s i o h w , t s il a n r u o
j a s i tdeal swtih something she
:t u o b a h c u m e r a c t o n s e o
d fashion .Desptie he ranimostiy towards fashion ,she
r o f s e il p p
a a job a tRunway Magazine a sa junio rassistant .He rposiiton a san
b o j a s a d e b ir c s e d s i t n a t s i s s
a tha t“a mliilon gi lr swould kli lfor” .Thi smovie
s e d i v o r
p manyexample sofs peakingpoltienes sbyt hecharacter .s
m r e t e h
T The Devi lin both t he book and t he movie refers t o a ruthless , r
o ti d e d e n i m r e t e d d n a g n i d n a m e
d - ni - iche f o f Runway Magazine , Mrianda
y lt s e ir
P .Prada i san upmarke tbrand name .The Devi lWear sPrada ,therefore,
e h t s e b ir c s e
d ruthless edtior- ni -chief, who dresses in high qualtiy brand so sr i
n w o n k y l s u o m a
f a saprominen t ifgureinah -igh fashionmagazine.
.
3 Characters
n i d e t n e s e r p n o s r e p e h t “ s a ) 0 2 : 1 8 9 1 ( s m a r b A y b d e b ir c s e d s i r e t c a r a h c A
s a r e d a e r e h t y b d e t e r p r e t n i e r a o h w k r o w e v it a r r a n r o c it a m a r
d being endowed
e r p x e s e it il a u q l a n o it i s o p s i d d n a l a r o m h ti
w ssed i nt he dialogueand aciton”. The
m r e
t charactersint hi sstudyr efertoi ndividuals whoposses stheriown rtatis and n
o it a v it o
m s .The study focuse son six characters, namely Andrea Sachs ,Emliy
8
I I R E T P A H C
E R U T A R E T I L D E T A L E R F O W E I V E R
v o r p r e ti r w e h
T ide s two pa tr sin thi s seciton .The fris t par t i s the
c it e r o e h
t a ldesc irpiton ,which includes t he discussion o fpragmaitcs ,speech acts ,
g n il o i c o
s uisitcs , and poltienes s theory . The second par,t the theoreitca l
framework, i sused to synthesize al lthe theo ire selaborated in the theoreitca l
n o it p ir c s e
d inordert ocorrelatethet heo irest ot hecurrents tudy.
.
A Theore itca lDescrip iton
r e ti r w e h
T present s fou r pa trs , namely pragmaitcs , speech acts ,
.s s e n e ti l o p d n a , s c it s i u g n il o i c o
s Pragmaitc si s necessary i ncluded a s ti i s closely
s t x e t n o c n i g n i n a e m o t d e t a l e
r da n the study ,a sa matte ro ffac,t deal swtih t he
f o s e c n a r e tt
u The Devi lWear sPrada movie’ scharacters .Pragmaitc scomp irse s
, s t c a h c e e p
s which focus no language a s a too l fo r communicaiton .
s c it s i u g n il o i c o
S i spresentedinordert omakeadisitnc tunderstandingo fthet opic
. d e s s u c s i
9
.
1 Pragma itcs
) 9 : 3 8 9 1 ( n o s n i v e
L states ,“Pragmaitc scover sboth context-dependen t
g n i d n a t s r e d n u d n a e g a s u e g a u g n a l f o s e l p i c n ir p d n a e r u t c u rt s e g a u g n a l f o s t c e p s a
t e lt ti l r o g n i h t o n e v a h t a h
t o do wtih ilnguisitc srtucture”. uF rther ,he de ifne s
e s o h t f o y d u t s e h t “ , s a s c it a m g a r
p relaiton sbetween language and contex ttha t
d e d o c n e r o , d e z il a c it a m m a r
g in t he srtucture o fa l anguage”. eH emphasizes t ha t
e g a s u e g a u g n a l s r e v o c s c it a m g a r
p ast hebasicconcept inunderstandingl anguage
h s i s c it a m g a r p f o s u c o f e h T . s t x e t n o c n i h ti w f l e s
ti ow speaker suse l anguage t o
. n o it a m r o f n i y e v n o c
s e d i s e
B ,Leech (1992 :19 )menitons ,“Pragmaitc si sthe study o fhow
e g a u g n a l e s u e l p o e p w o h y b f l e s ti s n r e c n o c t I . e t a c i n u m m o c o t d e s u s i e g a u g n a l
” s y a w r a l u c it r a p n i e g a u g n a l e s u y e h t y h w d n a t x e t n o c n i h ti
w andt hati tcanalso
c n a r e tt u w o h f o y d u t s e h t “ s a d e n if e d e
b e shave meaning sin stiuaitons”. Thi s
p t a h t s e il p m
i ragmaitcsf ocuse sonhows peaker suselanguagefo rcommunicaiton
s g n i n a e m y e v n o c o
t i nparitcularcontexts.
: 5 8 9 1 ( h t e r e s e n e G d n a y a l n i k c a
M 18 )de ifne language a s “a se t o f
e h t g n it e r p r e t n i d n a g n it c u rt s n o c r o f e v a h r e r a e h d n a r e k a e p s a t a h t s n o it n e v n o c
s e g a s s e
m ” . Language ,more impo tranlty, can be descirbed by “specfiying the
t a h t s a l u m r o f e g a s s e m e h t d n a d lr o w e h t t u o b a s t c a f n e e w t e b e c n e d n o p s e r r o c
m e h t t n e s e r p e
r ” . By deilve irng messages t hrough a l anguage ,both speakers and
e e s s e r d d
a s mus tbe famiila rwtih t he contex to fstiuaitons. Speakers ,a sa resul,t
e r
I . ll e w s e c n a r e tt u ’ s r e k a e p s e h t t e r p r e t n
i t is , therefore, the way to expres s
.s s e n e ti l o p
.
2 SpeechActs
r e k a e p s e h t m o r f d e t a r a p e s e b t o n n a c s t c a h c e e p
S s ’ inten iton to utte r
g n i h t e m o
s sa they determine wha t the speakers mean . Nhan (2012 : 903 )
t c a h c e e p s n o s e t a r o b a l
e s by staitng ,“When people rty to expres sthemselves ,
, s d r o w d n a s e r u t c u rt s l a c it a m m a r g g n i n i a t n o c s e c n a r e tt u e c u d o r p y l n o t o n o d y e h t
o s l a t u
b perform aciton svia those utterance ssuch a sinviitng ,leave-taking and
g n i s u c c
a ”. Fu trher ,Sea lre (1987 :54 )state stha tspeech act sconsi st o fthree
f o t c a d n a , g n i h t e m o s g n i o d f o t c a , g n i h t e m o s g n i y a s f o t c a n a y l e m a n , s g n i h t
. e n o e m o s g n it c e f f
a Speakers ,in tha tcase ,produce u tterance sto communicate
s g n i h
t containingacitons .Inordert odisitnguisht hei mpo trance o fperformingan
h g u o r h t n o it c
a an utterance ,Sea lre (1987 :23 )adopts t erm sfrom Ausitn (1962 :
ll i , y r a n o it u c o l e r a s m r e t e h T . ) 9 4
1 ocuitonary ,andpe lrocuitonaryact .s
.
3 Locu itonary,I llocu itonary ,andPerlocu itonaryActs
s e ir o e h t e h t s e t a r o b a l e r e ti r w e h t , tr a p s i h t n
I from Sea lre (1987 :23 )
r e h tr u f s e v i g d n a s t c a y r a n o it u c o lr e p d n a , y r a n o it u c o ll i , y r a n o it u c o l o t d e t a l e r
n o it a n a l p x
1 1
)
a Locu itonaryAct
t t a h t s n o it n e m ) 3 2 : 7 8 9 1 ( e lr a e
S hi sac tcontains t he way people produce
. y ll a r e ti l y a s y e h t t a h w n a e m d n a e c n a r e tt u n
a Theutterance ,“Theweather i st oo
t a h t g n i n a e m l a r e ti l s ti s a d e v i e c r e p e b d l u o c ” d l o
c theweatherort het emperature
d l o c y ll a e r s
i .
)
b Illocu itonaryAct
a e r a s t c a y r a n o it u c o ll I “ , s e t a t s ) 2 3 3 : 0 0 0 2 ( e s u r
C ct swhicharei nternal t o
u c o l e h
t itonaryac,ti n t hesense t hat , fit he contextua lcondiiton sareapprop irate ,
u c o l e h t e c n
o itonary ac tha sbeen performed ,so ha sthe illocuitonary act”. tI
d n e t n i s r e k a e p s e h t t a h w o t s r e f e
r tos ayfromt heutterancetheyproduceins ucha
e h t t a h t y a
w addressee sunderstand the meaning .Ac to fstaitng ,promising ,
d n a , g n i s u f e r , g n ir e d r o , g n i n i a l p m o c , g n it c i d e r p , g n i n e t a e r h t , g n i z i g o l o p a
o o t s i m o o r e h T “ , s y a s r e k a e p s e h t fI . t c a y r a n o it u c o ll i n i d e d u l c n i e r a g n it s e u q e r
t a h t ” k r a
d means he want sthe addressee to turn on the ilgh.t Addiitonally ,
e lr a e S , s t c a y r a n o it u c o ll i f o s e ir o g e t a c l a r e n e g ) 9 4 1 : 2 6 9 1 ( s ’ n it s u A g n i w o ll o f
e r a y e h T . s e p y t e v if o t n i s t c a y r a n o it u c o ll i f o s e ir o g e t a c e h t s e if i d o m ) 9 3 : 9 7 9 1 (
s e v i s i m m o c , s e v it c e ri d , s e v it r e s s
a ,expressives ,anddeclaraiton .s
)i Asser itves
e t e h
T rmasseritves means anac tusedbyspeaker so fal anguagetoclarfiy
e u rt s i g n i h t e m o s t a h
, g n i k r a m e r , g n i d u l c n o
c swea irng,and i nsisitng.Theexampleo fasseritngi s: “ No
n a h t r e tt e b k o o c n a c e n
o I od ”.
)i
i Direc itves
s i h
T a ct focuse s on the speaker’ s behavior . I t perform s orde irng ,
g n ir o l p m i , g n it s e g g u s , g n it s e u q e
r ,defying ,and challenging. Speakers can say ,
” ? d a e r b e h t d n a h e s a e l p u o y d l u o C
“ ast heexampleofr equesitng.
)i
ii Commisives
s e v i s i m m o
C allows thespeakers to do a ce train act i n t he future ,such a s
, g n i s i m o r
p offe irng ,threatening ,intending , and vowing . tI s funciton i s les s
e h t f o t s e r e t n i e h t n o s e s u c o f t i e s u a c e b e v it it e p m o
c addressee .The ac to f
f ,s i g n i s i m o r
p ori nstance ,“ Iamgoingt oLondonnex tweek.”
) v
i Expressives
t c a s i h
T expresse s the psychologica lstate o fthe speake rexpilcilty. The
g n il e e f r i e h t l a e v e r s r e k a e p
s s fo ce train stiuaitons. I tinclude sact so fthanking ,
, g n it a l u t a r g n o
c deplo irng ,condoilng ,welcoming ,and apologizing .“Thank you
3 1
)
v Declara itons
n a s i
tI a ct tha tb irngs i nto existence t o which i trefers .The acts i nclude
g n it a c i n u m m o c x e d n a , g n i d d i b , g n ir if , g n i s s e l b , e c n e t n e s g n i s s a
p .Fo rinstance ,
e r a u o Y
“ fried!”,s howst heexampleo fif irng.
)
c Perlocu itonaryAct
0 0 2 ( e s u r C o t g n i d r o c c
A 0 :332) ,pelrocuitonary act sare “act sperformed
n a l f o s n a e m y
b guage ,usingl anguage a sa t ool”. I tcontain sact so fpersuading ,
e h t g n ir i p s n i r o , g n it a ti m i , g n it a d i m it n i , g n i s s a r r a b m
e addressee. Fo rexample ,
s e d a u s r e p r e k a e p s e h t y a w e h T ” . y rt a t i e v i G . n o e m o C
“ the addressee si by
g n i s
u languaget outters omethingandl ett hemdowhatt hes peake ri surging.
.
4 Socioilnguis itcs
e h t e b ir c s e d o t d e s u m r e t a s i s c it s i u g n il o i c o
S correlaiton between
g a u g n a
l e and society whereby people use in dfiferen t socia l contexts .
y t e i c o s e h t n i h c e e p s n a m u h t u o b a s t c a f s e d i v o r p s c it s i u g n il o i c o
S . People’s
, x e s , e g a s a h c u s , s r o t c a f s u o ir a v m o r f d e s u o r a e r a s t c e l a i
d a ndtheri socia lclass .
d n a r e h t o h c a e m o r f r e f fi d s e it e i c o S “ , y fi r a l c ) 1 2 : 9 0 0 2 ( l l e w k c o t S d n a s a m a l L
” e m it r e v o e g n a h
c indicaitng tha t language i s va irable and ever-changing .
r a v t i , e r o f e r e h
T ies f o rboth t he speakers a swel las t he group sof l anguage user s
. e g a u g n a l e m a s e h t n i h ti
s ti g n i w o n k n a h t e r o m s e ri u q e r e g a u g n a l n g i e r o f a k a e p s o t g n i n r a e L
e g d e l w o n k e h t e ri u q c a o s l a t s u m s r e n r a e l , s e l u r c it n a m e s d n a l a c it a m m a r
g o f
l a n o s r e p r e t n i d e r u t c u rt s f o t x e t n o c e h t n i e g a u g n a l e s u s r e k a e p s e v it a n w o h
e h t o s l a t u b e g a u g n a l e h t t s u j t o n g n i d n a t s r e d n u s e v l o v n i ti , s e d i s e B . e g n a h c x e
l u c d n a l a i c o
s tura lvalue soft hecommuntiy.( p .204)
A speake ro fa l anguage should payattenitont o the socioilnguis itc saspects i n a
e c u d o r p o t e l b a e b d l u o h s y e h T . n o it a s r e v n o
c theapprop iratel anguagechoiceand
. n o it a c i n u m m o c f o t p e c n o c d o o g a
.
5 Poltieness
9 1 ( n o s n i v e L d n a n w o r
B 87 :13 )menitonpoltieness sa “acomplex system
s t a e r h t e c a f g n i n e tf o s r o
f ”. Fo rexample:
) a
( W illyougot os eet heconce tr?
) b
( Won t’yougot os eet heconce tr?
” ll i w “ d r o w e h T . ) b ( e l p m a x e n a h t e ti l o p s s e l d e r e d i s n o c s i ) a ( e l p m a x E
e h t e e s o t o g l li w I “ s a d e t e r p r e t n i e b d l u o w e c n e t n e s s i h T . t n e n i m m i s d n u o s
e h t o t p u s i tI . t n e n i m m i s s e l s d n u o s ” t’ n o w “ d r o w e h t e li h w , ” o t e v a h I f i tr e c n o c
e e s s e r d d
a whethe rhewantst os eet heconcer to rnot .
d e s o p o r p s n o it o n o w t e h t o t d a e l s e l p m a x e o w t e s o h
T by Brown and
2 6 : 7 8 9 1 ( n o s n i v e
L )which are based on thei rmode lo fpoltieness .The two
n a h N o t g n i d r o c c a , e c a f m r e t e h T . e c a f e v it a g e n d n a e c a f e v it i s o p e r a s n o it o n
s a h y d o b e m o s t a h t fl e s f o e s n e s l a i c o s d n a l a n o it o m e e h t “ o t s r e f e r , ) 3 0 9 : 2 1 0 2 (
p x e d n
a ect severyone else to recognize”. Brown and Levinson (1987 :61) ,
fl e s c il b u p e h t “ s a ” e c a f “ m r e t e h t m i a l c , r e v o e r o
5 1
fl e s m i h r o f m i a l c o t s t n a
w ”. Face,t obeb ire,f si somebody’ss efl-imaget ha tneed s
.s r e h t o y b d e z i n g o c e r e b o t
.
6 Posi itveFace
r o f e ri s e d s ’ e n o s i e c a f e v it i s o
P idenit ifcaitonwtiht hecommuntiy .Brown
: 7 8 9 1 ( n o s n i v e L d n
a 6 -621 )de ifne posiitve face a s“the wan to fevery membe r
e m o s t s a e l t a o t e l b a ri s e d e b s t n a w s i h t a h
t others” and “the posiitve consisten t
fl e
s -image o r‘personaltiy’ (crucially i ncluding t he desrie t hat t hi ssefl-image be
” s t n a t c a r e t n i y b d e m i a l c ) f o d e v o r p p a d n a d e t a i c e r p p
a . I tsimply mean stha t
. e g a m i n w o r i e h t f o e u tr i v e h t y b y ti n u m m o c r i e h t y b d e v o r p p a e b o t t n a w e l p o e p
.
7 Nega itveFace
Negaitve face ,on t he othe rhand, i sone’ sdesrie t o be unimpeded i n hi s
: 7 8 9 1 ( n o s n i v e L d n a n w o r B . s n o it c
a 6 -621 )de ifne negaitve f ace a s“the wan to f
e h t “ r o ” s r e h t o y b d e d e p m i n u e b s n o it c a s i h t a h t 'r e b m e m t l u d a t n e t e p m o c' y r e v e
h g ir , s e v r e s e r p l a n o s r e p , s e ir o ti r r e t o t m i a l c c i s a
b t sto non-disrtaciton-- .ie .the
t c a f o m o d e e r
f ion and freedom from imposiiton”. Negaitve face ,thus ,i sin
o t e c n e r e f e
r people’ sdesrie no tto be imposed upon a sa par to fthei rsocia l
. d e e n l a v o r p p a
e p o l e v e d s i s s e n e ti l o p f o y r o e h t r e h t o n
A d by Holme s(1996 ): 5 staitng ,
o i v a h e b o t s r e f e r s s e n e ti l o P
“ u rwhich acitvely expresse sposiitve concern fo r
n o n s a l l e w s a , s r e h t
d o o g f o n o i s s e r p x e n a f o m r o f e k a t y a
m -wli lo rcamarade ire ,a swel last hemore
o i v a h e b e v i s u rt n i n o n r a il i m a
f u rwhich i s l abeled “poltie” i n everydayusage”. tI
s e il p m
i atlogethe rthat poltienes si sabou tbeing poltie, which i saccentuated
h g u o r h
t carryingoutgoodbehavio rands howingposiitvtiyt oothers .
.
8 FaceThreateningActs
Face threatening acts (FTAs) occu runiversally in socia linteracitons .
o t g n i d r o c c
A BrownandLevinson( 1987 :65) ,FTA sare“actst ha tbyt hei rnature
e h t f o s t n a w e c a f e h t o t y r a rt n o c n u
r addressee and/o ro fthe speaker”. The
, r e k a e p
s in some way, threaten sthe sefl-image o fthe addressee .The act sare
r o e n o t s a h c u s , h c e e p s f o s c it s ir e t c a r a h c , r e v e w o H . y ll a b r e v e n o d y ll a u s u
o s l a e r a n o it c e lf n
i usedbythespeakert od oFTA .sI tcanbedonei nt hef orm so f
n o
n -verba lcommunicaitona swell.
.
9 Poltienes sStrategies
m o r f t r a p
A the posiitve and negaitve face stated previously ,Brown and
s e i g e t a rt s r u o f e h T . s e i g e t a rt s s s e n e ti l o p r u o f e s o p o r p o s l a ) 2 9 : 7 8 9 1 ( n o s n i v e L
e r
a Bald On-Record , Posiitve , Negaitve , and Off-Record Poltieness . The
e h t e r a g n i w o ll o
7 1
)
a BaldOn-Record
d l a B t a h t e t a t s ) 5 9 : 7 8 9 1 ( n o s n i v e L d n a n w o r
B -on Record i sused in
A T F e h t g n i o d n i s e v it o m t n e r e f fi d e v a h n a c s r e k a e p s e c n i s s n o it a u ti s t n e r e f fi
d s .
s r e k a e p s n e h w d e il p p a e b n a c y g e t a rt s s i h
T attemp tnot t ominimize t het hreat t o
e e s s e r d d a e h
t s ’face .I ti susually employed to show urgency .Fo rexample :
” !t u o h c t a W
“ Thi ssrtategy ,atlernaitvely, i so tfen used a sgreeitng so rfarewells .
” . o G “ r o ” n i e m o C “ , y a s y l p m i s n a c s r e k a e p
S Task-o irented si also i ncluded sa
e h t e m s s a P “ , e l p m a x e r o f , e e s s e r d d a e h t k s a n a c s r e k a e p S . s e l p m a x e e h t f o e n o
h c u s g n i s U ” !t l a
s a srtategycanshock o rembarrasst he addressees ,and t herefore
s e e s s e r d d a e h t d n a s r e k a e p s e h t h t o b e r e h w s n o it a u ti s n i d e il p p a y ll a u s u s i t i
.l l e w r e h t o h c a e w o n k
)
b Posi itvePoltieness
p i h s n o it a l e r e h t t a h t s m ri f n o c s s e n e ti l o p e v it i s o
P o fboth thespeaker sand
e h
t addressees i sf irendly and expresse s group reciproctiy to minimize the
e c n a t s i
d among them. Brown and Levinson (1987 :103 ) underilne tha tthi s
r o F . s d o o g d n a , s t n a w , s d e e n , s t s e r e t n i ’ s e e s s e r d d a e h t d n e tt a o t s t p m e tt a y g e t a rt s
n a c s r e k a e p s , y ll a n o it i d d A ” ? h c n u l t u o b a w o H . y r g n u h e b t s u m u o Y “ , e c n a t s n i
n e d r a g c it s a t n a f a t a h W “ , g n i y a s y b s e e s s e r d d a e h t h ti w t s e r e t n i e t a r e g g a x e o s l a
u o
y have!” Posiitve Poltieness , overall , expresse s friendilnes s to make the
e e s s e r d d
)
c Nega itvePoltieness
s i s s e n e ti l o P e v it a g e N , ) 9 2 1 : 7 8 9 1 ( n o s n i v e L d n a n w o r B o t g n i d r o c c A
t c e p s e r f o t r a e h e h t
“ behavior” and tha ti ti s“more speci ifc and focused.” The
g n i s U . s e e s s e r d d a e h t n o n o it i s o p m i e z i m i n i m o t s i y g e t a rt s s i h t f o n o it c n u f
. y g e t a rt s s s e n e ti l o P e v it a g e N f o s e l p m a x e e h t f o e n o s i s n o it s e u q r o s e g d e h
” ? e m p l e h d l u o w u o y f i g n ir e d n o w s a w I “ , r e tt u n a c s r e k a e p
S Apologizing can
tl
a ernaitvelybeused .Fo rexample ,“ Iams orryt obothe ryou. ”
)
d O -ff recordorI ndirect
f f
O -record ori ndriec tsrtategyi sdone t ol et t hespeaker satt irbute unclea r
n o it n e t n i e v it a c i n u m m o
c (BrownandLevinson ,1987 :211).I tindicatestha tfit he
d i o v a o t t n a w s r e k a e p
s theri responsiblitiy o fdoing FTAs ,t eh y can employ t he
t e r p r e t n i s e e s s e r d d a e h t t e l d n a y g e t a rt
s t heintendedmessage .Fori nstance ,“Tha t
e h t n e p o o t e e s s e r d d a e h t s t n a w r e k a e p s e h t s n a e m h c i h w ” n e p o t o n s i w o d n i w
d n i w o w.
. 0
1 Factor sAffec itngtheCharacter sinSpeaking
’ s r e t c a r a h c e h t t c e f f a t a h t s r o t c a f e h t s e z y l a n a o s l a y d u t s s i h t , e r o m r e h tr u F
n i s s e n e ti l o
p TheDevi lWear sPradamovie .Thes peaker’si ntenitoni nexpressing
y k s l o p S o t g n i d r o c c A . ) 8 9 9 1 ( y k s l o p S f o y r o e h t e h t n i d e s s a p m o c n e s i s s e n e ti l o p
1 3 : 8 9 9 1
9 1
m r e t e d n o it a c if it a rt s l a i c o s d n a , r e d n e g d n a e g a u g n a
l ine the use o flanguage
r e k a e p s e h t n e e w t e b s s e n e ti l o p g n i n r e c n o
c s andt headdressees.
)
a LanguageStyles
e l p o e
P from dfiferen tcount ire sposses sdfiferen tcutlura lbackgrounds ,
g n i h s i u g n it s i d y b e r e h
t va irousl anguage styles .Spolsky( 1998 :31 )menitons ,“At
r o h c e e p s r u o n i d e x a l e r e r o m e r a e w s e m it t a d n a , l u f e r a c e r o m e r a e w , s e m it
f o s d n i k r e h t o n i d e x a l e r e r o m r o l u f e r a c e r o m e r a e w s e m it t a s a t s u j , g n it ir w
a h e
b viour ,ilkehowwedres so reat”. Thestatementi sr elatedt of ormaltiya sone
e l p m a x e e h t f
o sof l anguagestyles .A speaker i susuallyaware of t he addressee .
s i e h n o s r e p e h t o t g n i d r o c c a y ll a m r o f n i r o y ll a m r o f k a e p s o t e s o o h c n a c e H
w o h e s o o h c y l s u o i c s n o c n a c e l p o e p t a h t s y a s o s l a ) 3 3 : 8 9 9 1 ( y k s l o p S . g n i s s e r d d a
y l p p a y b e g a u g n a l e s u o t y rt y e h
t ingf orma lori nforma lexpressionst opeoplet ha t
y e h t , y ll a m r o f k a e p s e l p o e p n e h w t a h t s e t a t s e h , r e h tr u F . s s e r d d a y e h
t ea r engaged
o t n o it n e tt a y a p y e h t e s u a c e b y t e i c o s r i e h t f o ” s m r o n d e t a c u d e d n a d e r u o v a f “ a n i
) 3 3 : 8 9 9 1 ( y k s l o p S , s u h T . ll e w e g a u g n a l r i e h
t underilnes the impo trance of
t n e s e r p e r o t e l y t s e g a u g n a
l thespeaker’ss enseofi denttiy.
)
b Register sandDomains
) 3 3 : 8 9 9 1 ( y k s l o p
S emphasize st hatpeoplewtihparitcula roccupaitonmay
. s t p e c n o c w e n r o f s m r e t e t a e r
c People who work a ta paritcula r rtade , fo r
, e l p m a x
r o f r a il i m a f e b t o n y a m s m r e
t people who do no tkeep up wtih compute r
. n o it u l o v e
r The word s“sitcky wicket” and “hi tfo ra six” ear ,in fact ,only
f o y t e ir a v a s i r e t s i g e r a , s u h T . t e k c ir c e c n e ir e p x e o h w e l p o e p y b d o o t s r e d n u
s e s u t a t s d n a s e l o r g n i v l o v n i e g a u g n a
l , whichi susedi nace trains tiuaiton.
r e h t o n a s i n o it a u ti s l a i c o
S key to determining poltienes sin speaking .
: s c it s ir e t c a r a h c g n i n if e d e e r h t o t n i s n o it a u ti s l a i c o s s e if i s s a l c ) 4 3 : 8 9 9 1 ( y k s l o p S
e l o r , e c a l
p -relaitonship ,and topic .I tdeal swtih the role o fthe speake rwho
o v n
i lve sin a ce train stiuaiton .Spolsky (1998 :34 )say stha tthere i sa typica l
k a e p s e l p o e p y a w e h t s e n if e d h c i h w n i a m o
d int erm sofsocia lstiuaiton. Spolsky
f y ll a u s u d e m a n e r a s n i a m o D “ , s y a s ) 4 3 : 8 9 9 1
( o raplaceo ranacitvtiyi n ti”. Two
n a n i s e it i v it c a e h t s e z i s a h p m e e i v o m s i h T . k r o w d n a e m o h e r a s n i a m o d n o m m o c
n o it a s r e v n o c e h T . s r e t c a r a h c e h t r o f n i a m o d n i a m e h t s i k r o w s n a e m h c i h w e c if f o
c i p o
t i swork-related which include the boss ,workers ,colleagues ,and even
.s t n e il c
)
c SlangandSoildartiy
s a d e s u s i g n a l s t a h t s n o it n e m ) 5 3 : 8 9 9 1 ( y k s l o p
S initmacies of i n-group
o o b a t g n i d u l c n i y b s m r o n l a i c o s s d n e c s n a rt g n a l s , s s e l e h tr e v e N . h c e e p s
f o e s u e h T . s n o i s s e r p x
e fucko rshi tha sbecome“amarko filberaitono ra signo f
y k s l o p S ( ” tl o v e
r ,1998 :36) .Hence ,slang wtih taboo expression si s considered
s a l l e w s a g n i k a e p s n i m o d e e r f f o n g i s a s a t i y o l p m e o h w e l p o e p g n o m a e l b a r e l o t
1 2
g n a l s , r e v o e r o M . h c e e p s l a u s a
c ha s socia l funciton s a s a sign o f identtiy
o h w e l p o e p g n o m a y ti r a d il o s d n a p i h s r e b m e
m u .se ti
y k s l o p S y b d e v o r p s i t I . d e t a l e r y l e s o l c e r a e s u e g a u g n a l d n a y ti r a d il o S
) 5 3 : 8 9 9 1
( staitngtha tsoildartiyha sa majori mpac ton l anguage .People t end t o
w o h
s groups oildartiyt oother sbyapplyingt hes amel anguageuse,s ucha saccen t
a h ti w d e t a i c o s s a e g a u g n a l f o m r o f e h t g n i s o o h c y B “ , s y a s e H . e c i o h c d r o w r o
o c e b o t m i a l c a g n i k a m e r a e w , p u o r g c if i c e p
s unteda samembe roft ha tgroup”.
y b d e t p e c c a e b o t e ri s e d e h t e v a h e l p o e p s n a e m y ti r a d il o s g n i w o h s f o n o it c a s i h T
. n i d e v l o v n i e r a y e h t y t e i c o s e h t
n o t c a p m i e h t s a h h c i h w r o t c a f r e h t o n a t u o s t n i o p ) 5 3 : 8 9 9 1 ( y k s l o p S
p a h n o it a l e r r e w o p t a h t s n o it n e m e H . s s e n e ti l o p g n i n r e c n o c e s u e g a u g n a
l pen s
t l u f r e w o p s s e l r o e r o m e b o t m i a l c a s e ir r a c h c e e p s s ’ n o s r e p a “ n e h
w han the
r e h t
o ”. A bos sha smore powert o conrto lhi sworker sbecausehe i s t heone who
, d n a h r e h t o e h t n O . y n a p m o c e h t s n u
r juniors ea r les spowerful t hant hei rsenior s
s i h T . k r o w t
a moviedeal swtihsuchastiuaitonwherebythe r elaitonshipbetween
e h
t boss ,workers ,andcolleague sarei nvolved.
)
d LanguageandGender
s e n il r e d n u ) 6 3 : 8 9 9 1 ( y k s l o p
S t hat the dfiference sbetween men and
d e ti m il e r e w g n i k a e p s n i n e m o
w t otheuseo fgrammaitcalr ules .Suchdfiference s
e H . y g o l o h p r o m e n i n i m e f d n a e n il u c s a m e d u l c n i h c i h w s e g a u g n a l n i d n u o f e r a
, e l p m a x
e la t ablei sanon-sexed t ablewhich canbe considereda sgrammaitcally
r o f s A . y r a l u b a c o v n i s e c n e r e f fi d e r a h s o s l a n e m o w d n a n e m h t o B . e n i n i m e f
y e h T . s e p y t o e r e t s l a i c o s s a k l a t s ’ n e m d n a s ’ n e m o w k c i p o t d n e t y e h t , n e r d li h c
s e it i v it c a c it s e m o d d n a e m o h h ti w o d o t g n i h t e m o s s a h k l a t s ’ n e m o w e m u s s
a ,
.s e it i v it c a c i m o n o c e d n a d lr o w e d i s t u o e h t h ti w d e t a i c o s s a s i k l a t s ’ n e m s a e r e h w
)
e Socia lStra it ifca iton
l a i c o s g n i h s il b a t s e n o k r o w s ’ v o b a L m a il li W s e n il t u o ) 9 3 : 8 9 9 1 ( y k s l o p S
n o it a c if it a rt
s , whichi st hemajort opici ns ocioilnguisitcs .Heprovidesanexample
w e N . l e w o v a r e tf a / r/ g n i c n u o n o r p n i n o it a ir a v f o e c i o h c s ’ n e z it i c k r o Y w e N f o
f o y c n e d n e t e h T . t o n o d y e h t s e m it e m o s d n a l e w o v a r e tf a / r/ e c n u o n o r p s r e k r o Y
t s o p g n i c n u o n o r
p -vocailc r/ /reveals the evidence o fsocia lstatu sdfiference s
g n o m
a them .Even t hough t here are no histo irca lexplanaiton son ti ,he beileved
e l d d i m r e w o l t a h
t -clas sspeakersi nNewYorkwoulduseas itgmaitzedf orm t/ /o r
, r e h tr u F . h c e e p s l a u s a c n i % 0 3 d n a h c e e p s l u f e r a c n i % 0 2 y l n o s n o it a i c n u n o r p / θ t/
a e t a h t s n i a l p x e e
h ch socia lleve lwa sbased on the income ,occupaiton and
r e p p u e h T . n o it a c u d
e -middle clas speople would use a sitgmaitzed form abou t
r e w o l , % 0
1 -middle clas sabou t20% ,working clas sabou t80% ,and l owe rclas s
3 2
.
B Theore itca lFramework
e z y l a n a y d u t s e h
T s the use o fpoltienes sby the character so fThe Devi l
a d a r P s r a e
W movie .Thewrtie rsumma irze sands ynthesize sallt het heory usedi n
y d u t s e h t f o s i s y l a n a e h
t to solve the research problems .The fris tresearch
m e l b o r
p : “Wha tare the poltienes ssrtategie sfound in The Devi lWear sPrada
? e i v o
m ” deal swtih poltienes ss rtategies ,in which Brown and Levinson’s ( 1987 )
e h t t u o d n if o t r e d r o n I . a t a d e h t e z y l a n a o t d e il p p a s i y r o e h
t factor saffec itngt he
n i s s e n e ti l o p ’ s r e t c a r a h
c speaking ,the second research problem ,the theory o f
8 9 9 1 ( y k s l o p
S )i susedf ti or entalisdetaliedandsutiableinformaiton no speaking
s s e n e ti l o
4 2
I I I R E T P A H C
Y G O L O D O H T E M
s t n e s e r p r e t p a h c s i h
T t he analysi sof t hemethodologyusedt o obtain data
y l e m a n , n o it c e s s i h t n i s tr a p x i s e r a e r e h T . h c r a e s e r e h t f
o the research method ,
s e
r earch setitng ,research subject,i nsrtument sand data gathe irng t echnique ,data
. e r u d e c o r p h c r a e s e r d n a , e u q i n h c e t s i s y l a n
a The research method contain sthe
m e l b o r p e h t s a l l e w s a r e ti r w e h t y b n e s o h c e p y t h c r a e s e r e h t f o n o it i n if e d
. n o it a l u m r o
f The research setitng i s used to inform when the research si
. d e t c u d n o
c The research subject seciton aims t o elaborate on t he subject sof t he
. g n il p m a s f o s d o h t e m e h t s a l l e w s a h c r a e s e
r The i nsrtument sand data gathe irng
e u q i n h c e
t include the explanaitons o fthe insrtument sused by the wrtie rin the
. y d u t
s Thedataanalysist echniquei sinr egardt o t hedatacollecitonanalysis .The
, e n o t s a
l et h researchprocedure,i st hes tepst akeni nt hes tudy.
.
A ResearchMethod
s a w y d u t s s i h t n i s u c o f s ’ r e ti r w e h
T on theutterance so fTheDevi lWear s
a d a r
P movie’ scharacters related to speaking poltieness .The methodology wa s
o t d e y o l p m
5 2
s e i g e t a rt s s s e n e ti l o
p shown in The Devi lWear sPrada movie? (2 )Wha tare t he
a r a h c e h t g n it c e f f a s r o t c a
f cters ’poltienessi ns peaking?
s i s y l a n a t n e m u c o
D w as appiled a sthe methodology f or i t “provide s
o t g n i d r o c c a ” n o it a t e r p r e t n i d n a n o it p ir c s e d e v it a r r a
n Ary ,Jacob ,and Razavieh
2 0 0 2
( : -22 25) .The characters’ utterances fo The Devi lWear sPradamovie,t hus ,
e r e
w presented and interpreted desc irpitvely. Ary ,Jacob ,and Razavieh (2002 :
o t d e il p p a d o h t e m h c r a e s e r a “ s a s i s y l a n a s t n e m u c o d r o t n e t n o c e n if e d ) 2 4
