The Transitivity Analysis of Joker's Utterances in Alan Moore's Batman

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THE TRANSITIVITY ANALYSIS OF JOKER’S UTTERANCES IN ALAN MOORE’S BATMAN: THE KILLING JOKE

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

By MICHAEL VEGETA BUDI ROSEANTO Student Number: 164214144

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2020

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THE TRANSITIVITY ANALYSIS OF JOKER’S UTTERANCES IN ALAN MOORE’S BATMAN: THE KILLING JOKE

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

By MICHAEL VEGETA BUDI ROSEANTO Student Number: 164214144

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2020

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MOTTO PAGE

It's all a joke! Everything anybody ever Valued or struggled for... It's all a monstrous, demented gag!

-Joker, Batman: The Killing Joke (1988)

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ACKNOWLEDGEMENTS

First of all, I would like to give my advisor Arina Isti’anah S.Pd.,

M.Hum., and co-advisor Fransisca Kristanti, S.Pd., M.Hum., my most enormous gratitude for pushing, and gladly providing advice and help to me to finish my undergraduate thesis. Secondly, my vast appreciation goes to the professors and staff of the English Letters Department of Sanata Dharma University for providing me with the best learning environment I could ever ask for. Third, my sincere indebtedness goes to my classmates who have worked and had fun with me throughout my college years.

Lastly, to my parents, who have worked so hard to raise and provide the best education for me, I know I am far from the perfect son to you, and you also have your flaws. Despite all that, it is unmanageable for me to be who and where I am today, so thank you.

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TABLE OF CONTENTS

TITLE PAGE ...... ii APPROVAL PAGE ...... iii ACCEPTANCE PAGE ...... iv STATEMENT OF ORIGINALITY ...... v LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ... vi MOTTO PAGE ...... vii ACKNOWLEDGEMENTS ...... viii TABLE OF CONTENTS ...... ix LIST OF TABLES ...... xii ABSTRACT ...... xiii ABSTRAK ...... xiv

CHAPTER I INTRODUCTION ...... 15 A. Background of the Study ...... 15 B. Problem Formulation ...... 20 C. Objectives of the Study ...... 20 D. Definition of Terms ...... 21

CHAPTER II REVIEW OF LITERATURE ...... 23 A. Review of Related Studies ...... 23 B. Review of Related Theories ...... 26 1. Stylistics ...... 26 2. Systemic Functional Linguistics ...... 27 a. Field ...... 28 b. Tenor ...... 29 c. Mode ...... 29 3. Transitivity ...... 29 a. Behavioral Process ...... 30 b. Existential Process ...... 30 c. Material Process ...... 30 d. Mental Process ...... 31

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e. Relational Process ...... 32 f. Verbal Process ...... 33 g. Circumstances ...... 33 4. Theory of Character and Characterization ...... 34 C. Theoretical Framework ...... 36

CHAPTER III METHODOLOGY ...... 37 A. Object of the Study ...... 37 B. Approach of the Study ...... 38 C. Method of the Study ...... 39 1. Data Collection ...... 39 2. Data Analysis ...... 40

CHAPTER IV ANALYSIS RESULTS AND DISCUSSIONS ...... 42 A. Transitivity in Joker’s Utterances...... 42 1. Material Processes ...... 44 2. Relational Process ...... 49 a. Possessive-Attributive Relational ...... 51 b. Intensive-Attributive Relational ...... 52 c. Intensive-Identifying Relational ...... 53 3. Behavioral Process ...... 55 4. Mental Process ...... 56 5. Existential Process ...... 58 6. Verbal Process ...... 60 7. Circumstance ...... 61 B. Joker’s Character ...... 65 1. Joker as a round character ...... 65 a. Joker as a nihilist ...... 65 b. Joker as a manipulator ...... 67 c. Joker as a self-conscious person ...... 68 d. Joker as a sadistic ...... 69 e. Joker as an analogist ...... 70 2. Joker as a static character ...... 73

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CHAPTER V CONCLUSION ...... 75

REFERENCES ...... 76 APPENDICES ...... 78 Appendix 1: Summary of Material Clauses in Joker’s Utterance ...... 78 Appendix 2: Summary of Relational Clauses in Joker’s Utterance ...... 84 Appendix 3: Summary of Behavioral Clauses in Joker’s Utterance ...... 88 Appendix 4: Summary of Mental Clauses in Joker’s Utterance ...... 89 Appendix 5: Summary of Existential Clauses in Joker’s Utterance ...... 90 Appendix 6: Summary of Verbal Clauses in Joker’s Utterance ...... 91

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LIST OF TABLES

No. Table Page

1. Table 1. Transitivity summary of Joker’s utterances 27 2. Table 2. Relational Clause Types Summary in Joker’s Utterance 35 3. Table 3. Circumstance Types Summary in Joker’s Utterance 47 4. Table 4. Summary of Joker’s Utterances in Each Scene 58

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ABSTRACT

Roseanto, Michael V. B. (2020) THE TRANSITIVITY ANALYSIS OF JOKER’S UTTERANCES IN ALAN MOORE’S BATMAN: THE KILLING JOKE. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma. Joker is a classic Batman villain who has gained his popularity throughout the pop culture industry. Joker made his first appearance in 1940 in Batman the comic book. The creator of Joker is Bill Finger, Bob Kane, and Jerry Robinson. This study uses Joker’s utterance from a comic book by Alan Moore entitled “Batman: The Killing Joke” that was published by DCcomics in 1988. The notion of stylistics is applied as a foundation of this study to analyze the utterances. The clauses from the utterances are analyzed using SFL (Systemic Functional Linguistics) to reveal the writer’s transitivity style and Joker’s character as the following step. For this study to be coherent, there are two formulated questions functioning as the guide for this study to not stray from the notion of stylistics. The first question is used to identify the writer’s transitivity patterns in Joker’s utterances, and the second question is used to reveal Joker’s character based on the findings from the first question. The data collection method is a non-random sampling method, which is purposive sampling. Purposive sampling is adequate to select the relatively raw data that is significant for the Goal of this study. After sampling, there are a total of 216 declarative clauses uttered by Joker. The raw collected 216 clauses are analyzed using SFL to determine the transitivity types that occur. There are six types of transitivity found within the 216 clauses – Material (86), Relational (72), Behavioral (22), Mental (21), Existential (8), and Verbal (7). Based on the previous findings, Joker is characterized as a static-round character with five traits – as a nihilist, manipulator, analogist, sadistic, and self-conscious person.

Keywords: Joker, Transitivity, SFL (Systemic Functional Linguistics), character

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ABSTRAK

Roseanto, Michael V. B. (2020) THE TRANSITIVITY ANALYSIS OF JOKER’S UTTERANCES IN ALAN MOORE’S BATMAN: THE KILLING JOKE. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma. Joker adalah karakter penjahat atau musuh klasik Batman yang sudah pupoler di industri budaya pop. Joker pertama kali muncul pada tahun 1940 di serial komik Batman. Joker menjadi populer di kalangan hiburan populer setelah debutnya. Joker diciptakan oleh Bill Finger, Bob Kane, dan Jerry Robinson. Karya ilmiah ini menggunakan Joker versi Alan Moore dari buku komik Batman: The Killing Joke yang diterbitkan oleh DCcomics pada tahun 1988. Karya ilmiah ini mengimplementasikan Stilistika sebagai dasar ilmu untuk analisis klausa-klausa dari ucapan-ucapan Joker dalam komik tersebut. Klausa-klausa tersebut kemudian dianalisis menggunakan Linguistik Fungsional Sistemik untuk menemukan jenis transitivitas dalam klausa-klausa tersebut. Kemudian, sebagai langkah lanjutan, data dari analisis sebelumnya diolah untuk menentukan tipe karakter Joker. Agar karya ilmiah ini menjadi koheren, ada dua pertanyaan yang diformulasi sebagai landasan dasar penelitian. Pertanyaan pertama digunakan untuk mengetahui jenis transitivitas apa saja yang muncul dalam klausa-klausa yang diperoleh. Pertanyaan kedua digunakan untuk mengungkap karakter Joker berdasarkan hasil analisis dari pertanyaan pertama. Metode pengumpulan data yang digunakan adalah sampling non-random, atau teknik sampling bertujuan. Metode ini cocok untuk memilah data yang dianggap memiliki dampak yang relevan terhadap hasil penelitian. Dari metode ini, didapatkan 216 klausa deklaratif. Kemudian, ke-216 klausa dianalisis menggunakan Linguistik Fungsional Sistemik untuk mengidentifikasi pola transitivitas penulis. Ditemukan ada enam tipe transitivitas dari ke-216 klausa – Material (86), Relasional (72), Perilaku (22), Mental (21), Eksistensial (8), dan Verbal (7). Langkah berikutnya adalah menyimpulkan karakter Joker dari hasil tersebut. Dari hasil analisis kedua disimpulkan bahwa Joker adalah karakter statik-menyeluruh yang dilengkapi dengan lima karakteristik – sebagai nihilis, manipulator, analogis, sadistik, dan mawas diri. Kata kunci: Joker, Transitivity, SFL (Systemic Functional Linguistics), character

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CHAPTER I

INTRODUCTION

A. Background of the Study

The history of comics or graphic novels is interesting because it is developing rapidly. Before becoming the multi-panel books that they are today, comics used to be a single-panel strip intended for humor or advertisement back in the early1900s (Petty, 2006). Soon, they became popular and made their way into newspaper in the United States. Later on, they became a rich creative media for writers and artists. In Indoneisa, comic strips made their way into local newspapers, such as Mice Cartoon and Si Juki. As digitalization comes, comic strips are surviving by going digital, some popular online strips from Indonesia are

Tahilalats, Komikazer, and Masdimboy. Comic strips evolve more than that. From only a single page of humorous content, they evolve into multi-panel pages with various other contents such as action, mystery, or even fantasy.

There are several ages in comics’ development. The first is The Golden

Age (1938-1949), then The Atomic Age (1949-1956), next is The Silver Age (1956- ca. 1970), followed by The Bronze Age (ca. 1970-1980), and lastly The Modern Age

(ca. 1980-present) (Petty, 2006). The Golden Age is marked by the born of The Man of Steel or Superman in Action Comic #1. The Atomic Age is dominated by horror and science fiction themed comics. DCcomics was born in The Silver Age along with the red speedster, The Flash. In The Bronze Age, DCcomics halted a third of its production and basically was dominated by Marvel. In The Modern Age, Alan

Moore rocked the market with his gore graphic novel, Batman: The Killing Joke,

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and introduced a new idea of The Prince Clown of Crime, or widely known as Joker.

The infamous character Joker first appeared in the comic book Batman (1940).

Joker was created by Bill Finger, Bob Kane, and Jerry Robinson as an antagonist to the protagonist of the comic book Batman. Based on the definition from Concise

Dictionary of Literary Terms, an antagonist is a person or character who opposes the protagonist or main character within a story. To a certain extent, an antagonist can oppose the main character’s psychological value, ideology, and political identity (Baldick, 2001). Ever since then, Joker has become a cultural icon of a villain.

Since his first appearance, Joker has grown into a loved character along with the history of DCcomics. He has been an essential part of the DC Universe.

He also made it to some box-office hits portrayed by some different Actors. In the earliest age of Batman: The Movie (1966), Caesar Romeo had the honor to be Joker.

Later, during the late 80s, Jack Nicholson was allowed to be The Prince Clown of

Crime in Batman (1989). Then there is Mark Hamil, who dubbed the voice of Joker for several animated movies. The movies are Batman: The Animated Series (1992-

1994), Batman: Mask of the Phantasm (1993), The New Batman Adventures (1997-

1999), Superman: The Animated Series (1997), Batman Beyond: Return of the

Joker (2000), Justice League (2002-2003), Batman: New Times (2005), Batman:

The Killing Joke (2016), Justice League Action (2016-present), and the first box office movie where Joker is the protagonist, Joker (2019).

This study analyzes a specific version of Joker from a graphic novel or comic book – Alan Moore’s Batman: The Killing Joke published by DCcomics in

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1988. In 1989 Eisner Comic Industry Award, Batman: The Killing Joke won the

Best Graphic Album, Moore won the Best Writer, and Brian Bolland, the artist who drew the comic book, won the Best Artist category.

This research aims to reveal Joker’s character through the characterization that the author gives from a different angle. Characterization is a literary tool often used to represent the character’s thought, background, personality, and the list extend to show the development. Characterization can be implemented in two ways.

The first is implicit or indirect characterization. Implicit or indirect characterization is seen from the character’s thoughts, words, and actions. In other words, the audience must interpret the characters. The second is direct or explicit characterization. This method uses the author’s or narrator’s voice. In other words, the writer provides the details of the characters (Baldick, 2001). Joker’s characters are interpreted from the utterances, which means this will reveal Joker’s indirect characterization. The base of thoughts and works in the research are always related to Alan Moore’s writing style, which gives Joker his traits as a character throughout the comic book.

Then, the clauses from the utterances, which are taken as the data, are analyzed using transitivity from SFL (Systemic Functional Linguistics) point of view. SFL is how language is used practically to fulfill its function in real life

(Haliday & Matthienssen, 2004). SFL is a new understanding of how language revolves around the notion of its function. SFL treats language based on its context.

According to (Butt et al, 1998), there are two contexts, context of culture and context of the situation. The context of culture builds the general idea of how

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language is used. The context of the situation determines a more specific form of language. However, both two contexts can overlap. The difference between negotiating in a traditional market and a formal business meeting is an example of how those two contexts can overlap. The context of the situation is the same, negotiation. However, the context of culture is different, one is informal, and the other is somewhat stricter.

Transitivity analysis focuses on the process of the clause, which is in the form of verbs. Transitivity is described as, “A category used in the grammatical analysis of clause/ sentence constructions, with particular reference to the verb’s relationship to dependent elements of structure,” (Crystal, 2008, p. 494). As mentioned before, the ‘head’ of transitivity analysis is verbs. Verbs are crucial to form a clause or sentence. Without verbs, there will not be a clause whatsoever in

English syntax. However, the dependent elements that revolve around the verb are just as vital. In SFL’s transitivity, the verbal group is called process. According to

Halliday, there are six kinds of process – Material, Mental, Verbal, Behavioral,

Existential, and Relational. Those processes have various dependent elements. For example, the Material process has Actor, Goal, and Range. There is one dependent element or Participant that every process shares, that is Circumstance (2004).

Characters and transitivity is a common combination in stylistics. Two of the related studies apply transitivity to reveal characters. Those are Tia Xenia’s

(2014) A Transitivity Analysis of Miranda in “Sexy”: the Character in Jhumpa

Lahiri’s Short Story, and Simon A. Manggala’s (2017) The Transitivity Process

Patterns and Styles in the Characterization of the Protagonist Character in Phuoc’s

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“The Story of Tam and Cam.” Xenia’s study reveals Miranda’s characters as a thinker who is defensive, passive, and sensitive. Xenia concludes those characters based on what each process reveals.

Meanwhile, Manggala reveals Tam as a diligent, obedient, and kind through the process-participant pattern. The two studies use prose as the data source. Proses is a rich material when it comes to syntax or sentences. However, that does not make other resources less productive. In this study, the data source is the utterances of a specific character.

The data are collected from Joker’s utterances, which have declarative clauses. In narratives, the author has several ways to describe a character. One is through direct narration from the author or other characters. The other is through the character’s thought, utterance, or action. In graphic novels or comic books, utterances are the fundamental element to form the storyline since the characters’ interactions with other characters, their thoughts, and speeches are represented in utterances rather than writers’ narrations. Declarative clauses are the ones containing Declarative Mood in it. Generally, a Mood contains a Subject and a

Finite. The Finite can function as a time marker and modal within a clause (Butt, et al, 1998), for example, “Memories can be vile, repulsive little brutes,” (Moore &

Bolland, 1988, p. 26). From the clause, the Finite, ‘can’, functions as a modal, while the subject is always in the form of noun phrase, ‘memories’. The pattern of

Declarative Mood is Subject, followed by Finite.

Therefore, this research will be helpful for those who want to explore the relation between a character in a literary work and the writer’s writing style that

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provides the characterization. In addition to that, Joker, the character whose utterances are analyzed, has always been a fan-favorite character. In (Gold, 1988),

Joker is a great character because of three traits that he has; first, Joker is scary and does scary things. Joker introduces fears like no other characters. The second trait is Joker’s unusualness – as a criminal mastermind, he is a goofy clown that pulls jokes in between the act. The third trait is how Joker “enjoys evil because evil is as deranged as he is” (Gold, 1988, p. 7). Those traits are visible from Joker horrendous crime throughout his history. However, this study focuses on Joker’s utterances.

Hopefully, this study can reveal similar traits even though the focus of the discussion is not limited to Joker’s dreadful act alone. As a deeper benefit, the researcher hopes that the readers would get a rough idea that one’s act, utterances, and psychic state contribute to affect each other. Moreover, this research contains an in-depth discussion about SFL, especially transitivity, and how the participants are distributed among the processes.

B. Problem Formulation

Based on the background above, two problems are formulated as follows.

1. What types of transitivity patterns are used by Joker in Alan Moore’s Batman:

The Killing Joke?

2. How do the transitivity patterns and the numbers reveal the character of Joker?

C. Objectives of the Study

According to the problem formulation, there are two objectives of this research. The main objective is to reveal Joker’s characters through his utterances which have declarative clauses. The declarative clauses have a significant number

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compared to the imperative and interrogative. However, to get there, the distributions and the kinds of participants must be Identified beforehand using SFL.

The identification will consist of the kinds – Actor, Goal, Behaver, Phenomenon,

Identifier, Identified, Carrier, Attribute, Sayer, Verbiage, Existent, and

Circumstance. After the identification process is done, the distribution of which pattern occurs most and least can be seen.

D. Definition of Terms

There are some specific terminologies which are used in this research. To avoid misunderstanding between the readers and the intended context by the researcher, this section functions to provide descriptions regarding the specific terminologies. The definitions of utterance, character, characterization, and transitivity are provided as follows.

An utterance is defined as a stretch of speech without assumptions in linguistic theory. An utterance is more flexible compared to a sentence for an utterance extend to the use of “pause, change of rhythm, breath patterns, pitch movement, etc.” (Crystal, 2008, pp. 505-506). In this study, Joker’s utterances will be the source of the data.

Character is “personage in narrative or dramatic work” (Baldick, 2001, p. 37). In other words, the readers can say that a specific character is evil, charming, kind, or hilarious. The most popular characters occurring in most literary work sure are humans. However, characters in literary work are not just humans. It can be other animate things like animals such as Mufasa, Simba, Timon, and Pumba in

Lion King. In Toy Story, the characters are not even animate things in real life, and

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that is okay. Those characters undergo a personification, thus, turning them more

‘human’.

Characterization, as briefly put on the background of the study, is a literary tool which is used to represent the wholesomeness of characters or persons in literary work. According to Baldick in (2001), characterization is

the representation of persons in *NARRATIVE and dramatic works. This may include direct methods like the attribution of qualities in description or commentary, and indirect (or 'dramatic') methods inviting readers to infer qualities from characters' actions, speech, or appearance. (p. 37)

In this case, Joker’s characters will be interpreted through his utterances. In other words, the characterization process is indirect since the data will be taken from

Joker’s speech containing a declarative clause in it.

Transitivity in SFL does differ from traditional grammar, which only focuses on the verb’s ability to have specific numbers of arguments or participants.

In SFL, the verb’s transitivity expands to the kinds, not only on the numbers of participants. Both indeed revolve around the verb, but the discussed matters are slightly different. In SFL, there are terminologies such as Mental Process, Material

Process, Behavioral Process, those processes are verbs being connected to its experiential meaning (Haliday & Matthienssen, 2004).

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CHAPTER II

REVIEW OF LITERATURE

This chapter contains brief reviews of the literature which are relevant to this study. They are a review of related studies, theories, and the theoretical framework. There are four related studies and theories. Related studies are other studies that have been published beforehand, while related theories are the base knowledge for this study. The theoretical framework contains the elaboration on the way the related studies relate to this study, and how the theories apply to this study.

A. Review of Related Studies

There are four studies that are related to this study. The first one is entitled

“Noun Phrases of Jace Wayland’s Utterances in Mortal Instruments: City of Bones” by Pratama (2017). The purpose of this study is to reveal the characters of Jace

Wayland, using a stylistic approach, towards his utterances of noun phrase within the novels. In Pratama’s study, the noun phrases are divided into two kinds – simple and complex. Simple NP refers to the one without modifiers, and the complex one refers to the ones with modifiers – whether it’s pre-modifiers or post-modifiers.

Then the distribution of the NPs is provided – whether it functions as an object, subject, object complement, or subject complement. Afterward, Jace Wayland’s characterization can be concluded from the analyzed data shown. He is described as a descriptive and direct character based on the NP uttered (Pratama, 2017).

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The second one is entitled “The Joker: A Character Study of a Modern

Madman” by Ewald (2017). In his study, Ewald analyzed Joker’s characters or traits of evil and villainy and the mirror of his heroic complement – as good and bad, hero and villain. Ewald approaches the character’s traits from a psychology point of view. There are some versions of Joker that Ewald treats as subjects. The versions are taken from Alan Moore's Batman: The Killing Joke, Jim Starlin's Batman: A

Death in the Family, and the graphic novel The Joker: Death of the Family regarding to Joker’s madness and morality to his side of evil within the comic books. As it is seen from a psychology point of view, Ewald diagnosed that Joker is truly a psychopath. He is both an extrovert and an antisocial psychopath in a way

(Ewald, 2017).

The third one is a study of the transitivity process pattern by Xenia (2014) to reveal the characters of Miranda in Jhumpa Lahiri’s Short Story. Xenia’s approach is stylistic. Xenia analyzed all processes, sentences, or lines related to

Miranda to reveal the characters. Xenia used a Systemic Functional Linguistics to analyze those objects. Xenia’s analysis revolves around the process occurring in the story. Xenia provided the table of the analysis in which contains what process occurs the most (Mental for 50%) and the least (Existential for 0.98%). Later, Xenia draws the conclusion of Miranda’s characters based on the analysis of each process.

The mental process reveals Miranda’s character as a caring, positive, and sensitive thinker. The verbal process reveals Miranda as a passive person. The Behavioral process reveals Miranda as a quiet, and enhances the thinker trait. The material process enhances Miranda as a passive person. The relational process reveals

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Miranda as a good-looking woman. The Existential process does not participate in giving Miranda her traits. From the analysis, Miranda is characterized as “a defensive, passive, sensitive, kind, lonely woman,” (Xenia, 2014).

The last study is a study of transitivity and style by Manggala (2017) entitled The Transitivity Process Patterns and Styles in the Characterization of the

Protagonist Character in Phuoc’s “The Story of Tam and Cam”. Manggala tries to apply SFL’s transitivity to analyze the characterization of the protagonist of the story, Tam. He collected the data from each clause from the story. Each clause is being classified based on the predicators or processes. In the end, Manggala finds that Tam is diligent, obedient, and kindhearted.

The first study shares the same methodology on how this study will be conducted – by identifying the characterization of the utterances. The second study shares the same character to be analyzed, Joker, even though this study focuses on

Alan Moore’s version of Joker. The third study shares the same theory to select the data, Systemic Functional Linguistics. Both Pratama’s and Xenia’s studies have inspired the researcher, Pratama applies stylistics to approach the object by figuring the distinct style or pattern of the language used to give characterization to a character. In contrast, Xenia applies SFL to figure the characterization of a character. The last study by Manggala employs transitivity, just like Xenia’s, to reveal the characters of a specific character within the literary works. This research also employs the same concept as those two, but the literary work is different, and the data collected are taken from the character’s utterances only.

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B. Review of Related Theories

In this section, the theories which are applied in the research are compactly described. There are four theories. They are the theory of stylistics, systemic functional linguistics, transitivity, and character and characterization.

1. Stylistics

Stylistics is the study of distinctive patterns of language. Also, language has different patterns for each occasion. A headline in the news will have a different pattern to a blurb – it can be the diction, punctuation, or even the sound when the words are spoken. Verdonk defines stylistics “as the analysis of distinctive expression in language and the description of its purpose and effect” (2002, p. 4).

Stylistics is the bridge between the literary world and linguistics. It connects the usage of linguistics features and literary devices such as figurative language, rhyme, imagery, amplifications, satire, and complex characterization.

Stylistics carries those literary devices into the language structure. The structure consists of seven layers – graphology, phonology, morphology, lexis, syntax, semantics, and pragmatics. According to Simpson (2004, p. 5), Graphology deals with the patterns of written language. Phonology deals with the sound of spoken language. Morphology deals with the construction of words. Lexis deals with the usage of words. Syntax deals with the structure of language. Semantics deals with the meaning of words and sentences. Pragmatics deals with the meaning of language in context.

Stylistics can be used to identify the style on every layer. In other words, stylistics can be used to identify from sounds to meaning. Stylistics figures distinct

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symbols, tropes, to rhetorical devices used in literary work from a linguistics point of view. From the list above, stylistics has its own kind of hard data, from phonetic transcription to structural breakdown using a tree diagram, which differs from the hard data from literary research. Since stylistics is a branch of applied linguistics, similar kinds of data are to be expected, such as sounds, typology, speech, phrase, and clauses. In this research, the layer which is analyzed is the syntax since the data collected are in the form of clauses.

2. Systemic Functional Linguistics

Systemic Functional Linguistics is the usage of language that is practical in real life (Haliday & Matthienssen, 2004). In introducing SFL, it is better to start thinking that the language we use must be functional. Put it simply; a person must use a different language when he or she writes an email to a company where he or she applies for a job compared to when writing to a friend about his job application.

This is what grammarians call the context of the situation (Halliday, 1994). A different context produces different language styles; hence, language being functional and practical in real life.

In SFL, the context of the situation greatly affects the use of language, as can be seen from the example of writing a letter case previously. The phenomenon where the different context requires a different type of language indicates that there are parameters or limitations to language usage in real life. Therefore, grasping the concept of the parameters of the situational context in SFL is essential.

There are three parameters of the context of situations – field, tenor, and mode. “Field is what is talked or written about; the long- and short-term goals of

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the text. The tenor is the relationship between the speaker and the hearer. The mode is the kind of text that is being made” (Butt, et al, 1998, p. 13). These three parameters affect the use of language in real life. When someone is writing a cover letter for their resume, the tone and language style of the letter is different from when they write to their friends since they have different audiences, relationships, and the situational context for each letter.

After grasping the functional use of language, understanding what each parameter applies in practical language use is easier. The field deals with both inner and outer understanding of what the ‘going-on’ is (Haratyan, 2011). Tenor deals with the ‘who’ of the context. Put it functionally and simply, and tenor deals with demands, questions, or statements. The last is the mode. Mode deals with how language is used in real life (Haratyan, 2011). a. Field

The field is how language is used to encode the experience of the real world. Halliday describes it as “language as reflection”. Interestingly, the field is split into experiential meanings and logical meanings, which provides connection of the experiences (Butt, et al, 1998). Transitivity is the focus of the field.

Transitivity focuses on the process/predicate of a clause. It deals with how many and what participants each process can be aligned with the process. Gordon cried upon Barbara’s death. The breakdown of the previous sentence is, cried as the process, Gordon as a participant, which happens to be the subject, and Barbara’s death is another participant. A more detailed explanation is provided in the following sub-chapter.

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b. Tenor

The tenor is how language is used to communicate between persons. It is also used to find how necessary someone’s propositions (Butt et al., 1998). In other words, tenor can be both interactive and private. Mood, the relationship between

Subject and Finite, is the main attraction of tenor. The following sentence is an example; Patriots is defeated by the Ravens. Is defeated is the process, which is a material process. Patriots is the Subject, and by the Ravens is the residue. The

Subject is followed by the Process in the sentence, which means the sentence has a declarative mood. c. Mode

The mode is how language is used to put tenor and field together (Butt, et al, 1998). The main discussions in mode are theme and rheme. The theme is the first idea that a sentence or clause carries, while the rheme is the following idea or experience. The following sentence is an example of a theme and rheme scheme, that man in a black suit is Bruce Wayne. The first idea or experience the sentence carries is that man in a black suit. That phrase is the theme of the sentence. The other idea or experience the sentence carries is is Bruce Wayne. That phrase is the rheme.

3. Transitivity

Transitivity falls into tenor’s parameter (Haratyan, 2011). It focuses on the

Processes, represented in the form of Verb or Verb Phrase within a sentence or a clause. In traditional grammar, transitivity refers to how many arguments a verb can have (e.g., ditransitive means a verb has two arguments), while in SFL,

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transitivity puts more focus on how the Processes are used in real-world experience, or experiential meaning (Halliday, 1994). Based on the usage of the Processes, they are divided into Material, Behavioral, Mental, Relational, Verbal, and Existential. a. Behavioral Process

The Behavioral process is the combination of mental or psychological projection and physical activity such as smiling, laughing, crying, and staring. In other words, the Behavioral process is kind of a combination of mental and material processes (Halliday, 1994).

Structure wise, there is an entity that is ‘behaving’. The entity is labeled as

Behaver. Besides, there is a circumstance that is associated with the Behavioral process – Matter (Halliday, 1994). Gordon cried upon Barbara’s death is an example. Gordon is the Behaver, and Barbara’s death is the Matter. b. Existential Process

The Existential process deals with existence or happening (Halliday,

1994). The following sentence is an example of how Existential process form; there was a gunshot as an example. The process, was, shows that there is something that happened, a gunshot is labeled as Existent. In addition, this process has a distinct circumstance of time and place, such as in, there is a bucket under the table. The process is is, and the Existent is a bucket under the table. c. Material Process

As Halliday describes, “Material processes are ‘doing’ processes, which means that there is an entity that ‘does’ something – which may be done ‘to’ some

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other entity,” (1994, p. 110). The ‘doer’ is called as an Actor, while the ‘target’ that receives the doing is called Goal.

In other words, Material processes represent two possible types of clauses

– active and passive (Halliday, 1994). A clause is active if the Actor comes before the process, Joker shot Barbara. Joker is the Actor, and Barbara is the Recipient.

On the other hand, it is passive if the Goal, Barbara, comes before the process, was shot, then followed by the Actor, Joker, as in, Barbara was shot by Joker. This is what Halliday calls a Dispositive type.

The other type is called Creative type. In this case, the Actor does not have any Goals. Meaning it is not ‘someone does something to somebody or something else’, instead it is ‘someone brings about something’. Jim Gordon resigned. In this clause, the Actor is the only participant the process needs. The previous

Phenomenon shows that Material processes are not always tangible, bodily actions

(Halliday, 1994). d. Mental Process

Mental processes are the processes that include the projection of feelings, thoughts, and perceptions (Halliday, 1994). The projection is conducted because there is a need for a functional interpretation of specific processes. Joker liked killing people. In this clause, Halliday tries to abandon the Actor-Goal relationship to get a functional meaning. The process liked shows preference rather than doing.

Since the category of the process is different from the material process, the participant's mental process carries are also different. The participants in the mental process are no longer Actor or Goal; instead, they are Behaver and Phenomenon

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(Butt et al, 1998). Behaver is the entity that ‘senses’ something. The Phenomenon is the ‘something’. In the example earlier, Joker is the Behaver while killing people is the Phenomenon. e. Relational Process

The relational process is the process of being, becoming, or possessing, which means that there is an entity which relates to other entity. In other words, it does not deal with existence for Existential clause has its category. The relational process is divided into two modes, and three types – the modes are attributive and identifying, and the types are intensive, circumstantial, and possessive (Halliday,

1994). The types are derived from the English systematic construction of relational processes.

Attributive mode deals with the quality which is being ascribed to an entity. For example, Joker is crazy. There is an entity, Joker, that is qualified as crazy. The entity, Joker, is the Carrier, and the quality, crazy, is the Attribute. In attributive mode, the Carrier-Attributive relationship cannot be switched; crazy is

Joker, is therefore incorrect. The example earlier thus can be categorized as an

Attributive-Intensive process. An attributive mode is not limited to intensive only.

It can be both circumstantial and possessive, depending on the type of the process.

In the identifying mode, the entity is Identified with something else. For example, Joker is the Prince Clown of Crime. Joker is no longer the Carrier, rather

Joker is the Identified, and the Prince Clown of Crime is the Identifier. In the identifying mode, the relationship between the Identified and the Identifier can be switched. Hence, the Prince Clown of Crime is Joker is correct. The example earlier

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thus can be categorized as the Identifying-Intensive process. An identifying mode is not limited to intensive just like Attributive mode. f. Verbal Process

The verbal process is the process of saying. The term ‘saying’ covers “any kind of symbolic exchange of meaning” (Halliday, 1994, p. 140). The most common verb that occurs is ‘say’. The participants that revolve around the verbal process are Sayer, Receiver, and Verbiage. Sayer is the person who talks about something. The Receiver is the other person who listens or is intended to receive the message by the Sayer. The Verbiage is what the Sayer says. The following sentence is an example using a verbal process; Joker told me to shoot Barbara.

Joker is the Sayer, me is the Receiver, and to shoot Barbara is the Verbiage. Note that in a verbal clause, Receiver is not always needed, as Jake says he was okay. g. Circumstances

Circumstances are how the processes are associated with (Halliday, 1994).

In the following sentence, Batman caught Joker in the ally. Caught is the process.

Who got caught by who? Is the question to find the participants, which is Batman and Joker. Meanwhile, the ally is the circumstance of the sentence since it tells where the catching takes place. A circumstance can be Identified with such kinds of questions, where did it happen? Or how did it happen?

Halliday describes ten kinds of circumstances in transitivity. They are the circumstance of time – when, place – where, manner – how, reason – why, accompaniment – with whom or what, contingency – under what circumstance, role

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– into what, extent – at what interval, angle – in which point of view, and matter – about what (1994).

4. Theory of Character and Characterization

The theory of Character and Characterization is a standalone theory unlike the other three which are derived from linguistics point of view. This theory is derived from the literature point of view. The theory of Character and

Characterization is often equipped to interpret literary work based on the characters, their developments or changes, and how they are characterized by the author.

Characters are essential to literary works. Characters show how the plot develops. There are two kinds of characters stated by Abrams & Harpham; there are dynamic characters and static characters (Abrams & Harpham, 1981, p. 42).

Static characters are the characters that undergo an insignificant amount of change within the story or might not undergo any at all. Meanwhile, the dynamic ones may undergo several changes within the story. Those changes may involve the past of the characters, which, somehow, have an impact on the characters. Even though every character can be branded as the dynamic one, a character must undergo characterization by the author.

Forster in Abrams (1999) describes that there are flat and round characters.

Flat characters are characters without many individual details, and often are stuck with an idea or a Value. On the other hand, round characters are ‘complex’ characters. Those round characters are provided with plenty of individual details, and they are not bound to an idea alone. Round characters are often easier to be

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accepted by the readers since they portray human more realistically than flat characters.

A flat character can be both static and dynamic, and a round character can also be both static and dynamic. In Batman: The Killing Joke, Joker is given a drastic change from a comedian to a criminal mastermind. That is an example of how a round character is also a dynamic character.

Then, there is the protagonist versus antagonist. The protagonist is often simplified as the main character in a story, while the antagonist is everything against the protagonist. More often, the protagonist is depicted as a hero or heroine, while the antagonist is portrayed as a villain or other evil related entities.

Characterization is crucial in every literary work. Without it, a character would be meaningless and purposeless. M.J Murphy elaborates about how to do characterization of a character in literary works; there are nine ways to do so; personal description, character as seen by another, speech, past life, a conversation of others, reactions, direct comments, thoughts, and mannerism (Murphy, 1972, pp.

161-173).

As essential as characters are, characters will not be able to show their significance without characterization. Simply, characterization is how the author gives certain traits to the characters. For example, in Manggala’s study, Tam is a diligent, kindhearted, and obedient character. The characterization processes can happen in two ways – direct and indirect or, “telling and showing,” (Abrams M. H.,

1999). Direct characterization is done through the description that the author provides about Tam, and the indirect characterization is done through Tam’s

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speeches or thoughts and actions. In this case, the characterization process is analyzed from the writer’s style using transitivity.

C. Theoretical Framework

The theories above are essential to this research—stylistics functions as the baseline approach of this research to find the language style. SFL also functions as a basic understanding of the research. SFL provides layers and new matters to discuss in literary works. The layers of SFL being applied in this research is the field which later provides the understanding of transitivity.

The theory of transitivity is used as a significant understanding to analyze the data. The data are analyzed using transitivity to figure the pattern of the language used by the author of the graphic novel. The theory of transitivity also helps to reveal the number of distributions of each kind of process that later will be used to interpret the character.

The theory of character and characterization is crucial for this research.

Without this theory, the analysis cannot go further after the pattern and style are figured. This theory is used to identify what kind of character Joker is and how he is characterized by using his utterance by the author. Even though it is evident that

Joker is a round and dynamic character based on the storyline and general knowledge of Joker, the fact is yet to be supported by the findings.

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CHAPTER III

METHODOLOGY

This chapter is divided into three sub-parts. The first is the object of the study, second is the approach of the study, and the third is the method of the study, which is divided into two sub-parts – data collection and data analysis. The first sub-part provides the elaboration of the data and the source. The second subpart provides the elaboration of which knowledge is used as the underlying base of this research. Lastly, the third sub-part provides an elaboration on how the data are collected and how the data are analyzed.

A. Object of the Study

The object of the study are clauses, which are collected from a graphic novel entitled Batman: The Killing Joke, written by Alan Moore and initially published in 1988 by DCcomics. The term graphic novel is not conventional for people; instead, they refer to it as a comic book. Essentially, a graphic novel or comic book is a dialogue or narration with visualization using pictures or drawings

(Murray, 2017). In other words, graphic novels can be said as play scripts, but rather than using instruction, they use pictures or drawings to help to visualize the actions.

Since graphic novels have a significant number of dialogues or direct speech among the characters within, it is becoming evident that graphic novels use utterances as their tool to deliver the message.

Alan Moore’s Batman: The Killing Joke provides the readers with details of the making of the Prince Clown of Crime. Moore provides Joker’s backstory as

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a young stand-up comedian who is not so successful with his career. This young man, then, turns rouge, for he is desperate to make a living for his pregnant wife and himself. The young comedian tries to rob Ace Chemicals with his two friends dressing up as The Red Hood gang, in this occasion he meets Batman and fights, which later he falls into a pit of chemicals turning him into the laughing lunatic

Joker is.

The clauses function as the data of this research are taken from Joker’s utterances. In order to limit the analysis to make it understandable, the utterances taken are the ones with declarative mood only. As mentioned before, utterances are most of the text in graphic novels; it is no different from Batman: The Killing Joke.

B. Approach of the Study

Stylistics is what this study is based upon. According to Verdonk (2002), language style is different in every kind of text. For example, the style in a news headline is different from prose. The text number does not matter. The main concern in stylistics always includes four layers of language, graphology, phonology, lexis, and syntax.

This study explores language style in the syntactic levels because the data are clauses from a comic book. The language style is analyzed by identifying the transitivity patterns in the utterances of the round character to understand how the author characterizes him. In other words, stylistics can be used to get an understanding of a literary work from a linguistics point of view.

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C. Method of the Study

This study is a qualitative study with library research methodology. As described in (Kothari, 2004), library research is divided into two methods, the first is analysis of historical records, and the second is analysis of documents. Since the data source of this study is a book, this study fits into the second method. As of the technique applied in this study is content analysis of the comic book.

In this part, the method of the study is divided into data collection and data analysis. Data collection contains the method of sampling, which is non-probability sampling involving a selected set of data or purposive sampling. The data analysis includes how the raw collected data is processed.

1. Data Collection

In composing this study, the data are gathered using a non-probability sampling method, which is purposive sampling. Purposive sampling is a sampling method where the researcher selects a particular set of data that is considered most useful for the research purpose (McCombes, 2020).

As in this case, the writer chooses the resource that fits the purpose of this study. In other words, not all the clauses in the comic book are selected as the data.

From all the kinds of clauses appearing in the comic book, the writer limited the data into declarative clauses uttered by Joker only. The declarative clauses are selected because they are often used to express statements of the speaker. Another reason is that declarative clauses dominate the other kinds – imperative and interrogative.

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There are two steps to get the desired data. The first step is eliminating the non-declarative clauses using SFL’s tenor to determine the mood of the clause.

Those which do not fit the pattern of declarative mood, Subject followed by Finite, are not selected as the data. The second step is dividing the complex clauses into each clause. The second step is undergone to evade confusion in further data analysis since there are some complex clauses or sentences that were formed by two or more clauses such as,

The next, it leads you somewhere you don't want to go, somewhere dark and cold, filled with the damp, ambiguous shapes of things you'd hoped were forgotten. (Moore & Bolland, 1988, p. 27)

The sentence above has several verbs or processes; there are four to be exact. The processes are, leads, don’t want, to go, and had hoped. Those four processes were separated into each clause with each participant. In the process of collecting data, the researcher found 216 clauses containing six processes – Material (86),

Relational (72), Behavioral (22), Mental (21), Existential (8), and Verbal (7).

2. Data Analysis

The first step in analyzing the data was figuring out the transitivity patterns among the declarative clauses – how many of them have a material, mental, relational, Behavioral, Existential, and verbal process. This step was meant to pinpoint the number of each process occurrences.

Before going through the part where it reveals what kind of character Joker is, it is better to have an understanding that the processes are in the form of verbs.

However, the meaning of the verb is not the sole idea to identify them using SFL.

The meaning of the verb is related to the context of the situation of the clause. Such

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as the following clause, “I went crazy as a coot.” (Moore & Bolland, 1988). In the traditional understanding of the verb ‘went’, there are physical movements involved. In SFL, the processes must be related to their context to get the

‘functional’ meaning rather than just the meaning, how they are applied in real- world use (Haliday & Matthienssen, 2004). From the example earlier, the verb went represents the becoming of I into a state, crazy as a coot. Therefore, it fell into relational process rather than material process.

The second step was interpreting Joker’s characters from the findings of the first analysis. As mentioned before, the number of each process occurrences had significant aspect in this process. The findings of this step were presented based on the traits of the character rather than providing what each process revealed. In interpreting the traits of the character, the researcher used the context of the situation that the clauses carried. In addition to that, the participants of the clauses helped to support the findings. The findings are going to be provided in points, unlike the first analysis that has a table containing the findings summary.

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CHAPTER IV

ANALYSIS RESULTS AND DISCUSSIONS

In this chapter, the findings are put into two sub-chapters. The first contains what and how many kinds of the process occurring in Joker’s utterances, and the percentage of each process’s occurrence. Also, discussions on every occurring process are provided in the first sub-chapter. The second is Joker’s characters based on the first findings.

A. Transitivity in Joker’s Utterances

This part of the analysis uses the theory of transitivity to determine which clause possesses which kind of processes. As mentioned before, the clauses are limited to declarative clauses only. There are 216 declarative clauses occurring from Joker’s utterances throughout seven scenes. Six types of processes are found within the declarative clauses; they are Behavioral, Existential, mental, material, verbal, and relational processes. The summary of appearance is provided in the following table.

Table 1. Transitivity summary of Joker’s utterances

No. Transitivity Types Frequency Percentage 1 Material 86 39% 2 Relational 72 34% 3 Behavioral 22 10% 4 Mental 21 10% 5 Existential 8 4% 6 Verbal 7 3% Total 216 100%

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According to the findings, material, relational, and mental process occurred in all seven scenes. Thus, making those three processes well distributed for determining Joker’s character in later analysis. For the other three processes, the

Behavioral process did not occur only in the fourth scene. According to the frequency, the Behavioral process has only a clause difference with the mental process, that occurred in every scene, hence, making the Behavioral process a more focused type of distribution. The Existential process did not occur only in the fifth scene. According to its frequency, it is a fair and expected outcome for Existential process to be absent in one scene. Lastly, the verbal process did not occur in two scenes, the first and the third scene. Thus, making the distribution more focused.

From Table 1, first, material processes occur in 86 clauses out of 216 clauses, making material process the most in percentage with 39%. Second, relational processes occur in 72 clauses out of 216 clauses, making relational processes second in place based on the frequency with 34% occurrence. Third,

Behavioral processes occur in 22 out of 216 clauses, making Behavioral processes third in place based on the frequency with a 10% occurrence. Fourth, mental processes occur in 21 clauses out of 216 clauses, making mental process fourth in place based on the frequency with a 10% occurrence. Fifth, Existential processes occur in eight clauses out of 216 clauses, making Existential process fifth in place according to the frequency with a 4% occurrence. Finally, yet importantly, verbal processes occur in seven clauses out of 216 clauses, making verbal clauses sixth in place according to the frequency with a 3% occurrence.

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1. Material Processes

As can be seen from the previous table, the material process occurs 86 times out of the 216 clauses. As mentioned before, the material process is the process of doing or happening (Halliday, 1994). Other than circumstances, the participants found in the data are Actors, Goal, Range, Client or Beneficiary, and

Recipient.

According to the findings, there are two set of participants configurations that stand out. First, Actor-Goal configuration is the distinct pattern found with 19 occurrences out of 86 clauses found in material process, and Actor-Goal-

Circumstance configuration with also 19 occurrences. Actor occurs almost in every clause except in seven clauses. From those seven clauses, a clause has Range-

Circumstance configuration as the participants. Another clause has only Range as the participant. Two clauses have Goal-Circumstance configuration as the participants. Other two clauses have Goal-Recipient configuration as the participants. Lastly, another clause has Goal-Range configuration as the participants.

First, there is Actor. The Actor is often described as the doer or agent performing the action or process (Halliday, 1994). An Actor is essential in the material process since from 86 clauses, only 7 of them are without Actor as a participant. However, the finding does not mean the material process cannot be without an Actor as a participant as in, “… you received the free ticket…” The subject, you, does not function as the doer, but as the Client or Beneficiary who is given something.

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Second, there is Goal. The Goal is the entity, which is affected by the process or action (Halliday, 1994). The Goal is the second most essential participants in the material process after the Actor. Goal appears in 47 out of 86 material clauses. As it is for the Actor, it is the same for the Goal. Material clauses can be with or without one, and the position within the clauses is just as flexible as the Actor is. Some of the examples of material clauses with Actors and Goals occurring from Joker’s utterance are shown as follows.

We can’t face them (memories). 1. Actor Process-Material Goal

In (1), Joker uttered that to Gordon before he put the miserable James

Gordon through mental torture where he will be forced to see pictures of his stripped-down daughter with a bullet hole in the gut. In this scene, Joker tried to turn the righteous police commissioner, Gordon, into a lunatic like Joker by inducing the possible worst memory to create a trauma on Gordon’s life. We is the

Actor that resembles Gordon and Joker, or people in general. We is the entity that is unable to comprehend or can’t face, the Goal encoding harsh reality happening in the past, them.

Girlfriend killed by the mob. 2. Goal Process-Material Actor

Brother carved up by some mugger 3. Goal Process-Material Actor

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In (2) and (3), Joker uttered that to Batman while they fought the carnival.

Joker was so sure that he understood why Batman became what he was. Joker knew that Batman also had a trauma. Otherwise, he would not fight crime dressed as a bat. Joker tried to guess what the traumatic event was in (2) and (3). Both girlfriend and brother are not the Actors even though they are the subject of the clause.

Instead, they are the Goals because they are the entities that are directly affected by the processes, killed and carved up. In (2) and (3), the Actors are represented in prepositional clauses starting with by to encode the doer existence. In (2) and (3), the Actors are the mob and some mugger.

The ride could kill or maim innocent children. 4. Actor Process-Material Goal

In (4), Joker uttered that to the previous owner of the carnival, which he wanted to purchase. Joker did not purchase the carnival. Since moments later, he electrocuted the poor owner to death. The carnival was not fully functioning and joyful. It was an abandoned one where no one took care of the place and rides. In other words, the place was dangerous and had a depressing mood. The encoded danger is portrayed to the ride, as the Actor, represented in the process, could kill or maim, and directed to innocent children, as the Goal.

Third, there is Range. The Range is the entity that is not affected by the process in any way. Ranges provide information regarding the process’s extension or scope (Lock, 1996). Range is ranked third in occurrence within the material clauses since it occurs in 11 out of 86 clauses. Range is just as flexible as an Actor and a Goal. In ditransitive sentences or clauses, the Range can occur as a subject,

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before the process, or direct object, after the process. Some of the examples of material clauses with Range occurring from Joker’s utterance are provided as follows.

You to go somewhere dark and cold. 5. Actor Process-Material Range

In (5), Joker uttered that to Gordon before he put the miserable James

Gordon through mental torture where he will be forced to see pictures of his stripped-down daughter with a bullet hole in the gut. Somewhere dark and cold represent bad things that will happen to Gordon and Joker’s tormented past. As a

Range, somewhere dark and cold is unaffected by the process, to go. Moreover, somewhere dark and cold provides extensive information to the place where you head.

Workers will suit the general tone of the establishment. 6. Actor Process-Material Range

As for (6), Joker uttered that to the previous owner of the carnival who he murdered with an electric shock just before he said that to the deceased poor guy.

The general tone of the establishment is the Range because it is unaffected in any way by the process, will suit. As an addition, the general tone of the establishment represents a state of Goal on how Joker wanted the carnival to look.

Fourth, there is Recipient. The Recipient is the entity that receives the goods or services (Lock, 1996). Recipient is often ascribed as a person or animate things. In Joker’s utterances, the Recipient occurs in 8 clauses, with only one of

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them is not ascribing a person. Recipient is as flexible as Actor in terms of syntax positioning. It can be a subject, indirect object, and direct object, as in those examples.

You received the letter I gave you 7. Recipient Process-Material Goal

In (7), Joker uttered that to Batman when he saw Batman had arrived at the carnival, where he was torturing Gordon. Joker left a note in Gordon’s house for Batman, that note happens to be an invitation to the carnival. Joker wanted to prove that Gordon could be turned evil to Batman. In (7), you, as a Recipient who received the invitation Joker had sent, the letter I gave you, refers to Batman.

I shall pass along to you. 8. Actor Process-Material Recipient

In (8), Joker uttered that to Gordon when Gordon was put through the love tunnel where he is shown the horrifying pictures of his daughter, Barbara. Joker wanted to share his point of view regarding the world to Gordon. Joker only saw despair in the world, and that was how Joker wanted Gordon to see the world. That is the thing Joker wanted to pass along to the Recipient, which can represent a participant in a prepositional phrase within an adjunct (Lock, 1996), to you. You here refers to Gordon.

Fifth, there is Client or Beneficiary. The Client or Beneficiary is the entity that benefits from the process or action (Lock, 1996). In other words, it can be

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described as for whom the action happens. From 86 clauses, there are only three beneficiaries; they are represented in the following clauses.

It leads you somewhere dark and cold 9. Actor Process-Material Beneficiary Range

In (9), the Beneficiary you refer to Gordon. Joker uttered the clause in (9) before he put Gordon through the love tunnel. He uttered that to provide Gordon in the context of what comes after their lovely chat. In (9), you is the escorted entity by the ride to somewhere dark and cold, which refers to both the literal description of the place and metaphorical place for the worst memories.

A dose of reality does for you. 10. Actor Process-Material Beneficiary

Joker uttered the clause in (10) after Gordon got out of the tunnel, where he underwent a psychological breakdown from seeing the reality that his beloved daughter was shot in the gut. In (10), the Beneficiary is represented in the prepositional phrase initiated by the preposition for. You in (10) also refers to

Gordon after he had a mental breakdown. Joker wanted to point out that the reality is harsh. Reality did something harsh for people like Gordon.

2. Relational Process

The relational process occurs 72 times out of the 216 clauses. The relational process is a process that represents a being, possession or becoming

(Halliday, 1994). ‘Being’ in a relational process does not infer to existence rather

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to “something is being said to ‘be’ something else to the ‘being’” (Halliday, 1994, p. 119).

According to the findings, there is one distinct participants configuration found in the relational process. The configuration is Carrier-Attribute with 49 occurrences from 72 clauses. Other configurations found are Carrier-Attribute-

Circumstance with 17 occurrences, Identifier-Identified with four occurrences, and

Identifier-Identified-Circumstance with only two occurrences.

Necessarily, there are three types and two modes of relational processes.

The types are possessive, circumstantial, and intensive. While the modes are attributive and identifying, both of those modes are found within the 72 clauses.

However, only possessive – the ones that represent possession like have, and intensive – the ones that represent being and becoming like become, go, and turn, are among those 72 clauses. The distribution of each type’s occurrence is provided in the following table.

Table 2. Relational Clause Types Summary in Joker’s Utterance No. Relational Clause Types Frequency Percentage

1 Possessive-Attributive Relational 8 11%

2 Intensive-Attributive Relational 59 81%

3 Intensive-Identifying Relational 6 8%

Total 72 100%

From Table 2, seven clauses are representing identifying relational – “a is the identity of x” (Halliday, 1994, p. 119) and 67 clauses representing attributive relational – “a is the Attribute of x” (Halliday, 1994, p. 119). Besides, the attributive

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clauses have two different types; among them, 59 of the 66 are intensive, and the other eight are possessive.

In the relational process, the participants are determined by the modes.

Attributive relational has Carrier and Attribute, which roles and positions cannot be swapped. While identifying relational has Token and Value which position can be swapped. Position wise means that a Carrier always comes before the process and followed by the Attribute, unlike Token and Value, which both can be the subject and complement. a. Possessive-Attributive Relational

According to the findings, all the possessive processes are attributive. This means the participants for the possessive relational process are Carriers and

Attributes. That makes the Carrier as the possessor and the Attribute as the possessed entity. The following clause breakdown shows how possessive relational clauses are presented in Joker’s utterance.

You had a bad day. 11. Attribute Carrier Possessive-Attributive Possessed Possessor I have a past. 12. Attribute Carrier Possessive-Attributive Possessed Possessor

In (11) and (12), Joker talked about how he suffered from the society that quickly abandoned people like him to Batman. Joker referred “his past” as “a bad day” that had turned him into what he was.

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The first guy has an idea. 13. Attribute Carrier Possessive-Attributive Possessed Possessor

While in (13), Joker gave Batman an idea of how Joker sees Batman's proposal to help him after all the ruckus he had been through. Joker thought that they were both lunatics and would not be able to help each other

From those three examples, the Carrier is Attributed to an Attribute, or context-wise, the possessors – you, I, and the first guy possess the possessed entities

– a bad day, a past, and an idea. The relational possessive process of those three clauses is encoded in the verb have and its other form. As mentioned before, the position cannot be swapped. The possessed cannot be the possessor. Otherwise, it will produce an ill sentence like a past have me, or an idea has the first guy. b. Intensive-Attributive Relational

The other attributive mode found in Joker’s utterance is the intensive type that represents becoming and being. Then again, all processes that represent becoming is found only in attributive mode, while some of that represents being is in identifying mode. The following clauses are examples of intensive-attributive relational clauses in Joker’s utterance. The following clause breakdown shows how intensive relational clauses are presented in Joker’s utterance.

I go loony 14. Carrier Becoming-Attributive Attribute

15. Your kid turns blue.

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Carrier Becoming-Attributive Attribute

Human existence is mad, random and pointless. 16. Carrier Being-Attributive Attribute

Life is a bowl of cherries. 17. Carrier Being -Attributive Attribute

The previous four clauses are uttered when Joker talks to Gordon while torturing him as Joker wished to brainwash the righteous James Gordon. In (14) and (15), the Carriers – I and your kid, are represented to ‘become’ the Attributed qualities – loony and blue. As can be seen, the processes that encode the becoming of the Carriers are various. In (14) there is go, while in (15) there is turns.

However, those verbs share a similar context, which is ‘to be’ or ‘become’.

In (16) and (17), the Carriers – human existence and life, are simply

Attributed to other qualities – mad, random and pointless, and a bowl of cherries.

Being Attributed to those qualities or Attributes does not mean the Carriers can be

Identified by those Attributes. c. Intensive-Identifying Relational

In intensive-identifying relational clauses, the participants are no longer

Carriers and Attribute. Instead, the participants are called Token and Value, or, in a simpler term, the Identified and Identifier. The position of Token and Value does not bear the same circumstance as Carrier and Attribute. The Token can be the subject or the complement of the sentence. This circumstance applies to Value as well (Halliday, 1994).

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There are six identifying relational clauses out of 72 relational clauses.

Those six clauses happen to represent the process of being with the verb is and are.

In identifying mode, the Token is the Identified entity, while the Value is the other entity that is used to identify or represent the Token (Halliday, 1994).

There are three clauses set as examples of an intensive-identifying relational clause. The clauses are broken down to show the relationship between

Token and Value as follows.

He is the topping bill. 18. Token Intensive-Identifying Value

All is rape, starvation, war. 19. Token Intensive-Identifying Value

The sad answer is “not very well”. 20. Token Intensive-Identifying Value

Those three clauses are found in Joker’s utterance when he tortured

Gordon, aiming to get him brainwashed. The three examples show the function of the Tokens as the subjects of the clause, and the Values are the subject complement.

He, all, and the sad answer are the Tokens because they are provided with a specific set of Values such as the topping bill, rape, starvation, war, and “not very well”.

Unlike the attributive relational, identifying relational does not produce ill sentence when the position of the Token and Value is swapped, the topping bill is him, or “not very well” is the sad answer. In this mode, the Token and Value can move around without changing, which is which.

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3. Behavioral Process

According to the findings, there is one distinct participants configuration found in the Behavioral process. The configuration is Behaver-Behavior with 17 occurrences. Other configuration found is Behaver-Behavior-Circumstance with five occurrences. Behavioral process does not have variety of participants like material process does. So, the outcome is expected to be less various.

The Behavioral process often has a human as the participants (Halliday,

1994), especially as the subject of the clause. Other than circumstance, the

Behavioral process has Behaver and Behavior as its participants. Behaver is the entity or person that is behaving something, while the Behavior is that ‘something’.

The notion of Behaver and Behavior does not always exist in a clause. Sometimes, the Behavioral process only needs a Behaver, as in – she cried, Gordon fainted, or

Batman laughs.

From a total of 216 clauses, the Behavioral process occurs in 22 of them.

The Behavers of those 22 clauses refer to humans, or as Halliday describes, “a conscious being” (1994, p. 139). The following clauses breakdown shows some of the 23 clauses and the breakdown of each participant.

I admit It (that Joker went crazy). 21. Process- Behaver Behavior Behavioral they don't like living in an One night, they decide asylum anymore. 22. Process- Circumstance Behaver Behavior Behavioral have to keep You that life makes sense. pretending 23. Process- Behaver Behavior Behavioral

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I can see that you are (crazy). 24. Process- Behaver Behavior Behavioral

Those four clauses happen to have both Behaver and Behavior as participants. The clauses above occur in Joker’s utterance when he fought Batman.

Joker wanted Batman to know that he understood Batman’s situation and tried to make Batman accept his ‘madness’. As can be seen, the Behavers from the clauses above represent conscious beings. I refers to Joker, you to Batman, and they to the two guys from Joker’s joke.

From the 22 clauses, there is only one without Behavior, I can tell. Can tell here refers to notice rather than telling something to somebody. Joker refers that he can tell that Batman had had a bad day once, just like he did. The full dialogue is, “You had a bad day once, am I right? I know I am. I can tell.” The same circumstance also happens in the phrase can see in the fifth example.

4. Mental Process

According to the findings, there is one distinct participants configuration found in the mental process. The configuration is Senser-Phenomenon with 17 occurrences. Other configuration found is Senser-Phenomenon-Circumstance with four occurrences.

The mental process shares similar characteristics to the Behavioral process. In the mental process, the clause pattern can have a senser alone, and both senser and Phenomenon. Senser also shares the same characteristics as Behaver.

The senser is always humans or portrayed with consciousness (Halliday, 1994).

That is proven from the 21 mental clauses that occur in Joker’s utterance. Every

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single senser of those 21 clauses represent humans – you, I, anybody, his friend, they, on in eight of them (men), he, and she.

There is a pattern that the 21 clauses share. That is, the senser is always the subject of the clause. That makes the Phenomenon the direct object. The following breakdown shows some examples and how each participant are distributed within the clause.

You don’t want to go somewhere dark and cold. 25. Senser Process-Mental Phenomenon

You had hoped (they) were forgotten. 26. Behaver Process-Mental Phenomenon

The clauses in (25) and (26), occur in Joker’s utterance when he was about to put Gordon through the tunnel to torture him.

don’t anymore. They living in an asylum like 27. Process- Circumstance Senser Phenomenon Mental I take it. 28. Process- Behaver Phenomenon Mental I know I am (crazy). 29 Process- Behaver Phenomenon Mental

While, (27), (28), and (29) occur in Joker’s utterance when he encountered Batman in the carnival. As can be seen, the sensers from the clauses above represent

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conscious beings. I refers to Joker, you to Gordon, and they to the two guys from

Joker’s joke.

In (25), (26), (27), and (29), the mental processes are encoded in rather common and easy to comprehend verbs. Those verbs immediately refer to perception or feeling projection. Then, the entities that are being projected straightaway become the Phenomenon to each process.

The unusual case occurs in (28). The verb take does not refer to the physical activity of captivating something; instead, it refers to Joker’s understanding of the emotional state of the theme park owner. The full dialogue is,

“You’re happy with that, I take it?” Therefore, it is crucial to refer back to the context of the situation at hand.

5. Existential Process

The Existential process deals with existence or happening (Halliday,

1994). The core participant for Existential clauses is Existent. The configuration of

Existential clauses is not various because of that. Existential process allows only two possible configurations, the first is with only Existent as the participant with five occurrences, and the other is Existent-Circumstance configuration with three occcurrences.

Existent is the thing that happens or exists. Another indicator of its construction is the subject of the clause. The subject is often in the form of an impersonal there. Thus, it is different from the adjunct there. Besides, Existential clauses naturally have the verb be when there is an impersonal there as the subject

(Halliday, 1994). Some examples of impersonal there and be in Existential clauses

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are, there was an earthquake, there will be a party, and there is an answer to every question. However, some verbs cannot be paired with impersonal there. When those verbs occur, they need a regular noun phrase as both the subject and Existent as in, time exists, an atmosphere of crisis prevails, and scandalous rumors about the major abound.

In Joker’s utterance, there are eight Existential clauses out of the 216 clauses. Those eight clauses happen to have a uniformed pattern. The subjects are impersonal there, and the verbs are be. Additionally, there are only three out of the eight that have a circumstance. The following breakdown shows how Existential clauses participants are represented in Joker’s utterance.

There were these two guys in a lunatic asylum. 30. Impersonal Process-Existential Existent Circumstance

In (30), the clause occurs in Joker’s utterance when he told Batman a joke after their fistfight. The Existent, these two guys in Joker’s joker, represents Batman and Joker, while the circumstance, in a lunatic asylum, represents Gotham city or the situation Batman and Joker were in.

There is a hole in the jacket. 31. Impersonal Process-Existential Existent Circumstance

There is no sanity clause. 32. Impersonal Process-Existential Existent

There is always madness. 33. Impersonal Process-Existential Circumstance Existent

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In (31), (32), and (33), the clauses occur in Joker’s utterance when he tortured Gordon in the carnival. The Existent in (31) refers to a bullet hole that Joker shot through Barbara’s gut. Meanwhile, the Existents in (32) and (33) are intended to make Gordon put away his righteous core Values to fall into Joker’s manipulation.

Additionally, in (32), the sentence refers to its Existent as non-Existent.

This kind of Existent can be tricky sometimes. However, structurally and semantically, the clause is Existential since the process is does not undergo negation with not. Instead, the negation no belongs to the noun phrase as a pre-modifier.

6. Verbal Process

The verbal process includes all forms of indicating, expressing, and showing – even if the process does not refer to verbal activity (Halliday, 1994). In

Joker’s utterances that contains verbal clauses, there are three other participants apart from the circumstance. They are the Sayer, Receiver, and Verbiage. With that being said, the distinct participant configuration is Sayer-Verbiage with four occurrences. Other participant configurations found are Sayer-Verbiage-Receiver with two occurrences, and Sayer-Verbiage-Circumstance that occurs only once.

Verbal clauses occur seven times out of the 216 clauses in Joker’s utterance. From those seven clauses, four of the process refer to saying. While the other three refer to expressing or stressing something. Some examples and the breakdown of each participant are provided as follows.

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Every screams despair. headline 34. Process- Sayer Verbiage Verbal You ask how it live. 35. Process- Sayer Verbiage Verbal about the volume I can’t say much condition. 36. Process- Sayer Circumstance Verbiage Verbal what is it with you? What made you what I mean you are? 37. Process- Sayer Verbiage Verbal

In (34), (35), and (36), these clauses occur in Joker’s utterance when he tortured Gordon through the tunnel in the carnival. While in (37), the clause occurs when Joker fought Batman in the carnival after Batman tried to save Gordon. The processes in clause (35) and (36) refer to the actual act of saying something. The context of the process is different from (34) and (37).

Example (34) and (37) are ones that express something. Even though screams often indicates a verbal activity or producing a loud volume of voice, screams in (34) does not fit that description, for it refers to how every headline portrays or shows despair. In (37), mean is used to strengthen Joker’s way to express the Verbiage. It could have gone like, I said, what is it with you? What made you what you are? But, that would have repressed Joker’s purpose to express that he is serious about what he expressed.

7. Circumstance

Circumstance gives additional information regarding time, place, manner, and reason, to the clause. Yet, there is other information that circumstance

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provides, such as accompaniment – with whom or what, contingency – under what circumstance, role – into what, extent – at what interval, angle – in which point of view, and matter – about what (Halliday, 1994). So, in total, there are ten kinds of additional information that circumstance can provide. As it is, those ten kinds are found within the data. The following table shows the summary of circumstance kinds occurring in Joker’s utterance.

Table 3. Circumstance Types Summary in Joker’s Utterance No. Circumstance types Frequency Percentage 1. Manner 31 46% 2. Place 13 19% 3. Contingency 6 9% 4. Accompaniment 3 4% 5. Time 3 4% 6. Interval 3 4% 7. Role 3 4% 8. Reason 2 3% 9. Extent 2 3% 10. Matter 1 1% Total 67 100%

According to the findings, circumstance of manner occurs within every type of process. The distinct configuration that contains circumstance of manner is

Actor-Goal-Circumstance with eight occurrences. Thus, making Actor-Goal-

Circumstance configuration as the most effective configuration for circumstance of manner.

The following two clauses occur in Joker’s utterance when he was in the carnival for the first time to acquire the place from the previous owner. The circumstance of the clauses are circumstances of reason and matter.

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Derelicts have used it for a toilet. 38. Process- Actor Goal Circumstance-Reason Material My your to sign the necessary persuaded collages partner documents… 39. Process- Actor Goal Circumstance-Matter Material

In (38), the circumstance, for a toilet, fits the criteria of reason circumstance. It can be the answer to, “What have they used it for?” which refers back to the criteria described by Halliday. While in (39), the circumstance of matter provides additional information about what are your partner is persuaded to do, which is to sign the necessary document.

The following four clauses occur in Joker’s utterance when he was fighting

Batman after torturing Gordon. The circumstances of the clauses are the circumstance of manner, place, role, and temporal interval.

I am not exactly sure what it was. 40. Process- Circumstance- Carrier Attribute Relational manner There were these two guys in a lunatic asylum. 41. Process- Circumstance- Impersonal Existent Existential Place to be multiple I prefer it (past) choice! 42. Process- Circumstance- Senser Phenomenon Mental Role they don’t like One night they decide living in an asylum anymore. 43. Circumstance- Process- Temporal Behaver Behavior Behavioral Interval

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In (40), the circumstance of manner, exactly, shows how sure Joker was about remembering his past. Then, in (41), the circumstance of place fills its function abruptly because it provides the information of where the two guys are. Next, in

(42), the circumstance of role, to be multiple choice, provides additional information on how Joker had wanted his past to become. Lastly, in (43), the circumstance, one night, refers to the only time they do the action.

The next two clauses occur in Joker’s utterance when Joker talks through the tunnel mic to Gordon as he made Gordon see the horrifying pictures of his beloved daughter.

You are in a hell of situation. 44. Actor Process-Material Circumstance-Contingency

I chew the rug sometimes. 45. Actor Process-Material Goal Circumstance-Time

The circumstance of contingency in (44), in a hell of situation, represents Gordon’s current situation, which is definitely traumatic in Joker’s mind. In (45), the circumstance of time, sometimes, refers to the times when Joker gave oral sex, chew the rug, to whoever woman he could find.

Circumstance often is represented in the prepositional phrase as an adjunct.

Yet, that does not mean it cannot take any other form apart from the prepositional phrase (Halliday, 1994). In (43), the circumstance is represented in a noun phrase, one night. One night functions as a temporal interval when they take action, decide.

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Circumstance may not seem to be the primary notion of transitivity.

However, its role in providing additional information to the context makes it as valuable as analyzing processes and participants.

B. Joker’s Character

The findings reveal that Joker is a static-round character. However, determining his character by the transitivity patterns alone is not sufficient. In this step, the contexts of the conversation or story play quite a significant role in determining Joker’s traits as both static and round character.

1. Joker as a round character

As a round character, Joker has plenty of individual traits provided by

Moore. Those traits are the essence of who or what Joker is as a character. There are five traits; they are Joker as a nihilist, manipulator, self-conscious person, sadistic, and analogist. a. Joker as a nihilist

Looking back in history, the term nihilist refers to the haters of bourgeois hypocrisy during the Czarist regime in Russia, the nihilist believes in nothing. In modern society, the nihilist is often related to terrorists for nihilism is used as a tool by the extremists (Mikics, 2007). Joker, as a nihilist, seems like an exaggeration at this point, but looking back to what he has done throughout the book, and how he operates, getting the similar idea of nihilism out of Joker is not baseless.

Fundamentally, a nihilist believes in nothing, not the laws and not even conventional concepts of what is good or bad, right or wrong. Joker is somehow like that when it comes to what he believes. At one point, he stated, “Memories are

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what our reason is based upon. If we can’t face them, we deny reason itself.” In those four clauses, there are two relational processes are and is, there is a material process can’t face, and a Behavioral process deny. That statement is said to Gordon before Joker makes him go through the love tunnel to torture him. Based on the context, it is as if Joker believes in something – one’s memories is the fundamental base of one’s reason. However, in a later scene when he encountered Batman, he contradicted his previous statement by saying, “If I’m going to have a past, I’d prefer it to be a multiple choice.” What Joker refers to as memories is one’s past, if one’s past is a multiple-choice, or uncertainties, referring it to Joker’s first statement, it means that Joker chooses not to have a base for his reason or act.

Other clauses that support this trait come from four Existential clauses broken down as follows.

There is no sanity clause. 1 Impersonal Process Existent

There is always madness. 2 Impersonal Process Circumstance Existent

There is no difference between me and everyone else! 3 Impersonal Process Existent

There is some point to all this struggling. 4 Impersonal Process Existent

Example (1) and (2) are said to Gordon. Joker provides Gordon the information on what to do when he finally snaps and gives up his righteousness. He wants Gordon

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to surrender to madness as he did. Clauses (3) and (4) are uttered to Batman when

Batman encounters Joker. The Existents reveal how Joker perceives the world when he realized that life is no more than a monstrous gag. b. Joker as a manipulator

The very idea of Joker’s manipulative Behavior is a general idea to the fans. Once again, his manipulative Behavior stands out in The Killing Joke as he tried to manipulate James Gordon, the righteous commissioner, to switch side, to the murderous madness side. Zhumagaliyeva and Barabanova (2014) state that consciousness manipulation is a way to dominate and suppress people’s will.

Manipulation is done by influencing their mental structure to make them do a specific action or change their Value or opinion to hide their true intentions by giving the illusion of control.

Manipulation does not always refer to negative Behavior. There is a condition where manipulation is socially accepted. It is when the initiator’s manipulation is within the interest of the Recipient (Zhumagaliyeva & Barabanova,

2014). However, that does not fit into Joker’s manipulative Behavior towards

Gordon. Joker’s Goal is to make Gordon more like him by torturing him mentally.

Joker tried to manipulate Gordon by providing examples of how he thinks, especially what escapism he took under a ‘too much stress’ situation. Joker’s intention is to make Gordon realize that there is no other way other than the way that Joker provided. This can be seen from the following clauses.

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I wouldn’t do that (remembering). 5 Actor Material Process Goal

Remembering ’s dangerous. 6 Carrier Relational Process Attribute

the past such a worrying, anxious I find 7 place.

Senser Behavioral Process Phenomenon

There ’s always madness. 8 Impersonal Existential Process Existent

Madness is the emergency exit. 9 Carrier Relational Process Attribute

Clauses (5) to (7) show the example of what things Joker tried to escape represented in the Goal, Attribute, and Phenomenon from those clauses. By doing so, Joker provided context to Gordon that Joker understood Gordon’s fear to remember what happened to his daughter. Whereas, clauses (8) and (9) show how Joker wanted

Gordon to escape crisis using the Existent and Attribute from those clauses. c. Joker as a self-conscious person

Mead in DaSilveria proposes that self-consciousness is the adoption of how one perceives oneself (2015). In other words, being self-conscious means getting a much better understanding of one’s self. In Joker’s case, the self-conscious trait is revealed through his utterances. The following clauses show how the transitivity is used to give Joker this trait.

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My point is I went crazy. 10 Identifier Relational Process Identified

I went crazy 11 Carrier Relational Process Attribute

I know I am (crazy). 12 Senser Mental Process Phenomenon

Joker utters the three clauses when he encountered Batman. These clauses show directly how aware Joker is to his mental state. In relational clauses, (10) and

(11), the Identified and Attribute represent just how self-aware Joker is. Also, in

(12), which is represented by a mental clause, the Phenomenon provides how self- accepting Joker is. Being self-conscious gives Joker an advantage to evaluate himself so he can accept his true nature. d. Joker as a sadistic

According to (Meloy, 1997), a sadistic is an individual who gains pleasures from “the control, domination, and suffering of others.” (p. 631). Throughout the book, Joker has shown that he is capable of those three things – manipulation, which is taking control of one, domination over James Gordon. At the same time, and after he tortured the miserable commissioner, and shot Barbara to torture her father.

Despite all those things, he never showed any remorse. The following clauses represent the sadistic trait of Joker.

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Here is to crime. 13 Goal Material Process Recipient

That is what a dose of reality does for you. 14 Attribute Relational Process Carrier

Most repulsive its frail and useless notions of order are 15 of all and sanity.

Identifier Relational Process Identified

The fact that he made a toast for crime, as represented in (13), after shooting Barbara, highlights that he gains joy from doing so. Besides, in (14) and

(15) how Joker showed domination over Gordon is represented in relational clauses.

In (14), Joker portrayed himself as “a dose of reality” within the Carrier. He intended to make Gordon realize what he is capable of, which is putting Gordon through his misery. He even referred Gordon, an average man, as an “it” in the

Identified (15) to crash his sanity even more. e. Joker as an analogist

An analogy is a common tool in daily conversation, be it a discussion for science or a pep talk before a soccer match. According to (Walliser, Zwirn, &

Zwirn, 2017), analogy involves different objects related to each other. Its primary use is implicit in directed learning and is often applied in a hands-on learning context. Based on those definitions and functions of analogy, the first thing that comes to mind to adequately express analogy is by using relational processes such as Bruce’s skills are like an NBA player’s. The process are is linking the two

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entities, Bruce’s skills and an NBA player’s skills, to give the idea of how skilled

Bruce is at basketball.

Joker often provided analogies to spice things up or express what he meant.

The following relational clauses represent how analogical Joker is.

She is a coffee table edition. 16 Attribute Relational Process Carrier

He is the topping bill after all. 17 Identifier Relational Process Identified Circumstance

In (16), Joker gave an analogy to Gordon that his daughter is “a coffee table edition”, a book that is just for entertainment, time-killing, or simply just to find a conversation topic with the guest. In other words, Joker implied that Barbara was just a tool for him to entertain himself whatsoever. On the other hand, in (17), her father is a critical part of Joker’s plan as he described James as “the topping bill”.

The other evidence of Joker’s analogy occurs after his fight with Batman.

After fighting Joker, Batman wanted to cure Joker. However, Joker did not accept the helping hand Batman offered. Instead, he responded with a joke, which happens to be an analogy of their situation. The following clauses represent Joker’s trait as an analogist.

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There Were These two guys In a lunatic asylum.

18 Existential Impersonal Existent Circumstance Process

'Hey! I have my flashlight with me! I’ll shine He (the first says it across the gap between the buildings. You guy) 19 can walk along the beam and join me!

Verbal Sayer Verbiage process

He (the Wh-what do you think I am? Crazy? You'd says second guy) turn it off when I was half way across! 20 Verbal Sayer Verbiage Process

In (18), Joker first responded to Batman’s offer with an analogy of the situation they are in. The Existent represents Joker and Batman, and the

Circumstance represents Gotham city, the city where they always have their fights.

In other words, Joker saw Batman as a fellow lunatic. The punch line of the joke is

(19) and (20). The two guys wanted to escape the asylum are referred to as the Sayer in both clauses – the first guy represents Batman with his helping hand, and the second guy represents Joker himself. Furthermore, the Verbiages in both clauses represent the action of each character; the first guy wanted to help, which is what

Batman wanted to do. While the second guy, which is Joker, declines the offer doubting that the help was real and would work.

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2. Joker as a static character

A static character is a character that undergoes an insignificant amount of changes or does not change at all (Abrams & Harpham, 1981). The changes involve a change in idealism, state of emotion, or other things that develop the story. Should there be any changes in a character, the characterization is the one delivering them

– be it a direct or indirect characterization. Since the data of this study comes from

Joker’s utterance, which is indirect characterization by the author, the transitivity pattern in Moore’s writing style to characterize Joker does not have any distinct change.

In order to see the pattern, the utterances from each scene are summarized in the following table.

Table 4. Summary of Joker’s Utterances in Each Scene

Scene Material Relational Behavioral Mental Existential Verbal Arcade 13 10 4 2 1 - Abduction 7 7 2 3 1 2 Pre-torture 12 12 3 3 2 - Torture 19 16 - 3 1 1 Post- 7 4 1 3 - 1 torture Chased by 20 20 9 5 2 1 Batman Final Joke 8 3 3 2 1 2 Totals 86 72 22 21 8 7

There are seven scenes. Those seven scenes are in sequential order – from Arcade to Final Joke. From those numbers, it is clear that there is no significant change in

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the pattern as the most frequent occurrence, Material, and Relational clauses have their most significant margin only by five clauses, which is in the Final Joke scene.

Thus, making the relatively significant change by only 3% from 158 clauses in the seven scenes. The 3% margin indicates how Joker preferred to provide an analogy to Batman with Actor-Circumstance, and Actor-Goal configurations rather than with Carrier-Attribute, and Carrier-Attribute-Circumstance configuration.

Behavioral and Mental clauses have a slight margin in total, with only a clause throughout the seven scenes. The most significant margin between those two scenes is in the sixth scene, Chased by Batman, with four clauses. Thus, making only a 9% change from the seven scenes with 43 clauses. The 9% margin indicates how Joker preferred to relate to Batman’s situation with Behavior rather than

Phenomenon.

Lastly, the clauses with the lowest score of occurrence, Existential and

Verbal, have only a margin of one clause with the most significant margin of two clauses in the third scene, Pre-torture. With only a slight change of 13% out of 15 clauses throughout the seven scenes. The 13% margin indicates how Joker preferred to provide an ‘exit’ for Gordon with Existent rather than Verbiage.

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CHAPTER V

CONCLUSION

This chapter contains the answers to the questions formulated throughout the study. According to the data collection, the focus of this study is declarative clauses in Joker’s utterance from a graphic novel Batman: The Killing Joke by Alan

Moore that was published by DCcomics in 1988. Later on, the raw declarative clauses are processed using SFL’s transitivity to answer one of the questions in the problem formulation. Based on the analysis, there are six main types of transitivity applied by Moore in Joker’s utterances. Those six are Material, Relational,

Behavioral, Mental, Existential, and Verbal. After getting the processed data, the answer to the second question follows. In keeping with the analysis, Joker’s character is a static-round character. As a static character, Moore provides a tiny amount of change in the transitivity pattern. On the other hand, as a round character,

Moore provides Joker with five traits. Moore portrays Joker as a nihilist, manipulator, analogist, sadistic, and self-conscious person.

As a final remark, since stylistics covers various layers of language from graphology to pragmatics, the analysis of a literary work is not limited by a narrow point of view. Hence, stylistics is a useful tool to interpret a literary work from a linguistic point of view.

As suggestions for further study, interpreting Joker’s character from different characters' utterances is another way to provide various findings. Another suggestion is to apply a different layer of language that stylistics covers. It can be graphology since comic books often have various styles of fonts in a panel.

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References

Abrams, M. H. (1999). A Glossary of Literary Terms. Boston: Earl McPeek. Abrams, M. H., & Harpham, G. G. (1981). A Glossary of Literary Terms. New York: Holt, Rinehart and Winston. Baldick, C. (2001). The Concise Oxford Dictionary of Literary Terms. New York: Oxford University Press. Butt, D., Fahey, R., Spinks, S., & Yallop, C. (1998). Using Functional Grammar: An Explorer's Guide. Sydney: National Centre for English Language Teaching and Research. Crystal, D. (2008). Adictionary of Linguistics and Phonetics (6th ed.). Malden: Blackwell Publishing. Ewald, J. (2017). The Joker: A Character Study of a Modern Madman. Arlington: The University of Texas at Arlington. Gold, M. (1988). The Greatest Joker Stories Ever Told. New York: DC Comics. Haliday, M. A., & Matthienssen, C. M. (2004). An Introduction to Functional Grammar (3rd ed.). London: Hodder Arnold. Halliday, M. A. (1994). An Introduction to Functional Grammar. London: Edward Arnold. Haratyan, F. (2011). Halliday’s SFL and Social Meaning. IPEDR, 17, 260-264. Kothari, C. R. (2004). Research Methodology. Jaipur: New Age International. Lock, G. (1996). Functional English Grammar: An Introduction for Second Language Teachers. New York: Cambridge University Press. Manggala, S. A. (2017 ). The Transitivity Process Patterns and Styles in the Characterization of the Protagonist Character in Phuoc’s “The Story of Tam and Cam” . Journal of Language and Literature , 65-73. McCombes, S. (2020, June 19). Methodology: Sampling Method. Retrieved from Scribbr: https://www.scribbr.com/methodology/sampling-methods/ Meloy, J. R. (1997). The Psychology of Wickedness: Psychopathy and Sadism. Psychiatric Annals , 630-633. Mikics, D. (2007). A New Handbook of Literary Terms. New Haven & London: Yale University Press. Moore, A., & Bolland, B. (1988). Batman: The Killing Joke (The Deluxe ed.). Canada: DC Comics.

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Murphy, M. J. (1972). Understanding Unseens : An Introduction to English Poetry and the English Novel for Overseas Students. London: George Allen & Unwin Ltd. Murray, C. (2017, May 2). art:graphic novel. Retrieved from Encyclopædia Britannica: https://www.britannica.com/art/graphic-novel Palinkas, L. A., Horwitz, S. M., Green, C. A., Wisdom, J. P., Duan, N., & Hoagwood, K. (2015). Purposeful Sampling for Qualitative Data Collection and Analysis in Mixed method Implementation Research. HHS Author Manuscripts, 42 (5): 533-544. doi: 10.1007/s10488-013-0528 Petty, J. (2006). A Brief History of Comic Books. Dallas: Heritage Auction Galleries. Pratama, D. I. (2017). Noun Phrases of Jace Wayland’s Utterances in Mortal Instruments: City of Bones. Yogyakarta: Universitas Sanata Dharma. Simpson, P. (2004). Stylistics: A Resource Book for Students. London: Routledge. Verdonk, P. (2002). Stylistics. Oxford: Oxford University Press. Walliser, B., Zwirn, D., & Zwirn, H. (2017). Reasoning by Analogy. ResearchGate, 1-25. Xenia, T. (2014). A Transitivity Analysis of Miranda in “Sexy”: the Character in Jhumpa Lahiri’s Short Story . JOLL, 133-137. Zhumagaliyeva, B., & Barabanova, E. (2014). Features Of Manipulative Behavior In Operational Officers’. Procedia - Social and Behavioral Sciences, 9-14.

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Appendices

Appendix 1: Summary of Material Clauses in Joker’s Utterance

Participants Circumst No Verbs Recipi Actor Goal Range Beneficiary ance ent Would 1 I That n’t do Somewh 2 Leads It You ere Somehw 3 To go You ere dark and cold With the damp, ambiguo Somewh us shapes 4 Filled ere dark of things and cold you'd hoped were for gotten Cant 5 We Them face Where Train For the the Is of places in screamin 6 headin though your g g t past is unbear able Can 7 You Outside step On all those dreadfull 8 Close You The door things that happene d

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All those Happe 9 dreadf ned ul things Receiv The free 10 You ed ticket 11 Sent I You 12 Did I So Doesn’ 13 t It matter Can 14 You Me catch Back to 15 Send You Me the asylum Them Away 16 Lock You (memori forever es) There's no differenc Have e 17 demon I between strated me and everyone else! The One sanest To 18 Reduce bad man lunacy day alive 19 Am I 20 Am I Chang Everyt 21 ed hing As crazy as 22 Drove It You everybod y else 23 Makes Life Sense Want to 24 Make You Me puke. Girlfrien 25 Killed Mob Maybe d

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Some Carved 26 mugge Brother up rs 27 Bet I Somet Happe hing 28 Me ned like that Its war Germa Telegrap 29 Owed debt ny h poles creditors Onto the 30 Get up They roof Right 31 Jumps He across Across the gap Will 32 I It between shine the building Along Can the beam 33 You walk and join me 34 Join You Me The 35 Shakes second His head guy Would 36 You It Off turn Struggl Anybo Everythi 37 ed dy ng Are going 38 They to escape Have Dereli For a 39 It used cts toilet Could Innocent The 40 kill or little Easily rides maim children It (the Am 41 I theme crazy park)

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Am 42 I A killing making Have On the Complet 43 You Me sold place ely 44 Is It Indeed Wont Anythin 45 be I You Naturally g paying To sign the necessar My Persua Your y 46 collage ded partner documen s ts just over an hour ago The necessar Just over Your 47 To sign y an our partner documen ago ts Your Will 48 You father miss debut Must 49 I dash The general Will Worke tone of 50 suit rs the establish ment Have My main 51 to I attractio Yet secure n To be Appear The 52 dammag s spine ed Off the Won’t shelves be 53 She in that walkin state of g repair

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Have 54 finishe You Old boy d 55 To take You Him With the Wasn’t Our 56 disabled built venue in mind To Some Will remind 57 I snapsho take him of ot you 58 Is to Here Crime What any sane man in your Are appallin 59 You doing g circumst ances would do In your Any Would appalling 60 sane do circumst man ances In a hell 61 Are You of a situation A certain 62 Do I thing Shall 63 pass I You along Is To make always 64 That me guarant smile eed To 65 Me Smile make 66 Smile I (me) Sometim 67 Foam I es Sometim 68 Chew I The rug es

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Will Those 69 It Away chase blues For a rubber Can Your room and 70 You trade gloom injection s twice a day The An 71 Wears human anxious race face The Overhea 72 Hangs bomb d Can 73 You Instead smile 74 Nod You Instead Don’t 75 You A fig give Are 76 You Inside hurt Should 77 Life You Bad treat Went 78 They in , the A day Didn’t chap over 79 look in the seventee middle n What a dose of 80 Is That reality does for you A dose 81 Does of You reality Will A little 82 He Perhaps get livelier In the Have 83 You It newspap read ers The 84 Give I average You man

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Too Is 86 much Them placed weight 86 Snap They

Appendix 2: Summary of Relational Clauses in Joker’s Utterance

Participants No Verb Circumstance Carriers Attribute Token Value Remem 1 Is Dangerous bering Memor So 2 Is y treacherous In a carnival of delights , with poignant childhood aromas , 3 Are You Lost the flashing neon of puberty, all that sentimental candy- floss ... Ambig uous shapes Wer 4 of Forgotten e things you'd hoped Vile, Can Memori 5 repulsive be es little brutes Can Memori Like 6 be es children What Memori our reason 7 Are es is based upon Our 8 Is Based upon reason Tied down Are 9 We to Contractually not rationality Scream 10 Is Unbearable ing

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The Madnes 11 Is emergency s exit All it One To reduce the sanest 12 Is takes bad day man alive to lunacy. How far the world is 13 Is That from where i am How From where 14 Is far the i am world 15 Had You A bad day 16 Had You A bad day 17 Had You A bad day Am Sure what it 18 I Excatly not was Joker's 19 Was It past/memori es To Multiple 20 It be choice My I went 21 Is point crazy Are Unintelligen 22 You not t! 23 Is It All a joke All a monstrous, 24 Is It demented gag! 25 Is He Afraid Of falling Hav 26 I A past e The 27 Has first An idea guy Hav My 28 I With me e flashlight Wen 29 I Crazy t Wen 30 I Crazy As a coot! t 31 Am I Glad

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Has been 32 Gordon Mad drive n 33 Is It Garish ugly The To the point of being 34 Are Dilapidated rides lethal 35 Isn't Money A problem Really 36 Are You So right The 37 Is propert Mine Already y 38 Are You Happy With that 39 Are You (happy) 40 Am I So glad A lifetime 41 Is That Incidentally guarantee A Common amongst 42 Is It psychologic ex-librarians al complaint A coffe 43 Is She table edition The idea of See her Increasingly 44 Frankly ms walking remote anywhe re Always a problem 45 Is That with softbacks These literary 46 Are So dry discussi on The 47 Is He topping After all bill Such a 48 Is It shame Are 49 goin You Mad g

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50 Are You Confused 51 Are You Frightened A bowl of 52 Is Life cherries 53 Is This The pits The 54 Is Full of care world Rape, 55 Is All starvati on, war 56 Is Life Vile As a light-bulb 57 Go I Loony battered bug 58 Is Life Swell In a padded cell Turn Your 59 Blue s kid 60 Are You Loony 61 Is Man So puny His Professional Wer three 62 , basketball e little stars pals The A complete 63 Is man turnip A chance to Has think his 64 He had situation over A deformed 65 Has It set of Values Its frail and Most useless 66 Are repulsiv notions e of all of order and sanity "not The sad 67 Is very answer well" Human Mad, 68 Is existen random and ce pointless

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Any Wou other In a world as 69 Crazy ld be respons psychotic as this e Will 70 You Speechless Absolutely be The A black, 71 Was world awful joke Halfway 72 Was I across

Appendix 3: Summary of Behavioral Clauses in Joker’s Utterance

Behavioral Participants No. Verbs Circumstance Behaver Behavior Such a worrying, 1 Find I The past anxious place 2 Deny We Reason itself Onto an unpleasant train of thought, heading for the 3 Find You Yourself locked places in your past where the screaming is unbearable Have 4 I My point proved That batman had had 5 Can tell I a bad day It(that you went 6 Won't admit You Only crazy) Have to 7 keep You That life makes sense pretending What a black, awful 8 Saw I joke the world was It (that joker went 9 Admit I crazy) The reality of the 10 Must see You situation They don't like living 11 Decide They in an asylum any One night more

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They're going to 12 Decide They escape Stretching away in The rooftops of the the moon light... 13 See They town Stretching away to freedom You received the free 14 See I ticket i sent you It doenst matter if you can catch me and 15 See You send me back to the asylum 16 Look I It (the theme park) 17 Can see I That you are (happy) The improvements i 18 See You have planned for this place She thinks she’s a 19 See You coffee table edition 20 To remind Him You (barbara) You ask, how does it 21 Hear I live You will be 22 Guarantee I absolutely speechless

Appendix 4: Summary of Mental Clauses in Joker’s Utterance

Mental

Participants No Verbs Circumstance Senser Phenomenon To go somewhere dark 1 Don’t want You and cold 2 Had hoped You Were forgotten Memories can be vile, 3 Suppose I repulsive little brutes. Like children 4 Know I I am I'm not exactly sure what 5 Know You it was One way, 6 Remember I It (joker's past) sometimes another

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To be 7 Prefer I It (joker's past) multiple choice! 8 Valued Anybody Everything Ever 9 Don’t like They Living in an asylum Anymore 10 Didn’t dare His friend Make the leap 11 Take I It (the deal) She’s a coffee table 12 Thinks She edition 13 Know You Where to take him 14 Know You It is such a shame Your partner had signed 15 Know You the necessary documents You’re confused, you’re 16 Know I frightened Though life’s a bowl of 17 Know You cherries and this is the pits It (when your kid turns 18 Will not worry You blue) Never touch the stuff 19 Understand You myself 20 To think over He His situation One in 21 Crack up eight of Go stark slavering buggo them

Appendix 5: Summary of Existential Clauses in Joker’s Utterance

Existential Participants No Verbs Circumstance Existent 1 Is No sanity clause 2 Is Madness Always No difference between me and everyone 3 Is else! 4 Is Some point to all this struggling In a lunatic 5 Were These two guys asylum Equipment to hire plus workers who’ll suit 6 Is the general tone of the establishment

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7 Is A hole In the jacket 8 Is A certain thing i do

Appendix 6: Summary of Verbal Clauses in Joker’s Utterance

Participants Circumstanc No Verbs Sayer Verbiage Receiver e What is it with you? 1 Mean I What made you what Batman you are? Hey! I have my flashlight with me! I'll The He (the shine it across the gap 2 Says second first guy) between the buildings. guy You can walk along the beam and join me! Wh-what do you think He (the i am? Crazy? You'd 3 Says second turn it off when i was guy) half way across! 4 Cant say I The volume condition Much There’s a hole in the jacket and the spine 5 Mean I appears to be damaged. Every 6 Screams Despair headline 7 Ask You How does it live