Kurt Hummel's Language Features in Glee Television

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

KURT HUMMEL’S LANGUAGE FEATURES IN GLEE TELEVISION SERIES SEASON 1: A SOCIOLINGUISTIC ANALYSIS

A SARJANA PENDIDIKAN THESIS

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

By Yustina Rostyaningtyas Student Number: 131214113

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2017

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“There is no substitute for hard work.”

Thomas A. Edison

This thesis is dedicated to: Antonius Wiryono, Yuliana Saryati, and myself

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ABSTRACT

Rostyaningtyas, Yustina. 2017. Kurt Hummel’s Language Features in Glee Television Series Season 1: A Sociolinguistic Analysis. Yogyakarta: English Language Education Study Program, Sanata Dharma University. The use of language by individuals is influenced by many factors. Gender is one factor that influences the use of language. In this research, gender is seen to be different from sex. It is seen as a social construction rather than as a fixed category. As a result, women and men do not stick to one language style but change it based on their social context. Therefore, the researcher was interested in analyzing the women’s language used by a feminine man named Kurt Hummel in Glee Television Series Season 1. In conducting the research, a research question was formulated: What women’s language features does Kurt Hummel use in his speech in Glee Television Series Season 1? The research was qualitative research in which discourse analysis was employed to analyze the data. Kurt Hummel’s language features in Glee Television Series Season 1 was used as the primary data. The researcher was the human instrument who was involved significantly collecting the data. Observation checklist was also used as the research instrument to help the researcher analyzing the data to answer the research question. The researcher identified that women’s language features used by Kurt Hummel in Glee Television Series Season 1 were lexical hedges or fillers, tag questions, raising intonation on declaratives, empty adjectives, intensifiers, hypercorrect grammar, superpolite forms, avoidance of strong swear words and emphatic stress. Meanwhile, the researcher did not find one feature of women’s language which is precise of color terms in Kurt Hummel’s utterances since it was influenced by the topic discussion. Besides the topic discussion, other factor that influenced Kurt’s language was his identity as a man associated with femininity. Although he was a man, he used women’s language features because he tended not to be certain with his utterances. It confirms Holmes who states the use of hedging and boosting devices are not only influenced by gender but also by power. People who are powerless in the society usually use a relatively high number of these devices.

Keywords: Kurt Hummel’s utterances, women’s language features, feminine men, Glee Television Series

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ABSTRAK

Rostyaningtyas, Yustina. 2017. Kurt Hummel’s Language Features in Glee Television Series Season 1: A Sociolinguistic Analysis. Yogyakarta: Program Studi Pendidikan Bahasa Inggris, Universitas Sanata Dharma. Penggunaan bahasa oleh individu dipengaruhi oleh berbagai macam faktor. Gender merupakan salah satu faktor yang mempengaruhi penggunaan bahasa. Dalam penelitian ini, gender dipandang berbeda dengan jenis kelamin. Gender dilihat sebagai sebuah konstruksi sosial dan bukan sebagai sebuah kategori tetap. Akibatnya, wanita dan pria tidak hanya menggunakan satu gaya bahasa tetapi mengubahnya berdasarkan konteks sosial mereka. Oleh karena itu, peneliti tertarik untuk menganalisis bahasa perempuan yang digunakan oleh pria feminin bernama Kurt Hummel dalam Glee Television Series Season 1. Dalam melakukan penelitian ini, terdapat sebuah rumusan masalah: Karakteristik bahasa perempuan apa saja yang Kurt Hummel gunakan dalam Glee Television Series Season 1? Penelitian ini merupakan penelitian kualitatif dimana analisis wacana digunakan untuk menganalisis data. Karakteristik bahasa yang digunakan Kurt Hummel dalam Glee Television Series Season 1 digunakan sebagai data utama. Peneliti berperan sebagai “human instrument” yang secara signifikan mengumpulkan data. Observation checklist juga digunakan sebagai instrumen penelitian untuk membantu peneliti dalam menganalisa data untuk menjawab rumusan masalah. Peneliti mengidentifikasi bahwa karakteristik bahasa perempuan yang digunakan oleh Kurt Hummel dalam Glee Television Series Season 1 adalah lexical hedges or fillers, tag questions, raising intonation on declaratives, empty adjectives, intensifiers, hypercorrect grammar, superpolite forms, avoidance of strong swear word, dan emphatic stress. Sementara itu, peneliti tidak menemukan satu karakteristik bahasa perempuan yang disebut precise color terms dalam ujaran Kurt Hummel karena hal ini dipengaruhi oleh topik diskusi. Selain topik diskusi, faktor lain yang mempengaruhi penggunaan bahasa Kurt adalah identitas Kurt sebagai seorang pria yang dikaitkan dengan feminitas. Walaupun Kurt adalah seorang pria, ia menggunakan karakteristik bahasa perempuan karena cenderung tidak yakin dengan ucapannya. Hal ini menegaskan pernyataan Holmes yang menyebutkan bahwa penggunaan hedging dan boosting devices tidak hanya dipengaruhi oleh gender, tapi juga oleh kekuasaan di masyarakat. Orang yang tidak berkuasa biasanya akan sering menggunakan karakteristik tersebut.

Kata kunci: Kurt Hummel’s utterances, women’s language features, feminine men, Glee Television Series

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ACKNOWLEDGEMENTS

I would like to express my gratitude to those who helped me to finish my thesis. First of all, I praise Jesus Christ, the One that makes everything possible, for His endless blessing and guidance for me in finishing my thesis.

My special gratitude goes to my thesis advisor, Truly Almendo Pasaribu,

S.S., M.A., for her guidance, constructive feedback, helpful suggestions, encouragement, and contributions to help me finish my thesis. I would also like to express my sincere gratitude to all lecturers in ELESP for the valuable knowledge that I have learned throughout my four-year study in Sanata Dharma University. I would like to express my deepest gratitude to my beloved family for their limitless love, patience, and support. I also owe gratitude to my friends, especially my classmates for the sharing and friendship.

Finally, I would thank all people whose names cannot be mentioned one by one, who gave contributions to the completion of this thesis.

Yustina Rostyaningtyas

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TABLE OF CONTENTS

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

CHAPTER I: INTRODUCTION...... 1 A. Research Background...... 1 B. Research Question...... 5 C. Research Significance ...... 5 D. Definition of Terms...... 6

CHAPTER II: REVIEW OF REKATED LITERATURE...... 9 A. Theoretical Description...... 9 1. Language and Gender ...... 9 2. Femininity and Masculinity ...... 10 3. Women’s Language ...... 11 4. Women’s Language Features...... 12 5. Discourse Analysis ...... 16 B. Theoretical Framework ...... 16

CHAPTER III: METHODOLOGY ...... 18 A. Research Method...... 18

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B. Research Instrument and Data Gathering Technique...... 19 C. Data Analysis Technique ...... 21

CHAPTER IV: RESEARCH RESULT AND DISCUSSION...... 23 A. Kurt Hummel’s Language Features ...... 23 1. Lexical Hedges or Fillers ...... 25 2. Intensifiers...... 27 3. Superpolite Forms ...... 30 4. Emphatic Stress...... 32 5. Hypercorrect Grammar ...... 34 6. Raising Intonation on Declaratives ...... 35 7. Tag Questions ...... 37 8. Empty Adjectives...... 39 9. Avoidance of Strong Swear Words...... 41 10. Precise Color Terms...... 42

CHAPER V: CONCLUSIONS, IMPLICATIONS, AND RECOMMENDATIONS ...... 45 A. Conclusions ...... 45 B. Implications ...... 46 C. Recommendations ...... 46

REFERENCES...... 48 APPENDICES ...... 51

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LIST OF TABLES

Table 3.1 The Observation Checklist of Women’s Language Features Used by Kurt Hummel in Glee Television Series Season 1 ...... 20

Table 3.2 Th Observation Checklist ...... 21

Table 3.3 Women’s Language Features used by Kurt Hummel ...... 22

Table 4.1 Women’s Language Features in Kurt Hummel’s Utterances in Glee Television Series Season 1 ...... 23

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LIST OF FIGURES

Figure 1.1 Kurt Hummel clean his face ...... 3

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CHAPTER I

INTRODUCTION

This chapter consists of four sections that discuss the introduction to the research. The first section is research background that covers the general information related to the topic and the reasons why the researcher chose the topic.

The second section is research question, that is used as a guideline to this study.

The next section is research significance that identifies the contribution of the study for some parties. The last is definition of terms that defines the keywords or phrases used in the study.

A. Research Background

Language is defined as system of human communication, either spoken or written, consisting of the use of words in a structured and conventional way. Thus, language is used by individuals to communicate with each other in society. The use of language by individuals is influenced by many factors, such as geographical and social mobility, gender and power, age, audience, identity, and social network relations (Milroy & Milroy, 2012).

Gender is one factor which influences the use of language. Many researchers such as Lakoff (1975), Sunderland (2006), and Coates (2013) focus on the relationship between language and gender. Women and men tend to talk differently from each other. Several studies also identify the linguistic features that is used only by women or only by men within a given speech community. Issues

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include women’s and men’s speech has been of particular interest to sociolinguists until now. Therefore, it is interesting to discuss the relationship of language and gender.

In this research, gender is seen to be different from sex. Butler (1990) says that gender is culturally constructed; gender is neither the casual result of biology nor as seemingly fixed as sex. Since gender is culturally constructed, it cannot be said to follow a specific sex in any one way. The construction of “men” will not always interpret the male bodies or likewise, the word “women” will not always interpret the female bodies. The word “man” and “masculine” might signify a female body where “woman” and “feminine” may signify a male body. Similar to

Butler (1990), Holmes (2013) also states:

Approaching gender identity as a construction, rather than as a fixed category, is useful in accounting for examples where women adapt masculine contexts, and men adapt to feminine context by using features which indirectly index or are associated with masculinity and femininity (p. 320).

This study focuses on the way a feminine male used the women’s language features. Women’s language features are commonly used by females. However, it is not impossible if the women’s language features are used by the other gender.

Bell, McCarthy, and McNamara (2006) claim that males and females do not stick to just one language style but exchange their styles based on their social context of their interactions. According to Holmes (2013), men who work in clothing shops or hairdressing salons often construct a more feminine identity than they who work in PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

a sports club. They use features which index femininity such as avoiding strong swear words and encouraging their addressee to talk.

According to Lakoff (1975), there are 10 linguistic features of women’s language, including: lexical hedges or fillers, tag questions, rising intonation on declaratives, ‘empty’ adjectives, precise color terms, intensifiers, ‘hypercorrect’ grammar, ‘superpolite’ forms, avoidance of strong swear words, and emphatic stress.

The use of women’s language features can be found not only in the real life but also in the movies. For this study, the researcher analyzes women’s language features from a television series titled Glee. In this study, the researcher is interested in analyzing Kurt Hummel’s language as seen in the Glee Television Series Season

1. Kurt Hummel becomes the focus of this study because he is seen to be a feminine male in the television series. Figure 1.1 shows how Kurt Hummel adapts feminine traits. It can be seen that Kurt uses sponge and wears bandana when he cleans his face. It is similar to what usually women do. Thus, Kurt is seen as a man who adapts feminine traits.

Figure 1.1 Kurt Hummel cleans his face PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Kurt is also having a tendency of using women’s language features. Kurt, in the one of the episodes uses question tags and emphatic stress forms, that can be seen in the following excerpts:

(1) Since you are separated from your wife you spend most of your evenings in front of reruns of New York police, doesn’t it?

(2) One, I’m a sucker for makeovers, and two, you need something to distract from your horrible personality----You are extremely talented, Rachel.

Kurt uses a question tag in excerpt [1] and emphatic stress in excerpt [2].

According to Lakoff (1975), these two features usually belong to women’s language features because women are claimed to have less confidence to talk.

Lakoff (1975) argues that women are generally lacking status in society because they are more subordinate than men. Therefore, women are more aware of the way they talk by hedging and boosting their utterances to attract the addressee’s attention. A question tag is usually used by women to ask confirmation from the addressee, and emphatic stress is usually used to emphasize or strengthen the speaker’s statements.

There are three reasons why the researcher chose to analyze the women’s language features used by Kurt Hummel in Glee Television Series Season 1. First, in the previous studies, Pebrianti (2013), Mazidah (2013), and Wahyuningtyas

(2016) conducted the research about women’s language features used by females such as Indonesian female bloggers, Margaret Thatcher, and Hillary Clinton.

However, it turns out that women’s language features can be seen in the language of feminine males. Therefore, this study aims to discuss women’s language features used by Kurt Hummel from Glee Television Series Season 1. Second, the women’s PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

language features used by feminine male is one of the language and gender issues in Sociolinguistics that is important to be learned by English Language Education students and other parties. Third, the phenomenon can be found in the daily life.

However, it can also be found in a television series. The television series can be used as media for English Language Education students to learn Sociolinguistics about women’s language features.

B. Research Question

To guide the researcher in conducting this study, a research question is formulated. The following is the research question:

1. What women’s language features does Kurt Hummel use in Glee Television

Series Season 1?

C. Research Significance

The researcher believes that this study will be useful and beneficial for some parties who want to know more about the use of women’s language features.

1. English Learners

The study of women’s language features is related to English linguistics, especially Sociolinguistics. English learners who are interested in learning about women’s language features can get more information by reading this study. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

2. English Teachers

This study is useful and beneficial for English teachers. This study also contributes to the language study development as an additional source in teaching and learning. The English teachers, especially those who teach Sociolinguistics can use this study in preparing the material about women’s language features.

3. Future Researchers

The researcher hopes that this study can be an appropriate reference for the future researchers who are interested in conducting research on language and gender and women’s language features. The researcher believes that this study will provide information needed by future women’s language features researchers.

D. Definition of Terms

In order to give more understanding for the readers, this section defines some main terms which are frequently used in this research. There are three terms namely women’s language features, feminine men, and Glee television series.

1. Gender

Generally, people treat gender as ‘given’ and unalterable, automatically classifying every person they encounter as female or male (Holmes, 2013, p. 320).

Gender is seen to be a construction rather than a fixed category. It is because there are possibilities where a man fails to fit masculine norm and is more associated with feminine norm, or vice versa. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

2. Feminine

The word “feminine” cannot be separated from the word “masculine”.

Those words describe gender identity. Since “feminine” is described as gender identity, it is shaped by the socio-cultural, not biology process. The socio-cultural process allows both male and female to exhibit feminine traits. It is possible for one to be male and see himself as feminine. The word feminine means having or showing qualities or characteristics more often associated with women.

3. Women’s Language Features

Culturally, gender is one of the factors that influences someone in using language. Therefore, women and men are different when they use language.

Women are considered as weak creatures, so many people assume that women’s language is also weak. According to Lakoff (1975), women are disempowered by being constrained to use “powerless” language, ways of speaking that simply are not very effective of getting others to think or see what the speaker wants them to.

Based on Lakoff’s theory, there are 10 linguistics features of women’s language, they include: lexical hedges or fillers, tag questions, rising intonation on declaratives, ‘empty’ adjectives, precise color terms, intensifiers, ‘hypercorrect’ grammar, ‘superpolite’ forms, avoidance of strong swear words, and emphatic stress.

4. Glee Television Series

Glee is an American musical comedy-drama television series. It aired on the

Fox network in the United States from May 19, 2009, to March 20, 2015. It focused PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

on the fictitious William McKinley High School Glee club, which later is called

New Directions, which competes on the choir show competition circuit while its disparate members deal with social issues, especially regarding sexuality and race, disabilities, and adolescent relationships. They also learn to become an effective team. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER II

REVIEW OF RELATED LITERATURE

This chapter consists of two sections: theoretical description and theoretical framework. The first section is theoretical description that provides the theoretical review related to the topic of this research. The second section is theoretical framework which provides information about the relation between the theories and the research question of this research.

A. Theoretical Description

In this theoretical description section, the researcher discusses the theoretical review related to the topic of this research. There are four main parts in this section: language and gender, femininity and masculinity, women’s language, and women’s language features.

1. Language and Gender

Language is used by individuals to communicate. Chomsky (1957, p. 13) explains that “language is a set (finite or infinite) of sentences, each finite in length and constructed out of a finite set of elements” (as cited by Lyons, 1981, p. 7). Each set of sentences or language has meaning either in their spoken or written form. By using a language, people can deliver their ideas, information, and knowledge to each other. Eckert and Ginet (2003) state that, “a language is a highly-structured system of signs, or combinations of form and meaning (p. 60).” Gender has a relation to the sign of the system and to their use in communication. They further

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explain that, “gender can be the actual content of a linguistic sign (p. 60)”. It can be considered that gender contributes to communicative practice in different ways.

Gender influences an individual in using language. Men and women are different when they use language to communicate. Based on Kramer (1977) as cited by Spender (1980, p. 33):

English speakers believe that men’s speech is forceful, efficient, blunt, authoritative, serious, effective, sparing and masterful. Women usually are seen by one side because women are regarded as weak creatures. It is different from what they believe about women’s speech which is weak, trivial, ineffectual, tentative, hesitant, hyper polite, euphemistic and is often marked by gossip and gibberish.

Men are seen to be effective when they use language. It is different from women who are lack of power in society. Women’s speech is powerless so that they need to be careful in using language. Therefore, both men and women have different ways in expressing their utterances through the language they use.

2. Femininity and Masculinity

Femininity and masculinity describe someone’s gender identity. According to Burke, Stets and Pirog-Good (1988), and Spence (1985), femininity and masculinity refer to the degree to which persons see themselves as masculine or feminine given what it means to be a man or woman in society. Femininity and masculinity are socially constructed. They are more social (one’s gender) rather than biological (one’s sex). People in society construct what being male or female means. Generally, males will define themselves as masculine and females will define themselves as feminine. However, Holmes (2013) states that since it is PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

socially constructed, it is possible for a female to see herself as masculine or a male to see himself as feminine.

People have views of themselves about being feminine and masculine.

Some people are more feminine, some more masculine, and some perhaps a mixture of masculine and feminine. Those views reflect their gender identity and guide them to behave in society. In Glee Television Series Season 1, Kurt Hummel is the first openly gay character. He is physically seen as a man. However, he adapts more feminine context rather than masculine context. It reflects from the way he sees himself, and the way he behaves and talks in his society.

3. Women’s Language

The language used can show the nature and the role of an individual in society. Women and men use language differently, especially when they are speaking. Women are claimed to have less confidence to talk than men since women are considered powerless. Edward states that “the eternal stereotypes of women are weak, changeable and unreliable, endlessly, talkative” (2009, p. 127).

Those stereotypes are related to what Lakoff (1975) says about women experiencing linguistic discrimination in society. The discrimination happens in two ways: in the way they are taught to use language, and in the way general language use treats them. Women are expected to be polite and should speak with standard forms because they are guardians of society (Holmes, 2001). Lakoff

(1975) also says that women are not allowed to show their temper or complain in rage. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

4. Women’s Language Features

Lakoff (1975) creates a list that shows women’s tendency in using language.

Lakoff (1975) describes that women’s speech is characterized by linguistic features such as the following: a. Lexical Hedges or Fillers

Lakoff (1975) describes lexical hedges or fillers as one of the characteristics of women’s language features. Lakoff (1975) defines hedges as words that convey the sense that the speaker is uncertain about what he or she is saying or cannot vouch for the accuracy statement (p. 53). The use of hedges by women occurs as a fully legitimation when they are unsure of the fact or statement, and justifiable when they try to mitigate the possible unfriendliness or unkindness of statement. You know, short of, well, you see are examples of lexical hedges or fillers. b. Tag Questions

Tag question is one of the women’s language features. This feature usually shows women’s insecurity and hesitancy in their speech. Lakoff (1975) observes that women use question tags more frequently than men. She defines tag-question as:

a declarative statement without the assumption that the statement is to be believed by the addressee: one has an out, as with questions. Tag gives the addressee leeway, not forcing him to go along with the views of the speaker (Lakoff 1975, p. 16).

Holmes (1986) states that there are two functions of tag. They are modal meaning and affective meaning. The modal meaning shows degree of uncertainty and shows that the speakers need confirmation. The affective meaning is divided PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

into two functions. The first is facilitative that shows speaker’s solidarity or positive attitude to the addressee. The second is softening that shows politeness or speaker’s concern for addressee’s feeling (Holmes, 1986, p. 3). Tag questions are used by women in many ways. For examples, She is really nice, isn’t she?, really?, See?,

…, you know?, and many others. c. Rising Intonation on Declaratives

Rising intonation on declaratives is one of women’s features according to

Lakoff (1975). She defines raising intonation in declaratives as:

a peculiar sentence intonation pattern, found in English as far as I know only among women, which has the form of a declarative answer to a question, and is used as such, but has the raising inflection typical of a yes-no question, as well as being especially hesitant (Lakoff 1975, p. 17).

Women use this feature by raising the pitch of their voice in the end of statements when they express their uncertainty. For the example, It’s really good?,

Dinner’s in half an hour?. d. Empty Adjectives

Lakoff (1975) defines empty adjectives as a group of vocabulary terms indicating speaker’s approbation or admiration for something. Some of these adjectives are neutral as to sex of speaker; men or women may use them (p.12).

However, adjectives such as charming, cute, lovely, fabulous are largely confined to women’s language. Women have a tendency in conveying their emotional reaction rather than giving specific information. Therefore, they use empty adjectives more often than men. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

e. Precise Color Terms

Men and women are different in using their verbal skills and controlling different aspects of English speech and vocabulary. Lakoff (1975) state:

Women make far more precise discriminations in naming colors than do men; words like beige, ecru, aquamarine, lavender, and so on are remarkable in a woman’s active vocabulary, but absent from that of most men (p. 8).

According to Lakoff (1975), the color discrimination happens since women are not expected to make decisions on important matters like men in society, they are relegated the noncrucial decision as a sop. Deciding whether to name a color

“lavender” or “mauve” is one such sop. Therefore, women have richer vocabulary than men in areas that are their specialty.

f. Intensifiers

According to Lakoff (1975), women’s language is powerless; women’s position that is inferior to men’s is reflected in heavy use of intensifying adverbs.

Olson (2000) states that intensifiers act as a boosting device in language. The term intensifier describes the linguistic expression of amplifying the meaning of a descriptive word, often an adjective or adverb, within an utterance. Intensifier is used to emphasize another word that comes after it. The examples of intensifiers include: so, very, and totally. g. Hypercorrect Grammar

Lakoff (1975) states that hypercorrect grammar is the consistent use of standard verb forms. Women are expected to be polite in society. They use standard PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

forms when they are speaking to reflect politeness. Women may use more standard forms as a way of retaining their societal value, as “society tends to expect ‘better’ behavior from women” (Holmes, 1998, p. 172). h. Superpolite Forms

Superpolite also reflects social politeness. It is described by Lakoff (1975) as “leaving decisions open, not imposing your mind, or views, or claims, on anyone else” (p. 56). While it may be a polite command, it does not need obedience overtly, but it suggests something to be done as a favor to the speaker. For the example, If you don’t mind, Please may you…, That really means a lot. i. Avoidance of Strong Swear Words

Eckert (2003) says that “swearing is kind of interjection that can express extreme statements.” Swearing is considered as an expression of very strong emotion. In society, women are expected to be good. They are not allowed to speak roughly. Therefore, women tend to avoid using strong wear words. The words such as my dear, goodness, and my fudge are often found in women’s language as stated by Lakoff (1975). j. Emphatic Stress

Stress can refer to emphatic stress when it is placed on a particular word in phrase to clarify or emphasis something. Emphatic stress is a feature that is usually used by women. When women apply this feature, they show a bit emotion through posture and tone of voice. This feature occurs when women want to strengthen an PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

assertion (Lakoff, 1975). For example, It was a BRILLIANT performance, I had a

BEST DAY ever!, among other.

5. Discourse Analysis

Human life and communication are the focus of discourse analysis.

Different social context leads to different discourse. Gee (2001) mentions that discourse analysis is an analysis of spoken and written language as it is used to enact social and cultural perspectives and identities (p. 1). According to Brown and

Yule (1983), discourse analysis applied two different functions of language. The first function is transactional function that refers to the function which language serves in expression of content. The second function is interactional function that refers to the function that involves expressing social relations and personal attitudes

(p.1).

B. Theoretical Framework

In this section, the researcher presents the elaboration of how the theories are used to answer the research question. In this research, Lakoff’s theory on women’s language features is used by the researcher to answer the research question. Lakoff’s theory is used to analyze Kurt Hummel’s utterances in Glee TV

Series Season 1. The ten features are used in examining the data. The data are classified into lexical hedges or fillers, tag questions, rising intonation on declaratives, ‘empty’ adjectives, precise color terms, intensifiers, ‘hypercorrect’ grammar, ‘superpolite’ forms, avoidance of strong swear words, and emphatic stress. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

After classifying Kurt’s utterances, the researcher analyzes why he uses those features in his speech. In analyzing the reasons, the researcher also uses the

Lakoff’s theory on women’s language features. In the process of selecting, classifying, and analyzing Kurt’s utterances, the example of each feature is provided by the researcher. Other theories of women’s language by other experts such as Holmes, femininity and masculinity, and language and gender outlined in the previous subchapter are used to support the finding. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER III

METHODOLOGY

In this chapter, the researcher explains the methodology that is used to answer the research question of this study. There are three sections in this chapter.

The first section is research method that explains the methodology used by the researcher in conducting this research. Then, the second section is research instrument and data gathering technique that explain the kinds of instruments the researcher used and how the researcher gathered the data for this research. The last is data analysis technique section that discusses how the researcher analyzed the data to answer the research questions.

A. Research Method

The goal of this research is to identify the women’s language features that are used by Kurt Hummel’s character in Glee Television Series Season 1. Women’s language features are a part of gender and language issues studied in sociolinguistics. In this research, the researcher analyzes the data from sociolinguistic perspective. Sociolinguistics studies the relation between language and society (Holmes, 2013). Trudgill (1974) also says that sociolinguistics is the field that studies the uses of language and the social structures in which the users of language live.

The research was conducted by applying qualitative research. Strauss and

Corbin (1998) define qualitative research as any type of research that produces

18 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

findings not arrived at by statistical procedures or other means of quantification.

Tables and numbers in this research were used as tools to describe the phenomenon under study hereinafter it is called as descriptive qualitative research (Latief, 1999).

The researcher applied discourse analysis in analyzing the data. In this research, the researcher concerned with the use of women’s language features by a feminine male named Kurt Hummel. The data, that is Kurt Hummel’s speech, were taken from Glee Television Series Season 1. The written transcripts were also used to help the researcher analyzed the data.

B. Research Instrument and Data Gathering Technique

In this research, the researcher is the primary instrument because the researcher decides the topic to be analyzed, chooses the instrument to collect data, reads the documents, and selects the data. The researcher also interprets the data through analysis and writes the conclusion. This approach is in accordance with

Ary, Jacob, Sorensen, and Razavieh (2010), who state in qualitative studies, the investigator is the data gathering instrument whereas he or she reads the documents and records the information in the field notes.

To answer the research question of this research, the researcher searched the related data from the books, journals, and trusted websites in the Internet. The data analyzed by the researcher were collected from Glee Television Series Season 1 and its transcripts.

Another instrument used by the researcher is the observation checklist developed from Lakoff (1975) theories. Observation checklist is a list of items that PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

an observer is going to look for when observing the data. The observation checklist helped the researcher to classify and note the features used by Kurt Hummel in Glee

Television Series Season 1.

Table 3.1 The Observation Checklist of Women’s Language Features Used by Kurt Hummel in Glee Television Series Season 1

No Utterance Women’s Language Features LH/F TQ R EA C I HG SP SS ES

Table 3.1 was the observation checklist used by the researcher in classifying the data. It contains Kurt’s utterances in Glee Television Series Season 1 and ten women’s language features proposed by Lakoff (1975). It was used by the researcher by giving a tick to a suitable feature column for each utterance.

LH/F= lexical hedges/fillers TQ= tag question R= raising intonation on declaratives EA= ‘empty’ adjectives C= precise color terms I= intensifier HG= ‘hypercorrect’ grammar SP= ‘superpolite’ forms SS= avoidance of strong swear words ES= emphatic stress

The researcher analyzed Kurt Hummel’s speeches in Glee Television Series

1, which included twenty-two episodes. First, the researcher looked for all episodes in season 1 and its transcripts. Next, the researcher watched the television series and read the transcripts at the same time to select and collect Kurt Hummel’s utterances. Then, the utterances were classified based on Lakoff’s theory, and the findings were analyzed by the researcher. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

C. Data Analysis Technique

In this research, the data analysis technique was done in some steps. First, the researcher observed Kurt Hummel in some episodes of Glee Television Series

Season 1. The episodes that have been chosen were representing how Kurt Hummel use women’s language features. Second, the researcher analyzed Kurt’s speech in the selected episodes from the Glee Television Series Season 1’s transcripts. The analysis would answer the research question that has been formulated in the first chapter.

In this step, the researcher used an observation checklist (see Table 3.2) to analyze Kurt Hummel’s utterances in Glee Television Series Season 1. In completing the table 3.2, the researcher identified the women’s language features that was used by Kurt by pacing a thick sign (√). After completing the observation checklist, the researcher counted the frequency and the percentage of each feature and put it into a table (see Table 3.3). It is done to help the researcher explained of the findings.

Table 3.2 Observation Checklist

Women’s Language Features No Utterance LH/ TQ R EA C I HG SP SS ES F 1. That was good, right? √ I’m madly in love with 2. √ Finn. 3. Well, hello, Finn Hudson. √ I guess you and I will be roommates, with Mom and 4. √ Dad cohabitating upstairs by midterms. The palate in here is totally 5. unflattering to your skin √ tone. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The table above shows the observation checklist that used by the researcher to analyze the women’s language features of Kurt Hummel in Glee

Television Series Season 1. Women’s language features that is possible to be used by Kurt consist of lexical hedges/fillers, tag questions, raising intonation on declaratives, empty adjectives, precise color terms, intensifiers, hypercorrect grammar, superpolite forms, avoidance of strong swearwords, and emphatic stress.

Table 3.3 Women’s Language Features used by Kurt Hummel

Features of Women's The Frequency of The Percentage No Language Each Feature of Each Feature 1 Lexical Hedges/Fillers 2 Tag Questions Raising Intonation on 3 Declaratives 4 Empty Adjectives 5 Precise Color Terms 6 Intensifiers 7 Hypercorrect Grammar 8 Superpolite Forms Avoidance of Strong 9 Swear Words 10 Emphatic Stress Total Features

Table 3.3 shows the frequency and percentage of each feature that Kurt used in his speech in Glee Television Series Season 1. After the table was complete, the researcher validated the data to researcher’s advisor, Truly Almendo Pasaribu, and a native speaker, Erik Hookom. The researcher validated the data to researcher’s advisor because she is an expert in linguistics. And, the researcher validated the data to a native speaker to make sure that the utterances classifications belong to the right features. After validating the data, the researcher used it to answer the research question. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER IV

RESEARCH FINDINGS AND DISCUSSION

This chapter presents the data findings gained from the study undertaken and discusses them to answer the research question formulated in Chapter I. This chapter discusses the language features of Kurt Hummel used in Glee Television

Series Season 1.

A. Kurt Hummel’s Language Features

This study focuses on the women’s language features in Kurt Hummel’s utterances, a male character who is feminine in Glee Television Series Season 1. In this research, gender is seen to be different from sex that is more biological.

Therefore, gender is not a fixed category but a social construction. In this section, the researcher organizes Kurt’s utterances into a table, classifies them into some features, and uses a checklist for the suitable features.

In order to answer the research question, the researcher uses the theory from

Lakoff (1975) as the basic reference of analysis. She proposes that there are ten features that are usually used by women including: lexical hedges or fillers, tag questions, raising intonation, ‘empty’ adjectives, precise color terms, intensifiers,

‘hypercorrect’ grammar, ‘superpolite’ form, avoidance of strong swear words, and emphatic stress. To present the findings, the researcher analyzes the women’s language features used by Kurt Hummel in Glee Television Series Season 1 as represented in Table 4.1.

23 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Table 4.1 Women’s Language Features in Kurt Hummel’s Utterances in Glee Television Series Season 1

The Frequency of The Percentage of No Features of Women's Language Each Feature Each Feature 1 Lexical Hedges/Fillers 62 29.808% 2 Tag Questions 5 2.404% 3 Raising Intonation on Declaratives 12 5.769% 4 Empty Adjectives 4 1.923% 5 Precise Color Terms 0 0.000% 6 Intensifiers 35 16.827% 7 Hypercorrect Grammar 26 12.500% 8 Superpolite Forms 30 14.423% 9 Avoidance of Strong Swear Words 3 1.442% 10 Emphatic Stress 31 14.904% Total Features 208 100%

Table 4.1 presents the women’s language features used by Kurt Hummel

within nineteen episodes of Glee Television Series Season 1. In the remaining three

episodes, episode 14, 19, and 22, the researcher did not find any women’s language

features since Kurt does not speak much or does not appear in those episodes. This

research finds that nine out of ten features are used, including: lexical hedges or

fillers, tag questions, raising intonation on declaratives, ‘empty’ adjective,

intensifiers, ‘hypercorrect’ grammar, ‘superpolite’ forms, avoidance of strong

swear words, and emphatic stress. From the obtained data, the researcher finds 208

features uttered by Kurt. Table 4.1 shows the frequency and percentage of each

feature used by Kurt, they are 62 lexical hedges or fillers (29.808%), 35 intensifiers

(16.827%), 31 features of emphatic stress (14.904%), 30 ‘superpolite’ forms

(14.423%), 26 features of ‘hypercorrect’ grammar (12.500%), 12 raising intonation PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

in declaratives (5.769%), 5 tag questions (2.404%), 4 ‘empty’ adjectives (1.923%), and 3 avoidances of strong swear words (1.442%). The last is precise color terms feature (0%), which does not appear at all in the data classification of Kurt’s utterances in Glee Television Series Season 1. To support the data presentation, the researcher provides and discusses the evidences of women’s language features uttered by Kurt in Glee Television Series Season 1.

1. Lexical Hedges or Fillers

(1975) means are the frequent use of words such as well, you know, sort of, kind of,

I guess, I think, umm, and oh. The use of hedges by women occurs as a fully legitimation when they are unsure of the fact or statement, and justifiable when they try to mitigate the possible unfriendliness or unkindness of statement. Lakoff as cited in Holmes (1992, p.316) claims that “hedging devices explicitly signal lack of confidence and women’s insecurity”. In Kurt’s utterances, lexical hedges or fillers are the most frequent features he used in all episodes, as many as 62 times. He uses lexical hedges and fillers such as I guess, I think, well, kind of, you know, sort of, oh and um.

In the fourth episode of Glee Television Series Season 1 titled Preggers, there are 9 lexical hedges or fillers that are used by Kurt. In the beginning of the episode, Kurt was practicing dancing with his friends in his house. He wore a PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

unitard, a skintight one-piece garment with long legs and long sleeves; which is usually worn by women. Suddenly, his father came home and asked him what kind of clothes he was wearing. At that time, Kurt was confused to tell his father about the clothes. In excerpt [1], it shows that Kurt uses filler uh in his utterance while he is thinking what to say in order to not say something wrong to his father.

[1] KURT: Dad! You’re home early. BURT: Deadliest Catch is on. What are you wearing? KURT: It’s a unitard, guys wear them to, [uh], work out nowadays. Do sports. They wick sweat from the body.

The filler uh in Kurt’s utterance shows his insecurity. However, it helps to protect him from the negative effect of his statements. The filler uh that he uses provided him some time to look for the best words he should use in answering his father’s question. It also prevents him from making any mistakes in his speech.

Lexical hedges also appear in some of Kurt’s utterances. In the first episode titled Pilot, he uses the words kind of to interact with his addressee. When Kurt and his Glee Club friends practiced to sing a new song, one of his friends, Mercedes, did not want to be a background singer. However, Kurt thought that it was the first time his Glee Club sang well. When he uses the word kind of, there is an indication that Kurt is lacking confidence in his Glee Club, and he is trying to avoid it in his speech without altering the meaning.

[2] MERCEDES: Oh, hell to the no. Look, I’m not down with this background singing nonsense. I’m Beyonce, I ain’t no Kelly Rowland. WILL: Okay, look Mercedes, it’s just one song. KURT: And it’s the first time we’ve been [kind of] good.

From excerpt [2], the word kind of is used by Kurt to hide his lack of confidence.

He is actually not sure of the progress Glee Club has made and whether it is good PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

or not. However, instead of showing his uncertainty, he uses the word kind of to hedge his speech in order to hide it.

From all episodes, the hedging Kurt usually uses is I guess. He uses I guess as hedging when he has a conversation with his friends or coach. The excerpt [3] is one of the evidences the researcher found from all of the episodes of Glee Television

Series Season 1.

[3] MERCEDES: You shouldn’t be ashamed of who you are, Kurt. You should just tell people, especially the kids in Glee. The whole point of the club is about expressing what’s really inside you, remember? KURT: I can’t I’m just not that confident, [I guess].

When Kurt’s friend, Mercedes, told him not to be ashamed and to tell the truth to all of his Glee Club members, but still Kurt was afraid. He thought that all of his friends would not accept him after knowing the facts. From the lexical hedges and the statement that he has said in the excerpt [3], it is clear that he is lacking confidence. Even though he has clearly stated that he is not confident, he still uses a hedging I guess in order to strengthen his statement.

Briefly, Kurt says some utterances by using fillers and lexical hedges, which do not alter the main idea of his statements. From all the episodes, the researcher also finds that Kurt underestimated himself; he uses fillers or lexical hedges to strengthen his utterance when he is lack of confidence and avoid making mistakes.

As a result, his addressee is not confused and able to understand what Kurt is saying.

2. Intensifiers

The term intensifier describes the linguistic expression of amplifying the meaning of a descriptive word, often an adjective or adverb, within an utterance. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Intensifier is used to emphasize another word that comes after it. Women are more likely to use intensifies such as so, much, quiet, and vastly than men (Key, 1972).

According to Lakoff (1975), women’s language is powerless; women’s position that is inferior to men is reflected in heavy use of intensifying adverbs. Olson (2000) presumes intensifying acts as a boosting device in language. Women use intensifiers to strengthen what they want to express. Kurt in his utterances also uses intensifiers. From all the episodes, 35 intensifiers appear in Kurt’s utterances. The intensifiers that he used are really (11), so (6), too (4), very (3), obviously (2), totally

(2), clearly, dangerously, exactly, extremely, fantastically, wholly and madly. All of the intensifiers he used are in the form of adverbs.

In Kurt’s utterances, really is the most frequent intensifiers he used. Here is one evidence from episode 18 titled Laryngitis where Kurt used the word really as an intensifier.

[4] SUE: Hey, lady face I notice you weren’t at Cheerios practice yesterday, and I don’t look kindly on absenteeism. KURT: …. something happened yesterday that [really] upset me. It’s my dad. He’s the most important thing in the world to me……

In the excerpt [4], the intensifier really is used by Kurt to emphasize the word upset.

It is used to express his feeling to his addressee. He wants his addressee to know that he is not only upset but really upset.

From Kurt’s utterances in all episodes of Glee Television Series Season 1, it is found that Kurt uses intensifiers to strengthen what he wants to express. He tries to emphasize the word meaning that comes after the intensifier. Some evidences are provided in the excerpts below: PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

[5] KURT: Make what official? MERCEDES: You know, that we’re dating. KURT: I’m sorry, Mercedes, but I thought I made it [very] clear. I’m in love with someone else.

Excerpt [5] is taken from episode 3 titled Acafellas. It shows that Kurt uses the intensifier very to emphasize the word clear in his statement.

[6] FINN: I can’t, okay! I can’t! I’m sick and tired of people pushing me to be somebody I’m not. KURT: Your lashing out at me is [fantastically] compelling and inappropriate.

The excerpt [6] from episode 10 titled Ballad is a little bit different from the other intensifiers. If we take a look at the situation, it can be seen that Kurt is annoyed by

Finn’s statement. He uses the intensifier fantastically also to emphasize his feeling.

However, it is interesting that Kurt chose a positive word as the intensifier when he is annoyed. The researcher assumes that Kurt does it to control the dialogue and his emotion. According to Brower and Darrington (2012), negative patterns of communication can often lead to greater frustration and escalation of conflict.

Therefore, Kurt does not want to use a negative word to make a conflict with Finn since he wants their duet to still run well.

[7] KURT: ...... and if we want to take it to the next level, we have to start respecting each other as individual, [really] see each other…...

And finally, in the excerpt [7] from episode 15, the researcher finds that the intensifier really is used to emphasize his statement. By emphasizing the statement,

Kurt is able to attract his addressees’ attention. When Kurt discusses a serious topic, he wants all of his friends to listen to what he was talking about so he uses the intensifier to attract their attention. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

In short, women’s language that is considered powerless can be seen from the use of intensifiers. It is used to emphasize their utterance to draw their addressees’ attention since women’s language is lacking in power. Kurt uses intensifiers in his speech that are commonly used by women. He uses them to attract his addressees’ attention by emphasizing his feeling or statement of his utterances.

3. Superpolite Forms

Superpolite form is one of women’s language features described by Lakoff

(1975). She describes super polite as leaving decisions open, not imposing your mind, or views, or claims, on anyone else, and reflecting social politeness. While it may be a polite command, it does not need obedience overtly, but is suggesting something to be done as a favor to the speaker (Lakoff, 1975, p. 56). From the data classification, it is found that Kurt used superpolite forms in some episodes of Glee

Television Series Season 1.

In Glee Television Series Season 1, Kurt uses 30 superpolite forms in his utterances. The superpolite form appears the most in the episode 15 titled The

Power of Madonna as much as 6 times. One superpolite form used by Kurt in this episode is mentioned in the excerpt below.

[8] KURT: [I would like to honor her contributions by tackling a multi- media project with Mercedes.] WILL: Great. Go for it, Kurt.

When the Glee Club were discussing about Madonna and her contribution in the entertainment world, Kurt used a superpolite form as seen in the excerpt [8]. The utterance is classified as superpolite since Kurt uses the word honor, which usually happens in formal situation while actually he is in a non-formal situation. His PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

decision in using the word honor reflects the social politeness. Besides, he also uses it to show his admiration toward Madonna.

Kurt also applies superpolite forms when he asks permission to talk to the addressees as seen in the excerpt [9] from episode 15, [10] from episode 16, and

[11] from episode 17.

[9] KURT: Ms. Sylvester, [we’d like a word.]

[10] KURT: Mr. Schue? [If I may?]

[11] KURT: Mr. Schuster, [may I be blunt?]

From those three excerpts, the researcher finds that when it comes for Kurt to talk to people who are older than him, he uses superpolite forms. First, Kurt is not imposing his addressee to listen to what he is trying to say. However, he tries to be polite by asking permission for him to talk first and then deliver his idea. Second, his expressions reflect social politeness. From excerpts [9], [10], and [11], Kurt uses formal or polite modals to ask for his addressee’s permission. Instead of using can, he uses may and would as the modals in his utterances. Even in the excerpt [9] when the modal would is shortened into we’d, it does not reduce its politeness level.

Another superpolite form is found in the episode 10 when Kurt helped Finn, his crush, to find an outfit that suited him. When Finn thanked Kurt for helping him,

Kurt answered him by using a superpolite form as seen in the excerpt [12].

[12] FINN: Thanks for coming over, Kurt. I know you’re into fashion and that kind of stuff. And I need to find something nice to wear to the Fabray’s for dinner, so… KURT: [I couldn’t be more pleased and honored to help] you find something vintage and appropriate to wear. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

From the excerpt [12], Kurt uses the word could which is classified as a formal or polite modal. He also uses the word pleased and honored which usually are used in a formal situation. The utterance becomes superpolite because he uses those words not in a formal situation and not to the older people but to his friend. The researcher assumes that Kurt uses a superpolite form to show that he is glad to be able to help

Finn as his friend. Also, he wants to build and protect his good reputation in front of his loved one.

Briefly, Kurt uses superpolite form in his utterances in some episodes of

Glee Television Series Season 1. His choices of words such as pleased, honored, would, could, and may make his utterances become superpolite. It happens because

Kurt tries to keep his good reputation in his society. As a different kid, he does not want to be underestimated by people around him. Rather than imposing his addressees or being rude in front of them, he considers it would be better for him to use the superpolite form.

4. Emphatic Stress

Stress can refer to emphatic stress when it is placed on a particular word in a phrase to clarify or emphasis something. While applying emphatic stress, the speaker shows a bit of emotion when saying the word through posture and tone of voice. Emphatic stress is a women’s language feature that usually occurs when women want to strengthen their assertions (Lakoff, 1975). From some episodes, the researcher finds 31 examples of emphatic stress used by Kurt Hummel. In Kurt’s utterances, emphatic stress appears the most in the episode 20 as many as 7 times.

One of the evidences is provided in the excerpt 13 below. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

[13] KURT: I used Marlene Dietrich and Garry Cooper in Morocco as my inspiration. It’s [a perfect blend] of the masculine and feminine; the muted and the theatrical. FINN: Are you freaking insane? I can’t live here. I’m a dude. What the hell is that supposed to be?

When Kurt redecorated his room that would be shared with his brother-in-law to be, Finn, he said a perfect blend of the masculine and feminine. The phrase a perfect blend that he uses is an emphatic stress with the aim to emphasize the meaning of his utterance. He wants to show that the room is suitable for them. In this case, the emphatic stress shows Kurt’s attitude toward the room. In Kurt’s opinion, the room is just perfect for Finn and him. However, it seems like Finn does not like it.

Another emphatic stress is also found in the episode 10 titled Ballad and 18 titled Laryngitis. The researcher provides the evidence for each episode in the excerpts below.

[14] KURT: It’s my dad. He’s [the most important thing] in the world to me. I love him, and I’m afraid that I might be losing him because my…sexuality.

[15] KURT: He was my knight in shining armor. My feeling lingered [stronger] as we bonded over Glee. Then football. Then skin care.

Excerpt [14] and [15] show the emphatic stress that is used by Kurt. Both of the emphatic stress are used to emphasize his utterances. Both also show his point of view; it is only based on Kurt’s feeling. It can be different from others’ perspectives.

As an evidence in the excerpt [14], he wants to show that his father is the most important person for him while perhaps for his friend, Kurt’s father is not that important.

Overall, the examples of emphatic stress found in Kurt’s utterances are used to emphasize and strengthen his utterances. Kurt’s feelings about something also PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

can be shown from the emphatic stress he used. It is because the emphatic stress shows someone’s attitude toward something or someone where other people can have other points of view.

5. Hypercorrect Grammar

Hypercorrect grammar is related to the superpolite form feature. Lakoff

(1975) stated that hypercorrect grammar is the consistent use of standard verb forms. Agreeing with Lakoff, Holmes (2001) also stated that women are subordinate to men, so that they must avoid offending them and should speak with standard forms. According to Pan (2011), hypercorrect grammar involves an avoidance of terms considered vulgar or coarse as ain’t and use of precise pronunciation such as sounding the final g in words such as going instead of the more casual goin’. Instead of saying the word ain’t or goin, women prefer to use the formal forms of those word like is not, are not, am not for ain’t or getting for getting’.

Based on the data classification, there are 25 hypercorrect grammar features that appears in Kurt’s utterances from some episodes. The researcher provides some evidences of hypercorrect grammar used by Kurt that can be found in the seventh, twelfth, and twentieth episodes.

[16] KURT: [She told me if I even talked to one of Mr. Shue’s kids that she would shave my head.]

[17] KURT: [Based on my investigation, I am of the opinion that a yearbook photo would only fuel the flames of anti-glee-club terror.]

[18] KURT: Don’t worry roomie. Mr. Ikea Catalog and I will have this all figured out. [I am going to put together a palate that expresses who you are and who I want you to be.] PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

It can be seen from the three excerpts above that Kurt keeps using the standard verb forms in his utterances. He uses it even when he speaks to his friends in a non- formal situation. The researcher assumes that Kurt does not want to look rough.

From those three excerpts, the researcher also finds out that Kurt chooses not to abbreviate some words like she would into she’d and I am into I’m. It occurs not only in those three excerpts but almost in all Kurt’s utterances. In the excerpt [18], when Kurt talks to Finn about their shared room as a step-brother to be, he also uses standard verb forms. Instead of using a non-formal form of going, he preferred to use the formal one.

According to Lakoff (1975), women tend to use the hypercorrect grammar because in society, they are not allowed to talk harshly. Women tend to avoid using terms that are considered vulgar or coarse (Pan, 2011). Kurt is trying to keep his attitude in front of people and does not want to look rough which can damage his reputation. Here, the researcher finds an indication that Kurt applies hypercorrect grammar in his speech in order to keep his good reputation in society. Therefore, he tries to use the right and polite form so his society will recognize him as a good person.

6. Raising Intonation on Declaratives

Lakoff (1975, p. 17) claims that, “there is a peculiar sentence intonation pattern, found in English as far as I know only among women, which has the form of a declarative answer to a question, and is used as such, but has the raising inflection typical of a yes-no question, as well as being especially hesitant.” In Glee PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Television Series Season 1, Kurt Hummel applies this feature in his speech and it appears 12 times or in 6.769% of his utterances reflecting women’s language features. The researcher provides some evidence from the selected episode.

The first evidence can be found in the fourth episode titled Preggers. The raising intonation on declarative feature occurs when Kurt was auditioning for the role of kicker in the football team. The utterance can be seen in excerpt [19].

[19] KURT: That was good, right? FINN: Aha, yeah. KURT: [That was good?]

Excerpt [19] shows how Kurt raises his intonation after he kicks the football.

The ball that goes all the way through the uprights at a high velocity makes him asks his friend, Finn, whether it is good or not and Finn says yes. Hearing Finn’s answer, Kurt raises his intonation when he says that was good? since he is still not sure of what he has done. He applies it in order to ask for confirmation from his addressee whether his kick is satisfactory or not.

[20] KURT: So, [they just kicked her out?] FINN: Yeah. Gave her half an hour to pack. Father set the timer on microwave.

The second evidence can be seen from the excerpt [20]. It is taken from episode tenth from Glee Television Series Season 1. When Kurt and Finn are talking about

Quinn, Kurt raises his intonation when he says they just kicked her out? to get a confirmation from Finn about Quinn’s condition.

Raising intonation on declaratives is also found in the eighteenth episode.

He applies it when Kurt’s father talked to Kurt that it was hard to do things together because Kurt was a bit different. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

[21] BURT: Maybe I got carried away doing stuff with Finn, but you know, I told you this thing with you was going to be hard. KURT: Thing with me. [You mean being gay?] BURT: Yeah. Being gay. Look, I will fight to the death for your right to love whoever you want.

In that situation, Kurt wants to ask his father confirmation about what he means by saying you mean being gay? as seen in the excerpt [21].

In short, Kurt Hummel applies raising intonation on declaratives in his speech which are usually used by women. Women use them when they are hesitant and need confirmation from each other. Here, Kurt also use the feature since he is hesitant or not sure with himself. He needs confirmation from his addressee to make him convinced. Most of this feature’s utterance used by Kurt were in the form of yes-no questions.

7. Tag Questions

Lakoff (1975) proposed that tag questions are used when a speaker is stating a claim, but lacks full confidence in the truth of that claim. The examples of tag question are isn’t it?, right?, and don’t we? appear in the final statement. Holmes

(1986) states that there are two functions of tag questions; they are modal meaning and affective meaning. The affective meaning is divided into two, they are facilitative, and softening. In Glee Television Series Season 1, it is found that Kurt applies this feature five times. The researcher provides the evidences taken from episodes 4, 8, 17 and 20 below.

[22] KURT: That was cool, [right?]

[23] KURT: Well, we can’t have that, [can we?] PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

[24] KURT: And loaded with empty calories. You know why they call them slushes, [don’t you?]

[25] KURT: Ever since you separated from your wife, you’ve spent a lot of late nights watching reruns of Law and Order, [haven’t you?]

[26] KURT: If you’re gonna say something, say it loud, [right?]

From the excerpts above, Kurt used the tag questions ‘right?’ twice, and

‘don’t you?’, ‘haven’t you?’, and ‘can we?’ once. When Kurt has finished kicking the ball in the football player audition, he asked Fin about his kick. As can be seen in the excerpt [22], Kurt asks that was cool, right?. The researcher assumes that

Kurt actually knows that his kick is good. However, he facilitates other to agree with what he has said, by using right as a tag question.

Excerpts [23] and [24] are taken from episode 8. From excerpt [23], the researcher believes that Kurt knows that Glee Club cannot let Finn be kicked from the football team. Therefore, he asks we can’t have that, can we? to ask for his friends’ confirmation. Kurt also tries to ask confirmation from his teacher, Mr.

Schue by applying a tag question as can be seen in the excerpt [24]. He needs confirmation whether Mr. Schue knows why people named the drink slushes.

In the excerpt [25] that is taken from episode 17, Kurt uses tag question as softening function. It happened when Kurt was being interrogated by Mr. Schue about the G-list. In the middle of the interrogation, Kurt asked Mr. Schue whether he spent his time to watch the rerun of one television program. When Kurt asks him, he applies tag question haven’t you? as can be seen in the excerpt [25]. The tag question expresses that Kurt is softening his utterance because he is concern for

Mr. Schue’s feeling as his addressee. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The last evidence can be found in the episode 20. When Kurt’s father asked

Finn and his mother to move to his house, Finn did not look happy. Then, Kurt facilitates Finn to express his feeling. Kurt applies a tag question right? to ask Finn about what he wants to say. From all the tag questions that Kurt uses, the researcher assumes that Kurt needs to get another person’s legitimation or confirmation to make him convinced.

The same with raising intonation in declaratives, a tag question is also a feature used usually by women. The use of those features by women indicate that they are in doubt with what they are saying. Looking at their position in society that is inferior to men, they are also afraid that they will not be listened to by their society. Therefore, they use both raising intonation and tag questions to hide their insecurity and hesitancy. Kurt applies tag questions because he is hesitant with his statement. He tries to hide it by using tag questions in the end of his sentences. The tag question is in the form of yes-no questions and enforces his addressee to listen and give legitimation to him. So, the addressee will be more convinced with his statement.

8. Empty Adjectives

Empty adjectives are one feature that is used by women more often than men since women have a tendency in conveying their emotional reaction.

According to Lakoff (1975, p. 11), “There is, for instance, a group of adjectives which have, besides their specific and literal meanings, another use, that of indicating the speaker’s approbation or admiration for something.” Kurt Hummel PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

in the Glee Television Series 1 uses four empty adjectives. They are sweet, magical, lovely, and fascinating.

The researcher provides the evidence of Kurt’s utterances in using those adjectives in the excerpts below.

[27] MERCEDES: Damn, Kurt, this car is fly. KURT: My dad got it for my [sweet] 16 after I swore to stop wearing formfitting sweaters that stop at the knee.

[28] KURT: I hit it, the high F. The [magical] note I need for “Defying Gravity”. I hit it. It means I’m going to win.

[29] KURT: That’s why I asked you about the swatches. And don’t sweat that old chair. I have a [lovely] chaise picked up.

[30] BURT: No, it’s about how the 80s were a tough time for a lot of people, and, y’know, the American dream isn’t all it’s cracked up to be. KURT: Hmm. [Fascinating.] Hey why don’t we go grab a couple burgers, and, uh, you can tell me more about it?

From the excerpts, it can be seen that Kurt uses some adjectives usually used by women. The researcher believes that Kurt uses those adjectives to show his approbation or admiration toward something. Those adjectives also used to emphasize his utterance. As seen in the excerpt [27], he approbates his 16th birthday in front of his friends. For him, his 16th birthday was really special and unforgettable. Therefore, he uses an empty adjective to show his emotion feeling.

In excerpt [28], Kurt admires a note from Defying Gravity’s song by using the word magical. The researcher assumes that Kurt knows that it is the highest note in the song and believes when he can hit the note he will win over his rival. From the excerpt [29], the researcher assumes that Kurt really likes his chair and did not want the chair to become dirty. So, Kurt uses the empty adjective lovely to show his emotional reaction. The word fascinating is the last adjective he uses. He uses it to PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

show his approbation toward his father’s speech. He also uses it to emphasize his utterance so his father knows that Kurt has interest in the discussion.

In brief, Kurt uses empty adjectives that are usually used by women to show his approbation and admiration toward something. He also uses them to emphasize the utterance of his speech.

9. Avoidance of Strong Swear Words

Eckert (2003) suggests that “swearing is a kind of interjection that can express extreme statements.” He also states that by swearing, people show their expression of very strong emotion. When it comes to men and women to use swear words, women are more careful and tend to avoid using them. These words such as my dear, goodness, and my fudge are often found in women’s language as stated by

Lakoff (1975). On the contrary, these words such as damn and shit often appear in men’s language.

From all episodes in Glee Television Series Season 1, it is found that Kurt avoids to use strong swear words. In the episode 15, he avoids to use strong swear words once and in the episode 20 twice. The evidences can be seen in the excerpts below.

[31] (KURT sees SUE down the hallway) KURT: Oh, dear.

[32] RACHEL: Which led me to Jocelle Fabrics. I asked them about red Chantilly lace. They were sold out. MERCEDES: Oh, sweet Jesus. KURT: Oh, my.

[33] AZIMIO: I believe I will. (to Karofsky) Sir, would you like to go first? FINN: You’re not hitting anyone. KURT: Oh, my God. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

AZIMIO: Is he wearing a red rubber dress or am I trippin’?

Excerpt [31] is found in the episode 15 titled The Power of Madonna. When he was talking with his friend, he suddenly saw his teacher, Ms. Sue, walking down the hallway. He noticed something different in Ms. Sue’s appearance and he was shocked. Instead of using strong swear words such as shit to show his feeling, he prefers to use the word oh, dear.

The next two excerpts, [32] and [33], from episode 20 titled Funk also show

Kurt that avoids to use strong swear words. Both also happen when he is shocked.

In the excerpt [32], Kurt uses the word oh, my when he was shocked because the red Chantilly lace was sold out in the store. He could not believe that his club rival used it to do their next project. The word oh, my God is used by Kurt when he sees

Finn’s appearance. As Kurt knew, Finn did not want to wear any theatrical costume related to Lady Gaga. However, in the end of this episode, Finn was willing to wear it and it made Kurt shocked.

From those three excerpts, the researcher assumes that Kurt does not want to swear and say something wrong or bad that might be heard and hurt the addressee’s feelings. The researcher also believes that Kurt wants to be seen as a good boy in society.

10. Precise Color Terms

Women seeming to talk like a lady is shown in their choice of lexical items.

Lakoff (1975) states that women make more precise discrimination in naming color such as beige, ecru, aquamarine, and lavender. From all the episodes in Glee

Television Series Season 1, Kurt does not apply any precise color terms feature in PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

his speech. There are some color terms Kurt actually used in his utterances like white, and black as can be seen in excerpt [34] and [35].

[34] KURT: Mercedes is [black]; I’m gay. We make culture.

[35] KURT: Their school statue is a giant bronze of great [white] shark eating a seal pup.

However, those colors are classified into general language. It can be found easily both in men and women’s language. So, the researcher did not classify those colors into precise color terms as women’s language features.

The researcher believes that the feature is not found in Kurt’s utterances. In the Glee Television Series Season 1, even though Kurt talks about fashion in his speech, the researcher finds that he never relates it to color terms. Also, the topics he usually discussed with his addressee mostly had a relation with music and songs, which has no relation with color.

On the whole, Kurt uses nine out of ten women’s language features in his speech in Glee Television Series Season 1. In this research, gender is seen as a construction rather than a fixed category. Therefore, even though Kurt Hummel physically is seen as a man, the way he behaves in the series index or are associated with femininity. It is reflected by the way he uses lexical hedges or fillers, tag questions, raising intonation on declaratives, ‘empty’ adjectives, intensifiers,

‘hypercorrect’ grammar, ‘superpolite’ forms, avoidance of strong swear words, and emphatic stress. However, the way Kurt uses women’s language features is not only influenced by gender but also by other factors such as, age, audience, social relations, topic discussion and power (Milroy & Milroy, 2012). For example, in some utterances, Kurt uses ‘superpolite’ forms and ‘hypercorrect’ grammar by PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

considering who and how old his addressee is, and how close their relationship is.

The researcher did not find any precise color terms since it is influenced by the topic discussion that Kurt and his addressee discuss. In the series, Kurt is seen as a gay person that makes him powerless since gay community is the minority in society.

Kurt’s identity as a man associated with femininity influences his use of language.

Although he is a man, he uses women’s language features because he tends not to be certain with his utterances. This research confirms Holmes (2013) that states the use of hedging and boosting devices are not only influenced by gender but also by power. People who are powerless in society usually use a relatively high number of these devices (p. 305). PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER V

CONCLUSIONS, IMPLICATION, AND RECOMMENDATIONS

This chapter consists of three sections. The first section is conclusion that sums up the research results and discussion of the research. The second is implication that presents the contribution of this study for language teaching. The last section is recommendation which give suggestions regarding the topics in this research to the readers who have an interest in the similar topic.

A. Conclusions

There is one main point as conclusion of this research. It refers to the research result and discussion in accordance with the research question; what women’s language features does Kurt use in Glee Television Series Season 1? From the data, the researcher discovered nine out of ten women’s language features used by Kurt in his utterances in Glee Television Series Season 1. The features were lexical hedges or fillers (29.808%), intensifiers (16.827%), emphatic stress

(14.904%), ‘superpolite’ forms (14.423%), ‘hypercorrect’ grammar (12.500%), raising intonation on declaratives (5.769%), tag questions (2.404%), empty adjectives (1.923%), and avoidance of strong swear words (1.442%).

Based on the obtained data, Kurt Hummel did not use any precise of color term in his speech in Glee Television Series Season 1. The researcher also discovered that Kurt’s considerations of using women’s language features was not only influenced by gender but also by other factors such as age, audience, topic discussion, social relations, and power.

45 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

B. Implications

This study gives implications on educational purposes. For educational purposes, this study contributes beneficial information of language and gender and women’s language features to the practice of English teaching, especially sociolinguistics. Sociolinguistics is a part of linguistic knowledge that is important to be learnt by English learners. The information in this study can be used as an additional source both for the teachers and learners.

This study provides explanation on how women’s language features used by men. Therefore, this study helps the English learners not only to understand each feature of women’s language but also to know how gender and other factors influence individuals in adapt the features in their speech. This study also raises awareness that one utterances can have more than one functions. Therefore, learners need to pay attention to the context of the utterances to avoid misunderstanding.

Beside the information provided in this research, the television series also can be used as teaching media in Sociolinguistic class. It will help the students learn and understand sociolinguistic materials.

C. Recommendations

This research is dealing with the analysis of the women’s language features used by feminine men in their social life. This research can be beneficial for some parties who are interested in learning social phenomenon especially women’s language from the sociolinguistic perspective. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

1. English Learners

This research is beneficial for the English learners who are interested in sociolinguistics. The researcher recommends that English learners use this research to enrich their knowledge about women’s language features. The finding and discussion of this research can help the English learners to understand that gender is not a fixed category, and it influences the use of language by individuals. The

English learners also can understand that women’s language also can be used by men.

2. English Teachers

This research is useful for the English teacher. The researcher recommends that English teacher use it as an additional source in teaching and learning. The

English teacher, especially those who teach sociolinguistics, can use the finding of this study in preparing the material about women’s language features or related materials.

3. Future Researchers

Considering the conclusion, the researcher recommends that other researcher conduct research dealing with women’s language features used by masculine women. Then, future researcher can compare the use of women’s language feature by masculine women and feminine men in society. It is expected that another research is conducted in order to provide better understanding about language and gender. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

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APPENDIX 1 Example of Glee Television Series Season 1 Transcript

Episode 1 - Pilot

Featured Music: . Where Is Love? from Oliver! . Aretha Franklin - Respect . Mr. Cellophane, from Chicago . Katy Perry - I Kissed a Girl . On My Own, from Les Miserables . Sit Down, You’re Rockin’ the Boat, from Guys and Dolls . REO Speedwagon - Can’t Fight This Feeling . Journey - Lovin’, Touchin’, Squeezin’ . You’re the One that I Want, from Grease . Amy Winehouse - Rehab . John Denver - Leaving on a Jet Plane . Journey - Don’t Stop Believin’ ------

[OPEN: EXT. FOOTBALL FIELD - DAY. The cheerleading squad, the Cheerios, are practicing routines. They are being watched and timed by SUE SYLVESTER, their coach. One of the cheerleaders falls from the top of the formation.] SUE: You think this is hard? Try being waterboarded. That’s hard. [CUT TO: EXT. PARKING LOT - DAY. WILL SCHUESTER drives in and parks his clunky car. He approaches a dumpster where a group of jocks including NOAH “PUCK” PUCKERMAN and FINN HUDSON are surrounding KURT HUMMEL.] WILL: Making some new friends, Kurt? PUCK: He sure is, Mr. Schue. WILL: Hey, Finn, you still owe me that report on que hace el verano pasado. FINN: What? WILL: “What you did last summer.” FINN: Almost halfway done with almost all of it, Mr. Schue.

51 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

[WILL leaves.] PUCK: It’s hammer time! [PUCK and another jock pick KURT up.] KURT: Please, this is from Marc Jacobs’ new collection! FINN: Wait. [The jocks release KURT. He takes off his jacket and hands it to FINN.] FINN: Okay. [PUCK and the other jock toss KURT into the dumpster. FINN appears troubled.] [CUT TO: EXT. FOOTBALL FIELD - DAY. QUINN FABRAY jumps and performs a cheerleading pose in the air.] [CUT TO: INT. HALLWAY - DAY. WILL stands in front of a trophy display, admiring a first-place trophy that WMHS won at the 1993 Show Choir Championships. Next, he looks at a plaque awarded to LILIAN ADLER (1937- 1997) with the quote “By its very definition, Glee is about opening yourself up to joy.”] [CUT TO: INT. CLASSROOM - DAY. WILL is teaching a spanish class. FINN is in the class.] WILL: Como esta usted? Yo me llamo Guillermo. CLASS: (repeats, bored) Como esta usted? Yo me llamo Guillermo. WILL: Que lastima, hojala que se sienta mejor. CLASS: (repeats) Que lastima… [CUT TO: EXT. FOOTBALL FIELD - DAY. Male cheerleader jumps and performs a cheerleading pose in the air.] [CUT TO: INT. CHOIR ROOM - DAY. SANDY RYERSON and HANK SAUNDERS are singing “Where Is Love?” from Oliver! together. RACHEL BERRY is watching, upset.] [CUT TO: INT. TEACHERS LOUNGE - DAY. WILL and KEN TANAKA are standing around a coffee maker without a coffee pot.] WILL: Where’s the coffee pot? KEN: Figgins got rid of it. Budget cuts. You know, I know for a fact that they are still getting hot java at Carver. We should strike. [SUE enters with coffee drinks.] SUE: Hello, boys. Who needs a pick-me-up? PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

KEN: Wow, lattes! SUE: Yeah, I am a bit of a coffee snob. Now, the key to a perfect latte, is in the temperature of the steamed milk. I like mine scalding. [EMMA enters.] KEN: Hi, Emma. EMMA: Hey, Ken. Will, hi. WILL: Hey. EMMA: What’s with all the lattes? SUE: Oh, Emma, I just felt so awful that Figgins cut the coffee budget to pay for a nutritionist for the Cheerios. EMMA: Yeah, I heard you guys went, like, $600 over budget on that. SUE: My performers didn’t get on Fox Sports Net last year because they ate at Bacon Junction. EMMA: Since when are cheerleaders’ performers? SUE: Your resentment is delicious. Well, I have a phone in a couple of minutes. It’s an interview on the telephone with a major media outlet. I’ll probably do it on my iPhone. Enjoy. WILL: Thanks a lot, Sue. [SUE exits. KEN walks over and sits down across from EMMA.] KEN: I missed you at the, uh, singles mixer last weekend, Emma. EMMA: Yeah, I know. Big pipe exploded in my building. It was wild. I hate those mixer things though, I mean, it’s like a big meat market. It’s just, ugh. I did give my number to a fireman though. But he hasn’t called. WILL: You know what, there’s someone out there for everyone. I wouldn’t even sweat it. EMMA: Hey, did you hear that Sandy Ryerson got fired? WILL: Really? Well, who’s going to take over Glee Club? EMMA: Don’t know. [CUT TO: INT. PRINCIPAL’S OFFICE - DAY. PRINCIPAL FIGGINS and WILL are seated across from each other.] WILL: I’d like to take over Glee Club. FIGGINS: You want to captain the Titanic, too? PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

WILL: I think I can make it great again. There is no joy in these kids. They feel invisible. That’s why every one of them has a MySpace page. FIGGINS: 60 bucks a month. That’s what I need to keep this program up. WILL: And you-you expect me to pay it? FIGGINS: I’m certainly not going to pay for it. We’re not talking about Cheerios here, Will. They were on Fox Sports Net last year. When Glee Club starts bringing that kind of prestige to the school again, you can have all the money you want. Until then, 60 bucks a month. And you’ve got to use the costumes and props you already have. But we need the stools for wood shop. [CUT TO: INT. WILL’S BEDROOM - NIGHT. TERRI SCHUESTER is asleep. WILL lies wide awake.] WILL: (voice over) Hiding the $60 a month from my wife, Terri, was going to be hard. But I had a bigger problem. How was I going to get these kids motivated? One thing I knew for sure, we needed a new name. [WILL sits up, excited.] WILL: “New Directions!” [CUT TO: INT. HALLWAY - DAY. MERCEDES JONES walks up to the New Directions sign-up sheet and writes down her name.] [CUT TO: INT. AUDITORIUM - DAY. MERCEDES is on stage.] MERCEDES: My name is Mercedes Jones and I’m singing… [MERCEDES sings Aretha Franklin’s “Respect”.] [CUT TO: INT. HALLWAY - DAY. KURT walks up to the sign-up sheet and writes down his name.] [CUT TO: INT. AUDITORIUM - DAY. KURT is on stage.] KURT: Hello, I’m Kurt Hummel, and I’ll be singing “Mr. Cellophane”. [KURT sings “Mr. Cellophane” from Chicago.] [CUT TO: INT. HALLWAY - DAY. TINA COHEN-CHANG writes down her name on the sign-up sheet with ARTIE ABRAMS beside her.] [CUT TO: INT. AUDITORIUM - DAY. TINA is on stage.] TINA: (stuttering) Tina C. “I Kissed A Girl.” [TINA sings Katy Perry’s “I KIssed A Girl”.] [CUT TO: INT. HALLWAY - DAY. RACHEL approaches the sign-up sheet and writes down her name.] [CUT TO: INT. AUDITORIUM - DAY. RACHEL is on stage.] PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

RACHEL: Hi, my name is Rachel Berry, and I’ll be singing “On My Own” from the seminal Broadway classic Les Mis. WILL: Fantastic, let’s hear it. [RACHEL starts singing “On My Own” from Les Miserables.] [CUT TO: INT. HALLWAY - DAY. RACHEL applies a gold star sticker to the end of her name on the sign-up sheet.] RACHEL: (voice over) You might laugh because every time I sign my name, I put a gold star after it. But it’s a metaphor and metaphors are important. My gold stars are a metaphor for me being a star. [PUCK throws a slushie in RACHEL’s face.] [CUT TO: INT. HALLWAY - DAY. RACHEL is walking down the hallway in a rush.] RACHEL: (voice over) And just so we’re clear, I want to clear up that hateful rumor that I was the one who turned that closet case Sandy Ryerson in because he gave Hank Saunders the solo I deserved. That’s cockpoopie. [CUT TO: INT. PRINCIPAL’S OFFICE - DAY. RACHEL is crying to FIGGINS.] RACHEL: He was touching Hank, caressing him. It was so wrong! [FIGGINS hands her a tissue. RACHEL dabs at her cheeks, smiling.] [CUT TO: INT. HALLWAY - DAY. RACHEL is admiring a photo of two men on the door of her locker.] RACHEL: (voice over) I am not homophobic. In fact, I have two gay dads. See, I was born out of love. My two dads screened potential surrogates based on beauty and IQ. Then they mixed their sperm together and used a turkey baster. To this day, we don’t know which one is my real dad, which I think is pretty amazing. [CUT TO: INT. DANCE STUDIO - DAY. A young RACHEL dances wildly.] RACHEL: (voice over) My dads spoiled me in the arts. I was given dance lessons, vocal lessons, anything to give me a competitive edge. [CUT TO: INT. RACHEL’S BEDROOM - NIGHT. RACHEL is looking at her laptop.] RACHEL: (voice over) You might think that all the boys in school would totally want to tap this, but my MySpace schedule keeps me way too busy to date. [RACHEL sets up a video recorder on a tripod and starts to sing.] RACHEL: (voice over) I try to post a MySpace video every day, just to keep my talent alive and growing. Nowadays, being anonymous is worse than being poor. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Fame is the most important thing in our culture now. And if there’s one thing I’ve learned, it’s that no one’s just gonna hand it to you. [RACHEL uploads a video of her singing.] [CUT TO: INT. GYMNASIUM - DAY. QUINN FABRAY, SANTANA LOPEZ, and other Cheerios are watching RACHEL’s video and laughing. QUINN writes a comment that says “If I were your parents, I would sell you back.” Another comment reads “I’m going to scratch out my eyes.” Another says “Please get sterilized.”] [CUT TO: INT. RACHEL’S BEDROOM - NIGHT. RACHEL reads the comments.] [CUT TO: INT. AUDITORIUM - DAY. RACHEL’s audition continues.] WILL: Very nice, Rachel. RACHEL: When do we start rehearsals? [CUT TO: INT. CHOIR ROOM - DAY. RACHEL, TINA, MERCEDES, KURT, and ARTIE are rehearsing “Sit Down, You’re Rockin’ The Boat” from Guys and Dolls. WILL is directing. They are terrible.] RACHEL: We suck. WILL: Uh, it… It’ll get there. We-we just need to keep rehearsing. RACHEL: Mr. Schuester, do you have any idea how ridiculous it is to give the lead solo in “Sit Down, You’re Rockin’ the Boat” to a boy in a wheelchair? ARTIE: I think Mr. Schue is using irony to enhance the performance. RACHEL: There is nothing ironic about show choir! WILL: Rachel… Rachel! [CUT TO: EXT. FOOTBALL FIELD - DAY. SUE is yelling at her Cheerios. RACHEL is watching from the bleachers.] SUE: That’s sloppy! You’re sloppy babies! It’s just disgraceful! And I want the agony out of your eyes! Uh-uh, Lance, don’t you start crying! You are the weak link, pal! How’s it feel to be the weak link, huh?! That can’t feel very good! [WILL enters. He sits down behind RACHEL on the bleachers.] WILL: You changed out of your costume. RACHEL: I’m tired of being laughed at. WILL: You’re the best kid in there, Rachel. That comes with a price. RACHEL: Look, I know I’m just a sophomore, but I can feel the clock ticking away, and I don’t want to leave high school with nothing to show for it. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

WILL: You get great grades. You’re a fantastic singer. RACHEL: Everybody hates me. WILL: And you think Glee Club is going to change that? RACHEL: Being great at something is going to change it. Being a part of something special makes you special, right? I need a male lead who can keep up with me vocally. WILL: Maybe I can coach Artie a little. RACHEL: Look, Mr. Schue, I really appreciate what you’re trying to do, but if you can’t give me what I need, then I’m sorry. I’m not going to make a fool out of myself. I can’t keep wasting my time with Glee. It hurts too much. [KEN blows his whistle to get their attention.] KEN: Schuester! Figgins wants you! [CUT TO: INT. PRINCIPAL’S OFFICE - DAY. FIGGINS is punching away at his calculator.] WILL: But we just started rehearsals. FIGGINS: My hands are tied, Schue. I need the auditorium. Alcoholics Anonymous wants to rent it out for their afternoon meetings. Lots of drunks in this town. They’re paying me ten bucks a head. WILL: If we show at regionals, Glee stays; if not, the bar’s open on the auditorium. FIGGINS: What is it with you and this club? You’ve got only five kids–one of them’s a cripple. WILL: Then I guess you’ve got nothing to worry about. FIGGINS: Fine. WILL: Yes! FIGGINS: But you’re running detention for free to make it up to me. WILL: Deal. [CUT TO: INT. SHEETS N THINGS - DAY. TERRI is teaching HOWARD BAMBOO how to fold a fitted sheet.] TERRI: You put your hands in the corners like this. Okay? HOWARD: I can’t do it. I’m dyslexic. Maybe I should just stick to towels and washcloths. TERRI: Howard, if you can’t fold a fitted sheet, you cannot work at Sheets N’ Things. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

P.A.: Associate to returns. TERRI: Go. Make sure they have a receipt. [HOWARD exits. WILL enters.] WILL: Someone looks beautiful today. TERRI: Hey. WILL: Hi. TERRI: You look very handsome. WILL: Thank you. I just thought I’d bring you roast beef on pumpernickel–your favorite. TERRI: Aw. Oh, but does it have mayo? WILL: Yeah. TERRI: Will, if my diabetes comes back, I can’t get pregnant. WILL: I… TERRI: What is wrong with you? WILL: I just wanted to tell you that I’m going to have to start working late for the next couple of months. I’m, uh, monitoring after-school detention. TERRI: What? WILL: I had to make a deal with Figgins so he wouldn’t kill Glee Club. TERRI: But Will, I’m on my feet four hours a day three times a week here. Now I have to go home, and I have to cook dinner for myself? [HOWARD enters.] HOWARD: This lady wants to return these sheets, but… something tells me we’ve got another bed wetter. TERRI: Do you see what I have to deal with here? [TERRI grabs the soiled sheets. TERRI and HOWARD exit.] TERRI: God, hasn’t she ever heard of a diaper? [WILL sees SANDY in the next aisle. He is speaking to a Sheets N’ Things EMPLOYEE.] SANDY: Of course, towels have a thread count, Mister… Sheets N’ Things. What do you do? I read catalogues. I know these things. Anything under a 400 thread count, and I could break out in impetigo. It’s simple to understand. [EMPLOYEE exits. WILL tries to sneak past SANDY.] PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

SANDY: William? WILL: Sandy? Hey. SANDY: Well, hello. How are things? I hear you have taken over Glee Club. WILL: Yeah. I… hope you’re not too upset. SANDY: Are you kidding? Getting out of that swirling eddy of despair: best thing that ever happened to me. Don’t get me wrong. It wasn’t easy at first. Being dismissed, and for what I was accused of. My long-distance girlfriend in Cleveland nearly broke up with me. Oh God, don’t you love a good monkey? Took me weeks to get over my nervous breakdown. WILL: Did they put you on medication? SANDY: Better: medical marijuana. It’s genius. I just tell my Dr. Feelgood I’m having trouble sleeping, and he gives me all of it I want. I’m finding the whole system quite lucrative. WILL: You’re a drug dealer? SANDY: Oh, yeah… make five times more than when I was a teacher. WILL: I keep some for myself, and then I take money baths in the rest. SANDY: Who-who do you sell it to? [CUT TO: EXT. SHADY LOT - DAY. SANDY gives KEN a packet of marijuana in exchange for money.] [CUT TO: INT. SHEETS N THINGS - DAY. SANDY holds up a packet of marijuana labeled The Chronic Lady.] SANDY: You want in? WILL: Uh, no… I mean, I tried it once in college, but Terri and I are trying to get pregnant, so… [SANDY puts the packet into WILL’s pocket.] SANDY: Do my own packaging, and the first sample is free. WILL: Sandy, no. SANDY: Come on, you are the one who are coaching those tone-deaf acne factories. You’re going to need it. [Sheets N’ Things EMPLOYEE returns with a toilet cover.] SANDY: This looks like barf. Okay? I have to do everything myself. (to WILL) Call me. (to EMPLOYEE) Come on. What’s the matter with you? This is terrible. [CUT TO: INT. SUE’S OFFICE - DAY. SUE is dusting her cheerleading trophies when WILL knocks on her door and looks in.] PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

WILL: Hey, Sue. Can I have a sec? SUE: Sure, buddy. Come on in. [CUT TO: EXT. SIDEWALK - DAY. EMMA steps in a large wad of chewing gum. She freaks out and sits down on a nearby bench. WILL approaches.] WILL: Hey, Emma, you got a second? What is that, gum? [CUT TO: INT. SUE’S OFFICE - DAY.] SUE: So, you want to talk to my Cheerios about joining Glee Club? WILL: Well, I need more kids - performers - and all the best ones are in the Cheerios, so I figured some of them might want to double up. SUE: Okay, so what you’re doing right now is called blurring the lines. High school is a caste system. Kids fall into certain slots. Your jocks and your popular kids up in the penthouse. The invisibles and the kids playing live-action out in the forest: bottom floor. WILL: And… where do the Glee kids lie? SUE: Sub-basement. [CUT TO: EXT. SIDEWALK - DAY. WILL is trying to scrape the gum off EMMA’s shoe.] EMMA: Sue’s not wrong, but I don’t think anything is set in stone. I mean, you know, kids are going to do what they think is cool, which is not always who they are. You just need to find a way to get them out of their boxes. WILL: Well, how do I do that? EMMA: They follow the leader. You know, if you can get a couple of the popular kids to sign up, the rest will fall right in line. [CUT TO: EXT. FOOTBALL FIELD - DAY. WILL is jogging alongside KEN’s golf cart.] WILL: I just want to talk to them. KEN: I don’t know, dude. I can’t see any of my guys wanting to join Glee Club. Last month, they held down one of their teammates, shaved off his eyebrows just because he watched Grey’s Anatomy. WILL: Look, all I’m looking for is an introduction. KEN: Fine. You got to put a good word in for me with Emma. [CUT TO: EXT. SIDEWALK - DAY. WILL finishes scraping the gum off EMMA’s shoe.] WILL: There you go, Cinderella. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

EMMA: Thank you. I have trouble with things like that. The, um… the… the messy things. WILL: Yeah. EMMA: It’s really nice how much you care about Glee, about the kids. [CUT TO: INT. SUE’S OFFICE - DAY.] SUE: If you really care about these kids, you’ll leave well enough alone. Children like to know where they stand, so let your little Glee kids have their little club, but don’t pretend that any of them are something they’re not. [CUT TO: INT. BOYS LOCKER ROOM - DAY. KEN is standing at the front of the room with WILL. The football team is scattered around.] KEN: Circle up. Mr. Schuester is going to talk to you. If you don’t listen, you do laps. You mouth off, you do laps. Got it? They’re all yours, Will. WILL: Thanks, Ken. Hey, guys, how you doing? Uh, I think I recognize some of you from Spanish class, but, uh, I’m… I’m here today to talk to you about something different: music. Glee Club needs guys. PUCK: I can sing. WILL: Really? That’s fantastic. PUCK: You wanna hear? WILL: Yeah. [PUCK walks to the front of the locker room amid applause from the other football players. He lets out a loud fart.] PUCK: Ohhh yeah. WILL: I’m going to put the sign-up sheet at the door to the so if anyone wants to sign up, please… Thank you. KEN: Dismissed. Puck, in my office in five minutes. WILL: You been sleeping okay? Your eyes look a little bloodshot. KEN: I got allergies. WILL: Okay. Thanks a lot. [CUT TO: INT. BOYS LOCKER ROOM - DAY. The New Directions sign-up sheet has three names: Gaylord Weiner, Butt Lunch, and Penis. WILL stares at the sheet, dismayed.] WILL: (voice over) I honestly thought that was the end of the very brief fever dream that was “New Directions”. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

[WILL hears someone singing REO Speedwagon’s “Can’t Fight This Feeling”. He finds FINN in the showers, singing to himself.] WILL: (voice over) I suddenly realized why I had wanted to do this thing in the first place. It was seeing the gift in a kid that they didn’t even know they had. It was pure talent. What I did then… was the blackest moment of my life. [CUT TO: INT. WILL’S OFFICE - DAY. WILL shows FINN the packet of marijuana that SANDY gave him.] WILL: You want to tell me how long you’ve had a drug problem? FINN: I don’t even know who the Chronic Lady is. WILL: Look, if it were up to me, we wouldn’t have mandatory bi-weekly afternoon locker checks. FINN: But I’ve never seen that before, Mr. Schue, I swear. It’s not mine. I’ll pee in a cup. I’ll pee. WILL: Look, it… it wouldn’t make any difference. Possession is eight-tenths of the law. I’m pretty sure that much pot is a felony. Yeah. Look, you’ll get kicked out of school. You’ll lose your football scholarship. FINN: Wait… I had a football scholarship? To… to where? WILL: You could land in prison, son. FINN: Oh my God. Please, don’t tell my mom. WILL: Look, I see a lot of myself in you, Finn. I know what it’s like to struggle to make good life choices, and I don’t want to see you throw away everything you have to offer the world. I just expected more out of you, Finn. FINN: (voice over) That really got to me when Mr. Schuester said that, because every day of my life, I expect more out of myself. See, I might look confident and everything, but I really struggle with the same thing others kids do: peer pressure, bacne. [CUT TO: INT. FINN’S HOUSE - DAY. A young FINN looks at a photograph of his father.] FINN: (voice over) I never knew my dad. He died in Iraq when we were fighting Osama bin Laden the first time. [Young FINN plays the drums. FINN’s mother CAROLE HUDSON is trying to talk on the phone.] CAROLE: Hold on, hold on. Finn, Finn, Finn! Please, I’m on the phone. I just want to trade next Saturday’s shift for this Saturday, because Finn’s got a parents night for Cub Scouts. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

FINN: (voice over) My mom and me, we’re real close, but being a single parent can be hard. The only good time for Mom was en we splurged a little bit and ordered Emerald Dreams. [CUT TO: EXT. FINN’S HOUSE - DAY. Emerald Dreams employee DARREN is spraying the Hudsons’ front lawn. Young FINN is helping him. CAROLE is sitting close by.] FINN: (voice over) Darren was good to her, and he was cool about letting me hang out. [Young FINN and DARREN sing Journey’s “Lovin’, Touchin’, Squeezin’”.] FINN: (voice over) That was the first time I really heard music. Man, it set my soul on fire. DARREN: You got a voice, buddy. Seriously, if I had that voice, my band would still be together. Stick with it. [CUT TO: EXT. FINN’S HOUSE - DAY. DARREN drives by with his new girlfriend.] FINN: (voice over) My mom took it real hard when Darren left her for that girl he met at Pick & Save. [CAROLE throws a milk jug at DARREN’s truck, upset.] FINN: (voice over) It was at that moment I decided to do whatever it took to make my mom proud of me. To make her feel all her sacrifice was worth it. [CUT TO: INT. WILL’S OFFICE - DAY.] WILL: We have two options here. I’m running detention now, so you can do six weeks after school, but that’s gonna remain on your permanent record. FINN: What’s the other option, Mr. Schue? [CUT TO: INT. AUDITORIUM - DAY. FINN starts singing “You’re the One that I Want” from Grease. RACHEL perks up and joins in, excited. After a moment, MERCEDES breaks them up.] MERCEDES: Oh, hell to the no. Look, I’m not down with this background singing nonsense. I’m Beyonce. I ain’t no Kelly Rowland. WILL: Okay, look, Mercedes, it’s just one song. KURT: And it’s the first time we’ve been kind of good. MERCEDES: Okay, you’re good, white boy. I’ll give you that. But you better bring it. Let’s run it again. WILL: All right, let’s do it. From the top. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

[CUT TO: INT. TERRI’S CRAFT ROOM - NIGHT. TERRI and WILL are putting together a jigsaw puzzle.] WILL: You usually don’t let me in your craft room. TERRI: Isn’t this fun? And challenging. Every Wednesday, we’re gonna have puzzle night. Because I know how important it is for you to have a creative outlet. WILL: You know, the kids have been working so hard. I was thinking about taking them on a field trip next Saturday. Carmel High’s performing a showcase down in Akron. Now, Carmel’s gonna be the team to beat at regionals. And I was wondering if you might want to come chaperone it with me. TERRI: On Saturday? Oh, I can’t. I had to pick up an extra shift at work, Will. We’re living paycheck to paycheck, you know. WILL: And how much of that paycheck goes to your Pottery Barn credit card? TERRI: I don’t know what you’re talking about. [WILL stands up and heads toward a closet.] TERRI: Don’t go in the Christmas closet! [WILL opens up the closet, revealing things TERRI has purchased without his knowledge.] WILL: I was looking for my jacket the other day. We cannot afford this stuff, Terri. TERRI: Oh, we could, Will. Yes, I am a shoo-in to be promoted during the Christmas week at Sheets N’ Things. You know, I reek of management potential. And they’re hiring at H.W. Menken. WILL: My passion is teaching, Terri. For the last time, I don’t want to be an accountant. TERRI: Dr. Phil said that people could change. You know, it’s not a bad thing to want a real life, Will, and to have a glue gun that works! You know, it’s really hard for me not having the things that I need. WILL: Oh! And you need three mahogany toilet brush holders?! TERRI: They’re Balinese! It is not a bad thing to want things, Will. You know, I understand your interest in these kids, Will. I really do. Yeah. It’s your way of recapturing your glory days. But I’m not the high school cheerleader anymore, and you are not the golden boy. High school’s over… for both of us. It’s time that you move on. [CUT TO: INT. TEACHERS LOUNGE - DAY. KEN is staring at EMMA while shredding papers. EMMA is staring at WILL, who is putting up a sign- up sheet for chaperones. Once WILL leaves, EMMA walks up to the sheet and puts her name down.] PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

[CUT TO: EXT. FOOTBALL FIELD - DAY. PUCK is throwing footballs at another football player’s head. He notices KEN yelling at FINN.] KEN: You’re the quarterback! No. I don’t want to hear it. You make your decision. You’re a football player, or you’re a singer. [FINN walks by. PUCK catches up to him.] PUCK: Hey. What’s going on? FINN: Oh. I just… I have to miss practice Saturday afternoon. It’s, uh… it’s my mom. I got to help her… cook and, uh, do things. PUCK: Why? FINN: She just had, uh, surgery. PUCK: What kind of surgery? FINN: Uh, well, she, um, had to have her prostate out. PUCK: Man, that’s a tough break. FINN: Yeah, it’s, uh, engorged. [CUT TO: EXT. FOOTBALL FIELD - DAY.] SUE: You think this is hard? I’m living with hepatitis. That’s hard. [CUT TO: INT. TEACHERS LOUNGE - DAY. KEN enters and slaps away the book that WILL was reading.] KEN: You stole my quarterback. WILL: Okay, look. Finn’s got a great voice. He just wants to express himself. KEN: You’re screwing up my life. WILL: Okay, Ken? You hate football. What’s this really about? [CUT TO: EXT. PARKING LOT - DAY. EMMA is disinfecting the door handle of her car. KEN approaches.] KEN: Hey, M&M. So, I got tickets to Monster Trucks this weekend. Luge tickets. EMMA: No thanks. Not really my thing. KEN: Truckzilla versus Truckasaurus, and get this: the trucks breathe fire. EMMA: Ken. Look, you know how every time you ask me out, I tell you that I’m on my period? KEN: Which doesn’t bother me. EMMA: Or I’m suffering from cluster headaches, or I’m allergic to nighttime? Those things–not really true. I’m just not interested in dating you. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

KEN: How do I get you… into my hatchback? EMMA: Okay, Ken, fine, you know what, make me say it: I like somebody else. All right? Nothing I can do about it because they’re unavailable, so I have to deal with that, but– [KEN licks his hand and rubs it all over EMMA’s car door handle.] [CUT TO: INT. TEACHERS LOUNGE - DAY.] KEN: You’re right. I’m overreacting. The herd will take care of it. WILL: The herd? KEN: The student body. The second someone tries to rise above - be different - the herd pulls them back in. So. Oh, and by the way, thanks for putting a good word in for me with Emma, buddy. I guess you just want her for yourself, huh? Adios, amigo. [CUT TO: INT. CARMEL HIGH SCHOOL - DAY. RACHEL and FINN are in line for snacks. WILL and EMMA are behind them.] RACHEL: You’re very talented. FINN: Really? RACHEL: Yeah. I would know. I’m very talented, too. I think the rest of the team expects us to become an item. You, the hot male lead, and me, the stunning young ingenue everyone roots for. FINN: Well, I, uh, have a girlfriend. RACHEL: Really? Who? FINN: Quinn Fabray. RACHEL: Cheerleader Quinn Fabray? The president of the Celibacy Club? [CUT TO: INT. QUINN’S HOUSE - NIGHT. FINN and QUINN are making out. FINN reaches down to touch QUINN’s butt. QUINN stops him and sits up.] QUINN: Wait. Let’s pray. [CUT TO: INT. CARMEL HIGH SCHOOL - DAY.] FINN: For almost four months now. She’s cool. Mmm, I wonder if they have Sour Patch Kids. [RACHEL and FINN move forward in line.] WILL: Those kielbasas look like they’ve been in there a while. EMMA: Do you want to go halves on a PB and J? PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

WILL: That sounds perfect. EMMA: Yeah? WILL: Yeah. Let’s go. (to people in line) Sorry. Excuse me. [WILL and EMMA sit down together.] WILL: I haven’t had a peanut butter and jelly sandwich in a really long time. EMMA: Really? WILL: Yeah. My wife’s allergic to nuts. EMMA: Well, that’s really sweet, though–not eating something because she can’t. WILL: Oh, yeah. EMMA: It’s really nice. Oh, that’s really noisy. But they’re clean. [EMMA gives WILL half of her sandwich.] WILL: Oh, my gosh. EMMA: How, um… How long have you two been married? WILL: Mm, five years last March. EMMA: Really? WILL: Yeah. But we’ve been together since high school. I mean, she was my first girlfriend, actually. EMMA: Was it love at first sight? WILL: For me it was. I don’t know. She used to be filled with so much joy. EMMA: And now? [The lights flicker.] WILL: Oh. Showtime. You don’t want to hear about my marital problems. EMMA: Oh, no, I do. I-I do. I mean, I-I’d love to hear. You… I mean, I’m not happy that you have marital problems, but people talk to me a lot ‘cause I’m a guidance counselor. WILL: Okay, here’s the thing. Terri rides me hard, and I’ve always appreciated it. I figure she just wants me to be better, you know? But lately, though, I keep asking myself, better at what? Making money? Being upwardly mobile? I don’t know. I-I love her. Don’t get me wrong. We just got to get back on the same page. EMMA: Do you like the sandwich? WILL: Oh my God, it’s like the best I’ve ever had. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

[CUT TO: INT. CARMEL HIGH SCHOOL AUDITORIUM - DAY. WILL, EMMA, and the New Directions are seated together, about to watch Carmel High’s glee club perform. WILL leans over to the others.] WILL: Hey, guys, so this is supposed to be our competition, but, uh, I honestly don’t think that they’ve got the talent that we’ve got. But let’s be a good audience, all right? Give 'em some of that old McKinley High respect. ANNOUNCER: Please give a warm Buckeye State welcome to last year’s regional champions, Vocal Adrenaline! [Vocal Adrenaline performs Amy Winehouse’s “Rehab”. It is amazing. Everyone cheers. New Directions is stunned.] TINA: We’re d-d-doomed. [CUT TO: EXT. CARMEL HIGH SCHOOL - DAY. FINN walks past a group of Carmel High drummers. PUCK and a few football players are waiting for him around the corner with paintball guns.] PUCK: Chicks don’t have prostates. I looked it up. You broke the rules, Finn, and for that, you must be punished. [The football players hold up their paintball guns and surround FINN.] FINN: Wait. Wait. Wait. Wait. You’ve got the power here, okay? You-you don’t have to do this. [The football players open fire.] [CUT TO: INT. WILL’S APARTMENT - NIGHT. WILL enters. TERRI is waiting for him with champagne. A banner that reads “Congratulations” is hanging in the doorway.] TERRI: There’s my baby. WILL: Wow, honey. This is amazing. What-what’s the congratulations for? The kids haven’t won anything yet. TERRI: I’m pregnant. WILL: Really? TERRI: Yeah. WILL: Terri, don’t mess with me. Oh my God, this is amazing. We’re going to be a family. Oh my God. Oh! Can’t believe it. [CUT TO: INT. AUDITORIUM - DAY. WILL is breaking the bad news to the New Directions.] ARTIE: You’re leaving us? When? PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

WILL: Well, I’ve given my two weeks’ notice, but I promise I’m gonna find you guys a great replacement before I go. MERCEDES: Is this 'cause those Carmel kids were so good? Because we can work harder. RACHEL: This isn’t fair, Mr. Schuester. We can’t do this without you. FINN: So does that mean that I don’t have to be in the club anymore or…? WILL: This isn’t about you guys. Being an adult is about having to make difficult choices. It’s not like high school. Sometimes you have to give up the things that you love. One day you guys are going to grow up and understand that. I have loved being your teacher. [CUT TO: INT. AUDITORIUM - DAY. WILL is packing up his things. He picks up his guitar and starts singing John Denver’s “Leaving on a Jet Plane”. [CUT TO: EXT. MCKINLEY HIGH - DAY. EMMA draws a heart around WILL’s face in the yearbook.] [CUT TO: INT. CLASSROOM - DAY. WILL fills out a job application for H.W. Menken.] [CUT TO: INT. TEACHERS LOUNGE - DAY. EMMA overhears other teachers talking about WILL.] TEACHER: I heard he’s having a baby. That’s why he gave Figgins his notice. [CUT TO: INT. CLASSROOM - DAY. WILL finishes filling out his job application. EMMA walks up to him.] EMMA: Need help grading those papers? WILL: It’s actually an application for H.W. Menken. They’re hiring. Come on. Accounting is sexy. I’ll miss you. EMMA: Before you leave, can you do me a favor? WILL: Yeah. EMMA: I made an appointment for you tomorrow in the career center. You need some guidance. WILL: I’m having a kid, Emma. What I need is better benefits. EMMA: Just come, Will, for me. [CUT TO: INT. HALLWAY - DAY. FINN shuts his locker and finds RACHEL standing there.] RACHEL: Didn’t see you at Glee Club today. FINN: Is that still happening? PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

RACHEL: I’ve taken over. I’m interim director, but I expect the position will become permanent. [QUINN and SANTANA enter.] QUINN: Hi, Finn. (to RACHEL) RuPaul. FINN: Hey. QUINN: What are you doing talking to her? RACHEL: Science project–we’re partners. QUINN: Christ Crusaders tonight at 5, my house. FINN: Sounds great. [QUINN and SANTANA exit.] FINN: Look, I-I should go. I can’t do Glee anymore. It conflicts with… RACHEL: Your reputation? You’ve really got something, Finn, and you’re throwing it away. FINN: I-I’m going to be late. RACHEL: You can’t keep worrying about what people think of you, Finn. You’re better than all of them. [CUT TO: EXT. FOOTBALL FIELD - DAY. Football players are rehearsing. FINN and PUCK are talking.] PUCK: What do you want me to do, apologize? That’s not me, dude. Look, if I joined the flag team, you’d beat the crap out of me. I just don’t understand why you did it. FINN: Schuester told me it’d give me enough extra credit to pass Spanish if I joined the club, okay? I… I didn’t have a choice. If I failed another class, I’d be off the team. Look, it’s over, okay? I quit. Anything else? PUCK: No, that’s it. And as a welcome back to the world of the normal… I got you a present. [PUCK walks ahead. FINN hears a sound.] FINN: What’s that noise? [ARTIE is trapped inside a portable toilet.] ARTIE: Help, help! Help! [FINN walks up to the group of portable toilets. PUCK and other football players are standing nearby.] FINN: What’s going on? PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

PUCK: We got that wheelchair kid inside. We’re going to flip it. FINN: Isn’t that kind of dangerous? PUCK: He’s already in a wheelchair. Come on, dude, we saved you the first roll. [FINN shakes his head. He opens the portable toilet and pulls ARTIE out.] ARTIE: Thank you. Thank you so much. Thank you. Oh my God, the smell. PUCK: What the hell, dude? I can’t believe you’re helping out this loser. FINN: Don’t you get it, man? We’re all losers–everyone in this school. Hell, everyone in this town. Out of all the kids who graduate, maybe half will go to college, and two will leave the state to do it. I’m not afraid of being called a loser 'cause I can accept that that’s what I am. But I am afraid of turning my back on something that actually made me happy for the first time in my sorry life. PUCK: So what? Are you quitting to join Homo Explosion? FINN: No. I’m doing both. 'Cause you can’t win without me and neither can they. [FINN wheels ARTIE away. In the distance, DARREN, the Emerald Dreams employee from FINN’s childhood is spraying the football field and singing Journey.] [CUT TO: INT. AUDITORIUM - DAY. RACHEL and the rest of New Directions are arguing when FINN wheels ARTIE in.] RACHEL: Look, you guys, these steps are not hard. I’ve been doing them since preschool. KURT: I’m sorry, did I miss the election for queen? Because I didn’t vote for you. RACHEL: I know what I’m talking about. I won my first dance competition when I was three months old. KURT: (to FINN) This is a closed rehearsal. FINN: Look, I owe you guys an apology. I never should have quit. I don’t want to be the guy that just drives around throwing eggs at people. RACHEL: That was you? KURT: You and your friends threw pee balloons at me. FINN: I know. KURT: You nailed all my lawn furniture to my roof. FINN: I wasn’t actually there for that, but I’m really sorry. Look, that isn’t who I am, and I’m tired of it. This is what I want to be doing, with you guys. I used to think that this was like, the lamest thing on Earth, and maybe it is, but… we’re all here for the same reason–'cause we want to be good at something. Artie, you play guitar, right? Think you could recruit the jazz band? PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ARTIE: I do have pull there. FINN: All right. Mercedes, we need new costumes, and they have to be cool. Can you do that? MERCEDES: Damn, don’t you see what I got on? FINN: Rachel, you can do choreography. Tina, what are you good at? TINA: I-I… FINN: We’ll figure something out for you. MERCEDES: And what are you bringing to the table, Justin Timberlake? FINN: I’ve got the music. [CUT TO: INT. TEACHERS LOUNGE - DAY. WILL and EMMA are sitting together at a table.] EMMA: I want to show you something. I did a little research… and this is a tape I found in the library of the '93 team at nationals. [EMMA plays the tape for WILL.] EMMA: Do you know who that is? That’s you, Will. That’s you happier than I’ve ever seen you. WILL: That was the greatest moment of my life. EMMA: Why? WILL: Because I loved what I was doing. I knew before we were halfway through with that number that we were going to win. Being a part of that, in that moment, I knew who I was in the world. And the only time I’ve felt that way since then was when Terri told me I was going to be a father. No. No, I need to provide for my family. EMMA: But provide what exactly? The understanding that money is the most important thing? Or the idea that the only life worth living is one that you’re really passionate about? [CUT TO: INT. HALLWAY - DAY. WILL is walking away when he hears music from the auditorium.] [CUT TO: INT. AUDITORIUM - DAY. The New Directions perform Journey’s “Don’t Stop Believin’”. WILL watches them perform. SUE, QUINN, and SANTANA watch from the rafters. PUCK from one of the exits. When they’re done, WILL claps.] WILL: Good, guys. It’s a nine. We need a ten. Rachel, you need to hit the ones and the fives. Finn, I think if we worked on it, you could hit a high “B.” FINN: So does this mean you’re staying? PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

WILL: It would kill me to see you win nationals without me. From the top. END PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

APPENDIX 2

The Observation Checklist of Women’s Language Features Used by Kurt

Hummel in Glee Television Series Season 1

LH/F: Lexical hedges/fillers TQ: Tag question

EA: ‘Empty’ adjectives R: Raising intonation on declaratives C: Precise color terms I: Intensifier HG: ‘Hypercorrect’ grammar SP: ‘Superpolite’ forms ES: Emphatic stress SS: Avoidance of strong swear words

Women's Language Features L No. Ep. Utterance H T E H S S E R C I / Q A G P S S F Please, this is from Marc Jacobs’ 1 new collection. √ Hello, I’m Kurt Hummel, and 2 1 I’ll be singing “Mr. Cellophane”. √ And it’s the first time we’ve been 3 kind of good. √ 4 This is a closed rehearsal. √ 5 2 No, it’s the song. It’s really gay. √ Alright, stop it right there, 6 Mercedes. √ 7 We are in glee club. √ That means we are at the bottom 8 of the social heap. √ √ 3 The only thing that gets me by is 9 my knowledge that we are superior to all of them. √ √ My dad got it for my sweet 16 After I swore to stop wearing 10 formfitting sweaters that stop at the knee. √

74 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

11 That outfit is amazing. √ I’m sorry, Mercedes, but I thought 12 I made it very clear. √ 13 You busted my window? √ I can’t. I’m just not that confident, 14 i guess. √ Guys wear them to, uh, work out 15 nowadays. √ Yeah. Brit and Tina were just 16 helping me with some conditioning work. √ I guess we’ll have something to 17 talk about, then. √ 18 I just… I needed a favor. √ Thank you for helping me with 19 this, Finn. √ 20 You’re really cool. √ 21 That was good, right? √ Hi, I’m Kurt Hummel, and I’ll 22 be auditioning for the role of kicker. √ 23 That was good? √ 24 4 Mm, sounds like fun. √ Our greatest weapon could be the 25 element of surprise. √ 26 Alright, boys. √ 27 Oh Sneak attack, back to the ring. √ Um, Coach, I don’t mean to 28 interject, but um, I think we should end with a show circle. √ Nighttime skin care is a big part 29 of my post-game ritual. √ I’m glad that you’re proud of 30 me, but I don’t wanna lie anymore. √ Being a part of the Glee Club and football has really showed me that 31 I can be anything, and… what I am… is… I’m gay. √ PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Can we please talk about the giant 32 elephant in the room? √ 33 Mm, smells like my Aunt Mildred. √ 34 5 That's fantastic. √ Oh, Bambi. I cried so hard when 35 those hunters shot your mommy. √ √ 36 And the baby daddy? Finn. √ They declined my offer to do their hair in cornrows and all my artistic 37 6 decisions have been derided as too costly because they involve several varieties of exotic bird feathers. √ I agree, we do an awful lot of 38 show tunes. √ She told me if I even talked to 39 7 one of Mr. Shue's kids that she would shave my head. √ I mean, even Justin Timberlake is 40 growing his 'fro back. √ 41 Bust a move? √ But you've been getting so much 42 pressure from the gorillas on the football team. √ √ I guess they didn't appreciate me 43 resigning from the team and 8 choosing Glee. √ 44 Well, we can't have that, can we? √ √ And loaded with empty calories. 45 You know why they call them slushees, don't you? √ Because your butt looks like one if 46 you have too many of them. √ I have an iPod shuffle dedicated 47 exclusively to selections from Wicked. √ 48 9 This is amazing. √ 49 I have something I’d like to say. √ I want to audition for the wicked 50 solo. √ PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Oh, at least you don’t have to 51 worry about me getting someone pregnant. √ It’s not a guy. We’re doing this amazing song for sectionals, a 52 personal favorite of mine, and Mr. Schuester won’t give me a chance to sing it. √ Stop right there. Mr. Shue, if I 53 may. √ I hit it, the high F. The magical 54 note I need for “Defying Gravity.” I hit it. It means I’m going to win. √ Oh. Well, that’s not a big deal. I 55 get that all the time. √ √ So you don’t want me to audition 56 for the solo? √ 57 Being different made me stronger. √ When I saw you right after you got 58 the call, and you were so hurt and so upset … √ 59 I’m-I’m proud of who I am. √ I could totally sing this song with Finn. But screw him if he’s thinks 60 he’s taking the Diana Ross part from me. √ 61 The only thing that's right. √ Your lashing out at me is 62 fantastically compelling and inappropriate. √ It’s in your wheelhouse, and I 63 know you know it from the radio 10 because it’s a classic √ 64 Okay, I’ll admit it. √ 65 I’m madly in love with Finn. √ I have been since the first time 66 we met. √ He was my knight in shining 67 armor. √ My feelings lingered stronger as 68 we bonded over Glee. Then football. Then skin care. √ PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

69 Your T zone is dangerously dry. √ 70 Your… your T zone. √ Twice a day. It’s very mild and has 71 a built-in √ I mean, he's cheating off a girl 72 who thinks the square root of gout is rainbows. √ 73 I guess that's love for you. √ I know it seems weird that I'm helping Finn with Quinn, but rest 74 assured, it's all part of a master plan. √ I couldn’t be more pleased and honored to help you find 75 something vintage and appropriate to wear. √ I know it's stupid, but sometimes I'll sneak in there and open all the 76 drawers and lie on the floor and close my eyes and just smell her. √ 77 Your father had good taste. √ N-No, I think you should use your 78 greatest weapon– your voice. √ √ 79 Well, hello, Finn Hudson √ 80 So they just kicked her out? √ I’m sorry. I guess my plan kind of 81 sucked. √ 82 To what do I owe the honor? √ I do believe this is the first time 83 you’ve ever spoken to me. √ One, I’m a sucker for makeovers, And two, you need something to 84 11 distract from your horrible personality. √ 85 You’re extremely talented, Rachel. √ Watching you perform is… 86 Amazing. √ 87 So what kind of girls do you like? √ PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

I was just helping him 88 understand that you are not a viable second choice. √ Okay, here’s the dope, princess: 89 There’s no hope for either of us. √ Based on my investigation, I am of the opinion that a yearbook 90 photo would only fuel the flames of anti-glee-club terror. √ 12 I think I speak for all of us when I say that not having to pose for a 91 yearbook photo might be a blessing in disguise. √ 92 I'm sorry? √ Oh, and we will, as soon as Mr. 93 Schuester names a faculty advisor to replace him. √ And then, we really have no 94 13 chance at sectionals. √ √ 95 Obviously, it was Rachel. √ If anyone is going to go belt it on 96 the fly, it should be her. √ Mr. Shue, I don’t think we can have an honest conversation 97 about Ms. Ciccone without acknowledging that her images are as indelible as her songs. √ I would like to honor her contributions by tackling a 98 multi-media project. With Mercedes. √ I’m going to Kabbalah, is that too 99 15 much? √ Madge– you know, Madonna’s 100 nickname? Okay, you really got to get up to speed here √ √ 101 Ms. Sylvester, we’d like a word. √ 102 I think we can help. √ We’re working on an exciting new project and would like to 103 use the Cheerios. And we can help you find a new look. √ PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Doesn’t matter. They were all 104 fantastic. √ 105 Oh, dear. √ Mr. Shue, Mercedes and I talked it over, and we love being in 106 Glee, but being in the Cheerios will give us more opportunities to shine. √ As an honorary girl, I have to 107 agree. √ …..we have to start respecting 108 each other as individuals. Really see each other….. √ 109 Ten pounds? Are you serious? √ Oh, Finn! I wanted your opinion 110 on this. √

111 Kind of going for a hunting lodge meets Tom Ford's place in Bel Air. √

112 I was hoping you could help me out with the hunting lodge part. √ You have a week to lose 10 113 pounds. √ Look, Mercedes, now that we're 114 cheerleaders, we're finally part of the in crowd. √ 16 Dad, Meet Carole Hudson. Ms. 115 Hudson, my father, Burt Hummel. √ 116 Maybe you should talk. √ Has she started selling the 117 furniture yet? √ I guess You and I will be 118 roommates, with Mom and Dad cohabitating upstairs by midterms. √ 119 I have a lovely chaise picked out. √ 120 Mr.Schue? If I may? √ The New Directions is clearly a 121 club with a dearth of direction. √ PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Rachel and Jesse refuse to accept that all of us would rather die before we allow them to become 122 the next Beyoncé and Jay-Z and Finn's mother's romance with my father is sending him into a wholly unnecessary tailspin of despair. √ A toast. Tonight is a momentous occasion. It marks the first real 123 communion between the Hummel and the Hudson clans. √ So let me raise my Shirley 124 Temple to our new little family. √ What I want is for you to appreciate how hard it is for me to 125 watch you bond with the son that you've obviously always wanted. √ 126 Guy talk? I'm a guy. √

127 Maybe it is too soon for you to start getting serious with someone. √ I can tell you that I certainly did not steal it from her locked cabinet yesterday when she sent 128 me back to her office to get her hormone replacement injection during Cheerios practice. √ I have called you to this meeting 129 because our free-falling reps have reached terminal velocity. √ They cause a scandal so extreme 130 17 they can no longer be ignored. √ What is the worst thing a student 131 can do at this school? √ …..trying to check out a reference 132 book. Mm-mm. I'm talking about full-on chaos--inclusing….. √ If we pull this off, we will be 133 legends at this school. √ 134 Mr. Schuester, may I be blunt? √ PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Ever since you separated from your wife, you've spent a lot of late 135 nights watching reruns of Law and Order, haven't you? √ Hmm. Thought so. And no, I 136 didn't make the Glist. √ Which means our squeaky-clean 137 reputations are still very much intact. √ Miss Sylvester, can I have just a 138 minute of your time? √ I really need to learn to dance like 139 them. √ 140 Solos? In front of everyone? √ I am going to kill this 141 assignment. √ I have exactly the same vocal 142 range as 16th-century castrato Orlando di Lasso. √ But you know what he didn’t 143 have? √ 144 I am so sorry, Miss Sylvester. √ Something happened yesterday that 145 really upset me. √ He’s the most important thing in 146 the world to me. √ I love him, and I’m afraid that I 18 147 might be losing him because of my … sexuality. √ I was just, uh, working on my glee 148 club assignment, "Pink Houses" by John Mellencamp. √ I think it’s really brave for a Midwesterner like himself to, uh, 149 write a song about such bold interior design. √ √ Hmm. Fascinating. Hey, why don’t we go grab a couple burgers, 150 and, uh, you can tell me more about it? √ √ Mr. Schue? I'd like to start us 151 off. √ PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Well I’m sorry if I didn’t live up to 152 your expectations. √ There are more than four sides 153 to me. √ 154 Oh. Merci. √ Dad, I really need you to respect 155 my privacy. √ Brittany and I were just, uh, 156 having sexual relations. √ Dad, you and I have more in 157 common than I would have thought. √ 158 My secret? Duck fat. √ Can you excuse us for a minute, 159 boo. √ Did you ever think that might be 160 something I wanted to do with you? √ Thing with me. You mean being 161 gay? √ 162 Sparkling cider ? √ If you're gonna say something, say 163 it loud, right? √ I think I know what this resistance 164 is about. √ The palate in here is totally 165 unflattering to your skin tone. √ Don't worry, roomie, Mr. Ikea 166 Catalog and I will have this all figured out. √ 20 I am going to put together a 167 palate that expresses who you are and who I want you to be. √ 168 Oh, my. √ They know it's the easiest way to 169 beat us √ She's only the biggest pop act to 170 come along in decades. √ She's boundary-pushing, the most 171 theatrical performer of our generation. √ PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Could you have a word with Azimio and Karofsky about 172 harassing me without damaging my Gaga outfit ? √ 173 I'm sure that'd be easier for you. √ 174 You are such a boy. √ I had to skip school to finish 175 it….. √ …..but I think you're really going 176 to like it. √ √ It's a perfect blend of the 177 masculine and the feminine; the muted and the theatrical. √ It's all I could find on such short 178 notice. √ 179 I will never change. √ 180 I'm proud to be different. √ 181 It's the best thing about me. √ 182 Oh, my God. √ Their school statue is a giant bronze of a great white shark 183 eating a seal pup. It weighs three tons. √ " I'm so depressed, I've worn the 184 21 same outfit twice this week. √

185 I'm fine because I have Glee, but these girls have sort of lost it. √ We're the only ones who get to 186 humiliate her. √