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Journal : IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature

Clausal Ellipsis in the Dialogue of the Movie “To All the Boys: Always and Forever” Esa Cahyani, Ni Putu; Suastini, NI Wayan
IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vol. 13 No. 1 (2025): IDEAS: Journal on English Language Teaching and Learning, Linguistics and Lite
Publisher : Institut Agama Islam Negeri Palopo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24256/ideas.v13i1.5463

Abstract

Ellipsis is a part of discourse that studies about omission of words in a sentence or utterance to avoid repetition. This study focuses on finding the type of clausal ellipsis and the reference parts of clausal ellipsis omitted in the dialogue of the movie “To All the Boys: Always and Forever”. This study expects to aid students in learning clausal ellipsis and provide insight into clausal ellipsis and its reference parts. This study used Halliday and Hasan's theory (1976) to determine the type of clausal ellipsis. The data were collected by observation method and analyzed use descriptive qualitative method. Based on results, the clausal ellipsis is found with total 88 data; 29 data of modal ellipsis, 26 data of propositional ellipsis, 33 data of question-answer ellipsis. The use of question-answer ellipsis was widely used in the movie dialogue because the casts wanted to give a direct response to the questions without implication due to the relation and situation between the casts in the movie was informal.
Clausal Ellipsis in the Dialogue of the Movie “To All the Boys: Always and Forever” Esa Cahyani, Ni Putu; Suastini, NI Wayan
IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vol. 13 No. 1 (2025): IDEAS: Journal on English Language Teaching and Learning, Linguistics and Lite
Publisher : Institut Agama Islam Negeri Palopo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24256/ideas.v13i1.5463

Abstract

Ellipsis is a part of discourse that studies about omission of words in a sentence or utterance to avoid repetition. This study focuses on finding the type of clausal ellipsis and the reference parts of clausal ellipsis omitted in the dialogue of the movie “To All the Boys: Always and Forever”. This study expects to aid students in learning clausal ellipsis and provide insight into clausal ellipsis and its reference parts. This study used Halliday and Hasan's theory (1976) to determine the type of clausal ellipsis. The data were collected by observation method and analyzed use descriptive qualitative method. Based on results, the clausal ellipsis is found with total 88 data; 29 data of modal ellipsis, 26 data of propositional ellipsis, 33 data of question-answer ellipsis. The use of question-answer ellipsis was widely used in the movie dialogue because the casts wanted to give a direct response to the questions without implication due to the relation and situation between the casts in the movie was informal.
Unspoken Meaning: A Study of Flouting Conversational Maxims in 500 days of Summer Ni Kadek, Valentina; Ni Wayan Suastini
IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vol. 13 No. 2 (2025): IDEAS: Journal on English Language Teaching and Learning, Linguistics and Lite
Publisher : Universitas Islam Negeri Palopo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24256/ideas.v13i2.7814

Abstract

This study explores how the flouting of conversational maxims in 500 Days of Summer impacts character interactions and relationship dynamics. The primary objective is to understand how ineffective communication shapes emotional connections in the narrative. Through qualitative analysis, we identified and categorized instances of maxim flouting, revealing the following frequencies and percentages: flouting the maxim of quantity (8 instances, 24.2%), flouting the maxim of quality (8 instances, 24.2%), flouting the maxim of relevance (8 instances, 24.2%), and flouting the maxim of manner (9 instances, 27.3%). Notably, the maxim of manner was the most frequently flouted, indicating that characters often communicate with ambiguity that adds emotional complexity. In contrast, the maxims of quantity, quality, and relevance were least commonly flouted, suggesting that while miscommunication occurs, dialogue generally maintains a balance between clarity and emotional expression. These findings underscore the critical role of effective communication in fostering intimacy and understanding in romantic relationships. Additionally, the study acknowledges the limitations of focusing on a limited number of scenes, which may not capture the full spectrum of communication dynamics within the film. Future research could expand on these insights by examining other conversational maxims across different media and investigating how cultural contexts influence communication styles.
Co-Authors Adrian Ming Adystianto, Marvelia Pratama Afrilya, Tini Anak Agung Made Indrawati Ariningsih, Ida Ayu Made Dwi Arita Wastiana Konda Ariyaningsih, Ni Nyoman Deni Arundati, Ni Luh Made Usha Arwati, Ni Kadek Dewi Aryaningsih, Ni Nyoman Deni Ayu Mas Wiliastini Badriyah, Rr Dwi Umi Cahya Paramitha Camelia, Mega Dafriana Mamun Datuti, Sri Desak Putu Eka Pratiwi Dewa Gede Bambang Erawan Esa Cahyani, Ni Putu Evantri Ngailo Fatma, Yeni Felia Gita Dewi, Ni Kadek Gde Nova Winarta, Ida Bagus Giska, Ni Putu Ayu Ngurah Giska Anjani Gita Pradnyani I Dewa Ayu Devi Maharani Santika I Gede Jody Agastya I Gede Yoga Saputra I Gusti Ayu Agung Sintha Satwika I Gusti Ayu Vina Widiadnya Putri I Ketut Artawa I Ketut Darma Laksana I Komang Agus Tri Mahendra I Komang Arsa Adi Winarta I Komang Asmara Utama I Komang Astina I Komang Sulatra I Komang Sulatra I Made Iwan Indrawan Jendra I Nyoman Rajeg Mulyawan I Putu Andri Permana I Wayan Adhya Utama I Wayan Gde Wiryawan I Wayan Juniartha I Wayan Resen I Wayan Sidha Karya I Wayan Susanta Ida Ayu Made Wedasuwari Ida Bagus Gde Nova Winarta Ida Bagus Putra Yadnya Jayantini, I G A Sri Rwa Jayantini, I.G.A. Sri Rwa Juliawan, I Wayan Kadek Erlangga Kesha Wiguna Kadek Suharditha Komang Dian Puspita Candra, Komang Dian Puspita Listaningsih, Ni Putu Heni Listyawati , Desak Ayu Chandra Luh Putri Pramesti Artayani Luk Luk Yata Lalak Muslimin Maharani, Putu Devi Mahardhika, I Made Mahendra, I Komang Agus Tri Mamun, Dafriana Margareta Ratna Anul Marianus Indra Wayon Natalya Helena Susanty Izym Ni Kadek Kurnia Nareswari Dewi Ni Kadek Linda Elpiani Ni Kadek Yuni Ernayanti Ni Kadek, Valentina Ni Komang Sri Yuliastini Ni Luh Vira Nitya Rini Ni Made Candra Sandita Dewi Ni Made Verayanti Utami Ni Nyoman Cintya Pradnyani Ni Nyoman Deni Ariyaningsih Ni Nyoman Niki Tresna Sari Ni Nyoman, Indrayani Erlina Saputri Ni Putu Eka Kumala Niti Utami Ni Wayan Dita Novita Sari Ni Wayan Rusminiati Novionita, Made Linda Nyoman Rajeg Mulyawan Padmi, Ni Luh Indriyani Pratama, I Gde Saputra Pucangan, Komang Ratih Vionita Pusparini , Ni Wayan Putra, I Kadek Dwi Dharma Putri Aningsih, Ni Luh Sintya Melani Putri Utami, Ni Putu Cahyani Putu Desi Anggerina Hikmaharyanti Putu Gede Budiartha Ramal Yusuf Rico Jonssa Aditya Rika, Ni Wayan Roro Dwi Umi Badriah Santika , I Dewa Ayu Devi Maharani Sari, Ni Kadek Purnama Satria Ardie Wibawa Silvester Aman Spencer, Wildhan Randy Sri Datuti Sri Muliya Hidayani Sri Rwa Jayantini, I Gusti Agung Suartini, Ni Kadek Ayu Sucipto, I Made Depi Suharditha, Kadek Sutrisna, I Wayan Ebik Arya Swantara, Made Syahputra, Denny System, Administrator Udiani, Ni Made Dwi Wahyuni, Ni Luh Putu Richa Wayan, Juliawan Wira Santana, I Putu Yohanis Tambing Yundari, Yundari