Women’s Language Features Used By Female Characters In Cruella Movie

Authors

  • Ni Komang Trisna Kiranidewi Universitas Udayana
  • I Made Netra Universitas Udayana
  • I Nyoman Tri Ediwan

DOI:

https://doi.org/10.55606/jpbb.v2i3.1530

Keywords:

Features, Functions, Movie, Women’s Language

Abstract

This study aimed to identify the features of women's language used by the female characters of the Cruella movie. The types of women's language features were identified based on the theory proposed by Coates (2013). The data of this study were taken from the female characters’ speech in the movie through observation and documentation methods. Screenshot and note-taking techniques were also used in the process of collecting the data in order to maintain the detail and accuracy of the data. The collected data were classified into the category of women's language features and analysed descriptively using qualitative research methods. The research findings were presented in the form of conversation from the data chosen that presented above the analyzing description. The results of this study showed that the female characters used all types of women's language in the movie Cruella, including; minimal responses, questions, hedges, tag questions, swearing and taboo language, compliments, and commands and directives.

References

Aini, L. M., 2016. Women Language Used by the Main Character of Mokingjay Movie. Malang: Universitas Islam Negeri Maulana Ibrahim.

Andriani, K., 2018. Women’s Language Features in Summer McKeen’s Vlogs. Denpasar: Universitas Udayana.

Apridaningrum, M. C.G., 2018. Women’s Language Features Used by Sarah Sechan in Her Talk Show. Yogyakarta: Universitas Sanata Dharma.

Chaer, A., & Agustina, L., 1995. Sosiolinguistik Pengantar Awal. Rineka Cipta, Jakarta.

Coates, J., 2004. Women, Men and Language: A Sociolinguistic Account of Gender Differences in Language. Longman, Harlow.

Coates, J., 2013. Women, Men and Language: A Sociolinguistic Account of Gender Differences in Language, 3rd ed. Routledge, New York.

Eckert, P., & Ginet, S., 2003. Language and Gender. Cambridge University Press, New York.

Garner, R., 2001. Where Listeners Talk: Response Tokens and Listener Stance. John Benjamins Publishing Company, Philadelphia.

Halliday, M. A. K., & Hasan, R., 1989. Language, Context and Text: Aspects of Language in a Social-Semiotic Perspective, 2nd ed. Oxford University Press, Oxford.

Holmes, J. 1992. An Introduction to Sociolinguistics, 1st ed. Routledge, New York.

Holmes, J. 2013. An Introduction to Sociolinguistics, 4th ed. Routledge, New York.

Hornby, A. S., 2000. Oxford Advanced Learner's Dictionary of Current English. Oxford University Press, Oxford.

Imorou, N., & Salami, A., 2021. Analyzing Women’s Language in Lorraine Hansberry’s A Raisin in the Sun: A Sociolinguistics Approach. International Journal of Education Humanities and Social Science, 4, 253-269. https://ijehss.com/uploads2021/EHS_4_273.pdf

Jakobson, R., 1987. Language in Literature. Cambridge Press, London.

Khosravizadeh, P., & Khaniarzadeh, N., 2015. The Study of Women’s and Men’s Language: A Questionnaire-Based Study. International Journal of Academic Research, 22, 389-393. http://sina.sharif.edu/~khosravizadeh/content/Link/THE%20STUDY%20OF%20WOMEN%E2%80%99S%20AND%20MEN%E2%80%99S%20LANGUAGE-%20IJAR.pdf

Lakoff, R., 1975. Language and Women’s Place. Harper and Row Publisher, New York.

Putri, P., 2019. Women’s Language with Reference to Miss Pym Dispossess by Josephine Tey. Denpasar: Universitas Udayana.

Sidemen, I. B., 2021. Women’s Languge Features Used by Characters in Movie “Tinkerbell: Secret of The Wings”. Denpasar: Universitas Udayana.

Soeparno., 1993. Dasar-Dasar Linguistik. Mitra Gama Widya, Yogyakarta.

Wardhaugh, R., & Fuller, J. M., 2015. An introduction to Sociolinguistics, 7th ed. John Wiley & Sons, Inc.

Downloads

Published

2023-06-27

How to Cite

Ni Komang Trisna Kiranidewi, I Made Netra, & I Nyoman Tri Ediwan. (2023). Women’s Language Features Used By Female Characters In Cruella Movie. Jurnal Pendidikan, Bahasa Dan Budaya, 2(3), 11–17. https://doi.org/10.55606/jpbb.v2i3.1530