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A POLITENESS STRATEGY ANALYSIS

ON THE MAIN CHARACTERS’ DIALOGUES OF THE MOVIE

PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST

A Thesis Submitted to Faculty of Letters and Humanities

in Partial Fulfillment of the Requirements for the Degree of Strata One

MUHAMMAD IHSAN FAUZI

105026000984

ENGLISH LETTERS DEPARTMENT

FACULTY OF LETTERS AND HUMANITIES

SYARIF HIDAYATULLAH STATE ISLAMIC UNIVERSITY

JAKARTA

2010

APPROVEMENT

A POLITENESS STRATEGY ANALYSIS

ON THE MAIN CHARACTERS’ DIALOGUES OF THE MOVIE

PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST

A Thesis Submitted to Faculty of Letters and Humanities

in Partial Fulfillment of the Requirements for the Degree of Strata One

Muhammad Ihsan Fauzi

105026000984

Approved by

Advisor

Drs. H. Abdul Hamid, M.Ed.

NIP. 150 181 922

ENGLISH LETTERS DEPARTMENT

FACULTY OF LETTERS AND HUMANITIES

SYARIF HIDAYATULLAH STATE ISLAMIC UNIVERSITY

JAKARTA

2010

i

ABSTRACT

This thesis discusses the choice of politeness strategies used by three main

characters in the dialogue of movie Pirates of the Caribbean: Dead Man’s Chest.

The writer makes Brown and Levinson’s politeness theory including the face

threatening act concept and politeness strategy as his main framework in processing

the thesis. The data is taken from its filmscript by noting, separating, and classifying

the utterances into appropriate strategies. Then the writer elaborates them about

how influenced social relationship, relative power, and ranking of the imposition in

the dialogues.

ii

APPROVEMENT

iii

LEGALIZATION

A thesis entitled ‘A Politeness Strategy Analysis on the Main Characters’ Dialogues

of the Movie Pirates of the Caribbean: Dead Man’s Chest’ has been defended before

the Letters and Humanities Faculty’s Examination Committee on March 5th 2010.

The thesis has been accepted as a partial fulfilment of the requirement for the

degree of strata one in English Letters Department.

Jakarta, March 5th 2010

iv

DECLARATION

This thesis in its entirety is the result of the writer own work, and includes nothing

which is the outcome of work done in collaboration. It contains no material published

or written by another person nor material which to a substantial extent has been

accepted for the award of any other degree or diploma of the university or other or

institutes or higher learning, except where due acknowledgement has been made in

the text.

Jakarta, March 5th 2010

Muhammad Ihsan Fauzi

v

ACKNOWLEDGEMENT

In the name of Allah, the Most Gracious, the Most Merciful

The writer is grateful to Allah, the Lord and Cherisher, for guiding him to

conceptualise, develop and complete this thesis. Indeed, without His Help and Will,

nothing is accomplished. Praise and peace be upon the prophet Muhammad SAW

and all his friends and followers.

The writer’s thinking about the issues analyzed in this thesis has been guided by

his supervisor Drs. H. Abdul Hamid, M.Ed. The writer is indebted to him for his

insightful and detailed comments, which prompted the writer to think twice more than

once. His suggestions also helped him clarify and, hopefully, better articulate the

writer’s ideas.

He would also like to express his appreciation to the Dean of Letters and

Humanities Faculty, Dr. Abdul Chair, MA., to the Head of English Letters

Department, Dr. Muhammad Farkhan, M.Pd., and also to the Secretary of English

Letters Department, Drs. Asep Saefuddin, M.Pd. for their support and help towards

the writer’s thesis. His acknowledgement also goes to all the lecturers and office

staffs of English Letters Department and all librarians of UIN Syarif Hidayatullah and

UNIKA Atmajaya for their cooperations.

Thanks are also due to all his friends especially Abdul Rohim ans Jurjani for

bringing so much information. The writer’s special gratitude is due to his brothers

Muhammad Iqbal, Muhammad Haikal, Muhammad Rijalludin Hakim, Muhammad

vi

Hilal Fathurrahman, and his sister Ira Nadya Octavira. Without their encouragement

and understanding it would have been impossible for him to finish this work.

In particular, the writer would like to thank to his beloved wife Uzumaki Kushina

‘Ma’, and his two little fairies Temari ‘Hilda’ and Tenten ‘Sophie’ for their unfailing

support and high spirits.

Unfortunately for a writer working on politeness, words are sometimes not strong

enough. So, let this work stand in acknowledgement of the love and encouragement

of my parents, Dr. H.D. Silahuddin, MA. and E. Maemunah, SE. for supporting me

through the highs and the lows.

Jakarta, February 2010

The writer

1

SYNOPSIS OF THE THESIS ENTITLED

A POILTENESS STRATEGY ANALYSIS

ON THE MAIN CHARACTERS’ DIALOGUES

OF THE MOVIE PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST

By Muhammad Ihsan Fauzi / 105026000984

A. BACKGROUND OF THE STUDY

As a means of communication and a part of culture, language has an

important role in human's life. Therefore, it reflects speaker’s behavior. That is

also why language is able to build human relationships. But every speech which

is spoken by speakers or hearers is not exactly alike. Those differences,

generally, are influenced by education, age, personality, sex and setting. These

factors are sometimes affected how close the relationship or the interaction

between speaker and hearer is. The personality, for instance, as a matter of fact

that describes our character being related with the emotional states. Or

sometimes we are conditioned by setting either formal or informal so we should

decide how to behave in order to appropriate with its situation.

Of course, the differences above influence people in using language

whether it is regarded as polite language or not. Hornby stated that politeness

itself is defined as hearing or showing the possession of good manners and

consideration.1 It means that politeness in conversation is absolutely important to

be able to establish one’s relationship with others. It should be realized by

everyone in forming good conversation because the use of language can reflect

the behavior or the attitude.

1 Hornby, AS. Oxford Advanced Learner’s Dictionary. Sixth Edition. Oxford: Oxford University Press. 2000.

2

That is the reason why the writer chooses this topic as his research.

Because politeness is a pragmatic matter, it is the main essential factor how to

maintain the relationship well through language.

Politeness is a field of applied linguistics and pragmatics because

politeness is one of main functional units in communication and any socio-cultural

contexts which is its use is essential for various reasons. By using both the rules

of speaking and the values of society, they assist someone in developing socio-

culturally acceptable and grammatically appropriate communication.

Furthermore, an in-depth look at studying politeness will help not only someone

to understand more the important how to communicate well, yet usually disclose

aspects of communication that are occasionally different from language structure,

but also provide clues for improved cross-cultural communication.2

Politeness is best expressed as the practical application of good manners

or etiquette in any circumstances of conversation. Moreover, speech behavior is

mirror image of community norms and attitudes. Therefore it is a culturally

defined phenomenon, and what is considered polite in one culture can often be

quite rude or simply strange in another. It is because many languages have

specific means to show politeness, deference, respect, or recognition of the

social status of the speaker and the hearer.

For instance, German subjects tend to interact in ways that are more

direct, explicit and verbose, more self-referenced and content-oriented than

English.3 In Japanese which is perhaps the most widely known example of a

language that encodes politeness at its very core. Many complications aside,

Japanese has two main levels of politeness, one for intimate acquaintances, 2 Dogancay-Aktuna, Seran and Sibel Kamisli. Discourse of Power and Politeness through the Act of Disagreement. Chicago: Annual Meeting. 1996. 3 Hickey, Leo and Miranda Stewart. Politeness in Europe. Clevedon: Multilingual Matters Ltd. 2005.

3

family and friends, and other for the rest of the people, and verb morphology

reflects these levels. Besides that, some verbs have special hyper-polite

additional forms. This happens also with some nouns and interrogative pronouns.

Japanese also employs different personal pronouns for each person according to

gender, age, rank, degree of acquaintance, and other cultural factors.

Brown and Levinson proposed a theory that is widely recognized and

remains relevant as universal theory of politeness. It means they considered that

every society has same sort of norms for the appropriate behavior, though these

norms are varied. Brown and Levinson introduce five main politeness strategies

(1) Bald on Record, (2) Positive Politeness, (3) Negative Politeness, (4) Off

Record, and (5) Don’t Do the FTA. They are chosen depending on how risky the

hearer’s face in conversation is. These strategies are important to act speech

politely. 4

Shortly, the goal of politeness is to make both speaker and hearer relaxed

and comfortable with one another, and to avoid disagreement of conversation in

order to keep social relationship well. These essentials have inspired the writer to

write the thesis which is concerned with politeness as a theoretical concept within

pragmatics and with application of the theoretical model proposed by Brown and

Levinson with a movie as object of research entitled ‘Pirates of the Caribbean:

Dead Man’s Chest’ . So, the topic of this study is the analysis of politeness

strategies on the movie of Pirates of the Caribbean: Dead Man’s Chest.

4 Brown, Penelope and Stephen C. Levinson. Politeness: Some Universal in Language Usage. Cambridge: Cambridge University Press. 1987

4

B. RESEARCH METHODOLOGY

This research applies qualitative methodology. It does not use any

statistical procedure. Therefore, the writer tries to describe and analyze

politeness strategies used by three main characters in the movie.

To analyze politeness strategies, the writer uses a movie Pirates of the

Caribbean: Dead Man’s Chest as its unit of analysis, including its screenplay

which is written by Tedd Elliot and Terry Rossio.

The instrument of this research is the writer himself by watching the movie

Pirates of the Caribbean: Dead Man’s Chest and reading the film script.

The data will be analyzed through descriptive analysis technique. In this

technique, the writer notes, separates and classifies utterances in the film’s

dialogues into appropriate politeness strategies. Then they will be analyzed and

described by using Brown and Levinson’s theory particularly Face Threatening

Acts (FTAs) and politeness strategies.

C. THEORETICAL FRAMEWORK

Brown and Levinson’s politeness theory which is used as writer’s

theoretical framework consists of two parts. The first part is their fundamental

theory concerning the nature of politeness and how it functions in interaction. The

second part is their face theory which contains three basic notions: face, face

threatening acts (FTAs) and politeness strategies with examples from three

languages: English, Tzeltal, and Tamil.

5

a. Face Threatening Acts (FTAs)

Face is defined as an individual's self esteem. It has two aspects, namely

negative and positive face. Negative face is 'the desire to be unimpeded in one's

actions' and positive face is 'the desire (in some respects) to be approved of'.5

When we interact with others in society, it is necessary to keep one's own face or

to avoid threatening another's face. In order to avoid these face-threatening acts

(abbreviated as FTA's), we try to employ politeness strategies in our interactions.

Brown and Levinson classify different kinds of such politeness strategies used

according to the ways we react to FTA's. They also point out that the

determinants of the kinds of politeness strategies used are the following three

sociological factors: the relative power of the hearer over the speaker, the social

distance between the speaker and the hearer, and the ranking of the imposition

in doing the face-threatening act.6

When a face-threatening act is involved in our interaction, we make a

decision whether or not we should execute it. If we decide to do it, we can either

do it directly, i.e. 'on record' by Brown and Levinson's term, or do it 'off record',

which means it is done indirectly. If we do it without paying any consideration to

the hearer, we do it 'baldly'. If we try to reduce the face-threatening effect to the

hearer, we use either positive politeness or negative politeness. Positive

politeness means that the speaker tries to save the hearer's positive face by

reducing the distance between them. By negative politeness, on the other hand,

the speaker tries to keep the hearer's negative face by valuing the hearer's

personal territory.

5 Penelope Brown and Stephen C. Levinson. Politeness: Some Universals in Language Usage. Cambridge: Cambridge University Press. 1987. p.13 6 Ibid p.15-16

6

b. Politeness Strategy

Politeness strategies, developed by Brown and Levinson, have function

as a redressive action to Face Threatening Acts (FTA). Choosing them depend

on how risky S wants to redress H’s wants. Simply, the more an act threatens H’s

face, the more S will want to choose a higher-numbered strategy. This by virtue

of the fact that the strategies afford payoffs of increasingly minimize risk.

There are five politeness based on Brown and Levinson’s theory, they

are: 1) Bald on Record, 2) Positive Politeness, 3) Negative Politeness, 4) Off

Record, 5) Don’t Do the FTAs.

D. RESEARCH FINDINGS

The writer describes of the three main characters: Jack Sparrow,

Elizabeth Swann, and Will Turner and analyzes them which led to the

compilation of corpus of conversational data from filmscript of Pirates of the

Caribbean: Dead Man’s Chest. These corpus, then by the writer, are classified

into appropriate politeness strategies and going to be elaborated based on the

plot of the movie and the appropriateness of Brown and Levinson’s theory. The

data are shown below:

A. Jack Sparrow

No

Jack and to whom

he speaks to (S to H)

The used strategies Corpus

Playback Time

(movie)

Page (filmscript)

1 Jack Sparrow to Bill Turner

Positive politeness: 6 Avoid disagreement: Token agreement

BT : You got the Pearl back, I see. JS : I had some help retrieving the Pearl, by the way.

00:13:04 9

7

2 Jack Sparrow to Gibbs

Bald on record No no! Leave it! Run!

00:16:49 11


Off record: 7 Use contradictions

G : Let’s put some distance between us and this island, and head out to open sea. JS : Yes to the first, yes to the second, but only insofar as we keep to the shallows as much as possible.

00:42:47 29

4 Jack Sparrow to Will Turner

Positive politeness: 14 Assume or assert reciprocity

William, I shall trade you the Compass, if you will help me to find this.

00:43:50 30

5 Jack Sparrow to Davy Jones

Positive politeness: 4 Use in-group identity markers: Address forms

You’re a diamond, mate.

01:01:08 42

6 Jack Sparrow to Elizabeth Swann

Negative politeness: 2 Hedge addressed to politeness strategies

Darling, I am truly unhappy to have to tell you this, but...

01:14:02 51

B. Elizabeth Swann

No

Elizabeth and to whom

she speaks to (S to H)


Playback Time

(movie)

Page (filmscript)

7 Elizabeth Swann to Governor Swann

Positive politeness: 13 Give (or ask for) reasons

Why don’t you tell me what’s happening?

00:25:14 17

8 Elizabeth Swann to Lord Cuttler Beckett

Positive politeness: 6 Avoid disagreement: Hedging opinion

I expect then that we can come to some sort of understanding.

00:27:16 19

9 Elizabeth Swann to Jack

Positive politeness: 5 Seek

JS: ... poor William has been

01:14:41 51

8

Sparrow agreement: Repetition

press-ganged into Davy Jones’ crew. ES: Davy Jones.

10 Elizabeth Swann to Jack Sparrow

Positive politeness: 3 Intensify interest to H

You do know Will taught me how handle a sword.

01:28:03 58


Negative politeness: 6 Apologize: Beg forgiveness

JS: You’re sitting on it. ES: I beg your pardon.

01:39:40 65

12 Elizabeth Swann to Jack Sparrow, Will Turner and Norrington

Bald on record Stop it! 01:43:15 69

C. Will Turner

No

Will and to whom



Playback Time

(movie)

Page (filmscript)

13 Will Turner to Lord Cutler Beckett

Positive politeness: 7 Presuppose H’s knowledge

So you get both Jack and the Black Pearl.

00:11:17 8

14 Will Turner to Jack Sparrow

Negative Politeness: 2 Hedges on illocutionary force.

Jack? Jack Sparrow! I can honestly say I’m glad to see you.

00:23:55 16

15 Will Turner to Gibbs

Positive politeness: 7 Personal-center switch

Well, we can’t just sit here and wait then, can we?

00:32:24 22

16 Will Turner to Crewmen

Bald on record Hurry! 00:35:17 24


Bald on record Roll the cage! 00:37:33 26

18 Will Turner to Bill Turner

Positive politeness: 10 Promise

I take this with a promise. I’ll find a way to sever Jones’ hold on you. And not rest until this blade pierces his heart. I will not abandon you. I promise.

01:26:32 57

9

E. CONSLUSION

The filmscript of Pirates of the Caribbean: Dead Man’s Chest, after it is

analyzed, has four politeness strategies utilized with positive politeness (ten

expressions) as the most used strategies, bald on record (four expressions) and

followed by negative politeness (three expressions), and off-record as the last

and the rarest strategies with one expression.

The table below shows what politeness strategies mostly used by three

main characters throughout the conversation.

Table 2 Summary of the use of three main characters’ politeness strategies

Characters

Politeness strategies

Jack Sparrow Elizabeth Swann Will Turner

Bald on record 1 1 2

Positive politeness 3 4 3

Negative politeness 1 1 1

Off record 1 - -

Jack Sparrow seems to like to use positive politeness rather than other

strategies. The used of this strategy means as a kind of metaphorical extension

of intimacy and generally as social accelerator where S indicates that he wants to

‘come closer’ to H. It is similar to Jack’s characteristic in the movie as friendly

pirates, he always implies common ground or shares of his wants to everyone

even strangers.

Elizabeth Swann is quite similar with Jack Sparrow, however she mostly

uses positive politeness during her interaction than Jack. The purpose of the use

10

of positive politeness is much alike with Jack’s, those are to imply common

ground and share her interest. And Elizabeth’s bald-on-record expressions are

used as a way to give direct and easy-understanding to whom she speaks to.

Besides, she uses them as urgency communication.

Will Turner is quite different with other two previous characters, he fairly

uses bald-on-record and positive politeness througout his conversation, other

strategies are rare to use by him. This is because of the plot, finding Jack

Sparrow in order to free his fiancée, always places him in urgency, therefore he

has to speak in maximum efficiency in order to give direct, simple, and easy-

understandable to those whom he speaks to.

11

BIBLIOGRAPHY

Abate, Frank R. The Oxford Dictionary and Thesaurus: The Ultimate Language Reference for American Readers. Oxford: Oxford University Press. 1996

Aktuna, Dogancay, Seran and Sibel Kamisli. Discourse of Power and Politeness through the Act of Disagreement. Chicago: Annual Meeting. 1996

Ambady, Naliny, et. al. ‘More Than Words: Linguistic and Nonlinguistic Politeness in two cultures’. Journal of Personality and Social Psychology 70 (1996): 996-1011

Brown, Penelope and Stephen C. Levinson. Politeness: Some Universal in Language Usage. Cambridge: Cambridge University Press. 1987

Eelen, Gino. A Critique of Politeness Theories. Manchester: St. Jerome Publishing. 2001

Escandell, Victoria. ‘Politeness: A Relevant Issue for Relevance Theory’. Revista Alicantina de Estudios Ingleses 11 (1998): 45-57

Fallon, Daniel. Positive and Negative Politeness. Hildesheim: Hildesheim University Press. 2004

Foley, William. Anthropological Linguistics: An introduction. Indiana: Wiley-Blackwell Publishing. 1997

Hayashi, Takuo. Reconstructing a Universal Theory of Politeness: Face, Politeness and Model of Realization. Osaka: St. Andrew’s University.

Hickey, Leo and Miranda Stewart. Politeness in Europe. Clevedon: Multilingual Matters Ltd. 2005

Hornby, AS. Oxford Advanced Learner’s Dictionary. Sixth Edition. Oxford: Oxford University Press. 2000

Kitamura, Noriko. Adapting Brown and Levinson’s ‘Politeness’ Theory to the Analysis of Casual Conversation. Sydney: University of Sydney.

Terkourafi, Marina. Three Levels in Politeness Theory and Practice. Cambridge: University of Cambridge.

Walter, Elizabeth. Cambridge Advanced Learner’s Dictionary. Third Edition. Cambridge: Cambridge University Press. 2003

Watts, Richard J. Politeness. Cambridge: Cambridge University Press. 2003

http://en.wikipedia.org/wiki/Politeness, accesed on 2 August 2009

http://www.amazon.com/s/ref=ntt_athr_dp_sr_2?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Frank%20R.%20Abate

http://en.wikipedia.org/wiki/Politeness

12

http://en.wikipedia.org/wiki/Politeness_theory, accesed on 2 August 2009

http://www.imdb.com/title/tt0383574/, accesed on 7 August 2009

http://en.wikipedia.org/wiki/Politeness_theory

http://www.imdb.com/title/tt0383574/

vii

TABLE OF CONTENTS

ABSTRACT....................................................................................................... i

APPROVEMENT............................................................................................... ii

LEGALIZATION................................................................................................. iii

DECLARATION................................................................................................. iv

ACKNOWLEDGEMENT.................................................................................... v

TABLE OF CONTENTS.................................................................................... vii

CHAPTER I INTRODUCTION................................................................ 1

A. Background of the Study................................................ 1

B. Focus of the Study......................................................... 4

C. Research Question........................................................ 4

D. Significance of the Study............................................... 4

E. Research Methodology.................................................. 5

CHAPTER II THEORETICAL FRAMEWORK.......................................... 7

A. Politeness Concept........................................................ 7

B. Face Threatening Acts (FTAs)....................................... 9

C. Politeness Strategy........................................................ 11

1. Bald on Record.......................................................... 11

2. Positive Politeness.................................................... 13

3. Negative Politeness................................................... 20

4. Off Record................................................................. 27

5. Don’t do the FTAs...................................................... 33

CHAPTER III RESEARCH FINDINGS..................................................... 34

A. Data Description............................................................. 34

B. Data Analysis................................................................. 37

viii

CHAPTER IV CONCLUSION AND SUGGESTION.................................. 48

A. Conclusion..................................................................... 48

B. Suggestion..................................................................... 50

BIBLIOGRAPHY................................................................................................ 51

1

CHAPTER I

INTRODUCTION

A. Background of the Study

As a means of communication and a part of culture, language has an

important role in human's life. Therefore, it reflects speaker’s behavior. That is also

why language is able to build human relationships. But every speech which is

spoken by speakers or hearers is not exactly alike. Those differences, generally, are

influenced by education, age, personality, sex and setting. These factors are

sometimes affected how close the relationship or the interaction between speaker

and hearer is. The personality, for instance, as a matter of fact that describes our

character being related with the emotional states. Or sometimes we are conditioned

by setting either formal or informal so we should decide how to behave in order to

appropriate with its situation.

Of course, the differences above influence people in using language whether

it is regarded as polite language or not. Hornby stated that politeness itself is defined

as hearing or showing the possession of good manners and consideration.1 It means

that politeness in conversation is absolutely important to be able to establish one’s

relationship with others. It should be realized by everyone in forming good

conversation because the use of language can reflect the behavior or the attitude.

1 Hornby, AS. Oxford Advanced Learner’s Dictionary. Sixth Edition. Oxford: Oxford University Press. 2000.

2

That is the reason why the writer chooses this topic as his research. Because

politeness is a pragmatic matter, it is the main essential factor how to maintain the

relationship well through language.

Politeness is a field of applied linguistics and pragmatics because politeness

is one of main functional units in communication and any socio-cultural contexts

which is its use is essential for various reasons. By using both the rules of speaking

and the values of society, they assist someone in developing socio-culturally

acceptable and grammatically appropriate communication. Furthermore, an in-depth

look at studying politeness will help not only someone to understand more the

important how to communicate well, yet usually disclose aspects of communication

that are occasionally different from language structure, but also provide clues for

improved cross-cultural communication.2

Politeness is best expressed as the practical application of good manners or

etiquette in any circumstances of conversation. Moreover, speech behavior is mirror

image of community norms and attitudes. Therefore it is a culturally defined

phenomenon, and what is considered polite in one culture can often be quite rude or

simply strange in another. It is because many languages have specific means to

show politeness, deference, respect, or recognition of the social status of the

speaker and the hearer.

For instance, German subjects tend to interact in ways that are more direct,

explicit and verbose, more self-referenced and content-oriented than English.3 In

Japanese which is perhaps the most widely known example of a language that

2 Dogancay-Aktuna, Seran and Sibel Kamisli. Discourse of Power and Politeness through the Act of Disagreement. Chicago: Annual Meeting. 1996. 3 Hickey, Leo and Miranda Stewart. Politeness in Europe. Clevedon: Multilingual Matters Ltd. 2005.

3

encodes politeness at its very core. Many complications aside, Japanese has two

main levels of politeness, one for intimate acquaintances, family and friends, and

other for the rest of the people, and verb morphology reflects these levels. Besides

that, some verbs have special hyper-polite additional forms. This happens also with

some nouns and interrogative pronouns. Japanese also employs different personal

pronouns for each person according to gender, age, rank, degree of acquaintance,

and other cultural factors.

Brown and Levinson proposed a theory that is widely recognized and

remains relevant as universal theory of politeness. It means they considered that

every society has same sort of norms for the appropriate behavior, though these

norms are varied. Brown and Levinson introduce five main politeness strategies (1)

Bald on Record, (2) Positive Politeness, (3) Negative Politeness, (4) Off Record, and

(5) Don’t Do the FTA. They are chosen depending on how risky the hearer’s face in

conversation is. These strategies are important to act speech politely. 4

Shortly, the goal of politeness is to make both speaker and hearer relaxed

and comfortable with one another, and to avoid disagreement of conversation in

order to keep social relationship well. These essentials have inspired the writer to

write the thesis which is concerned with politeness as a theoretical concept within

pragmatics and with application of the theoretical model proposed by Brown and

Levinson with a movie as object of research entitled ‘Pirates of the Caribbean: Dead

Man’s Chest’ . So, the topic of this study is the analysis of politeness strategies on

the movie of Pirates of the Caribbean: Dead Man’s Chest.

4 Brown, Penelope and Stephen C. Levinson. Politeness: Some Universal in Language Usage. Cambridge: Cambridge University Press. 1987

4

B. Focus of the Study

In this study, the writer is going to analyze the three main characters: Jack

Sparrow, Elizabeth Swann, and Will Turner in the movie of Pirates of the Caribbean:

Dead Man’s Chest, then the writer will concentrate on the realization of face-

threatening acts (FTAs) and will try to relate to what role politeness strategies

defined by Brown and Levinson which may be possibly played by main characters of

the movie. The writer will also pay close attention to independent social factors to get

information thoroughly.

C. Research Question

In this study, the writer is trying to answer the question stated below:

1. What politeness strategies are used by three main characters Jack Sparrow,

Elizabeth Swann, and Will Turner in the movie ‘Pirates of the Caribbean:

Dead Man’s Chest’?

2. What politeness strategies are mostly used by those three main characters?

D. Significance of the Study

By discussing sociological variables such as status and authority used in the

movie’s dialogue, the writer expects this research will contribute a broader

understanding to the readers on politeness strategies. So they can enrich their

knowledge on how to communicate well.

5

E. Research Methodology

1. Method of the Study

This research applies qualitative methodology. It does not use any

statistical procedure. Therefore, the writer tries to describe and analyze

politeness strategies used by three main characters in the movie.

2. Objective of the Study

The objectives of the study are:

1. To describe models of speech-act in politeness discourse which are

performed by three main characters of the movie.

2. To relate politeness strategies to Brown and Levinson’s concepts.

3. Unit of Analysis

To analyze politeness strategies, the writer uses a movie Pirates of

the Caribbean: Dead Man’s Chest as its unit of analysis, including its

screenplay which is written by Tedd Elliot and Terry Rossio.

4. Instrument of the Research

The instrument of this research is the writer himself by watching the

movie Pirates of the Caribbean: Dead Man’s Chest and reading the film

script.

6

5. Data Analysis

The data will be analyzed through descriptive analysis technique.

In this technique, the writer notes, separates and classifies utterances in the

film’s dialogues into appropriate politeness strategies. Then they will be

analyzed and described by using Brown and Levinson’s theory particularly

Face Threatening Acts (FTAs) and politeness strategies.

F. Time and Place of the Study

The research has been started from March 2009 to January 2010 in English

Letters Department of Letters and Humanities Faculty of State Islamic University

Syarif Hidayatullah Jakarta.

7

CHAPTER II

THEORETICAL FRAMEWORK

A. Politeness Concept

Politeness refers to ‘having or showing that one has good manners and

consideration for other people’ (Oxford Advanced Learner’s Dictionary). It is also

associated to term such as ‘civility’, ‘courtesy’, ‘good manners’, or translated to such

as French courtoisie, German Höflichkeit, Italian cortesia and urbanità or Dutch

beschaafdheid, beleefdheid and hoffelijkheid, and finally points up various

associative connection: to ‘civil society’, ‘civilization’, or general quality of having ‘life-

experience’.5

In the standard meaning of the word ‘polite’, at least three dimensions can be

identified: 1) polite as civil or socially correct; 2) polite as kind or friendly; and 3)

polite as tactful or diplomatic.6 A quick look at the literature easily shows that

different researchers have favoured different senses. Echoing Fraser (1990), one

could say that for Leech (1983) being polite involves making the hearer to 'feel good'

(polite as friendly); to Brown & Levinson (1987) it means making him not 'feel bad'

(polite as diplomatic); 3 for Fraser himself it is 'the expected state' (polite as socially

correct).

On the other hand, as politeness is one of the basic socio-psychological

guidelines for human behavior, Richard J. Watts on his book, Politeness, defined

politeness into two concepts, the first-order politeness or politeness1 and the second

5 Eelen, Gino. A Critique of Politeness Theories. Manchester: St. Jerome Publishing. 2001 p.1 6 Escandell, Victoria. ‘Politeness: A Relevant Issue for Relevance Theory’. Revista Alicantina de Estudios Ingleses 11 (1998): 45-57 p.46

8

order politeness or politeness2, with the former referring to the commonsense notion

of politeness, and the latter to its scientific conceptualization. The first-order

politeness (politeness1) is the various ways in which polite behavior is talked about

by members of sociocultural group7, whereas second-order politeness (politeness2)

is a linguistic, scientific concept which is more technical notion which can only have a

value within an overall theory of social interaction.8 Watts moreover states that

politeness1 is action behavior and politeness2 is linguistic behavior.

Example forms of action behavior are like opening door for others to enter or

exit before oneself, not belching at mealtimes, holding hand on mouth and turning

head away when coughing, offering one’s seat in a bus to an older person or an

invalid are culturally specific and part of first-order politeness. And examples of

social interaction using linguistic behavior are like saying please and thank you or

prefacing a request made of a strange with excuse me or apologizing with I’m sorry

or pardon me.

B. Brown and Levinson’s Politeness

Brown and Levinson’s work consists of two parts. The first part is their

fundamental theory concerning the nature of politeness and how it functions in

interaction. The second part is their face theory which contains three basic notions:

face, face threatening acts (FTAs) and politeness strategies with examples from

three languages: English, Tzeltal, and Tamil.

7 Watts, Richard J. Politeness. Cambridge: Cambridge University Press. 2003. p.3 8 Ibid p.4

9

a. Face Threatening Acts (FTAs)

Face is defined as an individual's self esteem. It has two aspects, namely

negative and positive face. Negative face is 'the desire to be unimpeded in one's

actions' and positive face is 'the desire (in some respects) to be approved of'.9 When

we interact with others in society, it is necessary to keep one's own face or to avoid

threatening another's face. In order to avoid these face-threatening acts (abbreviated

as FTA's), we try to employ politeness strategies in our interactions. Brown and

Levinson classify different kinds of such politeness strategies used according to the

ways we react to FTA's. They also point out that the determinants of the kinds of

politeness strategies used are the following three sociological factors: the relative

power of the hearer over the speaker, the social distance between the speaker and

the hearer, and the ranking of the imposition in doing the face-threatening act.10

When a face-threatening act is involved in our interaction, we make a

decision whether or not we should execute it. If we decide to do it, we can either do it

directly, i.e. 'on record' by Brown and Levinson's term, or do it 'off record', which

means it is done indirectly. If we do it without paying any consideration to the hearer,

we do it 'baldly'. If we try to reduce the face-threatening effect to the hearer, we use

either positive politeness or negative politeness. Positive politeness means that the

speaker tries to save the hearer's positive face by reducing the distance between

them. By negative politeness, on the other hand, the speaker tries to keep the

hearer's negative face by valuing the hearer's personal territory.

9 Penelope Brown and Stephen C. Levinson. Politeness: Some Universals in Language Usage. Cambridge: Cambridge University Press. 1987. p.13 10 Ibid p.15-16

10

b. Politeness Strategy

Politeness strategies, developed by Brown and Levinson, have function as a

redressive action to Face Threatening Acts (FTA). Choosing them depend on how

risky S wants to redress H’s wants. Simply, the more an act threatens H’s face, the

more S will want to choose a higher-numbered strategy. This by virtue of the fact that

the strategies afford payoffs of increasingly minimize risk.

Fig.1 Circumstances determining choice of strategy

Circumstances determiningchoice of strategy:

Lesser

Greater

Estim

atio

n of

risk

of fa

ce lo

ss

Do the FTA

5. Don’t do the FTA

on record

4. off record

with redressive action

1. without redressive action, baldly

2. positive politeness

3. negative politeness


Lesser

Greater

Estim

atio

n of

risk

of fa

ce lo

ss

Do the FTA


on record

4. off record






Lesser

Greater

Estim

atio

n of

risk

of fa

ce lo

ss

Do the FTA


on record

4. off record





1. Bald on Record

Bald on-record strategies usually do not attempt to minimize the threat to the

hearer’s face, although there are ways that bald on-record politeness can be

used in trying to minimize FTAs implicitly. Often using such a strategy will shock

or embarrass the addressee, and so this strategy is most often utilized in

situations where the speaker has a close relationship with the audience, such as

family or close friends.

11

Specifically, Brown and Levinson explained that an FTA will be done in this

way only if the speaker does not fear retribution from the addressee, for example

in circumstance where:

a) S and H both tacitly agree that the relevance of face demands may be

suspended in the interests of urgency or efficiency.

b) the danger to H’s face is very small, as in offers, request, suggestions

that are clearly in H’s interest and do not require great sacrifices of S.

c) S is vastly superior in power to H, or can enlist audience support to

destroy H’s face without losing his own.11

They outlined various cases in which one might use the bald on-record

strategy, including:

• Instances in which threat minimizing does not occur

a. Great urgency or desperation

Watch out!

b. Speaking as if great efficiency is necessary

Hear me out:...

c. Task-oriented

Pass me the hammer.

d. Alerting

Your headlights are on!

• Instances in which the threat is minimized implicitly

a. Welcomes

11 Ibid p.69

12

Come in.

b. Offers

Leave it, I'll clean up later.

Eat!

2. Positive Politeness

It is usually seen in groups of friends, or where people in the given social

situation know each other fairly well. It usually tries to minimize the distance

between them by expressing friendliness and solid interest in the hearer's need

to be respected (minimize the FTA). In addition to hedging and attempts to avoid

conflict, some strategies of positive politeness include statements of friendship,

solidarity, and compliments.12

Positive politeness techniques are usable not only for FTA redress, but in

general as a kind of social accelerator, where S, in using them, indicates the he

wants to ‘come closer’ to H.

a. Claim Common Ground

This category of positive politeness involves S claiming ´common ground`

with H, by indicating S and H belongs to the same set of persons, who share

specific wants, including goals and values. There are three ways of making this

ways:

1. S may convey that some want (goal) of H’s is admirable or interesting to

S too. (strategy 1-3) 12 Ibid p.103

13

2. S may stress common membership in a group or category. (strategy 4)

3. S can claim common perspective with H without necessarily referring to

in-group membership. (strategy 5-8)13

Strategy 1: Notice, attend to H (his interests, wants, needs, goods)

In general, this output suggests that S should take notice of aspects of H’s

condition including noticeable changes, remarkable possessions, and anything

which looks as though H would want S to notice and approve of it. E.g.:

- What a beautiful case this is! Where did it come from?

- Goodness, you cut your hair! By the way, I came to borrow some

flour.

Strategy 2: Exaggerate (interests, approval, sympathy with H)

Oxford Collocations Dictionary stated that exaggerated expression is

commonly used in politeness, moreover its thesaurus explained that it is the act

of making something more noticeable.14 Simply, exaggeration is a way to give

notice of H’s interests more highly.

This is often done with exaggerated intonation, stress, and other aspects of

prosodics, as well as with intensifying modifiers, e.g. How absolutely incredible!,

What a fantastic garden you have!

13 Fallon, Daniel. Positive and Negative Politeness. Hildesheim: Hildesheim University Press. 2004. p.8 14 Abate, Frank R. The Oxford Dictionary and Thesaurus: The Ultimate Language Reference for American Readers. Oxford: Oxford University Press. 1996


14

Strategy 3: Intensify interest to H

Another way for S to communicate to H that he shares some of his wants is

to intensify the interest of his own (S’s) contribution to the conversation, by

‘making good story’. This may be done by using ‘vivid present’, tag question or

expressions that draw H as a participant into the conversation, such as ‘you

know?’, ‘see what I mean?’, ‘isn’t it?’.

A related technique is to exaggerate facts, e.g. You always do the dishes! I’ll

do them this time.

Strategy 4: Use in-group markers

By using any of the innumerable ways to convey in-group membership, S can

implicitly claim the common group with H that is carried by that definition of the

group like address form, language or dialect, jargon or slang, and ellipsis or

contraction. For example:

- Come here, buddy.

- I came to borrow your Audi if you don’t mind.

Strategy 5: Seek agreement

Another characteristic way of claiming common ground with H is to seek

ways in which it is possible to agree with him. This may be done by using ‘safe

topics’ that allows S to stress his agreement with H and therefore to satisfy H’s

desire to be ‘right’, or to be corroborated in his opinions. Besides, agreement

15

may also be stressed by repeating part or all of what the preceding speaker has

said in a conversation. For instance:

A : She had an accident last week.

B : Oh my God, an accident!

Strategy 6: Avoid disagreement

Avoiding disagreement is another characteristic of noticing what H speak.

This can be shown by several ways below:

a) Token agreement, S should pretend to agree with H in order to hide

disagreement.

E.g. A : You hate your Mom and Dad.

B : Oh, sometimes.

b) Pseudo-agreement, by using then as a conclusory marker, an indication that

S is drawing conclusion to a line of reasoning carried out cooperatively with

the addressee. E.g. We’ll be talking together then.

c) White lies, S has to lie when confronted with the necessity to state an

opinion. E.g. Yes I do like your new hat! (Even S does not like).

d) Hedging opinion, S may choose to be vague about his own opinions, so as

not to be seen to disagree. This may be done by hedging it with several

phrases such as, sort of, kind of, like, in a way. E.g. It’s really beautiful, in a

way.

16

Strategy 7: Presuppose/raise/assert common ground

a) Gossip or small talk, talking for a while about unrelated topics as a mark of

friendship or interest in H can give rise to the strategy of redressing an FTA.

b) Point-of-view operation, is a method of ‘taking the role of the other’ that can

reduce the distance between S’s and H’s point of view by using four ways

below:

1. Personal-center switch: S to H. This is where S speaks as if H were

S, or H’s knowledge were equal to S’s knowledge. This can be

expressed by using of tag question. E.g. I had a really hard time

learning to drive, didn’t I? Or it can also be shown by giving empathy,

S asserts what only H can know. E.g. Yes dear, it hurts terribly, I

know.

2. Time switch: The use of the ‘vivid present’, a tense shift from past to

present tense. E.g. John says do you want to come too?

3. Place switch: The use of proximal rather than distal demonstratives

(here, this, rather than there, that), where either proximal or distal

would be acceptable, seems to convey increased involvement or

empathy. For example, (on saying goodbye): This was a lovely party.

c) Presupposition manipulations, S presupposes something when he

presumes that it is mutually taken for granted. The manipulation of such

presuppositions where something is not really mutually assumed to be the

case, but S speaks as if it were mutually assumed, can be turned to positive-

face redress, as illustrated in the following four sets of examples.

17

1. Presuppose knowledge of H’s wants and attitudes. Negative

questions, which presume ‘yes’ as an answer, are widely used as a

way to indicate that S knows H’s wants, tastes, habits, etc. and thus

partially to redress the imposition of FTAs. E.g. Don’t you want some

dinner now?, Don’t you think it’s marvelous!?

2. Presuppose H’s values are the same as S’s values. The use of

scalar predicates such as ‘tall’ assumes that S and H share the

criteria for placing people or things on this scale.

3. Presuppose familiarity in S-H relationship. The use of familiar

address forms like honey or darling presupposes that the addressee

is ‘familiar’.

4. Presuppose H’s knowledge. The use of any term presupposes that

the referents are known to the addressee such as in-group codes,

language, dialect, jargon, and local terminology. E.g. Well I was

watching High Life last nigh and…

Strategy 8: Joke

Jokes may be used to stress mutual shared background knowledge and

values that may minimize an FTA of requesting. E.g. How about lending me this

old heap of junk? (H’s new Cadillac).

18

b. Convey that S and H are cooperators

This category derives from the want to convey that S and H are cooperatively

involved in the relevant activity. There are three ways of convey cooperation:

1. S’s may indicate his knowledge of and sensitivity to H’s ants. (strategy 9)

2. S and H can claim some kind of reflexivity between their wants. (strategy

10-13)

3. S may indicate, that he believes reciprocity to be prevailed between H

and himself, thus that they are somehow locked into a state of mutual

helping. (strategy 14)15

Strategy 9: Assert or presuppose S’s knowledge of and concern for H’s

wants

Asserting or implying knowledge of H’s wants and willingness to fit one’s own

wants in with them is a way of indicating that S and H are cooperators that

potentially put pressure on H to cooperate with S. E.g. I know you can’t bear

parties, but this one will really be good, do come!

Strategy 10: Offer, promise

In order to redress the potential threat of some FTAs, S may choose to stress

his cooperation with H in claiming whatever H wants, S wants for him and will

help to obtain. E.g. I’ll drop by sometime next week.

15 Fallon, Daniel. Positive and Negative Politeness. Hildesheim: Hildesheim University Press. 2004. p.13

19

Strategy 11: Be optimistic

S is optimistic to assume that H wants S’s wants for S and will help him to

obtain them. Such optimistic expressions of FTAs seem to work by minimizing

the size of the face threat by giving expressions like a little, a bit, for a second.

E.g. I’m borrowing your pen for a sec, OK?

Strategy 12: Include both S and H in the activity

S uses an inclusive ‘we’ form when really means ‘you’ or ‘me’. By using this

expression, S can call upon the cooperative assumptions and thereby redress

FTAs. E.g. Give us break. (formerly, give me break.)

Strategy 13: Give (or ask for) reasons

S gives reasons why he wants what he wants. By including H in his practical

reasoning and assuming reflexivity (H wants S’s wants), H is thereby led to see

the reasonableness of S’s FTA (or so S hopes). For example: Why don’t we go

to the seashore!

Strategy 14: Assume or assert reciprocity

The existence of cooperation between S and H may also be claimed or urged

by giving evidence of reciprocal rights or obligations obtaining S and H. For

example, S may say, ‘I’ll do X for you if you do Y for me’ or ‘I did X for you last

week, so you do Y for me this week’.

20

c. Fulfill H’s want for some X

This category of positive politeness involves S deciding to redress H’s face

directly by fulfilling some of H’s wants, thereby indicating that S wants H’s wants

for H, in some particular respects.

Strategy 15: Give gifts to H (goods, sympathy, understanding, cooperation)

S may satisfy H’s positive-face wants by actually satisfying some of H’s

wants. This may be done by action of gift-giving, not only tangible gifts but also

human-relations wants such as the wants to be liked, admired, cared about,

understood, listened to, and so on.

3. Negative Politeness

Negative politeness strategies are oriented towards the hearer’s negative

face and emphasize avoidance of imposition on the hearer. These strategies

presume that the speaker will be imposing on the listener and there is a higher

potential for awkwardness or embarrassment than in bald on record strategies

and positive politeness strategies. Negative face is the desire to remain

autonomous so the speaker is more apt to include an out for the listener, through

distancing styles like apologies.16

16 Foley, William. Anthropological Linguistics: An introduction. Indiana: Wiley-Blackwell Publishing. 1997 p.77

21

a. Be direct

Negative politeness enjoins both on-record delivery and redress of an FTA.

The simplest way to construct an on-record message is to convey it directly, as in

bald on record usages.

Strategy 1: Be conventionally indirect

In this strategy a speaker is faced with opposing tensions: the desire to give

H an ‘out’ by being indirect, and the desire to go on record. In this case it is

solved by the compromise of conventional indirectness, the use of phrases and

sentences that have contextually unambiguous meanings which are different

from their literal meanings. E.g Could you pass the salt?

b. Don’t presume/assume

This strategy can redress H’s negative face by carefully avoiding presuming

or assuming that anything involved in the FTA is desired or believed by H. This

will include avoiding presumptions about H’s wants, relevant, interesting, or

attention that keeps distance from H.

Strategy 2: Question, hedge

In the literature, a ‘hedge’ is a particle, word, or phrase that modifies the

degree of membership of a predicate or noun phrase in a set.

a) Hedges on illocutionary force. It is performative hedges in particular that

are the most important linguistic means of satisfying the speaker’s want,

22

‘don’t assume H is able/willing to do A’. Hedges on illocutionary force is

divided into two: the first one is strengtheners, those that mainly act as

emphatic hedges, like exactly, precisely, really, for sure. E.g. So, we’ll be

talking together soon, for sure. The second one is weakeners, those that

soften or tentativize what they modify such as perhaps, I guess, may be, in

fact. E.g. Perhaps I’ll go too, do you think I could?

b) Hedges addressed to Grice’s Maxims. The speaker’s want to avoid

presuming may be partially satisfied by not assuming that H wants to

cooperate, or by not assuming that S’s assessment of what would be a

contribution to the cooperative enterprise of talking is the same as H’s.

1. Maxim of Quality Hedges

Quality hedges may suggest the speaker is not taking full

responsibility for the truth of his utterance such as I believe…, I think…,

I assume… Or they may stress S’s commitment to the truth of his

utterance, e.g. I absolutely promise that… Or they may disclaim the

assumption that the point of S’s assertion is to inform H, e.g. as you

know…

2. Maxim of Quantity Hedges

Quantity hedges gives notices that not as much or not as precise

information is provided as might be expected. For instance: roughly,

more or less, approximately, or so, I should think, to some extent, and

so on.

23

3. Maxim of Relevance Hedges

Because of the sensitivity of topic changes as impositions on H’s

face, such changes are often done off record. Hedges that mark the

change, and perhaps partially apologize for it, include This may not be

appropriate, but…, Since it’s been on my mind…, Sorry, I’ve just

thought… and many more.

4. Maxim of Manner Hedges

Manner hedges can be used to redress all kinds of FTAs. Some

common Manner hedges include: if you see what I mean, what I mean

was…, now, to be absolutely clear, I want…

c) Hedges addressed to politeness strategies. Functioning directly as notices

of violations of face wants. Such as, frankly, to be honest, I hate to have to

say this…

d) Prosodic and kinesic hedges. Most of the verbal hedges can be replaced

by prosodic or kinesic means of indicating tentativeness or emphasis. The

raised eyebrow, the earnest frown, the umms and ahhs and hesitations that

indicate the S’s attitude toward what he is saying, are often the most salient

clue to the presence of an FTA.

c. Don’t coerce H

Another ways of redressing H’s negative face want is used when the

proposed FTA involves predicating an act of H, for instance, when requesting his

aid, or offering him something which requires his accepting.

24

Strategy 3: Be pessimistic

This strategy gives redress to H’s negative face by explicitly expressing doubt

that the conditions for the appropriateness of S’s speech act obtain. The use of

subjunctive seems also to be related to the satisfaction of this want, e.g. Would

you do X? Other way of polite pessimism can also be expressed in negative

usage like I don’t imagine there’d be any chance of you… and in the use of

pessimistic hedges like Perhaps, you’d care to help me.

Strategy 4: Minimize the imposition, Rx

One way of defusing the FTA is to indicate that Rx, the intrinsic seriousness

of the imposition, is not in itself great, leaving only D and P as possible weighty

factors. So indirectly this may pay H deference. This is achieved by expression

like I just want ask you if you could lend me a single sheet of paper.

Strategy 5: Give deference

By conveying directly the perception of a high P differential, deference serves

to defuse potential face-threatening acts by indicating that the addressee’s rights

to relative immunity from imposition are recognized and moreover that S is

certainly not in a position to coerce H’s compliance in any way. By using referent

honorifics about something associated with H, such as eat/dine, man/gentleman,

Snuggs/Dr. Snugss, one gives respect to H. For example: We look forward very

much to dining with you.

25

Furthermore, Daniel Fallon explained that there are two different possibilities

to realize the deference: 1) S humbles and abases himself, 2) S raises and H

(pays him positive face of a particular namely that which satisfies H´s want to be

treated superior. E.g. Yes, sir, I thought perhaps you wouldn´t mind and...“ 17

d. Communicate S’s want to not impinge on H

One way to partially satisfy H’s negative-face demands is to indicate that S is

aware of them and taking them into account in his decision to communicate the

FTA.

Strategy 6: Apologize

By apologizing for doing an FTA, the speaker can indicate his reluctance to

impinge on H’s negative face and thereby partially redress that impingement. To

do this, there are four ways to communicate regret or reluctance.

a) Admit the impingement. S can simply admit that he is impinging on H’s

face, with expression like I’m sure you must be very busy, but…

b) Indicate reluctance. S can attempt to show that he is reluctant to impinge on

H with the use of hedges or by means of expressions such as I normally

wouldn’t ask you this, but…

c) Give overwhelming reasons. S can claim that he has compelling reasons

for doing the FTA, thereby implying that normally he wouldn’t dream of

infringing H’s negative face. For example: I simply can’t manage to…

17 Fallon, Daniel. Positive and Negative Politeness. Hildesheim: Hildesheim University Press. 2004. p.24

26

d) Beg forgiveness. S may beg H’s forgiveness, or at least ask for ‘acquittal’,

that H should cancel the debt implicit in the FTA. E.g. I’m sorry to bother

you…, I hope you’ll forgive me if…

Strategy 7: Impersonalize S and H

One way of indicating that S doesn’t want to impinge on H is to phrase the

FTA as if the agent were other that S, or at least possibly not S or not S alone,

and the addressee were other than H, or only inclusive of H.

Strategy 8: State the FTA as a general rule

One way of dissociating S and H from the particular imposition in the FTA,

and hence a way of communicating that S doesn’t want to impinge but is merely

force to by circumstances, is to state the FTA as an instance of some general

social rule, regulation, or obligation. The example below is shown that the first

sentence avoids pronoun rather than the second sentence.

A : Passengers will please refrain from flushing toilets on the train.

B : You will please refrain from flushing toilets on the train.

Strategy 9: Nominalize

In English, degrees of negative politeness (or at least formality) run hand in

hand with degrees of nouniness; that is, formality is associated with the noun end

of the continuum. Consider the following examples:

27

a) You performed well on the examinations and we were favourably

impressed.

b) Your good performance on the examinations impressed us

favourably.

With nominalizing the subject, S can get sentence more formal like in

sentence b.

e. Redress other wants of H’s

A final strategy of negative politeness consists in offering partial

compensation for the face threat in the FTA by redressing some particular other

wants of H’s.

Strategy 10: Go on record as incurring a debt, or as not indebting H

S can redress an FTA by explicitly claiming his indebtedness to H, or by

disclaiming any indebtedness of H, by means of expressions such as the

following, for requests: I’d be eternally grateful if you would…

4. Off record

Off record is can be done where S wants to do an FTA, but wants to avoid

the responsibility for doing it. After doing off record, S can leave it up to the

addressee to decide how to interpret it. Such off record utterances are essentially

indirect uses of language. To construct an off record utterance one says

28

something that is either more general or actually different from what one means.

Therefore, H must make some inference to recover what was in fact intended.18

a. Invite conversational implicatures

If a speaker wants to do an FTA, and chooses to do it indirectly, he must give

H some hints and hope that H picks up on them and thereby interprets what S

really means to say. The basic way to do this is to invite conversational

implicatures by violating, in some way, the Gricean Maxims of efficient

communication. For instance, if S says ‘Hmmm, it’s pretty stuffy in here’, he may

implicate a request that H open the window.

Strategy 1: Give hints

If S says something that is not explicitly relevant, he invites H to search for an

interpretation of the possible relevance. The basic mechanism here is a violation

of the Maxim of Relevance. It is accomplished by hints that consist in ‘raising the

issue of’ some desired act A, for instance, by stating motives or reasons for

doing A. E.g. It’s cold in here. (c.i. Shut the window)

Strategy 2: Give association clues

A related kind of implicature triggered by relevance violations is provided by

mentioning something associated with the act required of H, either by precedent

in S-H’s experience or by mutual knowledge irrespective of their interactional

18 Penelope Brown and Stephen C. Levinson. Politeness: Some Universals in Language Usage. Cambridge: Cambridge University Press. 1987. p.211

29

experience. For example, Oh God, I’ve got a headache again, may be used to

convey a request for an aspirin, if S and H mutually know that they both have an

association between S having a headache and S wanting H to give him an

aspirin in order to swim off his headache.

Strategy 3: Presuppose

An utterance of this strategy can be almost wholly relevant in context, and yet

violate the Relevance Maxim just at the level of its presuppositions. E.g. I

washed the car again today. He supposes that he has done it before and

therefore may implicate a criticism. The use of again forces H to search for the

relevance of the presupposed prior event.

Strategy 4: Understate

Understatements are one way of generating implicatures by saying less than

is required. Typical ways of constructing understatement are to choose point on

a scalar predicate (e.g. tall, good, nice) that is well below the point that actually

describes the state of affairs, or to hedge a higher point which will implicate the

lower actual state of affairs. For example:

A : What a marvelous place you have here.

B : Oh I don’t know, it’s a place.

30

Strategy 5: Overstate

If S says more than is necessary, thus violating the Quantity Maxim in

another way, he may also convey implicatures. S may do this by the inverse of

the understatement principle by exaggerating or choosing a point on a scale

which is higher that the actual state of affairs. However, the implicatures often lie

far beyond what it is said. For example, I tried to call a hundred times, but there

was never any answer.

Strategy 6: Use tautologies

A method of generating inferences by violations of the Quantity Maxim is to

utter patent and necessary truths. By uttering a tautology, S encourages H to

look for an informative interpretation of the non-informative utterance. E.g. If I

won’t give it, I won’t. (c.i. I mean it!)

Strategy 7: Use contradictions

Contradictions, as well as the ironies, metaphor, and rhetorical questions

involve violations of the Quality Maxim. This may be done by stating two things

that contradict each other, S makes it appear that he cannot be telling the truth.

He thus encourages H to look for an interpretation that reconciles the two

contradictory propositions. For example:

A : Are you upset about that?

B : Well, I am and I’m not.

31

Strategy 8: Be ironic

By saying the opposite of what he means, S can indirectly convey his

intended meaning, if there are clues that his intended meaning is being convey

indirectly. Such clues may be prosodic (e.g. nasality), kinesic (e.g. a smirk), or

simply contextual, such as John’s a real genius. (after John has just done twenty

stupid things in a row)

Strategy 9: Use metaphors

The use of metaphor is perhaps usually on record, but there is a possibility

that exactly which of the connotations of the metaphor S intends may be off

record. E.g. Harry’s real fish. (c.i. He drinks/swims/is slimy like a fish)

Strategy 10: Use rhetorical questions

This strategy can be accomplished by asking a question with no intention of

obtaining an answer in order to break sincerity condition on questions, that S

wants H to provide him with the indicated information. E.g. How many times do I

have to tell you…? (c.i. Too many)

b. Be vague or ambiguous: Violate the Manner Maxim

Rather than inviting a particular implicature, S may choose to go off record by

being vague or ambiguous in such a way that his communicated intent remains

ill-defined.

32

Strategy 11: Be ambiguous

Purposeful ambiguity may be achieved through metaphor, since it is not

always clear exactly which of the connotations of a metaphor are intended to

invoked. For instance, John’s a pretty smooth cookie.

Strategy 12: Be vague

S may go off record with an FTA by being vague about who the object of the

FTA is, or what the offence is. E.g. I’m going to you-know-where.

Strategy 13: Over-generalize

Rule instantiation may leave the object of the FTA vaguely off record. E.g.

Mature people sometimes help do the dishes. The use of proverbs can also be

done though their implicatures may be conventionalized to the extent of being on

record. E.g. People who live in glass houses shouldn’t throw stones.

Strategy 14: Displace H

S may go off record as to who the target for his FTA is, or he may pretend to

address the FTA to someone whom it wouldn’t threaten, and hope that the real

target will see that the FTA is aimed at him.

Strategy 15: Be incomplete, use ellipsis

Elliptical utterances are legitimated by various conversational contexts in

answers to questions. But they are also warranted in FTAs. By leaving an FTA

33

half undone, S can leave the implicature ‘hanging in the air’, just as with

rhetorical questions. E.g. Well, I didn’t see you…


This strategy is simply that S avoids offending H at all with this particular

FTA. Of course S also fails to achieve his desired communication.

34

CHAPTER III

RESEARCH FINDINGS

A. Data Description

In this chapter, the writer describes of the three main characters: Jack Sparrow,

Elizabeth Swann, and Will Turner and analyzes them which led to the compilation of

corpus of conversational data from filmscript of Pirates of the Caribbean: Dead

Man’s Chest. These corpus, then by the writer, are classified into appropriate

politeness strategies and going to be elaborated in the next sub-chapter. The data

are shown below:

Table 1 The use of politeness strategies in the movie Pirates of the Caribbean: Dead Man’s Chest

A. Jack Sparrow

No

Jack and to whom



Playback Time

(movie)

Page (filmscript)

1 Jack Sparrow to Bill Turner

Positive politeness: 6 Avoid disagreement: Token agreement

BT : You got the Pearl back, I see. JS : I had some help retrieving the Pearl, by the way.

00:13:04 9


Bald on record No no! Leave it! Run!

00:16:49 11


Off record: 7 Use contradictions

G : Let’s put some distance between us and this island, and head out to open sea. JS : Yes to the first, yes to the

00:42:47 29

35

second, but only insofar as we keep to the shallows as much as possible.

4 Jack Sparrow to Will Turner

Positive politeness: 14 Assume or assert reciprocity

William, I shall trade you the Compass, if you will help me to find this.

00:43:50 30

5 Jack Sparrow to Davy Jones

Positive politeness: 4 Use in-group identity markers: Address forms

You’re a diamond, mate.

01:01:08 42

6 Jack Sparrow to Elizabeth Swann

Negative politeness: 2 Hedge addressed to politeness strategies

Darling, I am truly unhappy to have to tell you this, but...

01:14:02 51

B. Elizabeth Swann

No

Elizabeth and to whom

she speaks to (S to H)


Playback Time

(movie)

Page (filmscript)

7 Elizabeth Swann to Governor Swann

Positive politeness: 13 Give (or ask for) reasons

Why don’t you tell me what’s happening?

00:25:14 17

8 Elizabeth Swann to Lord Cuttler Beckett

Positive politeness: 6 Avoid disagreement: Hedging opinion

I expect then that we can come to some sort of understanding.

00:27:16 19


Positive politeness: 5 Seek agreement: Repetition

JS: ... poor William has been press-ganged into Davy Jones’ crew. ES: Davy Jones.

01:14:41 51

10 Elizabeth Swann to Jack

Positive politeness: 3

You do know Will taught me how

01:28:03 58

36

Sparrow Intensify interest to H

handle a sword.


Negative politeness: 6 Apologize: Beg forgiveness

JS: You’re sitting on it. ES: I beg your pardon.

01:39:40 65

12 Elizabeth Swann to Jack Sparrow, Will Turner and Norrington

Bald on record Stop it! 01:43:15 69

C. Will Turner

No

Will and to whom



Playback Time

(movie)

Page (filmscript)

13 Will Turner to Lord Cutler Beckett

Positive politeness: 7 Presuppose H’s knowledge

So you get both Jack and the Black Pearl.

00:11:17 8

14 Will Turner to Jack Sparrow

Negative Politeness: 2 Hedges on illocutionary force.

Jack? Jack Sparrow! I can honestly say I’m glad to see you.

00:23:55 16

15 Will Turner to Gibbs

Positive politeness: 7 Personal-center switch

Well, we can’t just sit here and wait then, can we?

00:32:24 22


Bald on record Hurry! 00:35:17 24


Bald on record Roll the cage! 00:37:33 26

18 Will Turner to Bill Turner

Positive politeness: 10 Promise

I take this with a promise. I’ll find a way to sever Jones’ hold on you. And not rest until this blade pierces his heart. I will not abandon you. I promise.

01:26:32 57

37

B. Data Analysis

The writer focuses 18 expressions of three main characters’ dialogue. They will

be distributed into five politeness strategies and then analyzed according to the plot

of movie and the appropriateness of Brown and Levinson’s theory.

1. Bald on record (four expressions)

a. Data 2

Playback Time: 00:16:49 Page: 11

Jack Sparrow to Gibbs: No no! Leave it! Run!

When Jack is panic after listening to Bill Turner’s story, a monkey takes his lovely

hat and throw it to the sea. But Jack does not care, the only one that he wants to do

is going to the land. Therefore he will do everything to go there although he must

leave his lovely pirate hat. The order that Jack gives to Gibbs to leave the hat is

direct and clear. As he follows the maxim of manner, a principal conversational

maxim postulated by Paul Grice, by being perspicuous he can achieve maximally

efficient communication, which is Gibbs and the crewmen accept the order well and

leave the hat. Besides, Jack is in desperation so it is obvious that speaking clearly

and directly, called ‘Bald on record’ in Brown and Levinson term, is the right choice

in order to make easily understandable statement to whom Jack speaks to.

38

b. Data 12


Elizabeth Swann to Jack Sparrow, Will Turner and Norrington: Stop it!

The three men who have come to island where the chest is buried begin fighting

to own it for theirselves purpose. Seeing this situation, Elizabeth tries to stop them by

yelling Stop it! This is a bald on record expression that means unambigous and is

supposed as an urgency expression. In such a condition, Elizabeth may choose this

strategy in order to make her statement brief and efficient. Will Turner and

Norrington as the hearer must understand to what Elizabeth says, they must

interpret that Elizabeth wants they to stop fighting each other, because the words

Elizabeth says are very clear and easily understandable.

c. Data 16


Will Turner to Crewmen: Hurry!

Will Turner and crewmen and the Turkish are caged in two separated spherical

cages which are hung from ropes over a deep chasm. They begin swinging the

cages then both cages finally come within reach of the cliff, they grab vines and hang

on to the cliff. Each group begins racing against each other up the cliff and Will

Turner orders his crewmen to climb faster by saying Hurry!. This expression is

accepted by the theory as a statement of urgency. The plot makes it urgency

because if Will and the crewmen cannot reach the cliff immeadiately, the cannibals

will capture them soon as they arrive. So in such a situation, speaking baldly and

39

directly is a right strategy. Moreover, those whom Will Turner speaks to are crewmen

who have well relationship each other.

d. Data 17


Will Turner to Crewmen: Roll the cage!

The men in Will’s cage are unable to the cage open in time before the cannibals

will reach them. In a quick-to-think situation, Will decides to roll the cage and order

his crewmen by saying what he actually means. In such a situation, this expression

takes a role on avoiding ambiguity and obscurity. Will knows that if he speaks with

providing information too much than is required, it will make situation worst

(cannibals will reach and capture Will and crewmen before they can open and get

out of the cage). So the choice using bald on record is the best strategy.

2. Positive politeness (10 expressions)

a. Data 1


Jack Sparrow to Bill Turner: Bill Turner : You got the Pearl back, I see. Jack Sparrow : I had some help retrieving the Pearl, by the way.

This expression applies positive politeness on avoiding disagreement by taking

agreement. What Jack expreses shows that he definitely agrees with Bill Turner, but

then he carries on to state his own opinion which may be completely contrary to that

of Bill Turner. Jack knows how to manage Bill’s positive face so he takes agreement

40

on Bill’s opinion but later he twists his own opinion by providing a few real

information without showing disagreement. Using ‘by the way’ is also an additional

way to hide disagreement while Jack expressiong his opinion.

b. Data 4


Jack Sparrow to Will Turner: William, I shall trade you the Compass, if you will help me to find this.

On the deck, Will Turner tells Jack Sparrow about the arrest of Elizabeth by Lord

Cutler Beckett. He also tells that he needs Jack compass to free her. Jack notices he

may also need Will’s help, then he trades Will the compass but Will must help Jack

to find the key of a chest where the heart of Davy Jones is put. This expression uses

positive politeness: assume or assert reciprocity in order to give existence of

cooperation between S and H. Simply, what Jack says is giving evidence of

reciprocal right or obligation obtaining between Jack and Will. Here is another

expression of this strategy as an analogy to what Jack expresses. ‘I will lend you fifty

thousand rupiahs, if you will help me to repair my bike.’

c. Data 5


Jack Sparrow to Davy Jones: You’re a diamond, mate.

Davy Jones insists Jack to bring him one hundred souls in three days. Jack

accept it by saying ‘You’re diamond, mate’ although he actually cannot afford it.

Using ‘mate’ here is a Jack’s way to claim common ground with his addressee, Davy

41

Jones, as if they are in mutual relationship. Besides, it also shows that Davy Jones’

own want in some respect similar to Jack’s want.

d. Data 7


Elizabeth Swann to Governor Swann: Why don’t you tell me what’s happening?

Elizabeth Swann is jailed for helping Jack Sparrow escaped from jail. As a

governor, her father tries to free Elizabeth. Governor Swann in a rush goes to jail

and bring her out, Elizabeth does not know what is happening so her father tries to

free her. She asks her father by giving reason ‘why not’. Elizabeth assumes with

optimism that there are no good reasons why her father shoud not cooperate with

her. This 13rd strategy: give (or ask for) reason is simply appropriate choice to fulfill

Elizabeth’s want to make her father cooperatively tells about what is happening.

e. Data 8


Elizabeth Swann to Lord Cuttler Beckett: I Expect then that we can come to some sort of understanding.

The phrase ‘sort of’ in Elizabeth’s expression is used to make Elizabeth’s own

opinion safely vague. She does not want to be extreme while saying something,

moreover she is talking with someone who has upper position that herself, therefore

she uses hedging on her opinion. This hedges may be used to soften FTAs of

suggesting or criticizing or complaining by blurring the speaker’s intent.

42

f. Data 9

Playback Time: 01:14:51 Page: 41 Elizabeth Swann to Jack Sparrow: Jack Sparrow : ...poor William has been press-ganged into Davy Jones’ crew. Elizabeth : Davy Jones.

Elizabeth meets Jack Sparrow and asks him where Will Turner. With a sad mimic,

Jack tells that Will Turner has been captured by Davy Jones’ and becomes his crew

for all his life. To seek agreement, Elizabeth answers what Jack’s said by repeating

some words of the speaker. It demonstrates that Elizabeth has heard correctly what

was said.

g. Data 10


Elizabeth Swann to Jack Sparrow: You do know Will taught me how handle a sword.

The italic words, ‘you do know’, is another ‘you know’. It is used to intensify

interest to H (strategy 3: intensify interest to H) by drawing H as participant in a

conversation. Elizabeth wants Jack know that she now can handle a sword, though

in fact Jack absolutely doesn’t know.

h. Data 13


Will Turner to Lord Cutler Beckett: So you get both Jack and the Black Pearl.

Will Turner and Elizabeth Swann are arrested for helping Jack Sparrow escaped.

Then Lord Cutler Beckett offers Will a full pardon and Elizabeth will be free but Will

must trade it by bring him Jack’s compass. Will knows what the Lord Beckett’s plan

43

is, to get both Jack and the Black Pearl. Will says Black Pearl because he

presupposes Lord Beckett’s knowledge about this term. Will presupposes Lord

Beckett should know that Black Pearl is a name of Jack’s ship. This uses politeness

strategy: presuppose H’s knowledge. Will’s assumption that Lord Beckett does know

this thing may operate as an expression of good intentions, indicating that Will

assumes that Will and Beckett share common ground.

i. Data 15


Will Turner to Gibbs: Well, we can’t just sit here and wait then, can we?

Will Turner and Gibbs are in the same cage in the cannibal island. He advices

Gibbs then to get out of the cage. Will’s expression clearly uses personal-center

switch: S to H in order to assert common ground between both of them. Will uses an

inclusive ‘we’ as means H’s knowledge were equal to S’s knowledge. Moreover Will

uses a tag question with falling intonation as one of feature of this strategy.

j. Data 18


Will Turner to Bill Turner: I take this with a promise. I’ll find a way to sever Jones’ hold on you. And not rest until this blade pierces his heart. I will not abandon you. I promise.

After getting Jones’ key succesfully, Will Turner is going to take his father with

him home, but he refuses. Despite it’s difficult, Will leaves him to stay at Flying

Dutchman and promises to sever Jones’ heart so his father can free. The promise

(strategy 10) that Will used satisfies Bill Turner’s positive face.

44

3. Negative politeness (3 expressions)

a. Data 6


Jack Sparrow to Elizabeth Swann: Darling, I am truly unhappy to have to tell you this, but...

After travelling some places, Elizabeth Swann, finally meets Jack to asks about

the existence of Will. Jack tells the truth that Will is now arrested to serve on Davy

Jones’ ship. To save Elizabeth’s negative face, Jack hedges his expression by some

safe words, I am truly unhappy to have to tell you this, but..., to minimize violation of

face wants. This is the use of strategy 2: hedges addressed to politeness strategies.

Without adding these words, Jacks will must irritate Elizabeth negative’ face.

b. Data 11


Elizabeth Swann to Jack Sparrow: Jack Sparrow : You’re sitting on it. Elizabeth Swann : I beg your pardon.

Elizabeth looks confuse while Jack’s compass dances. She does not find the

chest by using it. So she takes a rest by sitting down. In a minute, Jack comes and

see the compass points to where Elizabeth sits. Jack says that she is sitting on it.

Elizabeth does not hear clearly so she tries to aks Jack to repeat what he has said

before by apologizing. It shows that Elizabeth can indicate her reluctance to impinge

on Jack’s negative face.

45

c. Data 14


Will Turner to Jack Sparrow: Jack? Jack Sparrow! I can honestly say I’m glad to see you.

After meeting Jack, Will Turner expresses his gladness by hedging an adverb

that has function as strengthener (strategy 2: hedging on illocutionary force). It is

meant to emphasize what Will Turner meant and to satisfy Jack’ wants.

4. Off record (1 expression)

a. Data 3


Jack Sparrow to Gibbs: Gibbs : Let’s put some distance between us and this island, and head out to open sea. Jack Sparrow : Yes to the first, yes to the second, but only insofar as we keep to the shallows as much as possible.

Jack, Will and the crewmen finally escape from cannibal island. Gibbs says to

Jack to stay away of the island and go to open sea. This is quite difficult for Jack to

answer because he completely agrees of staying away of the island but disagrees of

heading out to open sea. To save Gibb’s face, Jack literally agrees of both Gibbs

opinion. The use of this strategy (strategy 7: use contradictions) may be contradictive

and encourages Gibbs to look for an interpretation the reconciles the two

contradictory propositions.

46

CHAPTER IV

CONCLUSION AND SUGGESTION

A. Conclusion

1. The filmscript of Pirates of the Caribbean: Dead Man’s Chest, after it is

analyzed, has four politeness strategies utilized with positive politeness (ten

expressions) as the most used strategies, bald on record (four expressions)

and followed by negative politeness (three expressions), and off-record as

the last and the rarest strategies with one expression.

2. The table below shows what politeness strategies mostly used by three main

characters throughout the conversation.

Table 2 Summary of the use of three main characters’ politeness strategies

Characters

Politeness strategies

Jack Sparrow Elizabeth Swann Will Turner

Bald on record 1 1 2

Positive politeness 3 4 3

Negative politeness 1 1 1

Off record 1 - -

Jack Sparrow seems to like to use positive politeness rather than other

strategies. The used of this strategy means as a kind of metaphorical

extension of intimacy and generally as social accelerator where S indicates

47

that he wants to ‘come closer’ to H. It is similar to Jack’s characteristic in the

movie as friendly pirates, he always implies common ground or shares of his

wants to everyone even strangers.

Elizabeth Swann is quite similar with Jack Sparrow, however she mostly

uses positive politeness during her interaction than Jack. The purpose of the

use of positive politeness is much alike with Jack’s, those are to imply

common ground and share her interest. And Elizabeth’s bald-on-record

expressions are used as a way to give direct and easy-understanding to

whom she speaks to. Besides, she uses them as urgency communication.

Will Turner is quite different with other two previous characters, he fairly

uses bald-on-record and positive politeness througout his conversation, other

strategies are rare to use by him. This is because of the plot, finding Jack

Sparrow in order to free his fiancée, always places him in urgency, therefore

he has to speak in maximum efficiency in order to give direct, simple, and

easy-understandable to those whom he speaks to.

48

B. Suggestion

1. To enrich the study of politeness, those who are interested in studying

politeness can use some other theories such as Lakoff’s, Leech’s and

Scolon’s.

2. The three sociological factors (relative power, social distance, and ranking of

the imposition) are also can be related for those who want to make a wide

research of politeness.

49

BIBLIOGRAPHY

Abate, Frank R. The Oxford Dictionary and Thesaurus: The Ultimate Language Reference for American Readers. Oxford: Oxford University Press. 1996

Aktuna, Dogancay, Seran and Sibel Kamisli. Discourse of Power and Politeness through the Act of Disagreement. Chicago: Annual Meeting. 1996

Ambady, Naliny, et. al. ‘More Than Words: Linguistic and Nonlinguistic Politeness in two cultures’. Journal of Personality and Social Psychology 70 (1996): 996-1011

Brown, Penelope and Stephen C. Levinson. Politeness: Some Universal in Language Usage. Cambridge: Cambridge University Press. 1987

Eelen, Gino. A Critique of Politeness Theories. Manchester: St. Jerome Publishing. 2001

Escandell, Victoria. ‘Politeness: A Relevant Issue for Relevance Theory’. Revista Alicantina de Estudios Ingleses 11 (1998): 45-57

Fallon, Daniel. Positive and Negative Politeness. Hildesheim: Hildesheim University Press. 2004

Foley, William. Anthropological Linguistics: An introduction. Indiana: Wiley-Blackwell Publishing. 1997

Hayashi, Takuo. Reconstructing a Universal Theory of Politeness: Face, Politeness and Model of Realization. Osaka: St. Andrew’s University.

Hickey, Leo and Miranda Stewart. Politeness in Europe. Clevedon: Multilingual Matters Ltd. 2005

Hornby, AS. Oxford Advanced Learner’s Dictionary. Sixth Edition. Oxford: Oxford University Press. 2000

Kitamura, Noriko. Adapting Brown and Levinson’s ‘Politeness’ Theory to the Analysis of Casual Conversation. Sydney: University of Sydney.

Terkourafi, Marina. Three Levels in Politeness Theory and Practice. Cambridge: University of Cambridge.

Walter, Elizabeth. Cambridge Advanced Learner’s Dictionary. Third Edition. Cambridge: Cambridge University Press. 2003


50

Watts, Richard J. Politeness. Cambridge: Cambridge University Press. 2003

http://en.wikipedia.org/wiki/Politeness, accesed on 2 August 2009

http://en.wikipedia.org/wiki/Politeness_theory, accesed on 2 August 2009

http://www.imdb.com/title/tt0383574/, accesed on 7 August 2009

http://en.wikipedia.org/wiki/Politeness

http://en.wikipedia.org/wiki/Politeness_theory

http://www.imdb.com/title/tt0383574/

CURRICULUM VITAE

Name : Muhammad Ihsan Fauzi

Place and Date of Birth : Sukabumi, April 12nd 1987

Address : Jl. Otista Gg. Karya Bhakti Komplek SMA Pelita YNH

: Kel. Nanggeleng Kec. Citamiang Kota Sukabumi

Phone Number : 0266-220591, 223160, 0838 9237 1977

EDUCATIONAL BACKGROUND Formal Education

Playground : 1992, TK Aisyiah 2 Kota Sukabumi

Elementary School : 1994, SDN Cijangkar I Kota Sukabumi

Junior High School : 2000, SMP Pelita YNH Kota Sukabumi

Senior High School : 2003, SMA Pelita YNH Kota Sukabumi

College : 2005, S1 UIN Syarif Hidayatullah Jakarta, English Letters Dept.

: 2006, S1 Pakuan University Bogor, Finance Management Dept.

: 2007, D3 Sukabumi University, Technical Support Dept.

Informal Education

Islamic Education : 2000, Ponpes ‘Ulumul Qur’an Kota Sukabumi

Radio Broadcasting : 2003, School of Broadcasting Peradaban FM

Business : 2006, Indonesian Management Course Kota Sukabumi

Filming : 2003, Home Cinema Production Kota Sukabumi

WORKING EXPERIENCE 1. 2007-2008, Market Analyst in Hong Kong Future International, Jakarta Stock

Exchange

2. 2006-now, English Teacher in SMP Pelita YNH

3. 2006-now, English Teacher in SMA Pelita YNH

4. 2007-now, Computer and Networking Technician in SMK Pelita YNH

5. 2008-now, Chair Person of Finance Division in Yayasan Nurul Hikmah Sukabumi

6. 2008-now, Director II of Home Cinema Sukabumi

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