LANGUAGE IMPOLITENESS AND GENDER IN INDONESIA LAWAK KLUB (ILK) COMEDY PROGRAM.

LANGUAGE IMPOLITENESS AND GENDER IN INDONESIA

LAWAK KLUB (ILK) COMEDY PROGRAM

A Thesis

Submitted to the English Applied Linguistics Study Program in

Partial Fulfillment of the Requirements for the Degree of

Magister Humaniora

By:

YENI PURTIKA SIMANJUNTAK

Registration Number: 8136112087

ENGLISH APPLIED LINGUISTICS STUDY PROGRAM

POSTGRADUATE SCHOOL

STATE UNIVERSITY OF MEDAN

MEDAN

ABSTRACT

Simanjuntak, Y. P. Registration Number: 8136112087. Language Impoliteness and Gender in Indonesia Lawak Klub (ILK) Comedy Program. A Thesis. English Applied Linguistics Study Program, Post Graduate School, State University of Medan. 2015.

ABSTRAK

ACKNOWLEDGEMENT

Alhamdulillahirabbil’alamin. Praise and thank to the Almighty Allah SWT, for

the blessings and guidance to the writer so that the writing of this thesis can

finally be accomplished as it should be. This thesis is a scientific writing that has

to be completed in order to fulfill one of the academic requirements for the degree

of Magister Humaniora at the English Applied Linguistics Study Program; Post

Graduate School, State University of Medan. It has also shown the responsibility

and capability of the writer as an academician to be able to conduct a research that

would contribute to the development of scientific knowledge.

However, without the assistance of these following number of people who have

given valuable suggestions and useful influences on the writing of this thesis, it

would be much more difficult for the writer to finish her work. She is then deeply

indebted to these people and would like to express her sincere thanks.

The writer would like to deliver her grateful appreciation and gratitude to her

first adviser Prof. Dr. Hj. Sumarsih, M.Pd, and her second adviser Dr. Sri Minda

Murni, M.S. for their great care, patient guidance, excellent advices, and precious

time in guiding her in the process of completing this thesis.

Her gratefulness also goes to the Head and Secretary of the English Applied

Linguistics Study Program, Prof. Dr. Busmin Gurning, M.Pd. and Dr. Sri Minda

Murni, M.S. for their kind support toward the prerequisites of the thesis

submission as well as the encouragement to work hard toward the thesis proposal.

Her sincere gratitude is also given to Prof. Dr. H. Abdul Sibuea, as the Director of

express her gratefulness to Prof. Jonathan Culpeper from Lancaster University,

UK, for his contributive input in clarifying and guiding her through the concept of

his impoliteness theories and his generosity to spend some time to read her emails

and respond to her questions.

Furthermore, the writer would like to thank Prof. Dr. Amrin Saragih, M.A.,

Ph.D., Dr. Zainuddin, M.Hum., and Dr. Rahmad Husein, M.Ed. for their

constructive comments and suggestions in advancing the thesis quality.

Her deepest gratitude and tremendous appreciations are presented to her

parents, Togu Simanjuntak, SH, MH and Sri Sudiartin for their never ending

support, care and love to encourage her to learn and pursue her education to the

master degree. To all her beloved families who always pour her with all their

compassion; especially to her younger brothers, Yudha Prayogie Simanjuntak,

S.Kom and Yumnaa Rifqi Simanjuntak.

Last but not least, the writer would like to thank all of her beloved friends in

B4 Class, Applied Linguistics Study Program, Post Graduate School at State

University of Medan, Siti Marlina, Ersika Puspita Dani, Mia Rizana, Ika

Swantika, Evi Lestaria, Muvidah, Lamia Deareni, Fitri Erawati, and Adinda

Zoraya Alvin. Thank you very much for their time to discuss and exchange ideas

while working on the thesis as well as their prayers, encouragement and support.

Medan, June 2015

The Writer,

Yeni Purtika Simanjuntak

TABLE OF CONTENTS

CHAPTER II: REVIEW OF LITERATURE ... 11

2.1 Impoliteness ... 11

2.1.1 Culpeper’s Impoliteness Theory ... 13

2.1.2 Impoliteness and Context Dependence ... 16

2.2 The Forms of Impoliteness ... 18

2.2.1 Conventionalized Impoliteness Formulae ... 18

2.2.2 Non Conventionalized Impoliteness: Implicational Impoliteness ... 21

2.3 Responding to Impoliteness ... 25

2.4 The Process of Impoliteness... 26

2.4.1 Discourse ‘beginnings’... 26

2.4.2 Discourse ‘middles’ ... 27

2.4.3 Discourse ‘ends’ ... 28

2.5 Language, Gender, and Impoliteness ... 30

2.6 The Reasons of Using Impoliteness ... 33

2.7 Television ... 35

2.7.1 Comedy Program ... 36

2.7.2 Indonesia Lawak Klub ... 37

2.8 Relevant Studies ... 39

2.9 Conceptual Framework ... 43

CHAPTER III: RESEARCH METHODOLOGY ... 46

3.1 Research Design ... 46

3.2 The Source of Data... 46

3.3 The Technique of Data Collection ... 47

3.4 The Instrument of Data Collection ... 47

3.5 The Technique of Data Analysis ... 48

3.6 The Trustworthiness of the Study ... 49

3.6.1 Credibility ... 50

3.6.3 Dependability... 51

3.6.4 Conformability... 51

CHAPTER IV: DATA ANALYSIS, FINDINGS AND DISCUSSIONS ... 52

4.1 Data Analysis ... 52

4.1.1 Types of Impoliteness Forms ... 52

4.1.2 Types of Impoliteness Responses ... 79

4.1.3 The Process of Language Impoliteness ... 89

4.1.4 The Reasons of Language Impoliteness ... 106

4.2 Findings ... 117

4.2.1 Types of Impoliteness Forms and Responses by Male and Female Comedians in ILK Comedy Program ... 118

4.2.2 The Process of Language Impoliteness Conducted by Male and Female Comedians in ILK Comedy Program ... 123

4.2.3 The Reasons of Using Language Impoliteness Conducted by Male and Female Comedians in ILK Comedy Program ... 124

4.3 Discussions ... 126

CHAPTER V: CONCLUSIONS AND SUGGESTIONS ... 132

5.1 Conclusions ... 132

5.2 Suggestions ... 134

LIST OF TABLES

Page

Table 2.1 The Defense Strategies ... 30

Table 3.1 The Table of Data Analysis ... 49

Table 4.1 Impoliteness Forms Found in Male and Female Comedians’ Utterances ... 52

Table 4.2 Types of Responses to Impoliteness Found in Male and Female

Comedians’ Utterances ... 80

Table 4.3 The Reasons of Using Impoliteness Found in Male and Female

Comedians’ Utterances ... 106

Table 4.4 Types of Impoliteness Forms and Responses... 120

LIST OF FIGURES

Page

Figure 2.1 Options of Response ... 29 Figure 2.2 Conceptual Framework ... 44 Figure 4.1 The Process of Impoliteness Found in Male and Female Comedians’

Utterances ... 89

Figure 4.2 Impoliteness Forms Found in Male and Female Comedians’

LIST OF APPENDICES

Appendix Page

I The Transcription of Male and Female Comedians’ Utterances

In Pro Kontra Hukuman Mati (PKHM) ... 138 II The Transcription of Male and Female Comedians’ Utterances

in Mundurnya Moralitas (MM) ... 157 III The Transcription of Male and Female Comedians’ Utterances

in Jomblo atau Asik Sendiri (JAAS) ... 175 IV The Data Display of the Types of Impoliteness Forms and

Responses, the Process of Language Impoliteness and the

CHAPTER I INTRODUCTION

1.1 The Background of the Study

For more than 100 years, engineers and scientists have developed a

considerable measure of helpful machines, and television or usually called as TV

is one of them. TV has turned into an imperative part of individuals' life as a

source of information and a great tool for learning and communication. TV today

has a ton of beneficial outcomes and impacts on our society. It is an incredible

method for educating people with the vital issues that influence their daily lives.

Whether it is social, political, economical, or medical, there is continually

something new to be told, and TV is the fastest approach to get it out to people.

Alongside informational and educational purposes, though it is not expected

to be one of its objectives, TV serves as an entertainer too. As time goes on,

individuals start to sit and watch TV for that reason. TV has expanded its

entertaining aspects into many forms, such as dramas, reality shows, and

apparently comedy programs.

Considering the importance of the role of TV in the life of society, the

function of TV as entertainment particularly comedy, nowadays, is growing very

rapidly. However, in practice, this leads to the comedians’ use of strategies that do

not conform to the primary function of TV as a source of learning for the

communities. One of them is the application of impoliteness forms in comedian’s

Impoliteness form applied in these comedy programs is not ultimately seen

as an actual ‘negative’ attitude toward specific behaviors occurring in specific

contexts (Culpeper, 2011). It is rather a planned verbal attack that stays on the

surface and is not intended to insult anyone (Culpeper, 1996:4).

This kind of impoliteness framework is called mock impoliteness, which is

one of two categories that Culpeper (1996) suggested. The other category is called

inherent impoliteness in which there are acts that innately threaten one’s face

regardless of the context of the act.

The impoliteness forms occurred therefore would be realized as not to be

taken literally by the participants. Unlike inherent impoliteness which will cause

social conflict and disharmony as studied by Nasution (2014) in a TV talk show

Jakarta Lawyers Club, these forms are intended to only entertain the third party

and even create bonding between these participants.

This concept of impoliteness fits the atmosphere of the comedy programs. It

specifically utilizes the entertaining function of impoliteness. Culpeper (1996)

claimed that in entertaining function, the use of impolite speech event is aimed to

a third-party audience that finds it humorous. This function has been utilized

creatively and easily found during comedy programs that though may not follow

the society norms, has been used as an efficient formula to trigger laughter.

This impoliteness concept is adopted that the politeness strategies used to be

fully maintained are disrupted by the impolite utterances and attitude that are not

performers, especially comedians, tend to mock their partners in order to entertain

the audience as exemplified in the following conversation.

DC : Saya bertanya dulu ni, sebelum kita mulai ini ya. Meng, Anda sebetulnya ngerti ga sih dengan konsep bully ini!”

(‘Let me ask you before we start. Meng, do you really understand with this ‘bullying’ concept!’)

K : Anda meremehkan saya!

(‘You underestimate me!’) (Everybody in the studio laughs.)

At the beginning, DC as the host mocks the other comedian by raising an

unpalatable question of his role in the program. He performed an attitude in which

he pretended to seriously question the capability of K. This impoliteness form

occurs due to the behavior of K who often provides irrelevant explanation to the

topics presented. K responded offensively by standing up and pointing DC and

rather than triggering awkwardness among the audience, the conflict ends by

laugh.

This impoliteness practice is considered successful in cheering up the

audience since they may derive enjoyment of feeling safe from the face-attacks,

(Lorenzo-Dus and Blitvich, 2013). It is not the case whether the target of the

utterances is aware of the impoliteness. What matters is the audience who are

entertained, are aware of who the target is; providing a safe zone to enjoy the

pleasure of the target being ridiculed.

Furthermore, these impolite utterances along with the provocative attitude

give self-reflexive pleasure for the audience in observing the target in a worse

state than themselves and therefore becoming more entertained (Culpeper, 2005).

the comedian attacks the other comedian’s face with impolite utterances, the

audience would feel they are better than the target and find it amusing.

This situation is an apparent evident that impolite utterances occur in

communication and its entertaining function has been exploitative to a degree. It

becomes an effective formula for comedians to create humor and entertain the

audience. This led more comedians to become reluctant to find qualified jokes and

more inclined to seek out areas of the targets to be mocked for instance the

physical appearance.

This phenomenon of using impoliteness to entertain the viewers on national

TV shows ironically causes the moral deterioration of the society. TV which has

become an integral part of human life that its shows should reflect the role models

and contribute to the decent advancement of the moral of the society, somehow

uses this concept as main entertainment for its audience. TV shows which have

been the primary source of entertainment of Indonesian citizens have changed

their basic course and become a place for inappropriate program containing

impolite linguistic behavior and less moral values.

The fact that this phenomenon is appeared on national TV and watched by

the communities provoked other problematic issues especially for children.

Recent study by Yusuf and Fahrudin (2013) claimed that nowadays children in

school-age show behaviors such as name calling and verbal abuse which is

certainly caused by what they imitate from TV shows. Murni (2012) points out

that recent discussion on negative effects of TV on children, for example, raises

to mention that in order to provoke laughter, these comedians would even criticize

his own face, as for instance a comedian says, “Saya dikatain ganteng. Saya

marahlah Pak! Karena gak sesuai dengan muka saya Pak!” (‘I was told that I

was handsome. I got angry because I wasn’t’). By the utterance, it can be seen the

comedian tries to admit that he has ugly face so that the audience would find it

humorous and then laugh.

This phenomenon actually can slowly damage the morale of the audience

and make the audience accustomed to using impolite forms of speech in

communication. It is expected that these ways are not used and the comedian

should be able to use smart ways of joking and creating humor, which is

educational and doesn't not use any forms of ridicule. However in fact, because it

is easier, much preferable by the audience and has become a trend, the national

TVs still follow the pattern of this impoliteness function and more programs like

these are produced.

Indonesia Lawak Klub broadcasted by Trans7 is one of comedy programs

that utilize this function of impoliteness to entertain the viewers. The format of the

program is to position the comedians in Indonesia in the debate forum and each

comedian represents a certain fake organization showing their statuses as the

expert of the issue. The comedians collaborate in discussing a problem and

attempting to provide solutions in an entertaining and humorous way. In the

duration of 60 minutes, the host will invite 7-8 well-known comedian or

entertainer in Indonesia to become a panelist. In addition to listening to comments

their opinions aired through videos, and at the end of the show, the summary of

the minutes of the discussion was delivered.

Despite the well-managed concept of the show, during the process of

discussion, the comedians would utter statements that are considered impolite and

mock the face of the other comedians in the aim of entertaining the audience. It is

mainly because of the format of the program which places several comedians as

the experts of the issues are set up to give wrong or even non relevant information

and therefore causing a pique and provoking impoliteness. These non-relevant

information, then, are further continued by the responses of all panelists mocking

each other assuming that particular comedians have no capacity to discuss about

the issue.

Furthermore, in the show, impoliteness is without exception used by almost

all comedians regardless their gender. As previously exemplified, a male

comedian easily mocks a female comedian which is responded by laughing. The

same thing also occurs when a female comedian without any hesitation insults a

male comedian’s physical appearance, for instance, “Bapak. Intrupsi! Bisa saya

gak duduk dekat kakek – kakek ini!” (‘Sir, interruption! Can I please not sit near

this old man!’). She vents her negative feelings that she isn’t comfortable sitting

near the male comedian. She stands up and gets angry to the host for the seating

arrangement. This utterance is even not responded and simply ignored by the male

comedian. It is then, terminated by a stand-off of a topic change.

Lakoff (1975), who made one of the early studies on gender differences in

connections” which they will produce less impolite speech events. Most past

feminist researches supported this theory by claiming that women use “powerless”

speech, for example, using tentative language features such as tag questions,

deference, modality, hesitation and so on. It is assumed that women are

necessarily ‘nicer’ than men that women choose to be more cooperative.

However, this concept may not be applicable in terms of entertainment

shows, especially comedy program. It has slightly changed that in terms of

entertaining audience that female comedians also apply the impoliteness forms as

an effective tool to create humor. ILK, for instance, has shown the equal chance

for male and female comedian to use the impoliteness to entertain the viewers.

This phenomenon is fascinating to be further examined due to its existence

as one of the examples that impoliteness is fun and tolerable to do. It is not in line

with the expectation that TV shows should provide a good model of

communicative strategies. It is also necessary to discuss the applications of

impolite language specifically related to gender as a significant factor which may

explain the increase of impoliteness forms use in the society. Moreover, given

that the research in this study since linguistic impoliteness has not gained nearly

as much as attention as linguistic politeness, the study of gender and impoliteness

is an area ripe for future development building. Not to mention that the results of

the study may contribute something new to the development of impoliteness

theories due its different research settings with the previous studies.

This present study aims at exploring the model of impoliteness as stated by

concept of gender and impoliteness and Beebe’s (1995) and Culpeper’s

framework of the reasons of utilizing impoliteness in communication. In line with

the theories, the researcher is very much interested in conducting a study on the

forms of impoliteness, the responses used by the male and female comedians in

Indonesia Lawak Klub, how and why they occur. This present study, however,

would not aim to clarify the frequency of male or female in using the impoliteness

forms or to prove which is more impolite, male or female, but rather to expose the

gender difference in using and responding to impoliteness utterances.

1.2 The Problems of the Study

In relation to the background of study presented above, the problems of the

study are formulated as in the following.

1. What are the forms of impoliteness and the responses used by the male

and female comedians in Indonesia Lawak Klub?

2. How are the processes of language impoliteness conducted by the male

and female comedians in Indonesia Lawak Klub?

3. Why are the language impoliteness conducted by the male and female

comedians in Indonesia Lawak Klub realized the way they are?

1.3 The Objectives of the Study

In line with the problems of the study, the objectives are to:

1. find out the forms of impoliteness and responses used by the male and

2. describe the process of language impoliteness conducted by the male and

female comedians in Indonesia Lawak Klub;

3. explain the reasons why the language impoliteness conducted by male

and female comedians in Indonesia Lawak Klub are realized the way

they are.

1.4 The Scope of the Study

Linguistic impoliteness can be used as one of the strategies to create humor

and this phenomenon has benefited the comedians appearing on TV. Rather than

seeking for qualified materials to create laughter, the comedians tend to use the

impolite utterances which are somehow simpler to enact and more efficient to

reach the goal. It has become a trend that either male or female comedian in

almost every show on TV, without any hesitation tend to use the shortcut (as to

mock the other comedians) to provoke an effective laughter. Due to its influence

on various TV programs, this study is limited to the discussion of impoliteness

appeared in Indonesia Lawak Klub comedy program. The main aspects to be

observed are the impoliteness forms (insults, pointed criticisms, challenging or

unpalatable questions, condescensions, message enforcers, dismissals, silencers,

threats, negative expressives, form-driven, context-driven, and convention driven)

appeared when comedians contribute an opinion in the forum and the comedians’

responses (no response, accept the impoliteness, offensive and defensive

1.5 The Significance of the Study

The findings of the study are expected to be useful theoretically and

practically. Theoretically, the research findings are useful for: a) linguists to

enrich their knowledge of the application of the impoliteness theory as

specifically about how impoliteness can be used to face-attack hearers as well as

entertaining the audiences, the dynamics of impolite utterances in the

conversation, and the expansion of impoliteness in its relation to gender as a

significant factor; b) other researchers to get information of what forms of

impoliteness and responses occur in a comedy program, and for those who would

conduct a further study about linguistics impoliteness in relation to gender which

remains tantalizing and fruitful line of academic inquiry in other discourses such

as novels, plays and so on.

Practically, the findings of this research are expected to be useful as a

reference for lecturers, teachers and students which helps to lead toward how to

deal with impoliteness, how impoliteness should be seen as a controlled and

managed phenomenon, and why impoliteness occurs in entertainment, especially

CHAPTER V

CONCLUSION AND SUGGESTIONS 5.1 Conclusions

This study focused on language impoliteness and gender in ILK Comedy

Program. It was aimed to find out the forms of impoliteness and responses,

describe the process of language impoliteness and explain the reasons why

language impoliteness were conducted by male and female comedians in ILK

Comedy Program. After analyzing the data, conclusions are drawn as follow.

1. There were 8 forms of impoliteness that could be found in both data of male

and female comedians’ utterances, 5 conventionalized formulae, namely a)

insults, b) dismissals, c) silencers, d) threat, and e) negative expressives and 3

non-conventionalized formulae, such as form-driven, convention-driven and

context-driven were found in both male and female comedians’ utterances.

There were 3 conventionalized forms which were only found in the data of

male comedians’ utterances such as a) pointed criticisms or complaints, b)

challenging or unpalatable questions and/or presuppositions, and c) message

enforcers. Condescensions were not found in both data but a new form of

interruption was found instead. All types of responses to impoliteness were

found to be performed by male and female comedians, namely 1) no

responses, 2) accepting the impoliteness, 3) offensive response, and 4)

defensive response. Offensive response was found to be the most dominant

response expressed by male and female comedians. There was a new type of

2. The processes of language impoliteness conducted by male and female

comedians were mostly the same except for the slight differences in the

variation of response patterns and the conflict endings. In discourse

beginnings, male and female were upon the same goal which was to entertain

the viewers and the phenomena triggering their production of impoliteness

were basically the same such as, physical appearance, age, the language,

behavior, personal matter and the role of the comedian. In discourse middles,

male and female comedians’ participation also led to the same patterns,

namely, a) single or multiple attacks with no response, b) single or multiple

attacks and accepting the impoliteness, c) OFF-DEF pairings and d) OFF-OFF

pairings. There was a new pairing, OFF-SNG pairings which were only

conducted by the male comedians. In discourse ‘ends’, it was found that there

were 2 conflict terminations conducted by male and female comedians,

namely third party intervention and stand-off. Stand-off was the most

dominant conflict resolution. There were 2 conflict resolutions found only in

male comedians namely withdrawal and submission to the opponent which

were only found once for each category. Singing was a conflict resolution

used only by female comedians.

3. The use of language impoliteness during the program by male and female

comedians shared several same reasons, namely a) to vent negative feelings,

b) to mock the panelist, c) to show disagreement, d) to disturb the panelist’s

participation of the discussion, e) to threaten the panelist’s face, and f) to

and female comedians was to mock the panelist and the least frequent reason

is to show power for male comedians and to dismiss the panelist for female

comedians. There were only 2 reasons found only in male comedians’

speeches namely to show power and to provoke laughter.

5.2 Suggestions

In line with the conclusions mentioned above, this study offers some

suggestions for the readers as provided in the following items.

1. To the lecturers teaching sociolinguistics, psycholinguistics; it is suggested to

conduct, elaborate, and perform deep research in the study.

2. To other researchers; it is suggested that this study could be further expanded

in the use of impoliteness to self-attack in the comedy program and explored

in terms of other discourses to contribute to the development of impoliteness

theories, such as the use of impoliteness in literary works or its application in

terms classroom interactions.

3. To all the readers; it is suggested to use this study as references for

understanding the application of impoliteness in media studies, especially for

its entertaining function on the television comedy program.

4. To the television producers and comedians; it is suggested to move the

showtime to be later at night and include the notice of PG (parental guide) as

well as prepare a more qualified joke that conforms to the primary function of

TV as a source of learning for the communities.

5. To the parents; it is suggested that the display of comedy shows such as ILK

REFERENCES

Beebe, L. M. (1995) Polite fictions: Instrumental rudeness as pragmatic competence. In: Culpeper, J. (2011). Impoliteness: Using language to cause offence. Cambridge: Cambridge University Press.

Bousfield, D. (2007). Beginnings, middles and ends: A biopsy of the dynamics of impolite exchanges. Journal of Pragmatics, 39(12), 2185-2216.

Bousfield, D. (2008). Impoliteness in interaction (Vol. 167). John Benjamins

Publishing.

Bousfield, D., & Locher, M. A. (Eds.). (2008). Impoliteness in language: Studies on its interplay with power in theory and practice (Vol. 21). Walter de

Gruyter.

Brain, M. (2014). The Laughing Brain 1: How We Laugh. Retrieved September 8, 2014 from http://sciencenetlinks.com/lessons/the-laughing-brain-1/

Bryman, A. (2004). Encyclopedia of Social Science Research Methods. Retrieved September 8, 2014 from http://www.crec.co.uk/docs/Trustworthypaper.pdf

Brown, P., & Levinson, S. C. (1987). Politeness: Some universals in language usage (Vol. 4). Cambridge University Press.

Culpeper, J. (1996). Towards an anatomy of impoliteness. Journal of Pragmatics, 25(3), 349-367.

Culpeper, J., Bousfield, D., & Wichmann, A. (2003). Impoliteness revisited: with special reference to dynamic and prosodic aspects. Journal of Pragmatics, 35(10), 1545-1579.

Culpeper, J. (2005). Impoliteness and entertainment in the television quiz show: The Weakest Link. Journal of Politeness Research. Language, Behaviour, Culture, 1(1), 35-72.

Culpeper, J. (2011). Impoliteness: Using language to cause offence. Cambridge:

Cambridge University Press.

Denzin, N. K. (1970). The research act in sociology. Chicago: Aldine

Effendy, O. (2000). Ilmu teori dan filsafat komunikasi. Bandung : Rosdakarya.

Grice, H. P. (1970). Logic and conversation (pp. 41-58). na.

Held, G. (2005). Politeness in linguistic research. In K. Ehlich & S. Ide (Eds.),

Politeness in language : Studies in its history, theory and practice. Berlin:

Mouton de Gruyter. Retrieved from

http://site.ebrary.com/lib/masaryk/docDetail.action?docID=10318141&p00 Lacey, N. & Stafford, R. (2002). Comedy films for GCSE media. Riddlesden:

Keighley.

Lakoff, R. (1973). Language and woman's place. Language in society, 2(01),

45-79.

Lorenzo-Dus, N., & Blitvich, P. G. C. (2013). Real talk: reality television and discourse analysis in action. Palgrave: Macmillan.

Meakins, F. (2001). Lashings of Tongue: A Relevance Theoretic Account of Impoliteness. University of Queensland.

Miles, M. B., & Huberman, A. M. (1994). Qualitative data analysis: An expanded source book. Thousand Oaks, CA: Sage Publications.

Mills, S. (2005). Gender and impoliteness. Journal of Politeness Research. Language, Behaviour, Culture,1(2), 263-280. doi:10.1515/jplr.2005.1.2.263

Murni, S. M. (2012). Linguistic impoliteness: A small corpus analysis on the use of impolite language by children. Aceh International Journal of Social Sciences Volume I. Retrieved August 27, 2014 from

http://dx.doi.org/10.12345/aijss.1.1.1521

Nasution, M.F. (2014). Language impoliteness in Jakarta Lawyers Club talk show. State University of Medan.

Patton, M. Q. (1990). Qualitative evaluation and research methods. Newbury

Park: Sage.

Rukmananda, N. (2004). Menjadi sutradara televisi. Jakarta: Grasindo.

Spencer-Oatey, H. D. M. (2000) Rapport management: A framework for analysis. In: H. D. M. Spencer-Oatey (ed.) Culturally Speaking: Managing Rapport Through Talk Across Cultures. London and New York: Continuum, pp. 11– 46.

Subon, F. (2013). Gender differences in the use of linguistic forms in the speech of men and women in the malaysian context. IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 13, Issue 3 (Jul. - Aug. 2013), PP 67-79

Wardhaugh, R. (1998) An Introduction to Sociolinguistics: 3rd Edition. Oxford:

Blackwell Publishers.

Xie, C., He, Z., & Lin, D. (2005). Politeness: Myth and truth. Studies in Language, 29(2), 431-461.

Yule, G. (1996). Pragmatics. Oxford: Oxford University Press.

Yusuf, H., & Fahrudin, A. (2012). Perilaku bullying: asesmen multidimensi dan intervensi sosial. Jurnal Psikologi Undip, 11(2), 10. Retrieved August 23,

2014from http://s3.amazonaws.com/academia.edu.documents/31297730/