Articles
<![CDATA[The Flouting of the Gricean Maxims in the Movies Insidious and Insidious 2 ]]>
<![CDATA[Melinda Kurniati]]>;
<![CDATA[Sharifah Hanidar]]>
<![CDATA[ Lexicon Vol 5, No 1 (2018) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/lexicon.v5i1.41282
<![CDATA[The research attempts to examine the flouting of the Gricean maxims in two horror movies Insidious and Insidious 2. It also aims to investigate the functions of the flouting that the characters made when speaking to other characters. Qualitative and quantitative methods were used to analyze the data. The results show that in Insidious, the characters flout all the maxims with 23 cases of flouting: 3 cases of the flouting of the maxim of quality (13.1%), 9 cases of the flouting of the maxim of quantity (39.1%), 6 cases of the flouting of the maxim of relation (26.1%), and 5 cases of the flouting of the maxim of manner (21.7%). Whereas the characters in Insidious 2 only flout two maxims, the maxim of quantity and relation with 7 cases of floutings: 3 cases of the flouting of the maxim of quantity (42.8%), and 4 cases of the flouting of the maxim of relation (57.2%). The results indicate that characters in Insidious and Insidious 2 flout the maxims for a number of reasons, the main reasons being to avoid making the main characters upset, provide comprehensive explanations, convince the hearer, and criticize someone’s action.]]>
<![CDATA[Metaphors in Adhitia Sofyan’s Songs ]]>
<![CDATA[Meidia Rea Smithiana]]>;
<![CDATA[Sharifah Hanidar]]>
<![CDATA[ Lexicon Vol 5, No 2 (2018) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/lexicon.v5i2.42040
<![CDATA[This research examines the metaphors used by Adhitia Sofyan in his songs. The data used in this research were Adhitia Sofyan’s song lyrics taken from four different albums: Quiet Down (2009), Forget Your Plans (2010), How to Stop Time (2014), and Silver Painted Radiance (2016). The data were analyzed using the theory of conceptual metaphor proposed by Lakoff and Johnson (1980). The results show that the chosen song lyrics contain three kinds of metaphors: structural, orientational, and ontological metaphors. In addition, the messages Adhitia Sofyan wants to convey by using the metaphors are mostly about love towards a sweetheart, an ex-girlfriend, a mother, and God. The metaphors in the songs are also used to express feelings such as loneliness, regrets, hope, and despair.]]>
<![CDATA[Request Strategies in the American TV Series Full House ]]>
<![CDATA[Yemima Febriani]]>;
<![CDATA[Sharifah Hanidar]]>
<![CDATA[ Lexicon Vol 6, No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/lexicon.v6i1.50308
<![CDATA[This research aims to analyze the request strategies used in an American TV Series entitled Full House season 7 episodes 1-12. The main characters are family members from three different age groups (adult, teenager, and children). This research attempts to see if there is any difference on the choice of request strategies used by the three age groups. Blum-Kulka and Olshtain’s (1984) theory on request directness level is used to classify the requests. Relative power and social distance are also studied to see how they influence the characters in making their requests. The results show that mood derivable is the most frequent strategy used by all age groups. Specifically, direct request is highly used by the adult age groups. On the other hand, indirect request is mostly used by the younger age groups. The results also show that all age groups tend to use direct strategy when the social distance is negative. However, when the social distance is positive, the choice of strategy depends on the authority of the speaker.]]>
<![CDATA[Conceptual Metaphors in Paramore’s After Laughter Album ]]>
<![CDATA[Stephanie Melinda Pramudita]]>;
<![CDATA[Sharifah Hanidar]]>
<![CDATA[ Lexicon Vol 6, No 2 (2019) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/lexicon.v6i2.53152
<![CDATA[This research aims to classify the conceptual metaphors in Paramore’s After Laughter (2017) album. The data for the research were taken from 11 songs in the album After Laughter. The data were analyzed using Lakoff and Johnson’s (1980) theory of conceptual metaphor. From the 11 songs, 47 data were identified containing conceptual metaphors. Overall, the data mostly consist of orientational metaphors. There were 37 data containing orientational metaphors, which are used by the songwriters to convey to their listeners that they had experienced ups and downs in their lives. Eight structural metaphors were used to deliver the message that life is full of challenges and struggle. However, it also conveys a lesson of the most genuine forgiveness. Only 2 data containing ontological metaphors were found. The conceptual metaphors depict the devastation in their lives, as it is tangible through human imagination and has human characteristics. By using conceptual metaphors in the song lyrics, the songwriters enable the listeners to acknowledge the message, as well as the story that they meant to convey.]]>
<![CDATA[Linguistic Stylistic Analysis of Instagram Poems by Rupi Kaur, Dhiman, and R.M Drake ]]>
<![CDATA[Livia Ayudita Wiadji]]>;
<![CDATA[Sharifah Hanidar]]>
<![CDATA[ Lexicon Vol 7, No 1 (2020) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/lexicon.v7i1.64576
<![CDATA[In the era of digitalization, poems are also published on the internet. Instagram is one of many platforms to introduce self-written poems to a broader range of readers around the world. An Instagram poem has its own writing style and aesthetics since it is written in the modern era. In this research, stylistic analysis is used to analyze the style used in Instagram poems. Rupi Kaur, Dhiman, and R. M. Drake are three Instagram poets whose poems are chosen for analysis. The poems are chosen based on the number of likes. Five most liked poems of each poet written in 2018 are the main data source used in this research. The purpose of the research is to identify the linguistic features found in poems written by Rupi Kaur, Dhiman, and R.M Drake. Out of many linguistic features, only graphology, phonology, syntax, and lexical features are analyzed in this research. The result shows that Instagram poems are mostly written in lower case letters in the same font. They also form free rhymed poems by using enjambment to break the sentences into several lines. The Instagram poets also chose their words carefully to create a specific meaning in the lines while creating a balanced emotion of word connotation.]]>
<![CDATA[The Flouting of Conversational Maxims by Male and Female Characters in the British TV Series Broadchurch ]]>
<![CDATA[Andrian Yonathan Damanik]]>;
<![CDATA[Sharifah Hanidar]]>
<![CDATA[ Lexicon Vol 8, No 2 (2021) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/lexicon.v8i2.66001
<![CDATA[This research focuses on examining the flouting of the Gricean conversational maxims on the British TV series Broadchurch. It also investigates the use of rhetorical strategies in flouting the maxims by male and female characters in the series. The research data were the utterances that flout the maxims. The data were collected from Season I of the Series, containing 8 episodes. The data were analyzed by applying Grice’s theory of cooperative principle (1975). Moreover, the data were also analyzed in terms of the rhetorical strategies employed by the characters when they flout the maxims. The results show that 97 cases of maxim flouting were found. The characters most frequently flout the maxim of relation (44.33%) and least frequently the maxim of quality (13.40%). Furthermore, in flouting the maxims, male characters tend to use the irrelevant statements as their preferred rhetorical strategy (63.46%), whereas female characters tend to use obscure expressions as their preferred rhetorical strategy (33.33%).]]>
<![CDATA[Impoliteness Strategies in Trevor Noah’s Afraid of The Dark Stand-up Comedy Show ]]>
<![CDATA[Aulia Hafisa]]>;
<![CDATA[Sharifah Hanidar]]>
<![CDATA[ Lexicon Vol 7, No 2 (2020) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/lexicon.v7i2.66571
<![CDATA[This research focuses on identifying the impoliteness strategies and explaining the purposes of the most frequently used strategy in Afraid of the Dark stand-up comedy show performed by Trevor Noah. The data of this research are Trevor Noah’s utterances which contains impoliteness strategies. The analysis was based on the impoliteness strategies theory proposed by Jonathan Culpeper (1996). The result of this research shows that Trevor Noah uses 105 instances of impoliteness strategies which cover all five types of strategies proposed by Culpeper; bald on record impoliteness, positive impoliteness, negative impoliteness, sarcasm or mock politeness, and withhold politeness. Based on the findings, negative impoliteness is found to be the most frequently used strategy. It occurs 42 times or with a percentage of 40% of the whole data. This high frequency of negative impoliteness strategy is used to entertain the audience. Trevor Noah mostly used ‘condescend, scorn, or ridicule’ sub-strategies of negative impoliteness intended to amuse and entertain the audience and also to induce laughter when hearing one being ridiculed or disparaged.]]>
<![CDATA[The Production of Conversational Humor by Flouting Gricean Maxims in The IT Crowd Sitcom ]]>
<![CDATA[Ilsa Krisdwiyani]]>;
<![CDATA[Sharifah Hanidar]]>
<![CDATA[ Lexicon Vol 9, No 1 (2022) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/lexicon.v9i1.72803
<![CDATA[This study focuses on the Gricean maxim floutings found in the production of verbal humor by the characters in the show The IT Crowd, seasons one and two. This research aims to identify and classify the flouting of maxims, explain the rhetorical strategies employed, and the functions behind each flouting of the humorous utterances in the sitcom. Qualitative methods were used in analyzing the data, which are the humorous utterances resulted from the maxims flouting found in the first 12 episodes of the series. However, quantitative data is also taken into consideration in the analysis. In the series, a total of 102 occurrences were identified as maxim floutings. The most frequently occurring maxim flouting is of the quality maxim with 56 occurrences (54.90%).The result shows the characters produced verbal humor by flouting the conversational maxims using varied rhetorical strategies. Their most preferred rhetorical strategy is allusion, with 12 occurrences (11.70%) found in the series. It was also discovered that the characters use a variety of rhetorical strategies when they flout the maxims to achieve different communicative goals. The most frequent goal to appear is self-disclosure, with 26 data indicate the speakers flout the maxims to disclose personal information through humor.]]>
<![CDATA[Verbal Irony in a TV Series The Office (US) Season 2 ]]>
<![CDATA[Nabila Nurul Hasyim]]>;
<![CDATA[Sharifah Hanidar]]>
<![CDATA[ Lexicon Vol 9, No 2 (2022) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/lexicon.v9i2.68005
<![CDATA[Verbal irony as a figurative language has been conceived in everyday life as its use is common when people communicate with each other. It enables the speaker to express negative intention towards the hearer as well as producing humor elements. This study aims to analyze verbal irony in the sitcom The Office (US) from Pragmatics perspective, which focuses on the identification of its forms and their manifestations in arousing humor. The data of this study were collected from season 2 of The Office (US) that consists of 22 episodes. They were observed, transcribed, analyzed, and classified into the category proposed by Gibbs (2000). The utterances that contain humor were marked and analyzed by applying the theory proposed by Garmendia (2007). The result shows that from 97 occurrences that were identified, all five types of verbal irony (sarcasm, jocularity, rhetorical question, hyperbole, and understatement) were found, with sarcasm as the most frequently used type. The analysis also revealed that the disparity that emerges from verbal irony leads to humor creation.]]>
<![CDATA[Politeness Strategies of Requests in the TV Series Grey's Anatomy Season 2 ]]>
<![CDATA[Kinansha, Viannisa Akira]]>;
<![CDATA[Hanidar, Sharifah]]>
<![CDATA[ Lexicon Vol 10, No 2 (2023) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/lexicon.v10i2.76343
<![CDATA[This study explores the use of politeness strategies of requests in the TV Series Grey’s Anatomy Season 2. The request strategies were classified based on the politeness strategies proposed by Brown and Levinson (1987). The results showed that out of the 274 requests found in the TV series, 132 requests (48.18%) were expressed using the bald on-record strategy, 108 occurrences (39.42%) using the negative politeness strategy, 25 occurrences (9.12%) using the positive politeness strategy, and nine occurrences (3.28%) using the off-record politeness strategy. For power, the characters of Grey’s Anatomy Season 2 tend to speak to their interlocutors depending on the power that they have between them. Meanwhile, as for the social distance, the speakers tend to ignore the differences in power that exist between them. The familiarity between the speakers and interlocutors influences them to use direct strategies despite the differences in power.]]>
