STUDY OF CODE-SWITCHING IN THE SEQUEL OF 99 CAHAYA DI LANGIT EROPA MOVIES

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

STUDY OF CODE-SWITCHING IN THE SEQUEL OF 99 CAHAYA DI LANGIT EROPA MOVIES

A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education

By Fransisca Badrarini Prabaningtyas Student Number: 111214143

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2016

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STATEMENT OF WORK’S ORIGINALITY I honestly declare that this thesis, which I have written, does not contain the work or parts of the work of other people, except those cited in the quotations and references, as a scientific paper should.

Yogyakarta, March 10th, 2016 The Writer,

Fransisca Badrarini Prabaningtyas 111214143

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LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPANTINGAN AKADEMIS Yang bertanda tangan di bawah ini, saya mahasiswi Universitas Sanata Dharma: Nama : Fransisca Badrarini Prabaningtyas Nomor Mahasiswa : 111214143 Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul: Study of Code-Switching in the Sequel of 99 Cahaya di Langit Eropa Movies Beserta alat yang diperlukan (bila ada). Dengan demikian, saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk lain, mengelolanya dalam bentuk pangkalan data, mendistribusikannya secara terbatas, dan mempublikasikannya di internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin maupun royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis. Demikian pernyataan ini saya buat dengan sebenarnya. Dibuat di Yogyakarta Pada tanggal: 10 Maret 2016 Yang menyatakan,

Fransisca Badrarini Prabaningtyas

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ABSTRACT Badrarini Prabaningtyas, Fransisca. 2015. Study of Code-Switching in the Sequel of 99 Cahaya di Langit Eropa Movies. Yogyakarta: Sanata Dharma University Code switching is the sociolinguistic case, which is study about the language used among the society. Code switching can be found in the movie, because movie is the implementation of human life. That is why, there is also a case in which the speaker sometimes changes their code. The case code switching itself has become an interesting topic to be discussed. This case does not only occur in daily life situations, but also in unreal life, such as in the movie. This research analyzes the code-switching case in two Indonesian movies entitled 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2. This research had two research questions to be answered. They were 1) which types of code-switching are found in the sequel of 99 Cahaya di Langit Eropa movies? and 2) which reasons of code switching are used by the actors and actresses in the sequel of 99 Cahaya di Langit Eropa movies? The method used was sociolinguistic analysis, qualitative research, and content or document analysis. The primary instrument was the writer. To assist the data gathering, the writer used observation checklist. The steps to conduct this research were choosing the movies, making the transcript of the movies, listing the sentences which contain code-switching, filling the checklist of the types of code-switching, and filling the checklist of the possible reasons for codeswitching, analyzing the data, and drawing the conclusions. The findings showed that there were 116 code-switching cases in the sequel of 99 Cahaya di Langit Eropa movies. In general, the writer found that the most frequent code-switching type in the sequel of 99 Cahaya di Langit Eropa movies are situational code switching and conversational-word code-switching. The most frequent reason for code-switching in both movies wes habitual expressions. Code-switching can support and hinder the English learning process. It supports learning process while the appropriate code-switching with appropriate English is exposed to the learners. Learners may learn from to the people who use correct English pronunciation, vocabulary, and grammar for code-switching. Otherwise, code-switching also might hinder the learning process if the learners are exposed to inappropriate code-switching. Keywords: code-switching, movie, content analysis

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ABSTRAK Badrarini Prabaningtyas, Fransisca. 2015. Study of Code-Switching in the Sequel of 99 Cahaya di Langit Eropa Movies. Yogyakarta: Universitas Sanata Dharma Alih kode merupakan bagian dari fenomena sosiolinguistik, studi tentang bahasa yang digunakan di antara masyarakat. Alih kode bisa ditemukan di film, sebab film merupakan gambaran kehidupan manusia. Itulah sebabnya, ada juga kasus di mana pembicara kadang-kadang merubah kode mereka. Fenomena alih kode itu sendiri telah menjadi salah satu topik menarik akan dibahas. Fenomena ini tidak saja terjadi dalam kehidupan sehari-hari, bahkan juga di kehidupan yang tidak nyata, seperti contohnya di film. Penelitian ini menganalisa fenomena alih-kode di film Indonesia yang berjudul 99 Cahaya di Langit Eropa dan 99 Cahaya di Langit Eropa 2. Terdapat dua buah pertanyaan yang akan dijawab di penelitian ini 1) tipe alih-kode apa saja yang terdapat di sekuel film 99 Cahaya di Langit Eropa? 2) alasan alih-kode apa saja yang digunakan oleh para aktor dan aktris di sekuel film 99 Cahaya di Langit Eropa? Metode yang digunakan untuk melakukan penelitian ini adalah analisis sosiolinguistik, penelitian kualitatif, and analisis konten atau dokumen.. Instrumen utamanya adalah penulisnya sendiri. Penulis juga menggunakan observation checklist untuk membantu mengumpulkan data. Penulis melakukan beberapa langkah untuk melakukan penelitian ini, yaitu memilih film, membuat transkrip film, mendata kalimat-kalimat yang mengandung alih-kode, mengisi checklist jenis alih-kode, mengisi checklist kemungkinan alasan alih-kode, menganalisa hasil penelitian, dan membuat kesimpulan. Ditemukan 252 alih-kode di sekuel film 99 Cahaya di Langit Eropa. Penulis menemukan jenis alih-kode terbanyak di sekuel film 99 Cahaya di Langit Eropa adalah situational code switcing dan conversational-word code-switching. Penulis menemukan kemungkinan alasan terbesar untuk alih-kode di 2 film tersebut adalah habitual expressions. Alih kode dapat mendukung maupun menghambat proses pembelajaran bahasa Inggris. Alih-kode dapat mendukung pembelajaran bahasa Inggris apabila alih-kode tersebut mengandung bahasa Inggris yang tepat. Pelajar dapat belajar bahasa Inggris yang tepat dari orang yang melakukan alih-kode dengan pelafalan, kosakata, dan tata bahasa Inggris yang benar. Sebaliknya, alih-kode dapat menghambat proses pembelajaran apabila pelajar belajar bahasa Inggris dari orang yang melakukan alih-kode dengan bahasa Inggris yang tidak tepat. Kata kunci: code-switching, movie, content analysis

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ACKNOWLEDGEMENTS In this great opportunity I would like to express my gratitude to Jesus Christ for greatest blessings, especially His companionship along my study in Sanata Dharma University. I would like to address my sincere gratitude to my thesis advisor, Barli Bram, M.Ed., Ph.D for his motivation, patience, and encouragement in guiding me to write this thesis. I would like to express my gratitude to all lecturers and the staff of the English Education Study Program for guidance and support during my study in Sanata Dharma University, and also for knowledge, experience, and togetherness. I would like to express my gratitude to my parents John Tri Hatmoko and Susana Ernawati, my brother, Fransiscus Pandhu Regawa, and also my beloved one and only, my best partner in life, Yulianus Cahyo Edi, who have supported me through their sincere love, prayer, motivation, and guidance. They are the power of my life. I give my sincere thanks to my best friends Roza, Pandu, Devi, Ika, Arum, and Dian. Thanks for the support given to me. I also give my thanks to my best schoolmates, Jade, Vina, Dilla, Siska, Ika, Sari, Bleki, Whity, Purba, and Sonny. I’d like to say thanks for your love, support, sharing, and motivation that always encourage me to be a better person. I give my gratitude to all of my friends in PBI 2011 class C, proposal seminar and thesis class, and Public Relations Sanata Dharma University for the knowledge, happiness, and togetherness.

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TABLE OF CONTENTS

TITLE PAGE ............................................................................................................i APPROVAL PAGES .............................................................................................. ii STATEMENT OF WORK’S ORIGINALITY .......................................................iv LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI.........................................v ABSTRACT ............................................................................................................vi ABSTRAK .............................................................................................................. vii ACKNOWLEDGEMENTS ................................................................................. viii TABLE OF CONTENTS ........................................................................................ix LIST OF TABLES ................................................................................................ xii LIST OF APPENDICES ...................................................................................... xiii

CHAPTER I. INTRODUCTION A. Research Background..........................................................................................1 B. Research Problems ..............................................................................................4 C. Problem Limitation..............................................................................................5 D. Research Objectives ............................................................................................5 E. Research Benefits ................................................................................................5 F. Definition of Terms..............................................................................................6

CHAPTER II. REVIEW ON RELATED LITERATURE A. Theoretical Description .......................................................................................8 1. Code-Switching ........................................................................................8 a. The Nature of Code-Switching.....................................................8 b. The Types of Code-Switching ...................................................11 c. Reasons for Code-Switching ......................................................17

B. Theoretical Framework .....................................................................................21

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CHAPTER III. METHODOLOGY A. Research Method ...............................................................................................22 B. Research Setting ................................................................................................23 C. Research Subjects ..............................................................................................24 D. Research Instrument and Data Gathering Technique ........................................24 E. Data Analysis Technique ...................................................................................25 F. Research Procedure……………………………………………………………28

CHAPTER IV. RESEARCH FINDINGS AND DISCUSSION A. The Classification of the Types of Code-Switching .........................................29 1. Meaning-Based Switching .....................................................................31 a. Situational Code-Switching ........................................................32 b. Metaphoric Code-Switching ......................................................33 2. Structural-Based Switching ....................................................................34 a. Conversational Code-Switching .................................................34 b. Single-Word Code-Switching ....................................................36 c. Integrated Loanword ..................................................................36 d. Tag or Emblematic Switching ....................................................38

B. Reasons for Code-Switching .............................................................................39 1. Talking about particular topic ................................................................41 2. Quoting Someone’s Word ......................................................................42 3. Expressing Emphatic ..............................................................................43 4. Interjection .............................................................................................43 5. Repetition use for clarification…………...……………………………43 6. Intention of clarifying the speech content for interlocutor…………….44 7. Expressing Group Identity…………………………………...………..46 8. Mood of the speaker………………………………………...…………46 9. Habitual Expressions……………………………………...….………..47 10. To emphasize a point switching…………………………...…………47

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CHAPTER V. CONCLUSIONS AND RECOMMENDATIONS A. Conclusions .......................................................................................................49 B. Recommendations .............................................................................................51

REFERENCES .....................................................................................................53

APPENDICES ......................................................................................................55

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LIST OF TABLES Table

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Table 3.1. The Observation Checklist of the Types of Code-Switching in 99 Cahaya di Langit Eropa Movie .................................................................26 Table 3.2. The Observation Checklist of the Types of Code-Switching in 99 Cahaya di Langit Eropa 2 Movie ..............................................................26 Table 3.3. The Observation Checklist of the Reasons for Code-Switching in 99 Cahaya di Langit Eropa Movie .................................................................27 Table 3.4. The Observation Checklist of the Reasons for Code-Switching in 99 Cahaya di Langit Eropa 2 Movie ..............................................................27 Table 4.1. Number of Meaning-Based Switching Case in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 Movies ......................................30 Table 4.2. Number of Structural-Based Switching Case in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 Movies ......................................31 Table 4.3. Number of Possible Reasons for Code-Switching in 99 Cahaya di Langit Eropa and 99 Cahaya di Laangit Eropa 2 Movies .........................40

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LIST OF APPENDICES Appendix

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APPENDIX 1: The Observation Checklist of Types of Code-Switching in the Sequel of 99 Cahaya di Langit Eropa Movies ...........................................55 APPENDIX 2: The Observation Checklist of Reasons for Code-Switching in the Sequel of 99 Cahaya di Langit Eropa Movies ...........................................72

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CHAPTER I INTRODUCTION

This chapter provides the background of the research. It consists of six sections, namely the research background, research problems, problem limitations, research objectives, research benefits, as well as the definition of terms.

A. Research Background The condition where people use more than one language or code in the same topic and context or a person in communication is called code switching. They use the code witching in informal situations and the addressees have the closed-relationship with them. The addressees could be their parents, friends, and their boyfriend or girfriend. As a national language, Indonesian uses in formal situations such as in a national meeting about education, poverty, politic, and some interesting topics related to the development of the country. In those cases, the people cannot be allowed to use the code switching in their speech or conversations. In linguistics, code switching is the concurrent use of more than one language, or language variety, in conversation. Code switching can be found in spoken and written language. Code switching in written language can be found in a newspaper, magazine, booklet, novel, and etc. In spoken language it can be found in teaching-learning process (in the class), television program like talk-show, sitcom, quiz, and also in the movie.

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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 2

Nowadays, people could be easily found the using of code switching in some Indonesian’s movies since movie become the implementation of human’s life. Based on that statement, code switching cases also occur in the movie. The differentiate between this study with other code switching studies is because the code switching cases which is found in these movies is based on the setting, not natural. Code switching in the movies found based on the script that the writer made. The actors and actresses followed what are included in the script with or without any improvisation. Even though the script is written by the dominant language which is Indonesian, they commonly used the non-dominant language like English, to make the explanation clearer. The examples of Indonesian movies which have many Indonesian-English code-switching occurrences are the sequel of 99 Cahaya di Langit Eropa movies. 99 Cahaya di Langit Eropa are the sequel movies which are adapted from the novel that has the same title. This movie’s director named Guntur Soeharjanto. It tells about the journey of Hanum Salsabila Rais who is played by Acha Septriasa (Indonesian’s Actress). She is a journalist and she was accompanying her husband, named Rangga Almahendra who is played by Abimana Aryasatya (Indonesian’s Actor) to get his doctoral degree in Vienna, Austria. They tried to adapt in a new country and met some best-friends until eventually lead them to the traces of Islam in Europe brought by the Turks in the era of Kara Mustafa Pasha Merzifonlu of the Ottoman Empire. While accompanying her husband, Hanum is not just stay at home. She likes to go around roam the corners of the city, to fill the time, Hanum decided to take Germany language short course in the


city where she lived. When take the course, she met a new friend who wears hijab (Muslim female’s outfit) named Fatma Pasha (Raline Shah). Due to the same religion, they became close friend. Fatma has a little girl named Ayse (Geccha Tavvara). Fatma is the person who accompanied Hanum to know the history of Islam in several cities on the continent of Europe, France, Spain, and Turkey. Through them, Hanum met two Muslim friends in Europe, named Marion (Dewi Sandra) and Latife (Dian Pelangi). On the other side, Rangga who was studying in a city which has the minority population of Muslim, found the difficulties when he want to pray, and get some appropriate foods. During the college life, Rangga has some close friend named Stefan (Nino Fernandez), Khan (Alex Abbad), and Maarja (Marissa Nasution) who have different characters. Stefan is an atheist who often ask many questions about Islam to Rangga, Khan is a fanatic Muslim student, and Maarja is a beautiful, smart, and nice student who hold the strong typical of western. Those characters mentioned above used code switching in those movies. The setting of this movie is Vienna, Austria. So, they tend to speak English as an International language and mixed it with Indonesian Language. There are several reasons to support why the researcher defined to analyze the code switching in the sequel of 99 Cahaya di Langit Eropa movies. The first, nowadays a movie is very popular, many people are maniac in watching movie. Movie is the implementation of human’s life, take the important part to each person and can give the significant impact to the people. They can get many good messages based of the movie that they watched. Moreover, these movies contain of many moral values, because they are kind of religious movies. It is also


important to English Language Education Study Program students in watching movie since movie is one of the subject elections which the students should be taken. Second, based on the previous study, the study only conducted the research about types and functions of code switching and this study want to reform the research about code switching in different aspect, which is the reason of code switching. Third, it is very interesting to analyze the use of the code switching in the movie, because it is Indonesian movie which has code switching IndonesiaEnglish and this movie is located in Vienna, Austria. The characters in those movies are come from the well-educated people. They have to use English in their daily conversations, yet sometimes they use Indonesian Language as their mother tongue. It is noticeable for them to speak mixed languages and they also switch back and forth between two or more languages. Code switching is one of the aspects of sociolinguistic study and it has become the interesting feature for English Education students to learn. For them, code switching is a common phenomenon that could be found in written texts (newspaper, magazine, and novel) and also in the movies. Movie had become the great way for English Education students to unfold their sociolinguistic background about code-switching.

B. Research Problems The following were the research questions: 1. Which types of code switching are found in the sequel of 99 Cahaya di Langit Eropa movies ?


2. What reasons of code switching are used by the actors and actresses in the sequel of 99 Cahaya di Langit Eropa movies ?

C. Problem Limitation This research is limited to find out the types and possible reasons of codeswitching in the movies. The writer uses the sequel of 99 Cahaya di Langit Eropa movies as the research subjects. The differentiate between this study with other code switching studies is because the code switching cases which is found in these movies is based on the setting, not natural. In these movies, the script was written by the script-writer. The actors and actresses often switch their languages from Indonesian to English based on the script that the script-writer made. The research is limited to the Indonesian-English code-switching.

D. Research Objectives The objectives of the study are: 1. To find out types of code switching which is used by the actors and actresses in their conversation at the sequel of 99 Cahaya di Langit Eropa movies. 2. To find out the reasons of code switching which are used by the actors and actresses in the sequel of 99 Cahaya di Langit Eropa movies.

E. Research Benefits This research brings the benefits to the society. The researcher wishes that after reach this research, the society will know what is code switching and


why the people tend to use the code switching in their conversations, and what is the functions of the code switching itself. Specifically, this study brings two benefits for English Education students and future researchers. 1. English Education Study Program Students This research is useful for the English Education Study Program students who are interested in learning about code-switching in depth. This research contains the accumulation knowledge about code-switching. Hopefully, by reading this research, the students will have more understanding about the types and possible reasons for code-switching in Indonesia. 2. Future Researchers The author hopes that this research can give sufficient information for future code-switching researcher. This research is able to guide the future linguistics researchers to find out the other code-switching cases or other language cases in the society.

F. Definition of Terms The writer would like to present some definition of terms which were used in this thesis. 1. Code Switching According to (Wardhaugh 1998:100), code switching is a strategy to use two or more languages in the same utterances. In additional, Spolky (1998:48) says that code-switching often happen in bilingual situation. It occur between two and more languages in the middle of conversations. This includes the variations


and modifications of language expression, which exist in number of forms, such as in sentences or phrases, made by the bilingual person. In this study, code switching refers to the juxtaposition of English language and Bahasa Indonesia in the conversations which used by the artists and actors in the sequel of 99 Cahaya di Langit Eropa movies. 2. Movie Perrault (2008) says that movie is the communication media that tells a story or information through motion pictures and sounds. Movie has many functions such as entertaining, giving information, and educating the viewers. Drama, horror, action, comedy, and science-fiction are the examples of movie genres. Based on that state, movie is the media for people to get some knowledge and take the information from what they’ve seen and heard in the movie. Hence, a movie is an important thing that can open the people’s mind and enrich their linguistic awareness from the languages which are used by the actresses and actors in the movie. Through this study, the writer want to give the readers clearly understanding about the linguistic cases (code-switching) which happened in the sequel of 99 Cahaya di Langit Eropa movies.


CHAPTER II REVIEW OF LITERATURE

This chapter consists of two main points, theoretical description and theoretical framework. Theoretical description presents the description of multilingualism, the description of bilingualism, the nature of code-switching, the types of code-switching, and the possible reasons for code-switching. The theoretical framework summarizes and synthesizes all major relevant theories which assist the writer to answer the research problem.

A. Theoretical Description The theoretical description functions to give clear explanation and description of the theories related to the topic of the thesis. Theoretical description presents the description of multilingualism, the description of bilingualism, the nature of code-switching, the types of code-switching, and the possible reasons for code-switching. 1. Code-Switching a. The Nature of Code-Switching Code-switching cases cannot be separated from the society condition since the study of code-switching is the part of sociolinguistics. The existence of multilingual and bilingual communities is the factor of code-switching cases. Since there are two or more languages used in the community, there is a possibility of code switching.

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According to Asher (1994: 577) the term code refers to any system of signs or symbols which conveys information. It means that there are so many ways to express the meaning that we want to say or express to someone else. But “code” in code switching means any dialect or language that used by people to communicate with others. As other linguist had affirmed about the nature of code switching stated that the person who has several language acquisitions may vary 9 their languages and may mix or switch the language he or she used in his or her utterances. As Wardhaugh (1992: 103) states that the term code refers to any dialect or language used by a speaker to build communication with others. He stresses that a person may use more than one code in her or his speech instead of using a single code. Thus, the communication by employing several codes in the conversation is called code switching. Code-switching is defined as “the alteration of languages within a single discourse, sentence or constituent” (Poplack 1980:583). Wardhaugh (2010) proposes that code is the particular dialect or language that a person chooses to use on any occasions. He emphasizes that people may choose to use more than one language or dialect instead of only using one language in their utterances. Therefore, communicating using more than one code in the utterances may happen, and it is called as code-switching. Code-switching is related to the society condition itself, as Wardhaugh (2010, p. 104) states that “Code-switching is not a uniform phenomenon; i.e., the norms vary from group to group, even what might be regarded as a single community.” It is supported by Gumperz (1982, p. 69 in Wardhaugh, 2010, p.


104) that “each communicating subgroup tends to establish its own conventions with respect to both borrowing and code-switching, and that factors such as region of origin, local residence, social class, and occupational niche are involved in defining the norms.” Code-switching possesses a number of functions. Gal (1988) states the function of code-switching as “a conversational strategy used to establish, cross or destroy group boundaries; to create, evoke, or change interpersonal relations with their right and obligations”. For instance, when groups Javanese meet, they tend to switch their language from Indonesian to Javanese in order to unite one another and create the kinship nuance. Myers-Scotton (1993 in McKay & Hornberger, 1996) note that the function is “the strategy of neutrality when the use of any one language in the repertoire might suggest the wrong message, such as talking down to somebody or suggesting an uncultivated person.” The attitude to code switching is quite unique since Wardhaugh (2010) asserts that people might not be aware that they switch certain code to discuss or follow a particular topic. Holmes (1992, p. 45) has the same thought with Wardhaugh that “people are often unaware of the fact that they code-switch.” As an example, the unawareness of code-switching happens when a speaker cannot find the possible translation of target language, so that the speaker unconsciously switches into another language.


b. The Types of Code-Switching There are many types of code switching which is exist in this worldwide, in which have construct the different perspectives from the way we see. McCormick (1994) groups five types of code switching according to the length of juxtaposed utterances, which are situational code-switching, metaphoric codeswitching, conversational code-switching, single-word code-switching, and integrated loanword. 1) Situational Code-Switching It happens when people switch from one code to another for reasons which can be identified and it happened only in one context and without any change of the topic (McCormick, 1994). It also mentioned by Holmes (2001:36), situational code switching occurs when the language used changes according to the situation. It happened when people switch from one code to another for reasons which can be identified and it happened only in one context and without any change of the topic. People speak one language in one situation and another language in another situation. In this case, one variety is used in a situation. However, the changing from one language to another may be used immediately. Basically, the situation mainly influences the language switching which happens between bilinguals in conversation, for example: 1. People who are associated with a ceremonial religious moment, can change the code as they redefine the situation happens, from formal to informal, serious to humorous, politeness to solidarity.


2. An English teacher may talk in English for the whole part of the explanatory speech of a present continuous tense to the first-grade students of Junior High School. Unfortunately, the students have not understood about the teacher‟s explanation about the 14 lesson, particularly how to use that tense. Then the teacher re-explains the lesson with Bahasa Indonesia. 2) Metaphoric Code-Switching According to McCormick (1994), this type of code-switching occurs in a conversation in which the role of relationship between the speakers may change. Hudson (1980:56) and Holmes (2001, pp 40-41) also state that people produce a different variety based on the matter which is under discussion. It occurs when the language that is used changes according to the topic in a conversation. The interesting point of it is that some topics may be discussed in either code but the choice of code adds a characteristics to the topic, which is said. The ability to use code switching operates like a metaphor to enrich the communication. The examples are some advertisements in radio and TV broadcaster. The commercial advertisements are made in several languages, Indonesian, English, and other languages. Wardhaugh (2010) adds that metaphorical code-switching has an affective dimension that you change the code as you redefine the situation- formal to informal, official to personal, serious to humorous, and politeness to solidarity. The example is when an English lecturer teaches seriously, he/she speaks English. Then when it turns into joking, sometimes the lecturer uses Indonesian or


Javanese. Another example is, if there is a person goes to tax office to sort out her or his tax forms, and fortunately, the tax officer is her or his neighbor. Then, at first this person may greet the tax officer with their local language, their daily language, but then the person changes her or his language into the formal one to affirm her or his purpose to come to the tax office, which is to sort out her or his tax forms. At this point, the person changes the role of relationship from personal to official. 3) Conversational Code-Switching There are several terms for this type of code-switching, namely style shifting or code mixing. This type of code-switching can be a phrase, clause, or full sentence, which allows the speaker to juxtapose various lengths of foreign language elements within her or his utterances. Below are the examples of conversational code switching which forms in the form of phrase, clause, and full sentence. McCormick (1994) states that conversational code-switching happens in whole conversational turns, chunks or clause within a turn. The occurrence is not dependent on a change of interlocutor‟s topic or situation. It is to be found within conversations and not necessarily only between turns-a switch may take place within one speaker‟s turn (McCormick 1994) (1)

Aku pulang dlu ya. See you tomorrow (I will go home. See you tomorrow)


Another example of conversational code-switching happens in a clause is, “Supirku sudah stand by di parkiran.” (2)

Supirku sudah stand by di parkiran (My driver has been waiting for me in parking area)

4) Single Word Code-Switching Single-word code-switching is a switching that occurs within the sentence in the form of a single word It is also known as lexical borrowing. Wardhaugh (2010, p. 42) also says ,”The type of this switching involves single word- mainly noun- and it is motivated by lexical need.” It means that the target language language vocabulary cannot fulfill the speakers‟ lexical need, so they insisted using the original language to make the conversation smooth and meaningful. As an example, an Indonesian woman says ,”Aku mau spa dulu ya.” (3)

Aku mau spa dulu ya (I want to go to the spa)

The woman tends to use English terms, spa, rather than look for the Indonesian translation, which is difficult to find. 5) Integrated Loanwords This type of code –switching happens in a morpheme level (McCormick, 1994). It means that a speaker may integrate a word from a foreign language with affixes of her or his native language to form a certain language expression. It is also supported by Hornby (1974), morpheme is the smallest thing meaningful part


into which a word can be divided. The example of this type of code-switching can be seen in this sentence, which involves Indonesia and English language. a) Bagaimanakah cara meng-upload foto ke dalam situs ini? b) Film ini di-dubbing oleh artis-artis terkenal ibukota. c) Software-nya termasuk yang terbaik di situs tersebut. From the examples above, it can be seen that the speakers combine English words with Indonesian affixes. The first and the second example combine Indonesian prefixes and English words. Meng- and di- are Indonesian prefixes then combine with English words „upload‟ and„dubbing‟. The third example shows that English word „software‟ is combined with Indonesian suffix –nya. Holmes (1992) suggests four types of code-switching, which are emblematic switching or tag switching, situational switching, metaphorical switching, and lexical borrowing. 1) Emblematic Switching or Tag Switching Holmes (1992) states emblematic or tag switching is inserting an interjection, a tag, or sentence filler in another language. The examples of emblematic or tag switching is “By the way, habis ini mau kemana?” and “You know, tugas ini sulit dikerjakan.” (4) By the way, habis ini mau kemana? And you know, tugas ini sulit dikerjakan


(5) Anyway, sepatu itu bagus banget yaaa.. but, harganya kelewat mahal 2) Situational Switching “When people switch from one code to another for reasons which can be identified, it is sometimes called situational switching.” (Holmes, 1992, p. 36) As switching the language, the speaker does not change the topic. 3) Metaphorical Switching According to Holmes (1992), metaphorical switching can express the feelings about the topic discussed. For instance, in Yogyakarta, when a person shops in Malioboro, he/she tends to switch her language from Indonesian to Javanese while bargaining the price to get the cheaper price. 4) Lexical Borrowing This switching happens when people borrow another language to mention a name- usually a noun, which is triggered by lack of vocabulary (Holmes, 1992). Holmes (1992) adds, “People may also borrow words from another language to express a concept or describe an object for which there is no obvious word available in language they are using.”Romaine (1989, in Stockwell, 2002) also proposes three types of code-switching: tag-switching, intersentential switch, and intrasentential switch. Intersentential switch is the switch occurs between the sentences, yet intrasentential occurs within a sentence. Intrasentential switch is actually similar to lexical borrowing.


c. Reasons for Code Switching In this research, the writer combines reasons as the triggers of code switching based on Hoffman (1991) and Malik (1994). The writer used 3 theories from Malik (1994), they are mood of the speaker, habitual expressions, and to emphasize a point switching. There were added by the theories from Hoffman. Hoffman proposed 7 reasons of code switching into seven points, they are talking about particular topic, quoting someone‟s word, being emphatic about something, interjection, repetition used for clarification, intention of clarifying the speech content for interlocutor, expressing group identity. 1) Talking about a particular topic According to Hoffman (1991) people sometimes prefer to talk about a particular topic in one language rather than in another. Sometimes, a speaker feels free and more comfortable to express their emotions, excitements, or even anger in a language that is not their everyday language. Talking about a particular topic can conceal their feeling about something or someone. If the unwanted person come, the speakers try to change or code-switch their language which the person doesn‟t know nothing at all about that language. Moreover, the code-switching is caused by the linguistics deficiency that the speaker could not find the Indonesian possible translation. So the speaker tended to switch to English, which could accommodate the utterance significance.


2) Quoting someone’s word We need to code switch while quoting someone‟s word since Hoffman (1991) suggested that people sometimes like to quote a famous expression or saying of some well-known figures. They tend to quote someone‟s word because they think that those kind of words are worth showing of and can open the people‟s mind. Quoting someone‟s word can be taken from someone‟s wise word of their experience in love, life, and family. 3) Expressing feeling about something Usually, when someone who is talking using a language that is not his native tongue suddenly wants to be emphatic about something, as Hoffman (1991) stated “he/she, either intentionally or unintentionally, will switch from his second language to his first language. He/she wants to express his/her feeling by codeswitching to the first language. 4) Interjection (Inserting sentence fillers or sentence connectors) Code switching can also strengthen a command since the speaker can feel more powerful than the listener because he/she can use a language that not everybody can. Regarding the reason, Hoffman (1991) suggested that “language switching and language mixing among bilingual or multilingual people can sometimes mark an interjection or sentence connector. It may happen unintentionally or intentionally. People use interjection to give the command or show their anger. By using interjection in code-switching, it can make the instructions more clearly and aware of their feeling.


5) Repetition used for clarification While two persons are speaking, sometimes they cannot avoid a miscommunication that can happen. It happens because the language that they use is not synchronized. About this reason, Hoffman (1991) said that “when a bilingual wants to clarify his/her speech so that it will be understood more by the listener, he/she can sometimes use both of the languages that he masters saying the same utterance (the utterance is said repeatedly). One of the speaker, should code-switch his/her language so the addressee can understand what is he/she is talking about. After that, it can minimize the miscommunication. 6) Intention of clarifying the speech content for interlocutor. When a bilingual person talks to another bilingual as suggested by Hoffman (1991), it was mentioned that there will be lots of code switching and code mixing that occur. It means making the content of his/her speech runs smoothly and can be understood by the listener. The person choose the terms which are more familiar to listener. 7) Expressing group identity Code switching and code mixing can also be used to express group identity. The way of communication of academic people in their disciplinary groupings, are obviously different from other groups (Hoffman, 1991).


8) Mood of the speaker Malik (1994) claims that usually when bilinguals are tired or angry, code switching takes place with a new dimension. This means, when the speaker is in the right state of mind, he/she can find the appropriate word or expression in the base language. Very often he/she knows exactly the word in both the languages, but the native language may be more available at the point of time when the speaker has a disturbed mind. Such circumstances may create a hurdle in getting the appropriate word or phrase in the language in which the speaker may be more proficient if he is not mentally agitated. 9) Habitual expressions Acccording to Malik (1994), the fact that code switching often occurs in fixed phrases of greeting and parting, commands and request, invitation, expressions of gratitude and discourse markers such as O, yes (listen) and You know, etc. 10) To emphasize a point switching Switching is also used to emphasize a point. Gal (1979) reports several instances in which a switch at the end of an argument not only helps to end the interaction but may serve to emphasize a point. When the speakers tend to make the point more important, they try to emphasize it by using raising intonation.


B.

Theoretical Framework To complete this research, the writer should look for the suitable

theoretical framework to assist the writer to answer the research problems. 1. The Distribution of the Types of Code-Switching In order to answer the first research problem, the writer combined the types of code-switching theories from McCormick (1994) and Holmes (1992). According to McCormick (1994 in Asher, 1994) the types of code-switching are situational code-switching, metaphoric code-switching, conversational codeswitching, single-word code-switching, and integrated loanword. While Holmes (1992) mentioned Holmes four types of code-switching, which are emblematic switching or tag switching, situational switching, metaphorical switching, and lexical borrowing. 2. The Reasons for Code-Switching The second research problem dealt with reasons for code-switching. The writer would use the reasons for code-switching proposed by Hoffman (1991) and Malik (1994). Hoffman (1991) proposed seven reasons for code-switching namely talking about particular topic, quoting someone‟s word, being emphatic about something, interjection, repetition used for clarification, intention of clarifying the speech content for interlocutor, expressing group identity. While Malik (1994) mentioned three reasons of code switching there are mood of the speaker, habitual expressions, and to emphasize a point switching.


CHAPTER III METHODOLOGY

This chapter provides the research methodology which is used by the researcher to conduct the topic. It consists of six sections, namely the research methodology, research setting, research subjects, research instrument and data gathering technique(s), data analysis technique, and research procedure.

A. Research Methodology The aim of this research is to find out the code-switching cases that happens in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 movies, so this research uses sociolinguistics analysis. Sociolinguistics studies the relation between language and society (Holmes, 1992). Trudgill (1974) also notes that sociolinguistics is the field that studies between the uses of language and the social structures in which the users of language live. In conclusion, sociolinguistics analysis is the analysis of language used by the society. In the research methodology, there are two kinds of research that can be used to doing a research: qualitative and quantitative. Fowler (1998) defines a quantitative approach as numeric description of some fraction of the populations. While, Creswell says that qualitative approach is descriptive in which process, meaning, and understanding gain through words or picture.

22


This research was accomplished by using qualitative research. Denzin & Lincoln (2005) defines qualitative research as a non-numerical data collection or explanation based on the attributes of the graph or source of data. McLeod (2012) adds that “The primary aim of qualitative research is to develop an understanding of how the social world is constructed.” Another analysis used in this research was content analysis or document analysis. Fraenkel and Wallen (2008) state that content analysis is a technique that enables the researcher to study human behavior in an indirect way, through an analysis of their communication. Fraenkel and Wallen (2008) also note that content analysis is the very useful way to obtain information for certain topic and it helps the researchers in validating the findings of the study. The content which will be analyzed are 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 movies dialogues. Thus, this research method will assist the writer to find out the types of code-switching and possible reasons for code-switching cases inI 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 movies dialogues.

B. Research Setting The goal of this research was to reveal the use of Indonesian-English codeswitching in the society, so the writer chose the dialogues of two movies entitled 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 as the research subjects. The consideration of choosing those movies is that both of those movies contain


many English-Indonesian code-switching dialogues spoken by the actress and actors. Therefore, the writer will be able to collect sufficient data from the movies.

C. Research Subjects The researcher used the subjects who were the actors and actresses which used the code switching in the movies 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 to them through the table. She analyzed them by using the table to know the type of code switching and what are the function of code switching that had already common found in the movies.

D. Research Instrument and Data Gathering Technique Ary, Jacob, and Razavieh (2002) propose that in qualitative studies, the investigator is the data gathering instrument whereas he or she talks with people in the setting, observes their activities, read their documents and written records, and records the information in the field notes and journals. According to that statement, in this research, the writer was the primary instruments. She was the main instument for obtaining and recording the data. Another instrument was the observation checklist developed from Holmes (1992) and McCormick (1994) theories. The observation checklist helped the writer to classify and note the types of code-switching and possible reasons for codeswitching in those movies.


E. Data Analysis Technique The data were obtained from the researcher’s observation toward those movies. After obtaining the data, the researcher had to analyse the data. Creswell (1998) states there are four data analysis technique of qualitative research:

1. Organize the data Cresswell (1998) states that “You may also break down large bodies of the text into smaller units, perhaps in the form of stories, sentences, or individual words”. Thus, the writer read the movies transcriptions to find out the code-switching in the dialogues. The writer highlighted the utterances which contain code-switching. After that, the writer made list of the result as shown in the code-switching analysis table. 2.

Peruse the entire data set several times to get a sense of what it contains as a whole The writer had to read carefully and recheck whether or not she has analyzed it accurately. The writer had to read it carefully for several times and correct the wrong analysis.

3.

Identify general categories, themes, or subthemes and then classify each piece of data accordingly. The writer had to analyze each piece of data in detail. The analysis covered the types of code-switching and the possible reasons for code-switching. To analyze them in detail, the writer used checklist to identify all of them.


4. Integrate and Summarize the Data This is the step of summing up describing relationship among the results. In this research, the writer had to integrate and summarize her findings on the types of code-switching and the possible reasons for code-switching happen in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 movies. The writer counted the amount of cases and made it in the form of percentage. The data were calculated using this formula Table 3.1: The Observation Checklist of the Types of Code-Switching in 99 Cahaya di Langit Eropa Movie No Cases Types of Code-Switching Meaning- Based Structural-Based Switching Switching D S M C SW IL T

Table 3.1 contains the list of the types of code-switching which is included in the movie and table 3.2 also gives the list about the types of code-switching for continuing what has been written in table 3.1

Table 3.2: The Observation Checklist of the Types of Code-Switching in 99 Cahaya di Langit Eropa 2 Movie No Cases Types of Code-Switching Meaning-Based Structural-Based Switching Switching D S M C SW IL T

D= diglossia S= situational code-switching M= metaphoric code-switching C= conversational code-switching


SW=single-word code-switching IL=integrated loanword T= tag switching or emblematic switching

Table 3.3: The Observation Checklist of Reasons for Code-Switching in 99 Cahaya di Langit Eropa Movie

NO

Cases

Reasons for Code Switching TT

QW

EE

I

RC

IC

EI

MS

HE

EP

Table 3.3 will elaborate the list of possible reasons using code switching in those 2 movies and table 3.4 also give the list of the possible reasons using code switching for continuing what was included in table 3.3

Table 3.4: The Observation Checklist of Reasons for Code-Switching in 99 Cahaya di Langit Eropa 2 Movie

NO

Cases

Reasons for Code Switching TT

QW

EE

I

RC

IC

EI

TT= talking about a particular topic QW= quoting someone’s word EE= being emphatic about something/ expressing emphatic I= interjection RC= repetition used for clarification IC= intention or clarifying the speech content for interlocutor EI= expressing group identity MS= mood of the speaker HE= habitual expressions EP= emphasize a point switching

MS

HE

EP


F. Research Procedure In research procedure, the researcher carried out this research in 2 main steps. They were data gathering and data analysis. To answer the research questions, the writer had to undergone the systematic research procedure. This section described the eight steps of finalizing this research. The first step of accomplishing this research was choosing the movies that contain many Indonesian-English code-switching cases. The movie chosen was 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 movies. Next, the writer had to obtain the transcript of the movies in order to ease the writer to identify the code-switching cases. In order to assist the writer to gather the data, the writer listed the sentences which contain code-switching utterances. Then, to find out the types of code-switching used in those movies, the writer utilized the checklist of types of code-switching. The writer put (√) in the checklist after deciding the types of code-switching in every utterance. Similar to the technique of finding the types of code-switching, the writer also put (√) in the checklist after deciding the possible reason for code-switching in every utterance. After classifying the types and possible reasons, the writer had to analyze the distribution of types of code-switching and the possible reasons for code-switching happen in those movies. The last step of this research was drawing the conclusion of the writer’s findings. The conclusion was obtained from the analysis of the findings. The conclusion could answer the research questions proposed by the writer.


CHAPTER IV RESEARCH FINDINGS AND DISCUSSION

This chapter presents the research result. This chapter is divided into three sections. The first section focuses on the types of code-switching in the sequel of 99 Cahaya di Langit Eropa movies. The second section discusses the possible reasons for using code-switching in the sequel of 99 Cahaya di Langit Eropa movies.

A. The Classification of The Type of Code-Switching In this research, the writer combined the types of code-switching based on McComick (1994) and Holmes (1992). McCormick classified the types of codeswitching in 5 types. They are situational code-switching, metaphoric code-switching, conversational code-switching, single word code-switching, and integrated loanword. The writer integrated the types of code-switching based on Holmes. There are 4 types of code-switching based on Holmes (1992), which are, emblematic/tag switching, situational switching, metaphorical switching, and lexical borrowing/single word switching. Based on that finding, the writer noticed the highest and lowest distribution of the type of code-switching that would be found in the movies. Based on the finding, the writer noticed that there were six types that have highest and lowest distribution in those movies. The writer found 116 code-switching cases in the Sequel of 99 Cahaya di Langit Eropa movies.

29


From the meaning based switching analysis, the highest distribution in those movies was diglossia. From the structural based switching analysis, generally the writer found that conversational code-switching was the highest distribution. Otherwise, situational code-switching and integrated loanword were the lowest distribution in those movies. Tables 4.1 and 4.2 showed the number of the types of code-switching cases that were found in the sequel of 99 Cahaya di Langit Eropa movies dialogues. Table 4.1: Number of Meaning-Based Switching Cases in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa Movie Types of Code99 Cahaya di 99 Cahaya di Total Percentage Switching Langit Eropa Langit Eropa 2 Occurrences Movie Movie Occurrences Occurrences Situational Code24 81 105 90.51% Switching Metaphoric Code-Switching

1

10

11

9.49%

Total

25

85

116

100%

Table 4.1 showed the distribution of the types of code-switching occurrences based on meaning-based switching group in the sequel of 99 Cahaya di Langit Eropa movies. The table showed in both movies there were 105 situational code switching (90.51%), and 11 metaphoric code switching (9.49%)


Table 4.2: Number of Structural-Based Switching Cases in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 Movie Types of Code99 Cahaya di 99 Cahaya di Total Percentage Switching Langit Eropa Langit Eropa 2 Occurrences Movie Movie Occurrences Occurrences Conversational 18 50 68 58.62% Code-Switching Single-Word Code-Switching

7

36

43

37.06%

Integrated Loanword

0

2

2

1.72%

Tag/ Emblematic Switching

0

3

3

2.6%

Total

25

91

116

100%

Tables 4.2 presented the distribution of the types of code-switching occurrences based on structural-based switching group. The table showed that there were 68 conversational code-switching (58.62%), 43 single-word code-switching (37.06%), 2 integrated loanword (1.72%), and 3 tag/emblematic switching (2.6%) occurrences. The next section would discuss about the type of code switching cases in detail which is occurred in the sequel of 99 Cahaya di Langit Eropa movies. 1. Meaning-Based Switching Meaning-based switching is the type of code-switching that is characterized by the changing of meaning in an utterance (McCormick, 1994). It consists of diglossia, situational code-switching, and metaphoric code-switching (McCormick, 1994).


a. Situational Code Switching Situational code switching may happen, if there is an alteration situation between multilingual and bilingual communities (McCornick 1994). Wardhaugh (2010) also that

situational code-switching occurs when the languages used change according to the situations in which the conversants find themselves. It is happened when people switch from one code to another for reasons which can be identified and it is happened only in one context and without any change of the topic The writer found 90.51% situational code-switching occurred in the sequel of 99 Cahaya di Langit Eropa movies. The examples of situational code-switching in those movies were as follows: Example 1 Setting: in the campus yard-morning (Rangga was chatting with Khan) K : Assalamualaikum, having a good time, right? Ini kari ayam masakan istriku untuk kamu R : Ayam ? K : Chicken! R : Ayam, do you wanna try? (Rangga offered the food to Stefan) Example 1 was showed the conversation between Rangga and Khan. Khan offered Rangga the food which is made by his wife while Rangga had conversation with Stefan. Khan came to the situation between Rangga and Stefan, but he didn’t change the topic. He tried to join the conversation by saying the greetings to Rangga while Stefan was listening.


b. Methaporic Code-Switching

McCormick (1994 in Asher, 1994) states that metaphoric code-switching occurs when a change of topic requires a change in the language used. Metaphoric code-switching can occur in two conditions, the change in topic and in a different atmosphere. Based on the writer’s findings, metaphoric code-switching distribution in the sequel of 99 Cahaya di Langit Eropa movies was 9.49%. The examples of metaphoric code-switching were as follows: Example 2 Setting: in bus station-night (Rangga was chatting with Stefan) Rangga : Sebulan bayar asuransi berapa? Stefan : 80 euro Rangga : Mahal Steffan : My friend, karena di dunia ini gak ada yang gratis The highlighted word in example 4 also showed the situational code switching. In that case, Steffan switched the situation by replying “my friend”. What Steffan said indicated that he wanted to change the topic from serious to humorous. Rangga said “mahal” and Steffan replied it by saying “my friend” for warming up the situation and reminding him that he didn’t need to be so serious.


2. Structural-Based Switching Structural based switching is type of code-switching that is characterized by structural changing of an utterance (Holmes, 2002 and McCormick, 1994). The codeswitching is identified through structural unit. The integration of the other codes or languages is based on the structural unit such as syllables, words, and phrases. Structural-based switching consists of conversational code-switching, single-word code-switching, integrated loanword, and tag or emblematic switching (McCormick, 1994 & Holmes, 2002).

c. Conversational Code-Switching In general, the occurrence of conversational code-switching in the sequel of 99 Cahaya di Langit Eropa movies was 58.62%. There were 68 conversational codeswitching cases in 99 Cahaya di Langit Eropa movies. There were some examples of the conversational code-switching in 99 Cahaya di Langit Eropa movies. Example 3 Setting: in the park-afternoon Marion was chatting with Hanum M : Tahukah kamu dimana itu “the city of light” ? H : No.. M : Jadi seniman dahulu menulis huruf arab tanpa tahu persis apa arti tulisantulisan itu. H : Iya karena mereka pikir itu cuma karya ornament biasa aja. Example 3 was the example of the occurrence of conversational codeswitching in the lowest level which was the phrase level. Phrase is a group of related


words that does not contain a subject or a verb (Azar, 1989). So the code-switching the city of light was in the phrase level Example 4 Setting: in the library-afternoon Stefan was talking with Khan S : Mereka menuntut apa? K : Sebenarnya mereka hanya menuntut hak mereka untuk beribadah S : Orang-orang seperti itu yang identic dengan kekerasan K : Kadang, excuse me. Kadang kekerasan di beberapa tempat lebih di dengarkan S : That’s terrorist K : Kamu bilang apa? The sentence in example 4 showed that the code switching occurred in clause level. Clause is a group of words that contains a subject and a predicate. The presence of that’s terorist among the Indonesian words showed that the switching happened in clause level. Example 5 Setting: in the campus hall-morning Stefan was talking with Rangga S : And then, aku gapaham, semenjak kamu deket dengan si curry man itu kamu berubah, Rangga R : No S : Hello, you are no longer free man! R : I’m free man S : Kamu bukan Rangga yang sama, yang waktu dulu datang pertama kali dan tinggal lama di apartment aku dulu.You’ve changed R : No, I’m not. I am not change


d. Single Word Code-Switching Single-word code-switching is a switching that occurs within the sentence in the form of a single word. This type is also known as lexical borrowing. Wardhaugh (2010, p. 42) also notes,”The type of this switching involves single word- mainly noun- and it is motivated by lexical need.” It means that Indonesian language vocabulary cannot fulfill the speakers’ lexical need, so they insisted using English to make the conversation smooth and meaningful. In general, there were only 43 single word code switching in the sequel of 99 Cahaya di Langit Eropa movies, with the amount of 37.06% Example 6 Setting: in the library-morning S : Khan, I told you so. It’s happening again. Kenapa mereka harus memaksakan kehendak untuk beribadah disana. Tell me! K : Kamu harus tahu dulu sejarahnya, gedung ini dulu apa, Stefan. Ini dulu masjid,. S : It’s cathedral now Based on the writer interpretation, the using of single word code-switching due to some conditions. In example 5, the speaker code-switched the word when she mentioned cathedral. Based on the context, the word cathedral means the big church. The speaker choose to simply called cathedral which is more familiar rather than big church. e. Integrated Loanword In those movies, this switching was the mixture of the English words and Indonesian affixes. In some cases in this movie, the switching was also the mixture of


English words and Indonesian grammar. There were only few integrated loanword that could be found in the sequel of 99 Cahaya di Langit Eropa movies. The distribution of integrated loanword in the sequel of 99 Cahaya di Langit Eropa movies was 1.72%. In order to give the clear explanation about integrated loanword, the writer provided some examples of integrated loanword in the sequel of 99 Cahaya di Langit Eropa movies. Example 7 Setting: in the bus station-evening (Rangga and Stefan were talking about insurance) R : Sebulan bayar asuransi berapa? S : 80 Euro R : Mahal S : My friend, karena di dunia ini gak ada yang gratis. R : Kamu takut, kalau ada apa-apa sama kamu, dan kamu masuk RS dan tidak ada yang peduli, asuransi akan meng-cover semuanya, ya kan? Example 7 was the example of integrated loanwords.

The integrated

loanwords were created by adding Indonesian affixes into English word. In example 13, Rangga added the Indonesian suffix meng- , into English word, cover. The purpose was to make the nouns become action verbs. By saying meng-cover, he want to explain that he would cover everything if the accident happens to him. The writer found that there were some reasons of using integrated loanwords. The first reason was he had lack knowledge of English grammar so he tended to mix the English word with Indonesian suffix. Second, using integrated loanwords by


mixing Indonesian grammar with and English word, was easier to state the action verb. f. Emblematic/ Tag Switching In the sequel of 99 Cahaya di Langit Eropa movies, there were some English interjections, tags, or sentence fillers inserted in Indonesian utterances. Tag or emblematic switching occurred 2.6% in the sequel of 99 Cahaya di Langit Eropa movies. The examples of tag or emblematic switching were as follows: Example 8 Setting: campus hall-afternoon M : Chronicles of The World Sudah sejauh mana? By the way, aku tadi habis dari kantornya Prof. Reinhard dan kita tadi ngomong. R : Kalau tentang pesta aku gabisa. M : Bukan, bukan masalah goldence. Proposalku akhirnya diterima R : Bagus-bagus Example 9 Setting: class-morning S : Hay, Rangga aku bawain makanan buat kamu, tenang aja dagingnya chicken kok R : Aku gabisa, hari ini puasa, gak makan, saya pamit dulu S : Woy woy, puasa buat apa? R : Agar kita bisa belajar nahan nafsu, laper, dan dapat pahala. S : Let me get the straight, kamu puasa untuk dapat pahala? R : Yap! In examples 8 and 9, the writer could clearly see that there were structural characteristic which could be found in those 2 dialogues. Tag or emblematic switching usually occurred in the beginning of the sentence followed by the comma


(,), in the middle of the sentence happened after and before the comma (,), or in the end of the sentence happened after the comma (,). The occurrence of tag or emblematic switching did not influence or change the sentence meaning.

B. Reasons for Code-Switching In this research, the writer combined the types of code-switching based on Hoffman (1991) and Malik (1994). Hoffman classified the types of code-switching in 7 types. They are talking about particular topic, quoting someone’s word, being emphatic about something, interjection, repetition used for clarification, intention of clarifying the speech content for interlocutor, expressing group identity. The writer integrated the types of code-switching based on Malik. There are 3 types of codeswitching based on Holmes (1994), which are, mood of the speaker, habitual expressions, and to emphasize a point switching. Table 4.3 showed the number of possible reasons for code-switching cases that were found in the sequel of 99 Cahaya di Langit Eropa movies dialogues:


Table 4.3: Number of Reasons for Code-Switching in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 Movies Types of Code-Switching 99 Cahaya di 99 Cahaya di Total Percentage Langit Eropa Langit Eropa 2 Occurrences Movie Movie Occurrences Occurrences Talking about Particular Topic 6 30 35 30.17% Quoting Someone’s Word

0

2

2

1.72%

Expressing Emphatic

1

2

3

2.58%

Interjection Repetition use for Clarification

0 2

0 4

0 6

0% 5.17%

Intention of clarifying the speech content for interlocutor

2

0

2

1.72%

Expressing Group Identity

0

0

0

0%

Mood of The Speaker

5

4

9

7.75%

Habitual Expressions

5

31

37

31.89%

Emphasize a point switching

5

17

22

19%

Total

26

90

116

100%

Table 4.3 showed the occurrences of possible reasons for code-switching in the sequel of 99 Cahaya di Langit Eropa movies. The table showed in both movies there were 35 code-switching due to talking about particular topic (30.17%), 2 codeswitching due to quoting someone’s word (1.72%), 3 code-switching due to expressing emphatic (2.58%), 0 code switching due to interjection (0%), 6 code switching due to repetition use for clarification (5.1%), 2 code switching due to intention of clarifying the speech content for interlocutor (1.72%), 0 code switching due to expressing group identity (0%), 9 code switching due to mood of the speaker (7.75%), 37 code switching due to habitual expressions (31.89%), and 22 code


switching due to emphasize a point switching (19%). The total code-switching occurrences was 116. The next step explained the detail about the possible reasons for codeswitching. a. Talking about particular topic In chapter 2, the switching was easily explained that this reason would appeared if the new person came and tried to join over the conversation. The lack of Indonesian translation is also the aspect why people chose to use code switching in order to talk about particular topic that rarely happened in Indonesian translation. Due to this possible reason, the writer found 35 code-switching cases (30.17%) in the sequel of 99 Cahaya di Langit Eropa movies. The examples of this reason for code-switching were as follows: Example 10 Setting: campus hall-afternoon S : Hello, you are no longer free man R : I’m free man S : Kamu bukan Rangga yang sama, yang waktu dulu datang pertama kali dan tinggal lama di apartment aku dulu. You’ve changed! R : No, I’am not. I am not change! Example 10 explained the conversation between Stefan and Rangga. Stefan found the difficulty in finding the Indonesian translation of apartment. In Indonesian, it was commonly found that the people also pronounced apartment.


Example 11 Setting: bus station-morning H : Bagus, bagus, ini design-nya. F : Aku ingin menjadi designer busana muslim agar bisa keliling duniadan melihat sejarah peninggalan bangsa Islam di Eropa. Example 11 showed that Hanum and Fatma were talking about Fatma’s dream. Fatma had a desire to be a designer. We could see that the term design and designer were lacking of Indonesian translation. Since Indonesian people are also called desain and desainer. The different thing is from the spelling but the pronunciation is similar. b. Quoting Someone’s Word In the movie, some speakers switch the languages due to this reason. There were only 2 code-switching cases (1.72%) in the sequel of 99 Cahaya di Langit Eropa movies. There were some examples of code-switching due to quoting someone’s word in those movies. Example 12 Setting: backyard-night H : Gimana sih kamu? Katanya dancer professional R :Makan ikan asin sama sambal terasi aja banyak gaya, “save the last dance for me, please?” Example 12 contained the dialogue between Hanum and Rangga. Rangga quoted what Hanum said. Hanum requested Rangga to dance with her after the party.


c. Expressing emphatic Based on table 4.3, there were 3 conversations (2.58%) expressing emphatic that could be found in the sequel of 99 Cahaya di Langit Eropa movies. The example was given below. Example 13 Setting: campus hall-morning R : You wanna try this food? S : Ga heran ya Prof Reinhard memuji disertasi kamu setinggi langit R : Thank you.. try it.. S : No, I’ve ate it before Based on example 13 above, the writer concluded that the conversation was categorized as an expressing empathic. It was shown by Rangga. In that conversation, Rangga tried to offer Stefan some foods. By saying that, Rangga had proved that he cared with Stefan. He showed his empathy to Stefan. d. Interjection In chapter 2, it was clearly stated that people tended to use interjection code switching to show their anger or to strengthen commands. There were no conversations cases (0%) which triggered by interjection. e. Repetition use for clarification About this reason, Hoffman (1991) said that “when a bilingual wants to clarify his/her speech so that it will be understood more by the listener, he/she can sometimes use both of the languages that he masters saying the same utterance (the


utterance is said repeatedly). This repetition also had the purpose to avoid some miscommunications that might happen between the speakers. There was 5.17% distribution of repetition use for clarification. The writer would like to give the example about this possible reasons. Example 14 Setting: K : I’m sorry Rangga. It’s just that Stephan calls me the curry man, Papa Curry. R : It’s a joke K : A joke? Satu kampus panggil saya Curry Man, Papa Curry. Hi, Curry Man, Papa Curry. You call that a joke, is that? Dan mungkin juga kamu belum tahu itu.. I hate curries. In example 14, we could see that there were some repetition include in conversation. The conversation happened between Rangga and Khan. Rangga tried to give the clear explanation to Khan in order to avoid a miscommunication between Khan and Stefan. In that conversation, we knew that Khan showed his bad feeling to Stefan because Stefan always mocked him by saying curry papa, papa curry. f. Intention of clarifying the speech content for interlocutor. This cases happened in order to avoid some miscommunications that might occur. Based on the findings, this code switching reason was the most frequently happened in the sequel of 99 Cahaya di Langit Eropa movies. There were 2 conversations (1.72%) intention of clarifying the speech content for interlocutor found in those movies. The examples were given below.


Example 15 Setting: in the campus hall-afternoon S : Woy woy.. puasa puasa buat apa? R : Agar kita bisa belajar menahan nafsu, lapar, dan dapat pahala S : Let me get the straight, kamu puasa untuk dapat pahala? R : Yap! S : Gampang banget ya.. R : Mau coba? S : Sure! Why not? It should be not hard right? Sampai jam berapa? R : Jam 8 malam In the example 15, there was conversation between Stefan and Rangga. Stefan were curious about fasting. He wanted to try that thing and he tended to give the intention of clarification whether that fasting was difficult or not. Example 16 Setting: in front of the library-morning S H S H S H

: Are you Hanum? Sorry, are you Hanum, Rangga’s wife? : I am, you must be Stefan, right? :Yes, I am Stefan. Nice to meet you : Nice to meet you too, Rangga banyak cerita tentang kamu : Pasti dia bilang, aku ini menyebalkan, cerewet : No, he didn’t say that. Dia bilang justru kamu punya rasa ingin tahu yang besar terhadap Islam. There was the conversation between Hanum and Stefan. It was presented that

Hanum was trying to clarify the misunderstanding. She tried to re-explain to Stefan that what he thought about Rangga was not true.


g. Expressing Group Identity There were only few conversations of expressing group identity in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 movies. The amount of number was (0%) cases of code switching in expressing group identity. Since there were no groupings term in those movies. h. Mood of the speaker There were quite a lot of conversations for mood of the speaker that could be found in the sequel of 99 Cahaya di Langit Eropa movies. The amount of number was 9 (7.75%) cases of code switching in mood of the speaker. The example were presented below: Example 17 Setting: yard-morning R : Is it your dog? S : Cello R : Di negaraku ada beberapa orang yang makan anjing seperti ini S : That’s crazy man! Aku gamungkin makan daging anjingku sendiri. Example 17 presented that Stefan show their mood or feeling by saying crazy. He didn’t believe that in Indonesia, the dog can be used as a food. He was surprised about that and he shouted his feeling by saying those words. Example 18 Setting: campus hall-afternoon K : Kamu sudah lihat jadwal ujiannya? R : Sudah K : Gilak tu Prof Reinhard, what was he thinking?


Example 18 explained that Khan showed his anger. He couldn’t accept the schedule that his professor made. i. Habitual Expressions This reason was the most-often met reason in code-switching cases in those movies. There were 37 code-switching cases (31.89%) in the sequel of 99 Cahaya di Langit Eropa movies which were triggered by habitual expressions. The writer would like to give the examples about this reason. Example 19 Setting: bus station-morning F : Kalian jadi ke Paris? R : Yes, we plan to go F : Aku ada sesuatu untuk Hanum. Ini untuk Hanum R : Thank you, thank you so much, Fatma.. Mungkin kalo gak ada kamu, dia udah balik ke Indonesia In example 19, there was conversation between Fatma and Rangga. The habitual expressions was clearly stated by Rangga when he said thank you. The term thank you is a common answer if someone gave you a help. It was kind of habitual expressions because it was used habitually. j. To emphasize a point switching There were 22 code-switching cases (19%) in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 movies. Here, some examples of code-switching due to emphasize a point switching in those movies. Example 20 Setting: backyard-morning S : Hey, Rangga.. I was waiting for you in cafeteria, what are you doing? R : I’m eating


S R S R

: Are you on diet? : No, there is no chicken inside : Agama kamu ribet banget, daging babi di Eropa ini enak banget, udah pernah nyoba? You’ve try! : Tidak, No! (laughing) That conversation were spoken by Stefan and Rangga. Stefan offered Rangga

pork, but in Rangga’s religion, pork is a forbidden food. He refused Stefan to eat pork but Stefan forced Rangga. It was found in the conversation above, when Stefan said “you’ve try!”. Stefan tried to emphasize the point of switching by raising intonation to strengthen his command.


CHAPTER V CONCLUSIONS AND RECOMMENDATIONS

Chapter V presents the conclusions of the research. The conclusions are the answer of the research questions which are 1) which the types of code switching are found in the sequel of 99 Cahaya di Langit Eropa movies? and 2) which the reasons of code switching are used by actors and actresses in the sequel of 99 Cahaya di Langit Eropa movies? In this chapter, the writer also presents some recommendations related to this topic.

A. Conclusions In this following section, the writer presents the conclusion of the research questions answers. 1. The Types of Code-Switching in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 Movies The types of code-switching are divided into two categories namely meaning-based switching and structural-based switching. Meaning basedswitching is the switching which is characterized by the changing of meaning and speaking significances. Structural-based switching is a switching which is characterized by the changing in the language structure. Structural-based switching can also change the meaning of the code switching cases. It was proved in the table of appendices that the researcher categorized each conversation which

49


contains of code switching cases based on both meaning-based switching and structural-based switching. From the meaning-based switching, there are two types of code-switching which are revealed in this thesis. They are metaphoric code-switching, and situational code-switching. In both movies, situational code switching is the highest code-switching distribution. The speakers do situational code switching to change the situation but didn’t change the topic. There are four types of code-switching in structural-based switching category, which are conversational code-switching, single-word code-switching, integrated loanwords, and tag switching or emblematic switching. In general, coversational-word code-switching is the highest distribution of code-switching happens in those movies.

2. The Reasons for Code-Switching in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 Movies There are ten reasons for code-switching in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 movies namely talking about particular topic, quoting someone’s word, expressing emphatic, interjection, repetition use for clarification, intention of clarifying the speech content for interlocutor, expressing group identity, mood of the speaker, habitual expressions, and to emphasize a point switching.. In those movies, habitual expressions become the most frequent possible reasons for code-switching. It is caused by there are many sentences showed by the speakers to express their habitual-feeling. The characters of the


movies often give the greeting to the person that they met because of the western habit. It also said that the characters of the movies are friendly. B. Recommendations Since code-switching is a cases which always occurs in multilingual or bilingual society, the writer would like to give recommendations to Indonesian learners of English, English teachers, and future researchers. 1. Indonesian learners of English have to be attentive in learning code-switching. Code-switching can help and hinder the English learning process. It supports learning process when the appropriate code-switching is exposed to the learners. Meanwhile, code-switching also may hinder the learning process if the learners are exposed to inappropriate code-switching. It happens when the learners learn from to the people who do the false English pronunciation, vocabulary, and grammar when code-switching. When the learners practice to code-switch, learners also have to pay attention on the code-switching purposes. Practically, code-switching can be beneficial because it can be the means for conveying speaking utterances, moreover if the learners have language deficiency to state the Indonesian terms. It is also favorable to do code-switching if there is a changing in interlocutor, such as when a native talks to a foreigner. Though, it can be harm if the learners do code-switching to exhibit their social status to the people who come from the lower social status. 2. English teachers can teach the general rules and approriate reasons for codeswitching. The teachers have to emphasize that the students have to use appropriate English pronunciation, vocabulary, and grammar while code-


switching. The teachers also have to tell the students if the students want to codeswitch, they must do it in order to assist the communication process, not to hinder it. Therefore, when the students want to do code-switching, they can do it appropriately. 3. Future researchers can conduct the research of Indonesian-English codeswitching cases in the other cases. For example, they can analyze the other Indonesian movies and TV programs that contain many Indonesian-English codeswitching cases.


REFERENCES Ary, D., Jacobs, L.C., & Razavieh, A. (2002). Introduction to Research in Education (6th ed.). Belmont: Wadsworth/Thomson Learning Asher, R.E. (1994). The encyclopedia of language and linguistics vol. 10. Oxford: Pergamon Press. Bhatia, T. K. & Ritchie, W. C. (2013). Introduction. In Bhatia, T. K. & Ritchie, W. C. (Eds). (2013). The handbook of bilingualism. Oxford: Blackwell Publishing. Bloomfield, L. (1935). Language. London: Allen & Unwin. Cresswell, J. W. (1994). Research design Qualitative, Quantitative, and mixed methods approached. Thousand Oaks:Sage Publicationc. Denzin, N. K. & Lincoln, Y. S. (Eds.). (2005). The sage handbook of qualitative research. Thousand Oaks, CA: Sage. Fraenkel, J. R. & Norman E. W. (2008). How to design and evaluate research in education. NewYork: McGraw-Hill. Gal, S. (1988). The political economy of code choice. In Heller, M. (Ed.). Codeswitching: Anthropological and sociolinguistic perspectives, 245264. Berlin: Mouton de Gruyter. Gumperz, J. J. (1982). Discourse strategies. New York, NY: Cambridge University Press. http://dx.doi.org/10.1017/CBO9780511611834 Gumperz, J.J. (1970). Verbal strategies in multilingual communication. In J. Alatis (ed.) Bilingualism and Language Contact. Georgetown University Press. Hamers, J. F. & Blanc, M. H. A. (1983). Bilinguality and bilingualism. Cambridge: Cambridge University Press. Hoffmann, C. (1991). An introduction to bilingualism. Essex: Pearson Education Limited. Holmes, J. (1992). An introduction to sociolinguistics. Essex: Pearson Education Limited. Hornby, A.S. (1974). Oxford advanced learner’s dictionary of current English. London: Oxford University Press.

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Malik, L. (1994). Socio-linguistics: A study of code-switching. New Delhi, ND: Anmol Publications Pvt. Ltd. McCormick, K. M. (1994). Code-switching and mixing. In Asher, R.E (Ed.). (1994). The encyclopedia of language and linguistics vol.2. Oxford: Pergamon Press. Muthusamy, P. (n.d.).Communicative functions and reasons for code-switching: A Malaysian perspective. (Dissertation University Putra Malaysia, n.d.) retrieved from http://studentsrepro.um.edu.my/3310/9/Bilbo.pdf on October 23, 2014. Myers-Scotton, C. (1993). Duelling languages: Grammatical structure in codeswitching. Oxford: Clarendon. Perrault, S. J. (2008). Movie. Merriam-webster’s advanced learners English dictionary. Springfield: Merriam-Webster. Poplack, S. (1980). Sometimes I’ll start a sentence in Spanish y termino en espanol: Toward a typology of code-switching. Linguistics, 18, 581-618. http://dx.doi.org/10.1515/ling.1980.18.7-8.581 Ritchie, W. C. (Eds). (2013). The handbook of bilingualism. Oxford: Blackwell Publishing. Romaine, S. (1989). Bilingualism. Oxford: Blackwell Publisher. Spolsky, B. (1998). Sociolinguistics. Oxford: Oxford University Press. Sridhar, S. N. (1996). Societal multilingualism. In Mc.Kay, S. L. & Hornberger, N. H. (Eds.). (1996). Sociolinguistics and language teaching. Cambridge: Cambridge University Press. Stockwell, P. (2002). Sociolinguistics: A resource book for students. London: Routledge. Trudgill, P. (1974). Sociolinguistics: An introduction to language and society. Middlesex: Penguin Books. Wardaugh, R. (1992). An Introduction to Sociolinguistics (2nd ed.). Oxford: Blackwell. Wardhaugh, R. (2010). An introduction to sociolinguistics. Oxford: Blackwell Publishers.


APPENDICES


Appendix 1: The Observation Checklist of Types of Code-Switching in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa Movies

The Observation Checklist of the Types of Code-Switching in 99 Cahaya di Langit Eropa 2 Movie

S= situational code-switching M= metaphoric code-switching C= conversational code-switching SW=single-word code-switching IL=integrated loanword T= tag switching or emblematic switching No

Phenomena

Types of Code-Switching Meaning Based S

M

Structural Based C

1

Agama kamu ribet banget,daging babi di Eropa ini enak banget, udah pernah nyoba? You’ve try!

√

√

2

Tidak, No! Is it your dog?

√

√

3

That’s crazy man! Aku gak mungkin makan daging anjingku sendiri

√

√

4

I love him so much

√

√

5

Same thing, I love my God so much, gak mungkin aku melanggar aturan dia.

√

√

55

SW

IL

T

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 56 No

Phenomena


M

Structural Based C

SW

6

Ass. Having a good time, right? Ini kari ayam masakan istriku untuk kamu.

√

√

7

Ayam, do wanna try?

you

√

√

8

Aku gasuka curry,bau banget!

√

√

9

Sorry ya ga bermaksud menghina masakan istri kamu.

√

√

10

Bukannya udah disiapin ruangan untuk kalian? Kalian belom tahu? It’s next to the pantry.

√

11

Bagus, bagus, ini design-nya.

√

√

12

Aku ingin menjadi designer busana muslim agar bisa keliling dunia dan melihat sejarah peninggalan bangsa Islam di Eropa.

√

√

13

Masa sih siswa brilliant kayak kamu belum siap ujian?

√

√

√

IL

T


No

Phenomena


M

√

Structural Based C

SW

√

14

And then, aku gak paham.

15

Semenjak kamu dekat dengan si curry man itu kamu berubah,Rangga.

16

Kamu bukan Rangga yang sama, yang waktu dulu datang pertama kali dan tinggal lama di apartment aku dulu.

√

17

Gilak tuh Prof. Reinhard. What was he thinking?

√

√

18

Aku heran aja sama kalian, kenapa kalian percaya sekali yang namanya doa, I”ll tell you something, yang paling penting itu berusaha

√

√

19

Bicara langsung dengan Prof. Reinhard and maybe, you guys are lucky, he might approve

√

√

√

√

√

IL

T


No

Phenomena


M

Structural Based C

20

Hai Rangga, Good luck

√

√

21

Nice to meet you too, Rangga banyak cerita tentang kamu.

√

√

22

No, he didn’t say that, dia bilang justru kamu punya rasa ingin tahu yang besar terhadap Islam.

√

√

23

Ujian. He’s an exam right now, he didn’t tell you?

√

√

24

Bye

√

25

Kadang, excuse me. Kadang kekerasan di beberapa tempat lebih didengarkan.

√

√

26

That’s terrorist

√

√

SW

√

IL

T


The Observation Checklist of the Types of Code-Switching in 99 Cahaya di Langit Eropa 2 Movie

S= situational code-switching M= metaphoric code-switching C= conversational code-switching SW=single-word code-switching IL=integrated loanword T= tag switching or emblematic switching

No

Phenomena


1

Thank you, thank you so much, F.. Mungkin kalau gak ada kamu diaudah balik ke Indonesia.

√

2

Satu lagi, ini kartu nama temenku di Paris, Marion, contact dia, dia akan

√

3

Yes, I get a lot, memang ketika di Paris, saya baru resmi menggunakan hijab, dan Alhamdulillah banyak sekali manfaatnya

√

M

Structural Based C

SW

√

√

√

IL

T


No

Phenomena


M

Structural Based C

SW

4

And I’m realized menggunakan hijab adalah cara wanita Islam menjaga kehormatannya

√

√

5

Dan people will treat you differently, different respect for

√

√

6

No, engga

√

√

7

Okay, sekarang Mrs. Rangga daripada telat.

√

√

8

Oiya, saya harus tinggal dulu, I believe my wife in a good time. Mungkin kita bisa makan bareng setelah ini.

√

9

Tahukah kamu dimana itu “The City of Light”?

√

10

Iya karena mereka pikir itu cuma karya ornament biasa.

√

11

Finally we are at the top of the building. Ini adalah gerbang kemenangan disebut “Arc de Triumphe”

√

√

√

√

√

IL

T


No

Phenomena


M

Structural Based C

SW

12

Hanum perhatikan, kalau kita berjalan lurus, you see this

√

√

13

Disana ada .... and very beautiful place also, and after that

√

√

14

Ada museum

√

√

15

Jika kita terus berjalan terus kea rah timur, kita bisa menemukan bangunan yang paling impressive di muka bumi ini.

√

√

16

Engga ada yang special di Timur kecuali keluar dari batas Prancis.

√

√

17

Exactly! Di arah Paris, kearah tenggara.

√

√

18

I’m here, baru ditanyain, Hai .. panjang umur sekali

√

√

19

Thank you much, sebelumnya.

√

√

very tapi

IL

T


No

Phenomena


M

Structural Based C

20

I hope you don’t mind, boleh saya titip surat ini buat, Fatma?

√

√

21

Dan paket ini untuk Ayse, and please tell them. Saya benar-benar merindukan Ayse.

√

√

22

Hay, Rangga. Aku bawain makanan buat kamu, tenang aja dagingnya chicken kok

√

23

Let me get the straight, kamu puasa untuk dapat pahala?

√

24

Sure! Why not? It should be not hard, right? Sampai jam berapa?

√

25

Okay kita mulai dari sekarang ya

26

My friend, karena didunia ini gak ada yang gratis

SW

√

√

√

√ √

√

IL

T


No

Phenomena


M

Structural Based C

SW

27

Kamu takut, kalua ada apa-apa sama kamu, dan kamu masuk RS dan tidak ada yangpeduli, asuransi akan mengcover semuanya kan?

√

√

28

Kalau kamu ketabrak, dan asuransi tidak mengcover semuanya apa yang kamu lakuin?

√

√

29

Dear Fatma, apa kabar?semoga baikbaik saja ya.

√

√

30

By the way

31

Aku mengirim email tapi tidak ada kaar darimu

√

32

Kenapa mereka harus memaksakan kehendak untuk beribadah disana? Tell me!

√

√

33

Sebelum Spanyol took over this building

√

√

√

√ √

IL

T


No

Phenomena


M

Structural Based C

34

Whatever! Intinya kan begini

√

35

Kenapa harus dengan kekerasan seperti ini? That’s stupid man!

√

√

36

You know what, Stefan? Mereka bertiga datang ketempat ini untuk beribadah, betul?

√

√

37

Lalu mereka dicegah dengan kekerasan, that’s the stupid part! Kekerasan itu adalah kebodohan

√

√

38

Rangga, there you are. Aku dah cari kamu keman-mana ternyata disini, aku butuh bantuan kamu, Rangga!

√

√

39

Sebenarnya Cuma sebentaraja, soalnya kan Prof.Reinhard udah memberikan aku batas waktu utuk memasukkan proposal thesis ku, cumansampaisaatini

√

SW

√

√

IL

T


No

Phenomena


M

Structural Based C

SW

40

Sebelum aku lupa, Prof. Reinhard kan mengundang kita berdua ke Annual Gala Dinner

√

√

41

So, kamu temenin aku?

bisa

√

√

42

Jadi kan kita ke apartment mu?

√

√

43

Ini teh ciri khas Paskistan, teh ini ada sedikit kayu manisnya, ada sedikit pistachionya ada sedikit almond nya, sedikit kacangnya, sedikit bubuk sodanya.

√

√

44

Okay Rangga

√

√

45

Ini dia rekaman video yang kita buat saat jaman kuliah dulu

√

√

46

I just wanted to ask. Menurut aku, Rangga. Agamamu itu tidak adil, terutama terhadap perempuan.

√

√

IL

T


No

Phenomena


M

Structural Based C

SW

47

Kenapa laki-laki di agamamu itu diberbolehkan melakukan polygamy?

√

√

48

Setauku polygamy itu memang boleh

√

√

49

Hm, see?

50

Kalau mampu! Aku gamampu, karena tidak semua orang mampu melakukan polygamy

51

That’s the point!

√

√

52

You get it now, satu aja udah pusing

√

√

53

Thanks to you. Sebagian masukan dari kamu.

√

√

54

Nice, Rangga.. Jangan dimakan dulu, Rangga.

√

55

Good luck

√

√

56

Oh come on, Prof Reinhard kan mengundang kita untuk mewakili fakultas ini, ayo!

√

√

√

√ √

√

√

IL

T


No

Phenomena


M

Structural Based C

SW

57

Jangan sekali-kali kamu masukkin curry kamu itu

√

√

58

Ke dalam microwave ini

√

√

59

No, thank you. Aku ke perpustakaan dulu ya

√

60

Sudah sejauh mana? By the way, ku tadi habis dari kantornya Prof Reinhard dan kita tadi ngomong.

61

Maaf, it was just spotaneous

√

62

Kamu tahu dia liat saya seperti apa? Dia liat saya seperti terrorist yang membawa bom kemana-mana dan mengancam hidupnya

√

√

63

Look, Rangga! Saya menghargai kamu, karena kamu gak picik, kamu gak memandang aku sebelah mata walaupun aku tidak beragama

√

√

√

√

√

√

IL

T


No

Phenomena


Structural Based

M

C

√

√

64

Tapi si Khan, si curry man itu

65

I’m sorry Rangga.

66

Satu kampus panggil saya, curry man,papa curry

67

Dan mungkin juga kamu belum tahu itu, I hate curries

√

√

68

That’s the only thing di negara ini yang bisa saya beli murah dan halal selain babi

√

√

69

Save the last dance for me, please

√

√

70

Hati dan pikirannmu tidak disni, you are a good man. And I really appreciate that you kept your promise to me

√

√

71

Saya juga bukan professional, tapi kamu percaya sama aku

√

72

Gimana sih kamu, katanya dancer professional

√

√

SW

√ √

√

√

√

IL

T


Phenomena


M

Structural Based C

SW

73

Makan ikan asin sama sambel terasi aja banyak gaya “save the last dance for me?”

√

√

74

Yes, it’s cathedral now. Kita harus menghargai sejarah

√

√

75

Sebentar, sebentar.. sekarang hangat, you should try

√

√

76

Aku alcohol

gaminum

√

√

77

Begini, Rangga. Di kebanyakan ibukota besar di Eropa, air lebih mahal dibandingkan beer

√

√

78

Jadi gelandangan yang disana beli beer supaya mereka tidakmati kedinginan

√

√

79

Jadi semua orang yang minum alcohol pasti masuk neraka?

√

√

80

Berarti setan masuk ke neraka yang penuh api seneng dia, sambal jogetjoget minum wine

√

√

IL

T


Phenomena


M

Structural Based C

81

Sorry, maaf

√

82

Okay, now I get it. Jaadi setan di neraka itu menderita sekali ya?

√

√

83

Ya mungkin nanti temuin mereka di neraka dan bertanya sendiri, sekarang aku kedinginan, mau pergi dulu, see you tomorrow.

√

√

84

See you tomorrow, thank you Stefan!

√

√

85

Ehm.. so cold man!

√

√

86

Thank you, Rangga. It means a lot for me. Setelah semuanya selesai saya akan kembali lagi kesini.

√

√

87

Hey curry papa, disertasi kamu mengenai halaldan haram dalam kesuksesan bisnis di Eropa ga akan laku tau

SW

√

√

√

IL

T


Phenomena


M

Structural Based C

SW

88

You don’t have to say that. Kamu mau duluan? Mau duluan? Stephan, kamu gantiin saya tapi Khan tetap yang pertama.

√

√

89

Tidak perlu dengan kekerasan, stop!

√

√

90

Otakmu bagaimana? Normal?

√

√

IL

T


Appendix 2: The Observation Checklist of Reasons of Code-Switching in 99 Cahaya di Langit Eropa and 99 Cahaya di Langit Eropa 2 Movies The Observation Checklist of Reasons of Code-Switching in 99 Cahaya di Langit Eropa Movie TT= talking about particular topic QW= quoting someone’s word EE= expressing emphatic I= interjection RC=repetition use for clarification IC=intention for clarifying the speech content for interlocutor EI= expressing group identity MS= mood of the speaker HE= habitual expressions EP= emphasize a point switching NO

Phenomena

Reasons of Code Switching

TT

1

2 3

4

QW

EE

I

RC

IC

EI

MS

HE

EP

√

Agama kamu ribet banget,daging babi di Eropa ini enak banget, udah pernah nyoba? You’ve try! Tidak, No! Is it your dog? That’s crazy man! Aku gak mungkin makan daging anjingku sendiri I love him so much

√ √

√

72

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 73 NO

Phenomena


TT

5

6

7

Same thing, I love my God so much, gak mungkin aku melanggar aturan dia. Ass. Having a good time, right? Ini kari ayam masakan istriku untuk kamu. Ayam, do you wanna try?

8

Aku gasuka √ curry,bau banget!

9

Sorry ya ga bermaksud menghina masakan istri kamu.

10

Bukannya udah disiapin ruangan untuk kalian? Kalian belom tahu? It’s next to the pantry. Bagus, bagus, √ ini design-nya.

11 12

Aku ingin √ menjadi designer busana muslim agar bisa keliling dunia dan melihat sejarah peninggalan bangsa Islam di Eropa.

QW

EE

I

RC

IC

EI

MS

HE

EP

√

√

√

√

√


Phenomena


TT

13

14 15

16

17

18

19

QW

EE

I

RC

IC

EI

MS

HE

Masa sih siswa √ brilliant kayak kamu belum siap ujian? And then, aku gak paham. Semenjak kamu √ dekat dengan si curry man itu kamu berubah,Rangga. Kamu bukan √ Rangga yang sama, yang waktu dulu datang pertama kali dan tinggal lama di apartment aku dulu. Gilak tuh Prof. Reinhard. What was he thinking? Aku heran aja sama kalian, kenapa kalian percaya sekali yang namanya doa, I”ll tell you something, yang paling penting itu berusaha Bicara langsung dengan Prof. Reinhard and maybe, you guys are lucky, he might approve

EP

√

√

√

√


Phenomena


TT

QW

EE

I

RC

IC

EI

MS

HE

20

Hai Rangga, Good luck

√

21

Nice to meet you too, Rangga banyak cerita tentang kamu. No, he didn’t say that, dia bilang justru kamu punya rasa ingin tahu yang besar terhadap Islam. Ujian. He’s an exam right now, he didn’t tell you?

√

22

23

24

Bye

25

Kadang, excuse me. Kadang kekerasan di beberapa tempat lebih didengarkan. That’s terrorist

26

EP

√

√

√ √

√

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 76 The Observation Checklist of Reasons of Code-Switching in 99 Cahaya di Langit Eropa 2 Movie TT= talking about particular topic QW= quoting someone’s word EE= expressing emphatic I= interjection RC=repetition use for clarification IC=intention for clarifying the speech content for interlocutor EI= expressing group identity MS= mood of the speaker HE= habitual expressions EP= emphasize a point switching NO

Phenomena


TT

1

2

3

Thank you, thank you so much, F.. Mungkin kalau gak ada kamu diaudah balik ke Indonesia. Satu lagi, ini √ kartu nama temenku di Paris, Marion, contact dia, dia akan Yes, I get a lot, memang ketika di Paris, saya baru resmi menggunakan hijab, dan Alhamdulillah banyak sekali manfaatnya

QW

EE

I

RC

IC

EI

MS

HE

√

√

EP


Phenomena


TT

4

5

6

And I’m realized menggunakan hijab adalah cara wanita Islam menjaga kehormatannya Dan people will treat you differently, different respect for No, engga

QW

EE

I

RC

IC

EI

MS

HE

√

√

√

7

Okay, sekarang Mrs. Rangga daripada telat.

√

8

Oiya, saya harus tinggal dulu, I believe my wife in a good time. Mungkin kita bisa makan bareng setelah ini. Tahukah kamu √ dimana itu “The City of Light”? Iya karena √ mereka pikir itu cuma karya ornament biasa.

√

Finally we are at the top of the building. Ini adalah gerbang kemenangan disebut “Arc de Triumphe” Hanum perhatikan, kalau kita berjalan lurus, you see this

√

9 10

11

12

EP

√


Phenomena


TT

13

14 15

16

17

18

19

20

21

Disana ada .... and very beautiful place also, and after that Ada museum √

QW

EE

I

RC

IC

EI

MS

HE

√

Jika kita terus √ berjalan terus kea rah timur, kita bisa menemukan bangunan yang paling impressive di muka bumi ini. Engga ada yang √ special di Timur kecuali keluar dari batas Prancis. Exactly! Di arah Paris, kearah tenggara.

√

I’m here, baru ditanyain, Hai .. panjang umur sekali Thank you very much, tapi sebelumnya. I hope you don’t mind, boleh saya titip surat ini buat, Fatma? Dan paket ini untuk Ayse, and please tell them. Saya benarbenar merindukan Ayse.

EP

√

√

√

√


Phenomena


TT

22

23

24

25

26

27

28

29

Hay, Rangga. √ Aku bawain makanan buat kamu, tenang aja dagingnya chicken kok Let me get the straight, kamu puasa untuk dapat pahala? Sure! Why not? It should be not hard, right? Sampai jam berapa? Okay kita mulai dari sekarang ya

My friend, karena didunia ini gak ada yang gratis Kamu takut, √ kalua ada apaapa sama kamu, dan kamu masuk RS dan tidak ada yangpeduli, asuransi akan mengcover semuanya kan Kalau kamu √ ketabrak, dan asuransi tidak mengcover semuanya apa yang kamu lakuin? Dear Fatma, apa kabar?semoga baik-baik saja ya.

QW

EE

I

RC

IC

EI

MS

HE

EP

√

√

√

√

√


Phenomena


TT By the way

31

Aku mengirim √ email tapi tidak ada kabar darimu Kenapa mereka harus memaksakan kehendak untuk beribadah disana? Tell me! Sebelum √ Spanyol took over this building

33

34

35

36

37

Whatever! Intinya begini

EE

I

RC

IC

EI

MS

HE

EP

√

30

32

QW

√

√ kan

Kenapa harus dengan kekerasan seperti ini? That’s stupid man! You know what, Stefan? Mereka bertiga datang ketempat ini untuk beribadah, betul? Lalu mereka dicegah dengan kekerasan, that’s the stupid part! Kekerasan itu adalah kebodohan

√

√

√


Phenomena


TT

38

39

40

41

Rangga, there you are. Aku dah cari kamu keman-mana ternyata disini, aku butuh bantuan kamu, Rangga! Sebenarnya √ Cuma sebentar aja, soalnya kan Prof.Reinhard udah memberikan aku batas waktu utuk memasukkan proposal thesis ku, cuman sampai saat ini.. Sebelum aku lupa, Prof. Reinhard kan mengundang kita berdua ke Annual Gala Dinner So, kamu bisa temenin aku?

42

Jadi kan kita ke √ apartment mu?

43

Ini teh ciri khas √ Paskistan, teh ini ada sedikit kayu manisnya, ada sedikit pistachionya ada sedikit almond nya, sedikit kacangnya, sedikit bubuk sodanya.

QW

EE

I

RC

IC

EI

MS

HE

√

√

√

EP


Phenomena


TT

44

Okay Rangga

45

Ini dia rekaman √ video yang kita buat saat jaman kuliah dulu I just wanted to ask. Menurut aku, Rangga. Agamamu itu tidak adil, terutama terhadap perempuan. Kenapa laki-laki √ di agamamu itu diberbolehkan melakukan polygamy? Setauku √ polygamy itu memang boleh

46

47

48

49

Hm, see?

50

Kalau mampu! √ Aku gamampu, karena tidak semua orang mampu melakukan polygamy That’s the point!

51 52

You get it now, satu aja udah pusing

53

Thanks to you. Sebagian masukan dari kamu. Nice, Rangga.. Jangan dimakan dulu, Rangga.

54

QW

EE

I

RC

IC

EI

MS

HE

EP

√

√

√

√ √

√

√


Phenomena


TT

QW

EE

I

RC

IC

EI

MS

HE

55

Good luck

√

56

Oh come on, Prof Reinhard kan mengundang kita untuk mewakili fakultas ini, ayo! Jangan sekali- √ kali kamu masukkin curry kamu itu Ke dalam √ microwave ini

√

No, thank you. Aku ke perpustakaan dulu ya Sudah sejauh mana? By the way, ku tadi habis dari kantornya Prof Reinhard dan kita tadi ngomong Maaf, it was just spotaneous

√

57

58

59

60

61 62

Kamu tahu dia √ liat saya seperti apa? Dia liat saya seperti terrorist yang membawa bom kemana-mana dan mengancam hidupnya

√

√

EP


Phenomena


TT

63

64 65

Satu kampus √ panggil saya, curry man,papa curry

67

Dan mungkin juga kamu belum tahu itu, I hate curries That’s the only thing di negara ini yang bisa saya beli murah dan halal selain babi Save the last dance for me, please Hati dan pikirannmu tidak disni, you are a good man. And I really appreciate that you kept your promise to me

69 70

EE

I

RC

IC

EI

MS

HE

EP

√

Look, Rangga! Saya menghargai kamu, karena kamu gak picik, kamu gak memandang aku sebelah mata walaupun aku tidak beragama Tapi si Khan, si √ curry man itu I’m sorry Rangga.

66

68

QW

√

√

√

√ √


Phenomena


TT

71

72

73

74

75

76 77

78

QW

EE

I

RC

IC

EI

MS

HE

Saya juga bukan √ professional, tapi kamu percaya sama aku Gimana sih √ kamu, katanya dancer professional Makan ikan asin sama sambel terasi aja banyak gaya “save the last dance for me?” Yes, it’s cathedral now. Kita harus menghargai sejarah Sebentar, sebentar.. sekarang hangat, you should try Aku gaminum √ alcohol Begini, Rangga. √ Di kebanyakan ibukota besar di Eropa, air lebih mahal dibandingkan beer Jadi √ gelandangan yang disana beli beer supaya mereka tidakmati kedinginan

√

√

√

EP


Phenomena


TT

79

80

81 82

83

84 85 86

QW

EE

I

RC

IC

EI

MS

Jadi semua √ orang yang minum alcohol pasti masuk neraka? Berarti setan √ masuk ke neraka yang penuh api seneng dia, sambal jogetjoget minum wine Sorry, maaf Okay, now I get it. Jaadi setan di neraka itu menderita sekali ya? Ya mungkin nanti temuin mereka di neraka dan bertanya sendiri, sekarang aku kedinginan, mau pergi dulu, see you tomorrow. See you tomorrow, thank you Stefan! Ehm.. so cold man! Thank you, Rangga. It means a lot for me. Setelah semuanya selesai saya akan kembali lagi kesini.

HE

√ √

√

√ √ √

EP


Phenomena


TT

87

88

89 90

Solidaritas √ Kalian itu sudah keterlaluan. Rangga, kamu ini sudah diintimidasi oleh Khan. Bagaimana mungkin dia maju duluan? Hey curry papa, disertasi kamu mengenai halal dan haram dalam kesuksesan bisnis di Eropa gak akan laku tau You don’t have to say that. Kamu mau duluan? Mau duluan? Stephan, kamu gantiin saya tapi Khan tetap yang pertama. Tidak perlu dengan kekerasan, stop! Otakmu bagaimana? Normal?

QW

EE

I

RC

IC

EI

MS

HE

EP

√

√ √

STUDY OF CODE-SWITCHING IN THE SEQUEL OF 99 CAHAYA DI LANGIT EROPA MOVIES

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