A Linguistic Analysis of Verbal Humour Found in Bbc Radio Drama Series Cabin Pressure: Abu Dhabi
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
A LINGUISTIC ANALYSIS OF VERBAL HUMOUR FOUND IN BBC RADIO DRAMA SERIES CABIN PRESSURE: ABU DHABI
A SARJANA PENDIDIKAN THESIS
Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education
By Anastasia Nelladia Cendra Student Number: 121214010
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2016
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
A LINGUISTIC ANALYSIS OF VERBAL HUMOUR FOUND IN BBC RADIO DRAMA SERIES CABIN PRESSURE: ABU DHABI
A SARJANA PENDIDIKAN THESIS
Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education
By Anastasia Nelladia Cendra Student Number: 121214010
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2016
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ABSTRACT
Cendra, Anastasia Nelladia. (2016). A Linguistic Analysis of Verbal Humour Found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi. English Language Education Study Program, Department of Language and Arts Education, Faculty of Teachers Training and Education, Yogyakarta: Sanata Dharma University.
Humour is a complex phenomenon. Because of it, studies of humour are still low, although actually studies of humour are needed. Despite its complexity, humour is a common phenomenon in everyday life, becoming the vehicle for mass entertainment that has many types. One of them is in the form verbal humour found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi. Related to verbal humour, a theory of verbal humour called General Theory of Verbal Humour (GTVH) is known, making it captivating to conduct a linguistic research on verbal humour. This research, A Linguistic Analysis of Verbal Humour Found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi was meant to conduct an analysis of verbal humour. The first objective of the research was to investigate the types of verbal humour found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi. The second objective was to analyse verbal humour found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi linguistically using GTVH. The study was a qualitative study. The data of the study was gathered by employing document or content analysis. The main instrument used in this research was human instrument. In answering the first research question, the verbal humour categorization proposed by Shade (1996) was employed, whereas the second was answered by utilizing GTVH proposed by Attardo (1994). The research resulted in several findings. There were 67 verbal humours collected in BBC Radio Drama Cabin Pressure: Abu Dhabi that fell into 9 out of the 12 categories. The most frequent verbal humour was satire (29.9%), followed by irony (22.4%), wit (19.4%), sarcasm (16.4%), joke (6.0%), and pun, riddle, farce, and tall tale with 1.5% for each. The verbal humour found was analysed linguistically by utilizing the six Knowledge Resources (KRs) of the GTVH: Script Opposition (SO), Logical Mechanism (LM), Situation (SI), Target (TA), Narrative Strategy (NS), and Language (LA). The analysis was done in a hierarchical way following the hierarchal order of the six KRs to investigate the verbal humour starting from its core element.
Keywords: Verbal Humour, Types, GTVH. Knowledge Resources
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ABSTRAK
Cendra, Anastasia Nelladia. (2016). A Linguistic Analysis of Verbal Humour Found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi. Program Studi Pendidikan Bahasa Inggris, JPBS, FKIP, Yogyakarta: Universitas Sanata Dharma.
Humor merupakan fenomena yang kompleks. Oleh karena itu, penelitian tentang humor masih rendah, walaupun sebenarnya sangat dibutuhkan. Meskipun kompleks, humor adalah fenomena umum dalam kehidupan sehari-hari, terutama dalam dunia hiburan yang beraneka ragam. Salah satunya adalah humor verbal yang terdapat pada BBC Radio Drama Series Cabin Pressure: Abu Dhabi. Terkait dengan humor verbal, diketahui General Theory of Verbal Humour (GVTH) yang menarik penelitian linguistik mengenai humor verbal. Peneitian berjudul A Linguistic Analysis of Verbal Humour Found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi ini bermaksud untuk menganalisis humor verbal. Tujuan pertama penelitian ini adalah untuk megetahui tipe humor verbal di BBC Radio Drama Series Cabin Pressure: Abu Dhabi. Sedangkan tujuan kedua adalah untuk menganalisis humor verbal yang terdapat di BBC Radio Drama Series Cabin Pressure: Abu Dhabi secara linguistik menggunakan GTVH. Penelitian kualitatif ini menggunakan analisis dokumen untuk keperluan pegumpulan data. Instrumen utama penelitian ini adalah instrument manusia. Dalam menjawab pertanyaan pertama, kategorisasi humor verbal menurut Shade (1994) digunakan. Sedangakan pertanyaan kedua dijawab dengan menggunakan GTVH oleh Attardo (1994). Penelitian ini menghasilkan beberapa temuan. Ditemukan 67 humor verbal dalam BBC Radio Drama Series Cabin Pressure: Abu Dhabi yang tergolong dalam 9 kategori. Humor verbal yang paling banyak adalah satire (29.9%), diikuti irony (22,4%), wit (19,4%), sarcasm (16,4%), joke (6,0%), dan pun, riddle, farce, serta tall tale dengan masing-masing 1,5%. Humor verbal dianalisis secara linguistik dengan menggunakan enam Knowledge Resources (KRs) dari GTVH: Script Opposition (SO), Logical Mechanism (LM), Situation (SI), Target (TA), Narrative Strategy (NS), dan Language (LA). Analisis ini dilakukan secara berurutan, mengikuti hirarki enam KRs untuk mengamati humor verbal mulai dari elemen intinya.
Kata kunci: Verbal Humour, Types, GTVH. Knowledge Resources
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ACKNOWLEDGEMENTS
First of all, I would like to express my gratitude to Jesus Christ for His joyful blessings every single day of my life, especially on the days I write this thesis. I thank him for allowing me finish this thesis by providing me comfortable setting in my life to write. He is always with me through my ups and downs.
Secondly, I would like to thank Drs. Y.B. Gunawan, M.A. for all the suggestions, guidance, and advice he has kindly given to me. I thank him for the word of motivation to write, and for reminding me to write everyday regularly.
Also, I thank him for every sincere smile that is always able to calm me down on the time of difficulties. In addition, I would also express my appreciation to Truly
Almendo Pasaribu, S.S., M.A. for the guidance, suggestions, books and the paper for my analysis. Without her, my thesis would take much more time to finish.
I would also thank parents; my father, Agustinus Budi Utama, and my mother, Christiana Sri Nuning Lestari. I thank them for giving me freedom to do what I want and for believing that I will do my best within this decision. I thank them for letting me study here, PBI Sanata Dharma, in the first place although it is so costly. I thank them for the support and encouragement I get every day, especially during this thesis writing. I just do not know how much I owe them, now.
I also would like to mention special names here. I would like to thank
Della, my only sister, for the beautiful distraction during this writing that is able
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to scare away the stress and burden. I would also like to thank my beastie, Esthi, for the time we spend doing this thesis together. I enjoy the last 10 years of friendship with her. I would also express my appreciation to Hari, my tree, for reminding me to write by asking my progress over and over and for lending me his ears when the need arises and for everything we do in between. Also, I would like to thank Wening for introducing me to Cabin Pressure in the first place.
Without her, this research might not be this research.
Finally, I would like to thank all my friends and PBI colleagues, my brothers and sisters batch 2012 for the great adventure we had in this amazing and extraordinary study program. I thank them for all the beautiful memory that will never subside, hopefully. May God bless them all.
Anastasia Nelladia Cendra
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TABLE OF CONTENTS
Page TITLE PAGE ...... i APPROVAL PAGES ...... ii STATEMENT OF WORK‟S ORIGINALITY ...... iv PERNYATAAN PERSETUJUAN PUBLIKASI ...... v ABSTRACT ...... vi ABSTRAK ...... vii ACKNOWLEDGEMENTS ...... viii TABLE OF CONTENTS ...... x LIST OF TABLES ...... xiii LIST OF FIGURES ...... xiv LIST OF APPPENDICES ...... xv
CHAPTER I. INTRODUCTION ...... 1 A. Research Background ...... 1 B. Research Problems ...... 5 C. Problem Limitation ...... 5 D. Research Objectives ...... 6 E. Research Benefits ...... 6 F. Definition of Terms ...... 8
CHAPTER II. REVEW OF RELATED LITERATURE ...... 12 A. Theoretical Description ...... 12 1. Verbal Humour and Its Types ...... 12 a. Pun ...... 14 b. Riddle ...... 14 c. Joke ...... 15 d. Satire ...... 17 e. Limerick ...... 18 f. Parody ...... 19 g. Anecdote ...... 20 h. Farce ...... 20 x
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i. Irony ...... 21 j. Sarcasm ...... 21 k. Tall Tale ...... 22 l. Wit ...... 23 2. General Theory of Verbal Humour ...... 23 a. Language (LA)...... 24 c. Target (TA) ...... 24 d. Situation (SI) ...... 24 e. Logical Mechanism (LM) ...... 25 f. Script Opposition (SO) ...... 26 3. Radio Drama ...... 29 4. Reviews of Related Research ...... 30 B. Theoretical Framework ...... 31
CHAPTER III. METHODOLOGY ...... 34 A. Research Method ...... 34 B. Research Object ...... 35 C. Instruments and Data Gathering Technique...... 35 D. Data Analysis Technique ...... 36 E. Research Procedures ...... 39
CHAPTER IV. RESEARCH RESULTS AND DISCUSSION ...... 41 A. Types of Verbal Humour Found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi ...... 41 1. Pun ...... 42 2. Riddle ...... 43 3. Joke ...... 44 4. Satire ...... 45 5. Farce ...... 46 6. Irony ...... 47 7. Sarcasm ...... 48 8. Tall Tale ...... 49 9. Wit ...... 50
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B. Linguistic Analysis of Verbal Humour Found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi ...... 51 1. Pun Analysis ...... 52 2. Riddle Analysis ...... 53 3. Joke Analysis ...... 54 4. Satire Analysis ...... 55 5. Farce Analysis ...... 57 6. Irony Analysis ...... 58 7. Sarcasm Analysis ...... 59 8. Tall Tale Analysis ...... 60 9. Wit Analysis ...... 61
CHAPTER V. CONCLUSIONS AND RECOMMENDATIONS ...... 64 A. Conclusions ...... 64 B. Recommendations ...... 65
REFERENCES ...... 66 APPENDICES ...... 68
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LIST OF TABLES
Table Page
3.1 Verbal Humour Sample ...... 38 3.2 Analysis of Verbal Humour ...... 38 4.1 Verbal Humour Sample: Pun ...... 42 4.2 Verbal Humour Sample: Riddle ...... 43 4.3 Verbal Humour Sample: Joke ...... 44 4.4 Verbal Humour Sample: Satire ...... 45 4.5 Verbal Humour Sample: Farce ...... 46 4.6 Verbal Humour Sample: Irony ...... 47 4.7 Verbal Humour Sample: Sarcasm ...... 48 4.8 Verbal Humour Sample: Tall Tale ...... 49 4.9 Verbal Humour Sample: Wit ...... 50 4.10 Pun Analysis ...... 52 4.11 Riddle Analysis ...... 53 4.12 Joke Analysis ...... 54 4.13 Satire Analysis ...... 56 4.14 Farce Analysis ...... 57 4.15 Irony Analysis ...... 58 4.16 Sarcasm Analysis ...... 59 4.17 Tall Tale Analysis ...... 60 4.18 Wit Analysis ...... 62
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LIST OF FIGURES
Figure Page 2.1 Hierarchical Organization of KRs ...... 28 2.1 The Theoretical Framework ...... 33 4.1 Verbal Humour Found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi ...... 42
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LIST OF APPPENDICES
Page APPENDIX A Complete Verbal Humour List ...... 68 APPENDIX B Complete List of Joke ...... 75 APPENDIX C Complete List of Satire ...... 76 APPENDIX D Complete List of Irony ...... 78 APPENDIX E Complete List of Sarcasm ...... 80 APPENDIX F Complete List of Wit ...... 81
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CHAPTER I
INTRODUCTION
The first chapter provides the introduction to the study. It presents the research background, research problems, problem limitation, research objectives, research benefits and the definition of terms. In the research background, the researcher elaborates the reasons for selecting the chosen topic. The research problems present the research questions. The research objectives explain the aim of the research in relation to the research problem. The Research benefits describe the advantages of conducting this research. The definition of terms elaborates the key terms used in the research.
A. Research Background
Human beings always communicate, either to exchange information or to maintain social relationship. Raskin (1985) introduces two modes of communication: bona fide and non-bona fide mode of communication. The former refers to the referential communication. It is the type of communication which is serious because it functions to convey information. In contrast, the latter does not refer to exchanging information; its purpose is to elicit some laughter from the hearer. This mode of communication refers to humour.
Humour itself is a concept that is rather hard to describe. People may laugh and get entertained on hearing something or seeing a particular scene while others do not even smile on it. Therefore, it is actually hard to categorize whether
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2 something belongs to humour or not. However, in general, humour refers to anything that is funny (Jay, 2003, p. 306). Either intended or not intended, if something creates amusement, smile or even laughter, it belongs to humour.
Indeed, with that definition of humour in mind, it cannot be denied that humour still becomes one of the complex areas to study. As suggested by Lew
(1996) humour becomes a very mysterious phenomenon as there is no exact recipe to create a funny story or a joke that elicits laughter from the hearer (p. 5).
There is no rule for one to create such an amusing story or joke that will make anyone, without any exception, laugh or smile when hearing it.
Besides, not many people are interested in conducting studies of humour as it is believed that the study of humour would make it no longer funny.
According to E.B. White, analysing humour is like dissecting a frog; only few people are interested and the frog dies of it (as cited in Goebel, 2011, p. 1). It is to say the more one tries to explain or analyse how humour works, the less funny the humour becomes, which makes people reluctant to do it. The popular poet W.H.
Aden is also in the same light by stating that a study of humour will kill it (as cited in Lew, 1996, p.6).
Contrary to the previous arguments, Lew (1996) argues that humour is one area which needs extensive study as the idea of studying humour would take away the joy of humour itself is irrational and may be harmful for potential students wanting to pursue the deeper knowledge (p.6). Thus, humour does not belong to one of those areas that have to be left alone. A further study of analysing humour is seriously needed.
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Despite its complexity, humour plays an important part in our life. Ross
(1998) points out how humour plays a vital role in society. In the television world, many sitcoms and comedy shows are shown. He also states that humorous books were usually in best seller list. Many comedians are also well known of their comedy. In the same light is Spanakaki (2007), who states that humour becomes an essential part in human everyday communication as well as a vital aspect in a huge number of literary works in general (para.1). Humour becomes the vehicle for mass entertainment as much work of art such as movies, comics, plays, and dramas is based on humour. In short, humour simply cannot be separated from our lives.
There are many types of humour that we can find in our daily life, starting from seeing a person fall on banana peel until the more complex ones we see within Shakespearean comedy. Shade (1996) provides a beneficial categorization of humour into four major classes: figural, verbal, visual, and auditory humour
(p.2). Figural humour as found in comics, caricatures, movies and so on is the type of humour that involves the use of drawing in conveying the humour. Verbal humour like puns, riddles, anecdote and the like depends on the use of language to deliver the humour. Visual humour such as clowning and impersonation uses visual cues to produce the humour. Auditory humour which includes impressions, noises, and sounds involves the use of auditory cues.
In today‟s world, much work on entertainment is also based on humour; one of them is in the form of a radio drama such as BBC Cabin Pressure: Abu
Dhabi which is intended to be a comedy drama. The radio drama sitcom sets on a
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4 small airplane company, MJN air. The conversations happens in the episode are mostly between a captain, a first officer, the Chief Executive Officer (CEO) and his son, who is a steward on the airline.
The work of entertainment in the form of humorous radio drama entitled
Cabin Pressure: Abu Dhabi belongs to verbal humour as the spoken words on radio are not supported by visual aid – although it cannot be denied that there also a little auditory humour included in between. Without seeing the actual setting or the characters fully dressed playing the scene of the script, the funny atmosphere is still strongly felt by the live audience attending the recording. The script- reading done by the voice actors can really evoke the laughter of the audience.
Speaking of verbal humour, there is a widely known linguistic theory of verbal humour proposed by Attardo in 1994, General Theory of Verbal Humour
(GTVH). The theory is claimed to be able to, principally, analyse all kinds of humorous text (Attardo, 1994, p.222). The GTVH is a revision of the previous theory, the Semantic Script Theory of Humour (SSTH) proposed by Raskin in
1979. Generally, GTVH is a broader theory as it focuses on linguistics at large rather than only on semantics as SSTH does. GTVH is a powerful linguistic theory that allows researchers to conduct an analysis of verbal humour linguistically.
In the end, it is captivating to know how people laugh only by hearing some utterances without seeing the scene. The study to analyse the verbal humour and its types is intriguing to be conducted as it is interesting to try to know what makes one type verbal humour different from other types. Furthermore, it is also
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5 captivating to try to find out how to analyse verbal humour linguistically to find out what elements constitute the verbal humour.
This research is aimed to deeply analyse the verbal humour within BBC
Radio Drama Series Cabin Pressure: Abu Dhabi. It aims at observing the verbal humour found within the object. It is to categorize them into some types and then analyse them linguistically using General Theory of Verbal Humour (GTVH).
B. Research Problems
The focus of this research is on the verbal humour found within BBC
Radio Drama Series Cabin Pressure: Abu Dhabi. In the research, two problems are formulated as follows.
1. Which types of verbal humour are found in the BBC Radio Drama Series
Cabin Pressure: Abu Dhabi?
2. How is the verbal humour found in BBC Radio Drama Series Cabin Pressure:
Abu Dhabi analysed linguistically using General Theory of Verbal Humour
(GTVH)?
C. Problem Limitation
The study focuses on the verbal humour found in BBC Radio Drama
Series Cabin Pressure in Series 1 episode 1, Abu Dhabi. Series 1 episode 1 is chosen among any other episodes under the consideration that the characteristics of the characters in the story are not too dominant as they are still developing and, thus, the analysis of the language of humour will be more feasible.
The study is limited to investigating how the verbal humour found in
BBC Radio Drama Series Cabin Pressure: Abu Dhabi is categorized into several
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6 types of verbal humour and analysed linguistically using General Theory of
Verbal Humour (GTVH). In answering research question number one, the researcher will use the whole transcript of BBC Radio Drama Series Cabin
Pressure: Abu Dhabi. However, in answering research question number two, the researcher chooses to limit the analysis by only collecting one sample of verbal humour for every type because of the sheer size if all are analysed.
D. Research Objectives
The objectives in this research are:
1. To find out which types of verbal humour are found in BBC Radio Drama
Series Cabin Pressure: Abu Dhabi.
2. To find out how the verbal humour found in BBC Radio Drama Series Cabin
Pressure: Abu Dhabi is analysed linguistically using General Theory of
Verbal Humour (GTVH).
E. Research Benefits
The researcher hopes that this study will:
1. Provide readers with some valuable information about verbal humour in
everyday conversation.
Conducting this research, the researcher hopes to be able to provide valuable information about verbal humour to the readers. The valuable information is in the form of knowledge about types of verbal humour and the elements that constitute verbal humour. The researcher hopes that the readers, after reading this research, will be able to broaden their understanding about verbal humour for the sake of knowledge.
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2. Help readers to appreciate humour more.
The researcher hopes that the reader, after reading this study, would understand that humour is a complex phenomenon which needs to be appreciated more as it is not easy to be funny. Other than just simply enjoying humour, the researcher hopes that the reader would comprehend the complexity and the effort comedians put behind what is considered as funny. By doing so, the researcher hopes that the readers would see humour differently and be grateful for its existence.
3. Motivate more researchers to conduct a study of humour, as the topic is still
fairly new and uncommon.
As mentioned in the background, not many people are interested in conducting studies of humour. The researcher hopes that by conducting this research, the interest to conduct other research on the same topics will be increased. This research hopefully could be the trigger to motivate more researchers to conduct more researches of humour.
4. Aid further studies of humour.
The researcher hopes that this research will be able to become a new aid for further researcher conducting researches of the same topic. This research hopefully could be the basic or background for pursuing other similar researches.
In the end, the researcher hopes that this study could help broaden the knowledge concerning humour.
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5. Provide teachers with valuable information about various type of humour to
be practiced in class.
Besides providing broader knowledge about verbal humour, especially its types, the researcher hopes that this research might inspire language teachers to practice using humour in their classrooms in order to make the class livelier. In addition, the researcher hopes that, after understanding the types of humour, teachers will be wiser in using verbal humour in the classroom: which types of humour are appropriate to be used in classrooms.
F. Definition of Terms
Brief definitions of important terms used within this research are discussed as follows.
1. Humour
The word humour is originally derived from Latin word umor. Initially, the word refers to the four types of „moisture‟ or „fluid‟ existed in a human body: blood, yellow bile, black bile, and phlegm. These four types of fluids will be responsible in determining a person‟s character. Furthermore, a person is considered in „good humour‟ and healthy state if these four humours are upheld in balance. (Lew, 1996, p.10; Shade, 1996, p.9; Suhadi, 1989, p.16)
However, the word humour has been changed semantically. Humour in nowadays setting cannot be separated from the word funny, laughter, and amusement. Indeed, it is still quite a difficult concept to describe. A straightforward definition of humour which mentions that humour is something that elicits laughter or smile from the audience or listener seems very debatable. It
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9 is because some people might say that something is funny while something else is not. In addition, smile or laughter does not necessarily become an indicator if someone finds something funny, as they also become an indicator of embarrassment. However, in general, as Jay (2003) suggests, humour refers to anything that is funny, either intended or not intended (p.306).
2. Verbal Humour
Shade (1996) has provided a beneficial categorization of humour, namely figural humour, visual humour, auditory humour, and verbal humour (p.2). Verbal humour, which becomes the focus of this study, is defined as a form of humour that involves the use of language (Shade, 1996, p.14). In other word, the humour that belongs to verbal humour relies only on the language, not pictures, sounds, or others, used within the humour in its humour production. In this research, verbal humour can be found within the script or the dialogue uttered by the voice actors.
Using verbal language, the voice actors are able to elicit the laughter of the live audience.
3. Radio Drama
Radio drama belongs to one of types of drama which is broadcasted through radio medium. The word drama itself derives from the Greek word dran which means “to do” that refers to the story performed by actors in film, television, radio, open field, or even on the street; it can be based on true story or, more commonly, fictional (Fossard, 1996, p. 30). Thus, radio drama is a story presented by actors, or in this case by voice actors, and broadcasted through radio medium.
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According to Fossard (1996), there are three types of radio drama: independent, serial, and series. The independent radio drama broadcast a full story at a time, in one broadcast. The serial radio drama, which can be likened as a novel, is an on-going story which continues from one open-ended episode to the next ones. The last type, which becomes the object of this study, is a collection of independent dramas which uses the same main characters in each of the episodes.
Within the series type or radio drama, a term called sit-com or situation comedy is popular. It refers to the series of radio drama which are funny, or at least, have a happy ending (p. 38).
4. Cabin Pressure: Abu Dhabi
Cabin Pressure: Abu Dhabi is the object of this research. It is the title of the first episode of the first series of radio situation comedy drama series broadcasted by BBC Radio 4. Set in airplane and airport environment, the episode tells about the oddball crews of the only airplane of an airline business named
MJN Air. Starred by four main characters, the pilot, the co-pilot, the steward, and the CEO, the episode proves to be funny as it is able to elicit laughter from the live audience during the recording.
This twenty eight-minute-long episode starts when Carolyn, the CEO, forbids Martin to divert and spend unnecessary money as he has flown a very expensive flight to Bristol prior the flight before. When flying to Abu Dhabi,
Douglas notices that a client‟s cat left in the unheated hold, leaving Martin confused whether to divert in order to save the cat or to let the cat freeze to death
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11 but save from Carolyn‟s anger. Meanwhile, Arthur tries to learn how aeroplanes fly. This plotline is able to present the live audiences a lot of humour, verbally.
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CHAPTER II
REVEW OF RELATED LITERATURE
There are two sections within this chapter, namely theoretical description and theoretical framework. The theoretical description provides theories employed in supporting the study. This study applies the theory of verbal humour and its types, General Theory of Verbal Humour (GTVH), and theory of radio drama.
How those theories are applied to the study is discussed in the later section, the theoretical framework.
A. Theoretical Description
The theoretical description provides the theory of verbal humour and types of verbal humour, General Theory of Verbal Humour (GTVH), and theory of radio drama. In addition, several related studies are also reviewed in the section of review of related studies.
1. Verbal Humour and Its Types
Before going deeper to elaborate what is meant by verbal humour, it would be better to know what word humour is really meant. Jay (2003) mentions that humour refers to anything which is funny; either intended or not, if something succeeds in eliciting someone else‟s smiles or even laughter, it can be included in humour (p.306). However, there are indeed many exceptions to such a straightforward definition of humour. Ross (1998) mentions that it is fairly possible to claim that something is funny when even no one laughs or even smiles 12
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13 because of it. There are also some situations when people laugh at seeing something humorous but some others may not even smile on it and claim that it is not funny. Furthermore, he adds that smiling and laughter do not necessarily indicate that something is humorous; they may become an indicator of fear or embarrassment (p.1). However, apart from these exceptions, he agrees that humour can be defined as something that is funny, that is able to make someone smile or laugh.
There are many types of humour. Shade (1996) has suggested four forms of humour, namely figural humour, visual humour, auditory humour and verbal humour (p.2). Figural humour relies on the use of drawing in conveying the humour. Visual humour such as clowning and impersonation uses visual cues to produce humour. Auditory humour involves the use of auditory cues. Verbal humour, which becomes the focus of this study, depends on the use of language to create the humour; it uses language in its humour production.
Verbal humour is humour that relies on the use of language to create the funny effect – not pictures, cartoons, sound, etc. According to Shade (1994), verbal humour often relies on incongruity implemented through contradiction, understatement, exaggeration, surprise or reversal which is carried out by language medium (p.14). Any kind of humour that is conveyed in language medium, not in other medium, belongs to verbal humour.
Speaking about types of humour, there are also many subtypes of it. Shade
(1996) suggests many subtypes of humour of the forms of humour previously mentioned. For verbal humour, which becomes the main study for this research,
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14 he divides it into 12 types of humour. Following are the quick elaboration for each type. a. Pun
Pun uses the humorous use of words. It is the form of humour that relies on a play of word to suggest a different meaning and application. Sometimes pun uses words that have same – or similar sound – but have different meaning. The following is the example of pun which is taken from the famous Shakespeare‟s play, Richard III.
Richard: Now is the winter of our discontent, made glorious summer by this sun of York (p.9)
These are the first two lines of Richard III play script that is uttered by the character of Richard. These lines tells about how the sun of York that has been awaited for some time has come to give a warms summer and blow away the cold and bad winter from York. However, because of the fact that the word sun is pronounced the same with the word son and that King Richard III is the son of the
Duke of York, these lines become funny. b. Riddle
Riddle is usually presented in the form of question and answer format. It is presented in the form of a puzzling fact. Riddles are used to mislead trick and amuse the listener. The following example is taken from Collis (1996).
Q: If six children and two dogs were under just one umbrella, how come none of them got wet? A: It wasn’t raining. (p.44)
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The example of riddle above is funny as the answer of the question asked is, somehow, unexpected. This riddle is meant to mislead the hearer to think that the umbrella is so big that it is able to cover all six children and two dogs without getting them wet. The answer, however, is that all six children and two dogs do not get wet mainly because it is not raining. c. Joke
Joke refers to anything that is said to provoke laughter which involves any or all of the following: multiple meaning of words, idiom and metaphors; ambiguity; incongruity; sudden change of perspective (Shade, 1994, p.3). If it is noticed deeper, there are several different types of jokes:
1) Phonological Joke, a joke that is based on the phonological structure of
words. It means that the sound of the word used takes the responsibly of
the humour production. Shade (1996) provides one example of
phonological joke:
Rebecca : What is this? Waiter : It‟s bean soup. Rebecca : I don‟t care what it‟s been. What is it now?
As the word bean and been is pronounced the same, these two words
create a misunderstanding between Rebecca and the waiter. This
misunderstanding becomes a hilarious source of laughter.
2) Lexical Joke, a joke which based on multiple-meaning of words. The
humorous effect created by this type of joke relies on how words have
multiple meaning and, thus, can be interpreted in funny ways. An example
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16
written by W.C Fields is taken to illustrate the definition better (as cited by
Ross, 1998, p.7)
„Do you believe in clubs for young people?‟ „Only when kindness fails.‟
The word clubs here has double meaning. It is reasonable to comprehend
the word clubs in the sense of leisure groups or an organization of a
number of people who have the same interest, who have a meeting
regularly. However, the punch-line shows that the word clubs refers to a
heavy stick that is used as a weapon. This multiple meaning, thus,
becomes the trigger of the laughter.
3) Surface Structure Joke, a joke that is based on the alternative grouping of
words. The way one‟s grouping the words used can make an ambiguity,
which later will provoke a funny effect. The physical spaces that exist
between words can be blurred in order to provide ambiguity. Following is
the example from Ross (1998).
The pen is mightier than the penis (p.13)
The shows the ambiguity and humorous effect crated by the alternative
grouping of words: pen is and penis. The two alternatives of word
grouping create different interpretation.
4) Deep Structure Joke, a joke that is based on the alternative interpretations
of a word or phrase. The production of this joke relies on the ambiguity
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17
created by certain words or phrases. The following example is taken from
Ross (1998).
My parents are stuck at Waterloo Station. There‟s been a bomb scare.‟ „Are they safe?‟ „No, bombs are really dangerous. (p.25)
As observed, the example of a deep structure joke above shows that the
word they can be referred to two alternatives: to the parents and to the
bombs. The second speaker actually wants to ask about the first speaker‟s
parents‟ condition but the answer he gets is related to the dangerous-and-
not-safe bombs. The example is funny because the ambiguity created by
this two alternative interpretations.
5) Metalinguistic Joke, a joke that is focussed on the language form. Instead
of the language meaning, a metalinguistic joke relies on the language form
used within the joke. Following is the example taken from Ross (1998).
Why does Edward Woodward have 4 D‟s in his name? Because if he didn‟t he‟d be called E-war Woo-war-. (p.3)
The example above shows how the language form can be used in humour
production. Instead of using thought interpretation, the language form, in
this case is spelling, is used to create funny effect. d. Satire
Satire is a literary composition to give criticism but still meant to be humorous. It involves both humour and criticism. LeBoeuf (2007) mentions that satires are now become a great artistic form to give criticism to human behaviours
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(p.2). It uses exaggeration, distortion, and understatement as its techniques. The example below is taken from Shade (1998).
An old lady was sent on a 10-day cruise paid for by her son. She wrote to complain: The food on this ship is absolutely awful. And such small portions! (p.4)
The example of a satire above shows how an old lady gives criticism about the food she gets on the cruise program. She feels that the food is really awful. In the end she shouts and such small portions to add her criticism. This last line, somehow, is funny and may provoke laughter. e. Limerick
It is a five-lined nonsense verse. The writing of limerick type of humour is, thus, bent to rules of writing limerick: The first two lines rhyme with each other, the third and fourth lines rhyme with each other and the fifth line rhymes with lines the first two lines (aa,bb,a). Mullins (2010) mentions that limerick is not limited by subject matters which allows a limitless „nonsense‟ possibility which creates humorous retort (p.14). The following example is taken from
Mullins (2010).
A chef spent too long in the sun All the time he was having fun; But the daylight soon closed, And the sunburn exposed, He was well and truly well-done. (p 19)
The limerick above tells about a chef who spends his time too long under the sun. When he has finished sunbathing, it is found out that he has sunburn in his skin, which means his skin is so tanned. As the character here is chef, the word
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19 well-done, which usually refers to the way steaks cooked all the way through, is chosen to describe how dark his skin colour now is. f. Parody
Parody refers to an imitation of poem, song, story or movie, where the style is the same but the theme is different ludicrously. Cambridge for Advanced
Learners Dictionary 8th Edition describes parody as writing, music, art, speech, etc. which intentionally copies the style of someone famous or copies a particular situation, making the features or qualities of the original more noticeable in a way that is humorous. Here is the partial lyric of a very famous music parody performed by Eddie King and Tyler Marshal entitled Stars Wars that I Used to
Know to imitate Gotye‟s Somebody that I Used to Know that has been viewed by more than 18 million times on the youtube.com.
The parody version: No you didn't have to make them blow Have your friends direct your movies and they'll turn out better. You think that you don't need them though What happened to the Star Wars that I used to know
The original version: You didn't have to stoop so low Have your friends collect your records and then change your number I guess that I don't need that though Now you're just somebody that I used to know
The two versions above look somewhat similar as they have the same number of syllables within every line. Furthermore, they rhyme the same.
However, the stories behind the two versions differ. The original song tells about how the character singing hurts as he feels that the girl he loves has changed. He
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20 then declares that she becomes somebody he used to know. In the other hand, the parody version ludicrously tells about how the character singing is disappointed by today‟s Star Wars movie; he misses the Star Wars he used to know. The ludicrous imitation found in the parody here becomes the source of laughter. g. Anecdote
Anecdote is an oral account of real of fictional event, usually biographical.
It involves the elaboration or embellishment of a story. It is a short funny story.
The following is an example of an anecdote written by Mello (1982) entitled
Searching in the Wrong Place.
A neighbour found Nasruddin on hands and knees. “What are you searching for Mullah?” “My key.” Both men got on their knees to search. After a while the neighbour says, “Where did you lose it?” “At home.” “Good Lord! Then why are you searching here?” “Because it’s brighter here.” The anecdote tells about Nasruddin Mullah who is searching for his key he lost at home somewhere outside the house only because it is brighter there. This story has a non-sense element that is able to make the reader smile or laugh. h. Farce
Farce is a form of humour that is marked by boisterous humour. A farce often makes fun of a certain event. The following example is taken from the dialogue, or monologue, of Uber Dork, an economics teacher in the movie entitled
Ferris Bueller's Day Off.
In 1930, the Republican-controlled House of Representatives, in an effort to alleviate the effects of the… Anyone? Anyone? The
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Great Depression. Passed the… Anyone? Anyone? A tariff bill. The Holly-Smoot Tariff Act. Which… Anyone? Raised or lowered? Raised… tariffs in an effort to collect more revenue for the federal government. Did it work? Anyone? Anyone know the effects? It did not work and the United States sank deeper into the Great Depression. Today, we have a similar debate over this. Anyone know what this is? Class? Anyone? Anyone? Anyone seen this before?
The example set in classroom tells about Uber Dork that is delivering a lecture to his class. However, he seems talking by himself as no one responds to his speech at all, even when he asks, “Anyone?” and such to the class, no student gives response. This ludicrous and weird situation is able to provoke laughter from the audience. i. Irony
Irony refers to the speech in which the intended meaning is the opposite of literal meaning. It is the contradiction between what is said and what is done, what is expected and what happens. Shade (1996) provides one example of irony, as follows:
“An example of irony is when a severe snow storm forces you to cancel your planned ski vacation!” (p.5)
It is ironic that a ski vacation is cancelled because of the snow – although it is a snow storm. There is a discrepancy between what is expected and what really happens, which creates a humorous result. j. Sarcasm
Sarcasm uses taunt, scoffing jibe or veiled sneer in evoking laughter. It is different to irony as sarcasm is sharper and may hurt other‟s feeling. Cambridge for Advanced Learners Dictionary 3rd Edition (2008) describes sarcasm as a
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22 remark to hurt someone‟s feeling or to give criticism which carries the opposite meaning of what is said in humorous way. The following example of sarcasm is taken from Cambridge for Advanced Learners Dictionary 3rd Edition.
“You have been working hard", he said with heavy sarcasm, as he looked at the empty page.
As observed, the word working hard contrasts the word empty page. The speaker actually intends to give insult on how awful the addressee‟s work is by saying exactly the opposite meaning of what he says. k. Tall Tale
Tall tale relies on the exaggeration used in telling most facts and events surrounding the characters, setting, and plots in the story. It ranges from the absurd to impossible. Following is the partial example of a tall tale of an
American folklore entitled Paul Bunyan taken from Core Knowledge Language
Arts (2007).
Even as a baby, Paul Bunyan was mighty big. How big? Well, he was so big that his parents had to use a covered wagon for his cradle.
As you might imagine, young Paul Bunyan had a big appetite. He gobbled up five barrels of porridge a day, and his parents had to milk four dozen cows every morning and evening just to keep his baby bottle filled. (p.72)
It is observed above that there are many exaggerations found within the story. The phrases in bold show how hyperbole is used within the story to carry most facts surrounding the character.
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23 l. Wit
The success of the wit depends on the ingenuity in connecting amusingly incongruous ideas. It is often spontaneous. It results in quick, “out of the cuff” statements. Shade (1996) provides an example related to this matter.
Judge : Order. Oder in the courtroom. Lawyer : Okay. I guess I‟ll have a cheeseburger.(p.6)
In the example, the lawyer spontaneously order a cheeseburger inside of the courtroom soon as the Judge says, “Order. Oder in the courtroom”. Ordering a cheeseburger here is resulted from the misinterpretation – probably deliberately – of the word order in the context of the courtroom.
To conclude, according to Shade (1996), verbal humour is categorized into
12 different types. They are pun, riddle, joke, satire, limerick, parody, anecdote, farce, irony, sarcasm, tall tale, and wit. Each type has its own unique feature that differs itself from other category.
2. General Theory of Verbal Humour
Attardo (1994) suggests a theory to deeply analyse humour linguistically, namely General Theory of Verbal Humour (GTVH). The theory he proposed is the revision of the prior theory he proposed with Raskin in 1971, the SSTH, which is able to analyse humour semantically.
In this theory, six parameters of verbal humour, known as Knowledge
Resources (KR) should be noticed in generating verbal humour. KRs are the parameters that provide certain attributes to humour (Eyre, 2014, p.15). They allow comparison between one humour and another. They are, presented in a
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24 reversed hierarchical order, Language (LA), Narrative Strategy (NS), Target (TA),
Situation (SI), Logical Mechanism (LM), and Script Opposition (SO). Followings are the explanation of each. a. Language (LA)
The first type of KR contains all necessary information for the verbalization of humour. This KR deals with the wording of the humour text as well as the placement of the functional elements that constitute it. LA KR also deals with the punch line positioning. b. Narrative Strategy (NS)
Narrative strategy deals with which narrative organisation the humour will be put at. Attardo (1994) mentions that any humour has to be placed within a form of narrative organisation. For instance, it has to be placed in the form of conversation, narrative, or question-and-answer dialog. c. Target (TA)
The TA KR deals with the target of the humour, known as the “butt” of the humour. The TA provides names of the groups or individual where the humour is targeted to. However, if the humour is not necessarily intended to ridicule someone or some group, this TA KR has an empty value. d. Situation (SI)
Humour must take place in a certain situation. Attardo (1994) says that any humour must be about something which can be treated as the “props” of the
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25 humour. Although all humour happens to have a situation, some of them sometimes ignore it. e. Logical Mechanism (LM)
The next KR that should be paid attention to deals with Logical
Mechanism (LM), which is a more abstract parameter. It refers to the way the humour script is put together. It is responsible to how humour will be generated to meet the need of laughter. Furthermore, Eyre (2014) defines LM as the certain dynamic used to opposing the script that will provide resolution element of the SO
(p.15).
Pasaribu and Kadarisman (2015) suggested ten types of Logical
Mechanism. It ranges from simple one until more complex ones; from smaller linguistic unit into bigger ones. They are twisting prepositions, twisting homonymy, twisting idiomatic expressions, twisting figurative language, absurd neologism, absurd interpretation, false analogy, fallacious reasoning, word repetition, and insult or put-down humour (p.3).
Each of the LMs has their own characteristic. The first four LMs, twisting preposition, twisting homonymy, twisting idiomatic expressions, twisting figurative language, deals with how preposition, homonymy, idiomatic expression, and figurative language can be a source of laughter if they are exploited in certain ways to create ambiguity. Absurd neologism deals with ludicrous word formation whereas absurd interpretation deals with humour which evokes incongruous understanding. False analogy explains about ridiculous comparison between two things and fallacious reasoning deals with illogical
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26 reason behind an argument. Word repetition is an LM that uses repetition of words to show contrast in order to make attractive expressions. The last one, put- down or insult deals with humour that is constructed mainly by insult.
To better illustrate what is meant by LM, following is an example taken from Pasaribu and Kadarisman (2015) of a verbal humour that uses twisting preposition as its LM.
One golfer tells another, “Hey, guess what! I got a set of gold clubs for my wife!” The other replies, “Great trade!” (p.5)
The example of the verbal humour above initially tells about a golfer that got a set of gold club for his wife. With that set-up sentence, the listeners are expected to believe that the golfer means to give his wife a set of gold clubs as a prize. However, in the end, as the punch line, another golfer replies with “Great trade!”, providing an unexpected conclusion that the first golfer exchanges his wife for a set of gold clubs. The verbal humour means presents an ambiguity between giving vs. exchanging (will be further discussed in the following section). In order to wrap the ambiguity and to produce a humorous situation, the humour chooses to use twisting preposition as its LM. The humour exploits the preposition for as its meaning can be twisted to generate the verbal humour with the ambiguity; it can be understood as intended to give to (give) as well as in order to get/achieve something else (exchange). f. Script Opposition (SO)
Script opposition refers to the opposition of two scripts, organized chunks of information about something. Compared to the previous discussed KRs, this is
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27 the most abstract parameter. Attardo (1994) proposes that any humorous text presents an SO (p.226). That is to say, SO is very essential to every text considered as funny.
Attardo (1994) mentions three classes of script oppositions: actual vs. non- actual, normal vs. abnormal, and possible vs. impossible. All this SOs are based on a basic opposition between real and unreal situation in the texts (p.204). Raskin
(1985) also list five the most common SOs: good vs. bad, life vs. death, obscene vs. non-obscene, money vs. no-money, and high vs. low stature (as cited in
Attardo, 1994, p.204). As these SOs are still basic, there is also a possibility to have other types of SO.
To fully understand what SO is, the same example of verbal humour taken from Pasaribu and Kadarisman (2015) from the previous section is reproduced and discussed more here.
One golfer tells another, “Hey, guess what! I got a set of gold clubs for my wife!” The other replies, “Great trade!” (p.5)
Initially, the sample of verbal humour above tells the listener that one golfer gets a set of gold clubs for his wife. The listeners are led to assume that the golfer has a present to give to his wife in the form of a set of gold clubs. However, in the end of the verbal humour, another golfer assumes that the first golfer exchanges or trades his wife in order for a set of gold clubs by replying “Great trade!”, creating a humorous atmosphere.
This is where the Script Opposition (SO) takes its role as the soul of the verbal humour. The set-up of the verbal humour, “I got a set of gold clubs for my
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28 wife!”, can be interpreted in two different ways; there is two scripts that fits perfectly to that sentence: giving and exchanging. This is what is meant by an SO in a verbal humour. The verbal humour above means to oppose those two different scripts, giving vs. exchanging, becoming the basic where the verbal humour is generated.
As mentioned before, these six KRs are presented hierarchical way, where
Script Opposition sits in the highest rank. Figure 2.1 (as cited in Attardo, 1994, p.227) illustrates a clearer the hierarchical organization of the KRs.
SO
LM
SI
TA
NS
LA
Figure 2.1 Hierarchical Organization of the KRs
This hierarchy of KRs is arranged based on their strength. As suggested by
Attardo (1994), “Parameters determine the parameters below themselves and determined by those above themselves” (p.227). It means that the determination chosen in higher KRs will limit the options available for the lower KRs.
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3. Radio Drama
A radio drama is a story or a drama performed by actors through radio medium. It recounts a series of events and tells about relationship between the characters through radio. Since it is a form of a drama, radio dramas possesses the characteristic of a drama. Radio dramas involves character, plot, setting and theme like other form of dramas do (Fossard, 1996, p. 33).
As a radio drama is broadcasted through a radio medium, which means it is not supported by visual aids, ear becomes the only sense that works on receiving the information or the story. This becomes one absolute limitation of a drama conveyed through a radio medium. Fossard (1996) mentions that the whole experience of radio is perceived by the ear alone, which is in contrast if it is compared to the multisensory perception of everyday life (p.7).
To overcome this undeniable limitation, the dialogue within radio drama should fulfil some characteristics as it holds the key in delivering the story to the audience. A good radio drama should have a convincing dialogue uttered by the characters. Fossard (1996) mentions some guidelines to be noticed in writing the dialogues within a radio drama. He mentions that the dialogue within a radio drama should be fully scripted and natural, suits the character and the actions, names the characters‟ name often, and avoids soliloquy (p. 103).
Speaking of radio drama, there are three types of radio dramas. They are independent dramas, series dramas, and serial dramas. Each of them has its own characteristics. Independent radio dramas are radio dramas that end in one episode. It tells the whole story, usually a short one, in one broadcast. A radio
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30 drama series is a compilation of radio dramas which has the same main characters in each episode. Each story in a drama series is completed in one program. Extra characters may appear and disappear throughout the stories, but the major character stay the same. A serial radio drama tells about one big story that continues from one broadcast to another; each episode in serial is open-ended
(Fossard, 1996, p.38).
In radio drama series, there is a popular term called “sit com” or situation comedy. It refers to the type of radio drama that is intended to amuse the audience or the listeners. It is a type of radio drama that is funny or, at least, has a happy ending. Sit-coms often use exaggerated or far-fetched plots (Fossard, 1996, p. 38).
4. Reviews of Related Research
A number of studies of humour have been conducted. This section will elaborate briefly some of the researches that have been done prior before this study. There are two studies that will be reviewed briefly here.
The first one is a study conducted by Magnotta and Strohl in 2011. In their paper entitled A linguistic analysis of humor: A look at Seinfeld, they investigates humour found in a Television Show Seinfeld. Using the Incongruity Theory of humour and the Interactional Sociolinguistic Methodology of discourse analysis, they examine the incongruous elements, such as moral short-comings, ignorance, and impersonation found within the object. In addition, they also observe the contextualization cues used in its humour production. This study results that the incongruities and contextualization cues provokes humour in the object.
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31
The research done by Magnota and Strohl is somehow related to the study the writer is conducting now, although not directly. A linguistic analysis of humor: A look at Seinfeld investigates humour based on the incongruity theory which is very similar to what is called as script opposition – one of the six KRs in this research. Generally, incongruity theory basically explains that a humour can be funny because there is an incongruity created – the discrepancy between what is heard and what is expected to be heard – within the humorous text (Shade,
1994, p.10). Similarly, script opposition is defined as the opposition of two scripts, such as real vs. unreal.
Another study is conducted by Baskara in 2013. In his research entitled An
Analysis on the Verbal Humour and the Consistency of the Indonesian Subtitle in
Ice Age 3: Dawn of the Dinosaurs, he observes the verbal humour found within the object and categorize them into several categories. Furthermore, he tries to investigate how well the dialogue within the movie is translated into Indonesian language. The study results that 57 out of 64 verbal humours within the object is consistently translated into Indonesian language. The research conducted by
Baskara is related to this study, especially in the first part, as he analyses and observes the verbal humour and categorizes them into several categories.
B. Theoretical Framework
In this study, the researcher aims at investigating verbal humour found in
BBC Radio Drama Series Cabin Pressure: Abu Dhabi. Related to this matter, the researcher has formulated two research questions. The first research question deals with identifying the types of verbal humour in BBC Radio Drama Series
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Cabin Pressure: Abu Dhabi. The second question is how to analyse linguistically the verbal humour found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi using General Theory of Verbal Humour (GTVH).
Three theories which are directly connected to the research problems have been presented in the previous part. The first one is the theory of verbal humour and its type. It defines what verbal humour is: humour that is expressed verbally, using language as its means, and deals with the categorization of the verbal humour. As elaborated, verbal humour falls into 12 different categories: pun, riddle, joke, satire, limerick, parody, anecdote, farce, irony, sarcasm, tall tale, and wit. The characteristic and the example of each category have been elaborated in the previous part. The next theory deals with General Theory of Verbal Humour
(GTVH). This theory explains about humour that can be viewed linguistically using six-hierarchical organization of the Knowledge Resources (KRs), which are
Language (LA), Narrative Strategy (NS), Target (TA), Situation (SI), Logical
Mechanism (LM), and Script Opposition (SO). The last theory describes about the characteristic of the good dialogue in radio drama.
Within the framework, the theories presented will be utilized to help the researcher to solve both research questions. The theory of verbal humour is utilized in collecting the verbal humour within the BBC Radio Drama transcript.
Using the concept of what verbal humour is, the researcher will be able to collect every single verbal humour found within the object and ignoring any other forms of humour, if any, to be excluded from this research.
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After all verbal humour within the object collected, the researcher will utilize the theory about the types of verbal humour as a tool to categorize the verbal humour found within the transcript. Having understood each type of the verbal humour, the researcher will categorize all verbal humour into 12 categories: pun, riddle, joke, satire, limerick, parody, anecdote, farce, irony, sarcasm, tall tale, and wit. This is done in order to fully answer the first research question.
Meanwhile, the General Theory of Verbal Humour (GTVH) is employed to solve the second research question. As the second research problem deals with the linguistic analysis of verbal humour, the GTVH will be very beneficial to help the researcher. By giving attention to every KR in GTVH, the researcher will be able to analyse the verbal humour linguistically found within the object.
This entire framework is constructed within the context of radio drama, its types and its characteristic, as the object of the research is radio drama. Figure 2.2 is the diagram of the framework to illustrate it better.
Figures 2.2 The Theoretical Framework
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CHAPTER III
METHODOLOGY
This chapter provides the elaboration of methodology used to collect the data for the research. There are five sections within this chapter. They are
Research Method, Research Object, Instruments and Data Gathering, Data
Analysis Technique, and Research Procedures. The following is the elaboration of each section.
A. Research Method
This research is a qualitative research. The required data is gathered through document or content analysis. Ary, Jacobs, Sorensen, and Razavieh
(2010) mention that document and content analysis is a type of qualitative technique which analyses and interprets the recorded material to learn about human behaviour. The material for the analysis can be in the form of public records, textbooks, letters, films, tapes, diaries, themes, reports, or other documents like webpages, speeches, TV programs, or many others (p. 29). Like the other document or content analysis research, this research begins with questions that can be answered by studying available documents.
As this research aims at investigating verbal humour on BBC Radio
Drama Cabin Pressure: Abu Dhabi, the transcripts of the episodes of the radio drama will be the main document which is analysed within this study. Using the document or content analysis method, the researcher studies the transcript
34
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35 carefully in order to find verbal humour within it and categorize the verbal humour into some types. The researcher also uses many other documents as the secondary sources such as books, journals, and articles in order to conduct a deeper analysis.
B. Research Object
The object of this study is the BBC Radio Comedy Series, Cabin
Pressure: Abu Dhabi, written by John Finnemore and produced and directed by
David Tyler. It is a part of a radio drama series broadcasted by BCC Radio 4, which has 26 episodes categorized into four series with about 30 minute running time for each. Abu Dhabi is the first episode of the first series which is aired in
2008 for the very first time.
The episode starts when the CEO of MJN Air, Carolyn, prohibit her pilots,
Douglas and Martin, to divert their airplane as it would costs a lot of money.
Carolyn‟s decision is a result of the fact that the both pilots have flown a very expensive flight to Bristol before. While flying to Abu Dhabi, Douglas realises that the client‟s cat left in the unheated hold, making Martin confused if they have to divert to save the cat or to let the cat freeze to death. In the meantime, Arthur attempts to find out how aeroplanes fly.
C. Instruments and Data Gathering Technique
The main instrument used for this study is human instrument. According to Ary, Jacobs, Sorensen, and Razavieh (2010), human instrument is believed as a flexible instrument that becomes the primary instrument for gathering and analysing data in qualitative studies (p.424). In this study, the researcher plays as
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36 human instrument in data collection and analysing the data. The role of the researcher in this study is to collect the verbal humour within the object of the study, identify the types of verbal humour found, categorize them into some classes, and analyse them linguistically using GTVH.
The data for this study is gathered by employing document and artefacts data collection technique. Ary, Jacobs, Sorensen, and Razavieh (2010) mention that researchers may employ this document and artefacts data collection technique in order to understand phenomena under study. The term document includes a wide range of written, physical and visual materials, whereas artefacts refer to audio and video recordings, photographs, games, artwork, or other items (p. 442).
This research, however, will focus more on the written documents, specifically the transcript of the first episode of Cabin Pressure: Abu Dhabi. Employing this technique, the researcher collects the data of verbal humour manually from the transcript, which later, to be analysed using related theories.
D. Data Analysis Technique
Having decided to employ document or content analysis and chosen the research instrument and data gathering technique, the researcher need to follow more specific steps in analysing the data. According to GAO (1989) there are some steps that the researcher must employ in conducting the research under document and content analysis method. They are determining what material should be included in the analysis, selecting units of analysis, developing coding categories, coding the material, and analysing and interpreting the result (p.9). The following paragraphs are the elaboration of each step.
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37
As the researcher wants to observe verbal humour, in selecting what material that should be included in the analysis, radio drama becomes the choice of the researcher. Radio drama fits perfectly to this matter as the story and the humour presented are not aided by visual aid, making it easier to analyse the language used in its humour production. As many radio dramas are found now and then, the researcher thinks that it is better to focus one particular radio which is popular in this modern era. The researcher then chooses radio drama series which is based on comedy broadcasted by BBC Radio 4 entitled Cabin Pressure.
The second step to take in conducting document or content analysis is selecting units of analysis. Among the 26 episodes of Cabin Pressure, the researcher selects the first episode of the first series, Abu Dhabi, as the unit of analysis. The researcher uses the whole episode of Abu Dhabi to answer research question number one. However, as analysing verbal humour within the episodes of BBC Radio Drama Cabin Pressure: Abu Dhabi is too wide, the researcher limits the study into some samples of the verbal humour in answering research question number two.
The next step taken deals with developing coding categories. In this step, the researcher employs the categorization of verbal humour proposed by Shade
(1996) to help the coding process. The coding categories will help the researcher to categorize the findings into some categories: pun, riddle, joke, satire, limerick, parody, anecdote, farce, irony, sarcasm, tall tale, and wit.
In the coding the material step, the researcher categorizes the verbal humour found into some categorizations to help code the material. Using the
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38 coding categories, the researcher categorizes verbal humour found into some categories using table 3.1. The coding step should be conducted very carefully because the coding is conducted manually without the help of a machine.
Table 3.1 Verbal Humour Sample
Minute in Radio No Dialogue Drama 1. 2.
Table 3.1 is utilized to help the researcher categorize all verbal humour found within the object. Minute in Radio Drama conveys the information of when the verbal humour is presented in the recording. Dialogue part provides the transcript of the verbal humour found.
After categorizing the findings, the researcher comes to the analysing and interpreting the results. In this step, the researcher utilizes General Theory of
Verbal Humour (GTVH) proposed by Attardo (1994) as the tool. The researcher intends to analyse the humour found within the transcript using Table 3.2.
Table 3.2 Analysis of Verbal Humour
Number of Verbal Humour: Minute in Radio Drama: Dialogue: SO LM SI KR TA NS LA
In table 3.2, Number of Verbal Humour row presents the number of verbal humour found within the transcript. Minute in Radio Drama part is to show when the minute of the verbal jokes appear within the recording. Dialogue part provides
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39 the dialogues containing verbal humour appear in the radio drama. Meanwhile, the rest six rows are responsible of showing the Knowledge Resources proposed by
Attardo: SO (Script Opposition), LM (Logical Mechanism), SI (Situation), TA
(Target), NS (Narrative Strategy), and LA (Language). The researcher utilizes this table to analyse and interpret the verbal humour found within the radio drama.
E. Research Procedures
These are the procedures taken in this research:
1. Listening to BBC Radio Drama Cabin Pressure: Abu Dhabi without reading
the transcript.
The researcher listened to BBC Radio Drama Cabin Pressure: Abu Dhabi without reading the transcript. This step was done in order to feel the humorous situation in the radio drama to the fullest. It was also taken to make the researcher familiar with the situation built on the radio drama as well as familiarize the researcher‟s ears to the voice of the characters playing within the sitcom.
2. Listening to BBC Radio Drama Cabin Pressure: Abu Dhabi with the
transcript.
The researcher took the second chance of listening to the recordings of the
BBC Radio Drama Cabin Pressure: Abu Dhabi. However, this time the researcher listened to the recording while reading the transcript of the radio drama. This step was to help the researcher to really comprehend the script be ready to collect the verbal humour within the radio drama.
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3. Collecting the verbal humour found within the transcript.
Using and comprehending the theory of verbal humour, the researcher collected the verbally-expressed humour within the transcript of the first episode of series of BBC Radio Drama Cabin Pressure: Abu Dhabi. The researcher used the whole transcript. The researcher highlighted the conversation containing any type of verbal humour to be analysed later.
4. Classifying the verbal humour found within the radio drama.
The verbal humour collected from the transcripts was classified using the categorization of verbal humour proposed by Shade (1996). The verbal humour found within the transcript was classified into 12 categories based on their form.
The categorization was to be presented in the form of table and chart.
5. Analysing the verbal humour found.
The verbal humour collected from the transcripts was to be analysed linguistically. The researcher employed the theory of verbal humour proposed by
Attardo (1994), General Theory of Verbal Humour with its knowledge resources
(KRs). In order to do this analysis, the researcher utilized table 3.2 which has been presented. In addition, the analysis was done under supervision of some experts.
Thus, those are the procedures taken in conducting this research. Each step of this research procedure has its own benefit to this research. In addition, these procedures should be carried out carefully and in order to make sure the research is conducted scientifically.
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CHAPTER IV
RESEARCH RESULTS AND DISCUSSION
This chapter elaborates the finding of the research along with the discussion. There are two parts of this chapter as there are also two research questions in this research. The first part discusses the types of verbal humour found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi, whereas the second part provides the linguistic analysis of the verbal humour found.
A. Types of Verbal Humour Found in BBC Radio Drama Series Cabin
Pressure: Abu Dhabi
This part is to answer the first research question which is to point out the types of verbal humour found in BBC Radio Drama Series Cabin Pressure: Abu
Dhabi. The categorization of the verbal humour is based on Shade (1996) categorization of verbal humour. They are pun, riddle, joke, satire, limerick, parody, anecdote, farce, irony, sarcasm, tall tale, and wit.
The researcher collected 67 verbal humours within the object of the research. All of them were categorized into the 12 types. However, there were three types that have zero value. They were Limerick, Parody, and Anecdote. The statistic of the verbal humour found is presented in the figure 4.1.
41
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Verbal Humour Found in BBC Radio Drama Series
Cabin Pressure: Abu Dhabi 25 20 20 15 15 13 11 10 4 5 1 1 0 0 0 1 1 0
Figure 4.1 Verbal Humour Found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi
Among those 67 verbal humours found, the researcher took some samples for each type to be discussed. The discussion would be about some explanation on how a certain humour was categorized into a certain type. The following parts are the discussion for each type of the verbal humour.
1. Pun
Shade (1996) mentions that pun is a type of verbal humour that uses word play to suggest different meaning and application (p.3). The researcher collected one verbal humour that belonged to this type. Table 4.1 presents the result.
Table 4.1 Verbal Humour Sample: Pun
Minute in No Dialogue Radio Drama 2 00.02.00 Arthur :Oh, who's that guy? Um, oh, grey haired, did that game show, "Can I have a P, please, Bob?"
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In connection to humour number 2, a pun, there was a famous game show,
Blockbuster, which asked the participant to answer trivia questions whose answers began with a particular letter. The participants of the game show were allowed to request for a certain letter the answer of the trivia letter would begin with.
In the radio drama, Arthur tried to guess the complete name of the presenter of the game show, Bob Holness, by imitating the phrase that might appear in the game show, “Can I have a P, please, Bob?” This question was ambiguous as the letter “P” had the same pronunciation as the word “pee” which created a humorous situation.
2. Riddle
According to Shade, riddle is a type of verbal humour presented in a question and answer format which included a puzzling fact (Shade, 1996, p.3).
Based on that definition, there was only one riddle found within the transcript.
Table 4.2 shows the riddle found.
Table 4.2 Verbal Humour Sample: Riddle
Minute in No Dialogue Radio Drama 37 00.16.24 Martin :Why would he want a storage heater in Abu Dhabi? Douglas :Well, there is a lot of heat to store
Humour number 37 was presented in a form of question and answer format with an unexpected answer that amused the listener so that it belonged to riddle. Martin asked Douglas about the importance of having a storage heater in
Abu Dhabi, a city that has hot temperature. Instead of answering the question with
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44 a proper answer on the actual function of a storage heater and its importance in
Abu Dhabi, Douglas gave an amusing answer by saying that there was a lot heat to store. This unexpected answer triggered laughter of the audience.
3. Joke
Joke has many subtypes: phonological, lexical, surface structure, deep structure, and metalinguistic joke. However, the researcher only found one subtype of joke within the transcript, deep structure joke. Deep structure joke is a joke that is based on many alternative interpretations of a word of phrase which created a humorous atmosphere (Shade, 1996, p.4). There were four deep structure jokes collected within the transcript. Table 4.3 shows two samples.
Table 4.3 Verbal Humour Sample: Joke
Minute in No Dialogue Radio Drama 8 00.03.15 Douglas :Do you know, Martin, all these years and I've never been to Bristol? Martin :We'll get ready for a treat. Douglas :I don't know. I was rather hoping not to break my duck 10 00.03.36 Arthur :What do you reckon, Douglas? Douglas :We could go to Bristol, I believe. People do. Note: For complete list of joke, see appendix B.
Humour number 8, which was included in deep structure joke, relied of the alternative interpretation of the phrase “break my duck”. The phrase “break my duck” was actually an idiom which meant “do something for the first time”.
However, as Bristol was famous for its duck, especially the food and duck feeding, the phrase became ambiguous. It had alternative interpretation. Douglas‟s
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45 saying might be interpreted in two different ways: doing something for the first time and breaking actual ducks. These ambiguous interpretations created humorous atmosphere.
In the same light, humour number 10 also showed an ambiguity. The word
“could” could be interpreted in two different ways. At first, the word “could” could function as a modal of advice; to give suggestion, as what Arthur wanted
Douglas to do. However, as it was followed by a sentence “People do.”, it became ambiguous. The word “could” might be interpreted as a modal to show ability.
This ambiguous way of interpretation evoked laughter from the listener.
4. Satire
According to Shade (1996), satire is a form of verbal humour that was used to criticize (p.2). Within the transcript, 20 verbal humours that belonged to this type were found, becoming the most frequent verbal humour that appeared in the object of this research. Two samples are presented in table 4.4.
Table 4.4 Verbal Humour Sample: Satire
Minute in No Dialogue Radio Drama 20 00.08.21 Carolyn :So listen, next Thursday, you are going to Abu Dhabi, and you are going cheap. You will fly the most no-frills, most cost effective plane it is possible to fly. You will make easy jet look like Air Force One. Understood? Martin :Yes, Carolyn. Douglas :And who are the lucky passengers on Scrooge McDuck Air? 35 00.15.46 Carolyn :No, really, shut up and listen. Alternate Bahrain, but of course you don‟t need an alternate. Because today is the day we try running MJN as a profitable business,
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rather than a charitable sanctuary for rubbish pilots. Note: For complete list of satire, see appendix C.
In humour 20, Carolyn, the CEO of the airline, forces Martin and Douglas to press the expense on the next flight. She gave a little lecture to both pilots to go cheap to Abu Dhabi. Then, Douglas gave a humorous criticism to stingy Carolyn by referring the company name as “Scrooge McDuck Air” instead of saying its real company name, MJN Air. By mentioning it, Douglas gave criticism on how
Carolyn was very stingy just like the character Scrooge McDuck in Donald Duck stories that was famous for his stingy characteristic.
Similarly, humour 35 showed how Carolyn gave criticism to both pilots.
She pointed out that a company should be profitable rather than became a charitable sanctuary for incompetent pilots. Doing so, she successfully gave a criticism to both pilots in a humorous way.
5. Farce
Farce is a type of verbal humour that was marked with its boisterous humour (Shade, 1996, p.5). Based on that definition, there was only one farce found within the object of the study. Table 4.5 serves the humour.
Table 4.5 Verbal Humour Sample: Farce
Minute in No Dialogue Radio Drama 1 00.00.00 Douglas :Good evening, ladies and gentlemen, First Officer Douglas Richardson here. Just to let you know, we're making our final approach now into what I am fairly sure is Fitton airfield…unless it's a farm… or just possibly the A45. It's not the sea, because that's blue. I should perhaps explain that
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47
Captain Crieff and I have a sportsman-like little bet on today about who can fly the best after drinking a litre of Vodka through a straw. The Captain went first. You may have noticed the take off run was a little bumpy, particularly over the golf course. Now it's me to land, just as soon as I decide, which of these two runaways to aim for. And I'm happy to tell you that I feel lucky. So on behalf of all your crew today, may I just say, geronimo!
As a farce, humour number 1 is marked for its boisterous humour. There were many funny parts found in one chuck of the monologue, all were in italic.
The humour told the audience about how Douglas was not sure on where exactly he had to land the plane as he was drinking Vodka before. In the end, he would rely on his luck.
6. Irony
According to Shade (1996), irony is a type of humour that was marked by its opposite speech from literal meaning (p.5). The writer chose two samples out of 15 irony verbal humour found to be presented in Table 4.6
Table 4.6 Verbal Humour Sample: Irony
Minute in No Dialogue Radio Drama 48 00.20.01 Arthur :I call it my orange platter. Douglas :Really? I wonder why. Arthur :Oh, because everything in it.. Douglas :Yes... Arthur, I can see why. 54 00.22.09 Martin :Do you think it's dead? Douglas :No, no, definitely not. Not yet. Note: For complete list of irony, see appendix D.
Humour number 48 showed that Douglas actually did not really wonder why it was called as orange platter. Douglas‟s real intention of saying, “I wonder
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48 why” was actually to give a hint that he did not really care and did not really want to know why. This saying, thus, became humorous.
Similar thing happened to humour number 54. Martin asked Douglas if it
(the cat) was dead. At first, Douglas assured Martin that the cat was definitely not dead, giving a hint that he was 100% sure that it was alive and would definitely survive the flight. Hoverer, a second later, Douglas said “not yet”, hinting that the cat was dying and would die soon. This irony created a humorous effect to the listeners.
7. Sarcasm
Sarcasm is a type of verbal humour that was used to give taunt, scoffing jibe, or veiled sneer (Shade, 1996, p. 5). The use of sarcasm might hurt someone‟s feeling. Within the transcript, the researcher collected 11 verbal humours that fell to this type. Two samples are provided in table 4.7.
Table 4.7 Verbal Humour Sample: Sarcasm
Minute in No Dialogue Radio Drama 3 00.02.15 Martin :Bob Holness. It was Bob Holness. Arthur :That's it! Oh. Well, does he count anyway? Douglas :Does Bob Holness count in our list of people called Brian? What the hell, yes, he does. Well done! 30 00.13.32 Martin :Don't call me Sir, Douglas. Douglas :Sir's mind is fickle and changeable. I shall endeavour to remember, Sir, but from time to time, my natural awe at the majestic figure cut by Sir may bubble up, uncontrollably here. Note: For complete list of sarcasm, see appendix E.
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Humour number 3 showed the way Douglas mocked Arthur‟s stupidity on how he asked if Bob Holness could be included on the list of people called Brian.
Knowing it was a stupid question, Douglas deliberately praised Arthur by saying
“well done”, instead of directly mocking him, in order to give Arthur a gibe.
Although it was meant to hurt Arthur‟s feeling, this sarcastic expression was funny and might trigger laughter from the audience.
Humour number 30 also showed how sarcastic expression could be humorous. It told about the way Douglas gave sarcastic expressions to Martin.
Instead of insulting him openly, he talked as if he was really awed by Martin, or he preferred to call him, sarcastically, Sir.
8. Tall Tale
Tall tale is a form of verbal humour that relies on exaggeration (Shade,
1996, p.5). Based on that definition, the researcher found one verbal humour that was in the form of tall tale. Table 4.8 presents the tall tale.
Table 4.8 Verbal Humour Sample: Tall Tale
Minute in No Dialogue Radio Drama 56 00.22.56 Martin :What else can I do? Douglas :I suppose you could always… Martin :I can't! I can't divert. She'll hunt me down. She'll actually hunt me down with knives. Douglas :Whereas if we carry on and freeze the client's cat to death… Martin :Also knives. Big knives
Although short, humour number 56 showed how Martin exaggerated on how he would be treated if he decided to divert. Because he was really afraid,
Martin exaggerated the possibility on how Carolyn would treat him. He believed
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50 that she would hunt him down with knives, which was really unlikely to happen.
This humorous speech which contained exaggeration evoked laughter from the hearer.
9. Wit
According to Shade (1996), wit is one form of verbal humour that intelligently connected two incongruous ideas, resulting in quick and out of the cuff statement (p.5). The researcher collected 13 samples of wit within the transcript and took two samples to be presented in table 4.9.
Table 4.9 Verbal Humour Sample: Wit
Minute in No Dialogue Radio Drama 17 00.06.35 Carolyn :I don't have an airline. I have one jet. You cannot put one jet in a line. If MJN is anything, it is an air dot. 41 00.17.47 Arthur :Why does the air on the top have to keep up the air at the bottom? Why don't they just… split up? Douglas :For the sake of the kids? Note: For complete list of wit, see appendix F.
Humour number 17 showed how Carolyn intelligently connected two incongruous ideas quickly. She successfully connected two different ideas, line and dot (things connected to drawing) and line in the word “airline”. She gave an absurd analogy on airline by connecting it to line and dot. This analogy of two incongruous ideas created laughter from the audience.
Similar to the previous humour, connecting two incongruous ideas was also seen in humour number 41. In this humour, Douglas successfully connected two different ideas which were the air in airplane wings that had to split up and
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51 marriage. He deliberately answered Arthur‟s question about why the air on the top should keep up with the air in the bottom instead of splitting up by saying that they had to keep up because of the kid‟s sake. This absurd answer created a humorous situation.
From the discussion, it could be summarized that there were 67 verbal humours collected within the object of the study. They fell into 9 categories, out of the 12 categorization proposed by Shade (1996): pun, riddle, joke, satire, farce, irony, sarcasm, tall tale, and wit. The other three categories, limerick, parody, and anecdote had zero value.
Out of the nine categories, satire became the most frequent verbal humour that appeared within the object of the study with 20 satires collected out of 67 verbal humours (29.9%). The second highest rank of appearance was irony
(22.4%), followed by wit (19.4%), sarcasm (16.4%), and joke (6.0%). Each of the last four categories, pun (1.5%), riddle (1.5%), farce (1.5%), and tall tale (1.5%), appeared only once throughout the object of the research.
B. Linguistic Analysis of Verbal Humour Found in BBC Radio Drama
Series Cabin Pressure: Abu Dhabi
This part is to answer research question number two. It focuses on how verbal humour found in BBC Radio Drama Series Cabin Pressure: Abu Dhabi is analysed using General Theory of Verbal Humour (GTVH). The discussion of the analysis is presented in this part as well.
General Theory of Verbal Humour, known as GTVH proposed by Attardo
(1994), is used as the main theory to analyse the object of the research. The verbal
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52 humour found within the object of the research is examined by employing six parameters the GTVH proposed, known as Knowledge Resources (KRs). They are, presented in heretical way: Script Opposition (SO), Logical Mechanism
(LM), Situation (SI), Target (TA), Narrative Strategy (NS), and Language (LA).
For the analysis, the researcher collected one sample of verbal humour for each type of the verbal humour found in order. In total, there were nine verbal humour samples which were analysed. Followings are the result of the analysis along with the discussion for every type of verbal humour.
1. Pun Analysis
This section is to provide an analysis of pun collected within the object of the study. The pun examined was the second verbal humour that appeared in the object of the research which appeared on 00.02.00. The analysis of the pun is presented in table 4.10.
Table 4.10 Pun Analysis
Number of Verbal Humour: 02 Minute in Radio Drama: 00.02.00 Dialogue: Arthur :Oh, who's that guy? Um, oh, grey haired, did that game show, "Can I have a P, please, Bob?" SO P vs. Pee LM Twisting Homonymy SI Arthur is trying to guess the name of the presenter of a game show by imitating the phrase that may appear in the game show. TA None KR NS Short Narrative LA Set-up Arthur :Oh, who's that guy? Um, oh, grey haired, did that game show… Punch line Arthur :"Can I have a P, please, Bob?"
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As shown in table 4.10, the pun opposed P and Pee, becoming the SO in the pun. Because the two scripts that are opposed, P and Pee, had the same way of pronouncing, /pi:/, the pun is assembled by exploiting the Twisting Homonymy
LM, resulting an ambiguous meaning. These first two KRs became the main KRs of the pun production.
The pun had to be built in a certain possible situation (SI) based on the SO and LM. In this case, the situation was Arthur‟s trying to guess the name of the presenter of a certain game show. Because the situation was composed that way, the pun did not have a TA. The pun, then, was served within a short narrative NS where Arthur was having a short monologue. In the end, the verbalization on the pun was constructed in a certain way, as shown in the table 4.10, with the punch line was placed in the end.
2. Riddle Analysis
The verbal humour analysed in this part was a ridiculous expression, the verbal humour number 37. It appeared on 00.16.24 within the object of this research. The analysis of the riddles is shown in table 4.11.
Table 4.11 Riddle Analysis
Number of Verbal Humour: 37 Minute in Radio Drama: 00.16.24 Dialogue: Martin :Why would he want a storage heater in Abu Dhabi? Douglas :Well, there is a lot of heat to store SO Function vs. Fact LM Fallacious Reasoning SI Martin is questioning about the importance of having a storage KR heater in Abu Dhabi TA None NS Question and Answer
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LA Set-up Martin :Why would he want a storage heater in Abu Dhabi? Punch line Douglas :Well, there is a lot of heat to store
The riddle presented in the table 4.11 had function vs. fact SO. It meant to oppose the real function of storage heater, which is actually to help with the electricity, and the fact that a hot city has a lot of heat. Using fallacious reasoning as the logical mechanism (LM), the riddle was intended to give an absurd rational of why a hot city needed a storage heater.
With the SO and LM decided that way, the riddle was assembled under a specific situation, which was Martin‟s question to Douglas about the importance of having a storage heater in Abu Dhabi. As a result of the previous three KRs, the target (TA) of the riddle had an empty value. Question and answer format was decided as the Narrative Strategy (NS) of how this verbal humour was presented with a certain wording and punch line positioning shown in the table 4.11.
3. Joke Analysis
The verbal humour which analysed in this section was a joke. It was verbal humour number 10 that appeared on 00.03.36 within the radio drama. Table 4.12 provides the analysis of the joke.
Table 4.12 Joke Analysis
Number of Verbal Humour: 10 Minutes in Radio Drama: 00.03.36 Dialogue: Arthur :What do you reckon, Douglas? Douglas :We could go to Bristol, I believe. People do. SO Advice vs. Ability LM Absurd Interpretation KR SI Arthur asks for Douglas‟s opinion whether they should divert to Bristol
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TA None NS Conversation LA Set-up Arthur :What do you reckon, Douglas? Douglas :We could go to Bristol, I believe. Punch line Douglas :People do.
The word “could” in the joke presented in table 4.2, could be understood as both a modal of advice and a modal to show an ability to do a certain thing.
These two possibilities provided the listeners with an SO, opposing advice vs. ability, which became the soul of the joke. The SO, then, was presented under the
Absurd Interpretation LM to create incongruous ways of interpreting in order to meet the need of laughter.
The SO and LM then were built under a certain SI where Arthur asked
Douglas if they had to divert. Having a certain situation, the verbal humour chose not to have a “butt of the humour” or the TA, leaving the row with an empty value. Then, the joke was generated within a conversation NS. Finally, the wording of the joke was constructed into a certain LA, placing the punch line in the very end, as shown in the table 4.2.
4. Satire Analysis
The analysis of satirical expression is presented in this part. The researcher took the verbal humour number 20 as the sample of the satire analysis. It appeared on 00.08.21 in the radio drama. The following table, table 4.13 provides the analysis.
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Table 4.13 Satire Analysis
Number of Verbal Humour: 20 Minutes in Radio Drama: 00.08.21 Dialogue: Carolyn :So listen, next Thursday, you are going to Abu Dhabi, and you are going cheap. You will fly the most no-frills, most cost effective plane it is possible to fly. You will make easy jet look like Air Force One. Understood? Martin :Yes, Carolyn. Douglas :And who are the lucky passengers on Scrooge McDuck Air? SO Actual vs. Non-actual LM Insult/Put-down Humour SI Carolyn is being stingy for her airplane company. TA Carolyn NS Conversation LA Set-up Carolyn :So listen, next Thursday, you are going to Abu KR Dhabi, and you are going cheap. You will fly the most no-frills, most cost effective plane it is possible to fly. You will make easy jet look like Air Force One. Understood? Martin :Yes, Carolyn. Punch line Douglas :And who are the lucky passengers on Scrooge McDuck Air?
The satire presented in the table 4.13 was based on actual vs. non actual
SO. The satirical expression contrasted an actual living character and a cartoon character. Insult or put-down became the Logical Mechanism (LM) to put the two opposite scripts together.
The satire in table 4.13 was built around a certain situation (SI), where
Carolyn was being stingy and Douglas wanted to criticize her. The situation resulted in the humour having a target (TA) or the “butt of the humour” which was Carolyn. Set up in a conversation format as the NS, the satire was constructed as shown in the table 4.13 with the punch line was located in the end.
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5. Farce Analysis
This part is to present the analysis of farce. The sample of the farce was the first verbal humour collected within the object of the research. It appeared in the very beginning of the episode as an opening. The analysis of the farce goes as follows, presented in table 4.14.
Table 4.14 Farce Analysis
Number of Verbal Humour: 01 Minutes in Radio Drama: 00.00.00 Dialogue: Douglas :Good evening, ladies and gentlemen, First Officer Douglas Richardson here. Just to let you know, we're making our final approach now into what I am fairly sure is Fitton airfield…unless it's a farm… or just possibly the A45. It's not the sea, because that's blue. I should perhaps explain that Captain Crieff and I have a sportsman-like little bet on today about who can fly the best after drinking a litre of Vodka through a straw. The Captain went first. You may have noticed the take-off run was a little bumpy, particularly over the golf course. Now it's me to land, just as soon as I decide which of these two runaways to aim for. And I'm happy to tell you that I feel lucky. So on behalf of all your crew today, may I just say, Geronimo! SO Normal vs. Abnormal LM Fallacious Reasoning SI Douglas is currently (or pretends to be) drunk and has to land KR the airplane. TA None NS Narrative (monologue) LA Set-up and punch line are a lot and positioned one after another.
Built on normal vs. non abnormal SO, the verbal humour presented in table 4.14 was meant to contrast two opposing scripts which normally happened in normal situation and the abnormal one. The SO, then, was constructed using
Fallacious Reasoning LM, meaning that the script provided unrealistic or abnormal rational to make a thrill for laughter.
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Understanding the SO and the LM, the farce was generated around the situation where Douglas was drunk, or at least pretended to be drunk, while he has to land the airplane. With zero value for the target (TA), the farce was constructed in a narrative or monologue format with the set up and punch-line are a lot and were positioned one after another, creating a boisterous humour.
6. Irony Analysis
This part is to discuss irony analysis. The researcher took the verbal humour number 54 as the sample for the irony analysis. The ironical expression to be discussed in this part appeared in 00.22.09 of the episode. The following table
4.15 is to present the analysis.
Table 4.15 Irony Analysis
Number of Verbal Humour: 54 Minutes in Radio Drama: 00.22.09 Dialogue: Martin :Do you think it's dead? Douglas :No, no, definitely not. Not yet. SO Life vs. Death LM Word Repetition SI Martin is afraid if the cat will die. He asks for Douglas‟s opinion whether the cat was dead. TA None KR NS Conversation LA Set-up Martin :Do you think it's dead? Douglas :No, no, definitely not. Punch line Douglas :Not yet.
The ironical expression presented in the table 4.15 was meant to contrast live and death. The SO, the soul, of the irony, was about opposing those two
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Having known the SO and the LM, the ironical expression was chosen to be built around a situation (SI) where Martin feared if the cat would die and he asked Douglas if the cat was dead. Knowing the SI, the irony above did not have a target (TA). Generated using conversation Narrative Strategy (NS), the language
(LA) or the verbalization of the irony was arranged as presented in the table 4.15, where the punch line was placed in the end.
7. Sarcasm Analysis
This part is to analyse and discuss sarcasm verbal humour. The sample for the analysis and the discussion was taken from the third verbal humour that appeared in the radio drama. To be precise, the sample is a sarcasm that appeared on 00.02.15 within the episode. The result of the analysis is shown in the table
4.16.
Table 4.16 Sarcasm Analysis
Number of Verbal Humour: 03 Minutes in Radio Drama: 00.02.15 Dialogue: Martin :Bob Holness. It was Bob Holness. Arthur :That's it! Oh. Well, does he count anyway? Douglas :Does Bob Holness count in our list of people called Brian? What the hell, yes, he does. Well done! SO Praising vs. Insulting LM Insult/Put-down Humour SI Martin, Arthur, and Douglas are playing “Brians of Britain”, mentioning as many British people as possible whose name is KR Brian. Arthur failed. TA Arthur NS Conversation LA Set-up Martin :Bob Holness. It was Bob Holness.
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Arthur :That's it! Oh. Well, does he count anyway? Douglas :Does Bob Holness count in our list of people called Brian? Punch line Douglas :What the hell, yes, he does. Well done!
The sarcastic verbal humour presented in the table 4.16 used praising vs. insulting as the script opposition (SO). It intended to contrast two opposing scripts, praise and insult. The SO then was brought to life by employing insult or put-down humour as the LM, meaning that the verbal humour was deliberately created to mock someone or something.
The situation SI of the sarcasm was when the characters involved in the verbal humour presented, Martin, Arthur and Douglas, were playing “Brian of
Britain”, mentioning as many British people named Brian as many as possible.
While playing, Arthur failed. Under that certain situation, the sarcasm had a target
(TA) of the sarcasm which was Arthur. Set up using conversation as the NS, the exact verbalization of the sarcasm verbal humour was presented as shown in table
4.16, where the punch line was set in the end of the humour.
8. Tall Tale Analysis
Tall tale analysis will be served in this part. The researcher took one sample of the tall tale to be discussed in this part. It was the verbal humour number 56 that appeared in 00.22.56 in the object of the study. The analysis of the tall tale is presented in table 4.17.
Table 4.17 Tall Tale Analysis
Number of Verbal Humour: 56 Minutes in Radio Drama: 00.22.56 Dialogue: Martin :What else can I do?
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Douglas :I suppose you could always.. Martin :I can't! I can't divert. She'll hunt me down. She'll actually hunt me down with knives. Douglas :Whereas if we carry on and freeze the client's cat to death… Martin :Also knives. Big knives SO Possible vs. Impossible LM False Analogy SI Martin needs to divert but he is afraid of Carolyn. TA None NS Conversation LA Set-up Martin :What else can I do? KR Douglas :I suppose you could always… Martin :I can't! I can't divert. Punch line Martin :She'll hunt me down. She'll actually hunt me down with knives. Douglas :Whereas if we carry on and freeze the client's cat to death… Martin :Also knives. Big knives
The tall tale in the table 4.17 presented possible vs. impossible as the
Script Opposition (SO). The possible and impossible here referred to the condition the characters might be in. The tall tale then was presented using false analogy
Logical Mechanism (LM), meaning that the analogy used in the humour was fallacious.
Set in a specific SI, where Martin needed to divert yet he was afraid that
Carolyn would be angry, the verbal humour did not have a specific target. The tall tale then was written using conversation narrative strategy with a specific wording or verbalization as presented in the table 4.17.
9. Wit Analysis
This part is to discuss analysis of the last type of verbal humour, wit. The researcher took the verbal humour number 41 as the sample of the analysis which
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Table 4.18 Wit Analysis
Number of Verbal Humour: 41 Minutes in Radio Drama: 00.17.47 Dialogue: Arthur :Why does the air on the top have to keep up the air at the bottom? Why don't they just… split up? Douglas :For the sake of the kids? SO Air vs. Marriage LM False Analogy SI Arthur is trying to learn how a plane flies. TA None NS Conversation KR LA Set-up Arthur :Why does the air on the top have to keep up the air at the bottom? Why don't they just… split up? Punch line Douglas :For the sake of the kids?
In the wit presented in table 4.18, the SO contrasted air and marriage. It was to oppose clearly two different scripts. Using a false analogy as the Logical
Mechanism (LM), the wit wanted to provide fallacious comparison between two things, air and marriage, to meet the need of laughter.
With the SO and LM that had been defined, the wit was built within a certain circumstance or situation (SI), where Arthur was attempting to understand how a plane flies. With that situation, the target (TA) of the wit has an empty value. The wit then was written within a conversation as the NS. In the end, the exact wording of the wit was presented in the table 4.18 where the punch line was, again, positioned in the end of the wit.
Based on the analysis discussion, it was concluded that the verbal humour found in BBC Radio Drama Cabin Pressure: Abu Dhabi was analysed
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63 linguistically using General Theory of Verbal Humour proposed by Attardo
(1994) by employing the six Knowledge Resources (KRs). They are, presented in hierarchical order, Script Opposition (SO), Logical Mechanism (LM), Situation
(SI), Target (TA), Narrative Strategy (NS), and Language (LA). Each of these
Knowledge Resources was utilized to examine every element that constituted the verbal humour.
The analysis was conducted by investigating every element that constitutes the verbal humour. It was done in hierarchical way, following the hierarchical order of the six Knowledge Resources (KRs). It started by examining the verbal humour using the most complex parameters, the Script Opposition (SO) and the
Logical Mechanism (LM). Then, the analysis was continued by utilizing the next four KRs sequentially: The SI, TA, NS, and LA. It was done this way in order to closely examine the element of the humour from the core element first until the way the humour was presented.
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CHAPTER V
CONCLUSIONS AND RECOMMENDATIONS
This chapter is to close the research by providing the conclusions and some recommendations related to the study. There are two parts in this chapter, namely conclusions and recommendations. The first part is to conclude the findings and discussion which have been presented in the previous chapter related to both the research questions. The second part is to provide some suggestions to the readers pertaining to the research.
A. Conclusions
The researcher collected, in total 67 verbal humours in the object of the research, BBC Radio Drama Series Cabin Pressure: Abu Dhabi. The most frequent verbal humour that appeared within the object of the study was satire that appeared 20 times (29.9%) out of 67 verbal humours. The second highest rank of verbal humour appearance was irony (22.4%), followed by wit (19.4%), sarcasm
(16.4%), and joke (6.0%). Each of the last four categories, pun, riddle, farce, and tall tale, only appeared once throughout the entire episode (1.5%). On the other side, the researcher did not find verbal humour within the object of the study that fell into the other three categories: limerick, parody, and anecdote.
The analysis of the verbal humour was done successfully by utilizing the six Knowledge Resources (KRs) of the General Theory of Verbal Humour
(GTVH): Script Opposition (SO), Logical Mechanism (LM), Situation (SI),
64
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Target (TA), Narrative Strategy (NS), and Language (LA). The analysis of the verbal humour was done in a hierarchical way. It followed hierarchical order of the six Knowledge Resources. Firstly, the analysis was conducted by examining the verbal humour using the most complex parameters, the Script Opposition and the Logical Mechanism. Then, the analysis was continued by employing the next four KRs, the SI, TA, NS, and LA, sequentially. Doing so allowed the researcher to closely examine the elements of the humour from the core element first to the serving.
B. Recommendations
It is suggested to the readers to conduct more studies concerning about humour, especially verbal humour, as the study is still fairly new. Pursuing more researches on verbal humour, especially the more extensive ones, may be a very good idea to do. The object for the further studies is also not limited to radio drama. Other work containing verbal humour such as movies, songs, poems can also be a great source to broaden the knowledge and understanding on verbal humour.
General Theory of Verbal Humour (GTVH) with its six Knowledge
Resources (KRs) is a very powerful theory to analyse humour linguistically. The researcher suggests that GTVH can be utilized more to conduct further analysis of verbal humour. It can be noted that GVTH could be employed also to conduct more specific analysis rather that a general analysis like this research is limited to.
Employing GTVH allows more researchers to focus on a certain KR, for example the SO, in order to do an in-depth investigation.
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REFERENCES
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Attardo, S. (1994). Linguistic theories of humor. New York: Mouton de Gruyter.
Attardo, S. (2001). Humorous texts: A semantic and pragmatic analysis. Retrieved December 16, 2015, from http://www.italiansubs.net/forum/televisione/doppiaggio-parliamone- qui/?action=dlattach;attach=212440
Baskara, A. (2013). An analysis on the verbal humor and the consistency of Indonesian subtitle in Ice Age 3: Dawn of the dinosaurs. Retrieved May 8, 2015, from http://www.library.usd.ac.id/Data%20PDF/F.%20Keguruan%2 0dan%20Ilmu%20Pendidikan/Pendidikan%20Bahasa%20Inggris/0812141 10_full.pdf Collins, H. (1996). 101 American English riddles: Understanding language and culture through humor. Chicago: Passport Book.
Core Knowledge Language Arts. (2013). Fairy tales and tall tales: Tell it again!™ read-aloud anthology. New York: The Guilford Press.
Fossard, E. (1996). How to write a radio serial drama for social development: A script writer’s manual. The Johns Hopkins University School of Public Health.
Eyre, S. (2014). It’s a funny old world: The construction of possible worlds in jokes and stand-up comedy. Retrieved March 14, 2016, from https://kar.kent.ac.uk/47908/1/82ShonaRuthEyre_Thesis_upload.pdf
GAO. (1989). Content analysis: A methodology for structuring and analysing written material. Retrieved June 11, 2015, from: http://archive.gao.gov/d48t13/138426.pdf
Goebel, B. (1958). Humor Writing: Activities for the English classroom. Illinois: National Council of Teachers of English.
Jay, T. (2003). The psychology of language. Upper Saddle River: Pearson
Education Ltd.
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LeBoeuf, M. (2007). The power of ridicule: An analysis of satire. Retrieved November, 22, from http://digitalcommons.uri.edu/cgi/viewcontent.cgi?article=1065&context= srhonorsprog
Lew, R. (1996). An ambiguity-based theory of the linguistic verbal joke in English. (Doctoral dissertation, Adam Mickiewicz University, 1996). Retrieved September 29, 2015, from: http://www.staff.amu.edu.pl/~rlew/pub/Lew_1996_An_ambiguitybased_th eory_of_the_linguistic_verbal_joke_in_English.pdf
Magnotta, E., & Strohl, M. (2011). A linguistic analysis of humor: A look at Seinfeld. The Working Papers of the Linguistics Circle of the University of Victoria, 21, 126–135. Mello, A. (1982). The song of bird. Retrieved November 21, 2015, from http://www.arvindguptatoys.com/arvindgupta/songofbird.pdf Mullins, A. (2010). Limericks for laugh: An anthology for zingers. Brisbane: Customercorp Pty Ltd.
Pasaribu,T., & Kadarisman, A. (2015). Decoding logical mechanism and stereotyping in gender cyber humors. In Press: CELT journal. Raskin, V. (1985). Semantic mechanism of humor. Boston: D. Reidel.
Ross. A. (1998). The language of humour. London: Routledge.
Shade, A.R. (1996). Licence to laugh: Humor in the classroom. Westport: Greenwood Publishing.
Shakespeare, W. (1633). The tragedy of Richard III, a play script. Retrieved November 15, 2015, from http://www.folgerdigitaltexts.org/PDF/R3.pdf
Spanakaki, K. (2007). Translating humor for subtitling. Retrieved May 11, 2015, from http://translationjournal.net/journal/40humor.htm
Suhadi, M. (1989). Humor itu serius: Pengantar ke Ilmu humor. Jakarta: PT Pustakakarya Grafikatama.
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APPENDIX A
Complete List Verbal Humour
Minute Types of in No Dialogue Verbal Radio Humour Drama 1 00.00.00 Douglas: Good evening, ladies and gentlemen, First Farce Officer Douglas Richardson here. Just to let you know, we're making our final approach now into what I am fairly sure is Fitton airfield…unless it's a farm… or just possibly the A45. It's not the sea, because that's blue. I should perhaps explain that Captain Crieff and I have a sportsman-like little bet on today about who can fly the best after drinking a litre of Vodka through a straw. The Captain went first. You may have noticed the take off run was a little bumpy, particularly over the golf course. Now it's me to land, just as soon as I decide, which of these two runaways to aim for. And I'm happy to tell you that I feel lucky. So on behalf of all your crew today, may I just say, geronimo! 2 00.02.00 Arthur: Oh, who's that guy? Hm, oh, gray haired, did Pun that game show, "Can I have a P please, Bob?" 3 00.02.15 Martin: Bob Holness. It was Bob Holness. Sarcasm Arthur: That‟s it! Oh well, does he count anyway? Douglas: Does Bob Holness count in our list of people called Brian? What the hell, yes, he does. Well done! 4 00.02.44 Martin: Golf-Tango-India, Roger. Hold at Arden. Irony Maintain seven thousand feet. Can you confirm delay only twenty minutes? Tower: Probably... All depends, really. 5 00.02.51 Martin: Thank you, Tower. Hugely informative as ever. Sarcasm Out. 6 00.03.01 Arthur: But Bristol, that's miles away. Irony Martin: Yes. Luckily enough though, we are in an aero plane, specially designed to be good at going miles away quite quickly. 7 00.03.10 Arthur: Yeah, but my car's at Fitton. Sarcasm Martin: Oh, well then, let us, by all means, circle round it until we drop out of the sky. 8 00.03.19 Douglas: Do you know, Martin, all these years and I've Deep never been to Bristol? Structure Martin: We'll get ready for a treat. Joke 68
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Douglas: I don't know. I was rather hoping not to break my duck. 9 00.03.29 Martin: Yes, oddly enough, Arthur, a jet aircraft isn't Satire as precisely similar to a Vauxhall Corsa as a stupid person might imagine. 10 00.03.36 Arhur: What do you reckon, Douglas? Deep Douglas: We could go to Bristol, I believe. People do. Structure Joke 11 00.04.27 Douglas: We tell the Tower we smell smoke, which we Deep do. We get to land straight away. They check the Structure aircraft. Don't find anything. One of the life's little Joke mysteries, but jolly good boys for taking no chances. Everybody is happy, and there's jam for tea. 12 00.04.45 Martin: Well, you're not at Air England now. Where Wit you are now, is in a co-pilot seat, and on the way to Bristol. You'll like it. They have a lovely suspension bridge. 13 00.04.54 Martin: No! We have made our final decision. I have Satire decided. And as Carolyn knows, whilst in flight, I am supreme commander of this vessel. Douglas: Golly! Captain Bligh flies again. 14 00.05.22 Martin: Is that understood? Deep Douglas: Yes. Structure Martin: Yes what? Joke Douglas: Yes, it is. Martin: Yes, it is what? Douglas: Yes, it is understood Martin: Yes, it is understood, what? Douglas: Yes, it is understood, please. 15 00.05.43 Douglas: Well, to select just one reason from the fifteen Satire or sixteen that present themselves, I'm old enough to be your father. Martin: Not unless you started very young. Douglas: I did. 16 00.06.27 Carolyn: Martin, you're a berk. Satire 17 00.06.35 Carolyn: I don't have an airline. I have one jet. You Wit cannot put one jet in a line. If MJN is anything, it is an air dot. 18 00.07.02 Douglas: I did suggest an alternative plan to Sir, Sarcasm Carolyn. But Sir quite properly reminded me that Sir is in command and we should all obey Sir at all times. Carolyn: Who reminded you? Douglas: Captain Crieff, or as I'm privileged to call him, Sir. 19 00.07.38 Carolyn: All right, biggles, you divert if something Satire goes very, very seriously wrong, and I'm talking, "Oh,
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dear, surely we had two wings when we started wrong." 20 00.08.21 Carolyn: So listen, next Thursday, you are going to Satire Abu Dhabi, and you are going cheap. You will fly the most no-frills, most cost effective plane it is possible to fly. You will make easy jet look like Air Force One. Understood? Martin: Yes, Carolyn. Douglas: And who are the lucky passengers on Scrooge McDuck Air. 21 00.09.08 Carolyn: Fine, then do by all means, feel free to resign, Sarcasm Martin, and take a job with one of the many companies eager to sign up the only commercial pilot in the skies who took seven goes to get his license. 22 00.09.28 Carolyn: Good! Then technically I will. Now please, go Satire and be somewhere else. 23 00.10.06 Carolyn: What time is it? Irony Arthur: 6:15. Oh, damn. Carolyn: What? Arthur: I'm trying to train myself always to talk in 24 hour clock like Martin. But I keep forgetting. Carolyn: What should you have said? Arthur: Well, 6:15. But not the 6:15 I was thinking of. 24 00.10.23 Carolyn: Arthur… Arthur, Arthur, light of my life, do Sarcasm please shut up. 25 00.10.32 Carolyn: Arthur, you've been on hundreds of trips. Irony Hasn't that novelty worn off a little? Arthur: No, never! It's just always exciting. That amazing moment when twelve tons of metal leaves the earth, and no one knows why. 26 00.11.16 Carolyn: Hmm, because, there're four forces acting on Irony the plane, and so long as two of them are bigger than the other two, the plane flies. Arthur: Mum, I don't mind that no one knows. 27 00.12.12 Arthur: How do the wings give it lift? Wit Carolyn: What? Arthur: The wings are really heavy. How does bolting two ginormous lumps of metal to a ginormous lump of metal give it lift? 28 00.12.22 Carolyn: Oh, because they are wings. They're like birds' Wit wings. Arthur: Yeah, but birds' wings flap. Ours don't flap. They've got flaps, but I once watched the flaps, all the way to Stockholm, and take it from me, they're seriously misnamed. 29 00.13.10 Douglas: Who can predict the movements of the Sarcasm supreme commander? Perhaps God wanted to pick his
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brains about something. 30 00.13.32 Martin: Don't call me Sir, Douglas. Sarcasm Douglas: Sir's mind is fickle and changeable. I shall endeavor to remember, Sir, but from time to time, my natural awe at the majestic figure cut by Sir may bubble up, uncontrollably here. And.. 31 0.14.06 Martin: The front seat is my seat. Sarcasm Douglas: What? Did you call shot gun? 32 00.14.11 Martin: Didn't need to call a shot gun. I‟m the Captain. Satire Douglas: The Captain gets the front seat in the aircraft, Martin, because he's driving it, not in any vehicle he happens to be in. 33 00.14.30 Arthur: Tell you what, if it makes it easier, I can go in Wit the front. Douglas & Martin: Shut up, Arthur. 34 00.15.24 Douglas: Aye, aye, Captain Ahab. Satire Martin: I suppose he's a friend of Captain Bligh's, is he? Douglas: The three of you should go for a drink sometime. 35 00.15.46 Carolyn: No, really, shut up and listen. Alternate Satire Bahrain, but of course you don‟t need an alternate. Because today is the day we try running MJN as a profitable business, rather than a charitable sanctuary for rubbish pilots. 36 00.16.00 Carolyn: Oh, no, wait, wait, wait a minute. Martin, Irony swap seats with Douglas. Martin: What? Carolyn: He's too tall. I can't see out of the back window. Now, come on, chop, chop! Martin: I don't believe.. Carolyn: I'm going to count to one… One! 37 00.16.24 Martin: Why would he want a storage heater in Abu Riddle Dhabi? Douglas: Well, there is a lot of heat to store 38 00.16.47 Arthur: I think so. He's sweet, really. He was just Irony playing. Martin: At what, being a leopard? 39 00.16.53 Douglas: I wouldn't have thought he could get his paws Irony through the bars? Arthur: Nor did I. He really can, though. 40 00.17.14 Arthur: Mum was telling me this morning the planes Wit fly because they've got wings. Douglas: Is there anything that woman doesn't know? 41 00.17.47 Arthur: Why does the air on the top have to keep up the Wit air at the bottom? Why don't they just… split up?
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Douglas: For the sake of the kids? 42 00.18.03 Martin: Fuel system checked? Wit Douglas: Checked. Martin: Hydraulics checked? Douglas: Checked. Martin: Transponder checked? Douglas: Like a picnic table cloth. 43 00.18.09 Martin: In general plane not broken? Irony Douglas: The plane is, so far as one can tell, not broken. 44 00.18.20 Martin: No, obviously not forgetting that. Douglas, do I Satire have to remind you again who's in command? Douglas: Could it by any chance be you, Captain Queeg. 45 00.18.44 Martin: Post takeoff checks complete, Douglas. Satire Douglas: Thank you, Captain Perkins. 46 0.18.56 Martin: But do you know, that's because instead of Satire reading The Adventures of Captain Perkings in my Punt At Eton college Oxford, I was re-reading Principles of Climatology for pilots and underlining bits in red. 47 00.19.14 Douglas: Good. I said, thank you Captain Perkins, Brian Satire Perkins. 48 00.20.01 Arthur: I call it my orange platter. Irony Douglas: Really? I wonder why. Arthur: Oh, because everything in it.. Douglas: Yes... Arthur, I can see why. 49 00.20.19 Arthur: Aha, my signature dish. Behold! Surprising Irony rice. Douglas: Good lord! Martin: What're… those bits? Arthur: Ah, you see, Skipper, if you don't mind me saying so, that question is entirely against the spirit of surprising rice. 50 00.20.37 Douglas: Arthur, you are aware the point of giving us Satire separate meals is so that we can't both get food poisoning? There's really not much point if you're just going to poison us in two different ways. 51 00.21.00 Martin: Carolyn, what the hell are you trying to do? Irony Carolyn: What's the matter? Has Arthur told you about the accommodation already? I told him to wait until you landed. Martin: What? No! What about the accommodation? Carolyn: Oh! Nothing, nothing. You'll love it. It has Olde Worlde Bedouin charm. 52 00.21.18 Martin: We're skilled professionals, doing a difficult Satire and dangerous job. We need proper catering.
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Carolyn: Skilled professionals don't go to Bristol. Ask anyone. 53 00.21.35 Martin: I checked it before the walk-around and I Wit checked it the after walk around. And it was definitely, definitely off. Douglas: On. Martin: What? Douglas: Sir means on. Naturally, it was on. Whoops, must go now, Carolyn. Here comes a mountain, cheerio! 54 00.22.09 Martin: Do you think it's dead? Irony Douglas: No, no, definitely not. Not yet. 55 00.22.21 Martin: How long can a cat survive, in an unheated Sarcasm hold at thirty-four thousand feet? Douglas: Oh, I used to know this one. It's always coming up at pub quizzes. Martin: Yes, all right. Douglas: Now then, is it 3 hours and 28 seconds or is that a weasel in the submarine? 56 00.22.56 Martin: What else can I do? Tall Douglas: I suppose you could always.. Tales Martin: I can't! I can't divert. She'll hunt me down. She'll actually hunt me down with knives? Douglas: Whereas if we carry on and freeze the client's cat to death… Martin: Also knives. Big knives. 57 00.23.11 Martin: If we, if we did carry on and the cat didn‟t Satire make it, do you think they‟d be able to tell how it died? Douglas: Again I fear you flatter my knowledge of cat pathology. 58 00.23.24 Martin: I mean, it's not as if it's gonna freeze into a Satire block of ice, is it? Douglas: Not unless it's a cartoon cat. No. 59 00.23.33 Martin: I mean, it's not as if the cat CSI is going to Irony descend on us. Douglas: I wouldn't have thought so. They're so busy these days. 53 00.21.35 Martin: I checked it before the walk-around and I 53 checked it the after walk around. And it was definitely, definitely off. Douglas: On. Martin: What? Douglas: Sir means on. Naturally, it was on. Whoops, must go now, Carolyn. Here comes a mountain, cheerio! 61 00.24.25 Douglas: The air is not passing over the wing. The wing Wit is passing through the air. So the curved upper side stretches the air forced over it apart, reducing pressure,
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producing lift. The lift pushes up. The weight pushes down. So as long as the lift is more than the weight, up we go and that, my friend, is how an aeroplane flies. Arthur: Got it! Right. Yes. Cracking. I completely get it now. Douglas: Good. You see, is that quite easy to grasp when it's explained properly by someone who understands. Arthur: So that's why planes can't fly upside and down? 62 00.24.58 Douglas: Well, of course they can. Haven't you seen the Wit Red Arrows? Arthur: But doesn't that mean the curved side of the wing is on the bottom? So the lift is pushing down as well as the weight. How does that work? 63 00.25.16 Douglas: Well, Arthur, there's a very simple Wit explanation. But just to finish what we were saying, Martin, I think it's entirely up to you whether you let the cat in the hold freezed to death. Arthur: What?! Martin: Douglas! Arthur: Skipper! Douglas: No one wants to hear the explanation. What a shame! 64 00.25.33 Arthur: Then why are you doing it at all? Sarcasm Martin: Seems the cargo hold heating may not have been turned on. Douglas: Masterly use of the passive voice. 65 00.25.40 Arthur: But, Skipper, it's really cold as high up as this. Satire Martin: Yes, thank you, Professor Science. 66 00.25.46 Martin: Just climb out over the wing and wrench open Irony the hold door, swing yourself in and adjust the thermostat. Arthur: Okay, how will I.. Martin: Not really! 67 00.26.18 Arthur: Right. Yes. But, you know, i's just a sweet little Satire pussy cat.. Martin: It's not. I's a crazy psycho-cat. Look at yourself, Arthur. You have open wounds.
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APPENDIX B
Complete List of Joke
No Minute of in Radio Dialogue VH Drama 8 00.03.19 Douglas: Do you know, Martin, all these years and I've never been to Bristol? Martin: We'll get ready for a treat. Douglas: I don't know. I was rather hoping not to break my duck. 10 00.03.36 Arhur: What do you reckon, Douglas? Douglas: We could go to Bristol, I believe. People do. 11 00.04.27 Douglas: We tell the Tower we smell smoke, which we do. We get to land straight away. They check the aircraft. Don't find anything. One of the life's little mysteries, but jolly good boys for taking no chances. Everybody is happy, and there's jam for tea. 14 00.05.22 Martin: Is that understood? Douglas: Yes. Martin: Yes what? Douglas: Yes, it is. Martin: Yes, it is what? Douglas: Yes, it is understood Martin: Yes, it is understood, what? Douglas: Yes, it is understood, please.
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APPENDIX C
Complete List of Satire
No Minute of in Radio Dialogue VH Drama 9 00.03.29 Martin: Yes, oddly enough, Arthur, a jet aircraft isn't as precisely similar to a Vauxhall Corsa as a stupid person might imagine. 13 00.04.54 Martin: No! We have made our final decision. I have decided. And as Carolyn knows, whilst in flight, I am supreme commander of this vessel. Douglas: Golly! Captain Bligh flies again. 15 00.05.43 Douglas: Well, to select just one reason from the fifteen or sixteen that present themselves, I'm old enough to be your father. Martin: Not unless you started very young. Douglas: I did. 16 00.06.27 Carolyn: Martin, you're a berk. 19 00.07.38 Carolyn: All right, biggles, you divert if something goes very, very seriously wrong, and I'm talking, "Oh, dear, surely we had two wings when we started wrong." 20 00.08.21 Carolyn: So listen, next Thursday, you are going to Abu Dhabi, and you are going cheap. You will fly the most no-frills, most cost effective plane it is possible to fly. You will make easy jet look like Air Force One. Understood? Martin: Yes, Carolyn. Douglas: And who are the lucky passengers on Scrooge McDuck Air. 22 00.09.28 Carolyn: Good! Then technically I will. Now please, go and be somewhere else. 32 00.14.11 Martin: Didn't need to call a shot gun. I‟m the Captain. Douglas: The Captain gets the front seat in the aircraft, Martin, because he's driving it, not in any vehicle he happens to be in. 34 00.15.24 Douglas: Aye, aye, Captain Ahab. Martin: I suppose he's a friend of Captain Bligh's, is he? Douglas: The three of you should go for a drink sometime. 35 00.15.46 Carolyn: No, really, shut up and listen. Alternate Bahrain, but of course you don‟t need an alternate. Because today is the day we try running MJN as a profitable business, rather than a charitable sanctuary for rubbish pilots. 44 00.18.20 Martin: No, obviously not forgetting that. Douglas, do I have to remind you again who's in command? Douglas: Could it by any chance be you, Captain Queeg. 45 00.18.44 Martin: Post takeoff checks complete, Douglas. 76
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Douglas: Thank you, Captain Perkins. 46 0.18.56 Martin: But do you know, that's because instead of reading The Adventures of Captain Perkings in my Punt At Eton college Oxford, I was re-reading Principles of Climatology for pilots and underlining bits in red. 47 00.19.14 Douglas: Good. I said, thank you Captain Perkins, Brian Perkins. 50 00.20.37 Douglas: Arthur, you are aware the point of giving us separate meals is so that we can't both get food poisoning? There's really not much point if you're just going to poison us in two different ways. 52 00.21.18 Martin: We're skilled professionals, doing a difficult and dangerous job. We need proper catering. Carolyn: Skilled professionals don't go to Bristol. Ask anyone. 57 00.23.11 Martin: If we, if we did carry on and the cat didn‟t make it, do you think they‟d be able to tell how it died? Douglas: Again I fear you flatter my knowledge of cat pathology. 58 00.23.24 Martin: I mean, it's not as if it's gonna freeze into a block of ice, is it? Douglas: Not unless it's a cartoon cat. No. 65 00.25.40 Arthur: But, Skipper, it's really cold as high up as this. Martin: Yes, thank you, Professor Science. 67 00.26.18 Arthur: Right. Yes. But, you know, i's just a sweet little pussy cat.. Martin: It's not. I's a crazy psycho-cat. Look at yourself, Arthur. You have open wounds.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
APPENDIX D
Complete List of Irony
No Minute of in Radio Dialogue VH Drama 4 00.02.44 Martin: Golf-Tango-India, Roger. Hold at Arden. Maintain seven thousand feet. Can you confirm delay only twenty minutes? Tower: Probably... All depends, really. 6 00.03.01 Arthur: But Bristol, that's miles away. Martin: Yes. Luckily enough though, we are in an aero plane, specially designed to be good at going miles away quite quickly. 23 00.10.06 Carolyn: What time is it? Arthur: 6:15. Oh, damn. Carolyn: What? Arthur: I'm trying to train myself always to talk in 24 hour clock like Martin. But I keep forgetting. Carolyn: What should you have said? Arthur: Well, 6:15. But not the 6:15 I was thinking of. 25 00.10.32 Carolyn: Arthur, you've been on hundreds of trips. Hasn't that novelty worn off a little? Arthur: No, never! It's just always exciting. That amazing moment when twelve tons of metal leaves the earth, and no one knows why. 26 00.11.16 Carolyn: Hmm, because, there're four forces acting on the plane, and so long as two of them are bigger than the other two, the plane flies. Arthur: Mum, I don't mind that no one knows. 36 00.16.00 Carolyn: Oh, no, wait, wait, wait a minute. Martin, swap seats with Douglas. Martin: What? Carolyn: He's too tall. I can't see out of the back window. Now, come on, chop, chop! Martin: I don't believe.. Carolyn: I'm going to count to one… One! 38 00.16.47 Arthur: I think so. He's sweet, really. He was just playing. Martin: At what, being a leopard? 39 00.16.53 Douglas: I wouldn't have thought he could get his paws through the bars? Arthur: Nor did I. He really can, though. 43 00.18.09 Martin: In general plane not broken? Douglas: The plane is, so far as one can tell, not broken. 48 00.20.01 Arthur: I call it my orange platter. Douglas: Really? I wonder why. 78
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Arthur: Oh, because everything in it.. Douglas: Yes... Arthur, I can see why. 49 00.20.19 Arthur: Aha, my signature dish. Behold! Surprising rice. Douglas: Good lord! Martin: What're… those bits? Arthur: Ah, you see, Skipper, if you don't mind me saying so, that question is entirely against the spirit of surprising rice. 51 00.21.00 Martin: Carolyn, what the hell are you trying to do? Carolyn: What's the matter? Has Arthur told you about the accommodation already? I told him to wait until you landed. Martin: What? No! What about the accommodation? Carolyn: Oh! Nothing, nothing. You'll love it. It has Olde Worlde Bedouin charm. 54 00.22.09 Martin: Do you think it's dead? Douglas: No, no, definitely not. Not yet. 59 00.23.33 Martin: I mean, it's not as if the cat CSI is going to descend on us. Douglas: I wouldn't have thought so. They're so busy these days. 66 00.25.46 Martin: Just climb out over the wing and wrench open the hold door, swing yourself in and adjust the thermostat. Arthur: Okay, how will I.. Martin: Not really!
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
APPENDIX E
Complete List of Sarcasm
No Minute of in Radio Dialogue VH Drama 3 00.02.15 Martin: Bob Holness. It was Bob Holness. Arthur: That‟s it! Oh well, does he count anyway? Douglas: Does Bob Holness count in our list of people called Brian? What the hell, yes, he does. Well done! 5 00.02.51 Martin: Thank you, Tower. Hugely informative as ever. Out. 7 00.03.10 Arthur: Yeah, but my car's at Fitton. Martin: Oh, well then, let us, by all means, circle round it until we drop out of the sky. 18 00.07.02 Douglas: I did suggest an alternative plan to Sir, Carolyn. But Sir quite properly reminded me that Sir is in command and we should all obey Sir at all times. Carolyn: Who reminded you? Douglas: Captain Crieff, or as I'm privileged to call him, Sir. 21 00.09.08 Carolyn: Fine, then do by all means, feel free to resign, Martin, and take a job with one of the many companies eager to sign up the only commercial pilot in the skies who took seven goes to get his license. 24 00.10.23 Carolyn: Arthur, Arthur, light of my life, do please shut up. 29 00.13.10 Douglas: Who can predict the movements of the supreme commander? Perhaps God wanted to pick his brains about something. 30 00.13.32 Martin: Don't call me Sir, Douglas. Douglas: Sir's mind is fickle and changeable. I shall endeavor to remember, Sir, but from time to time, my natural awe at the majestic figure cut by Sir may bubble up, uncontrollably here. 31 0.14.06 Martin: The front seat is my seat. Douglas: What? Did you call shot gun? 55 00.22.21 Martin: How long can a cat survive, in an unheated hold at thirty-four thousand feet? Douglas: Oh, I used to know this one. It's always coming up at pub quizzes. Martin: Yes, all right. Douglas: Now then, is it 3 hours and 28 seconds or is that a weasel in the submarine? 64 00.25.33 Arthur: Then why are you doing it at all? Martin: Seems the cargo hold heating may not have been turned on. Douglas: Masterly use of the passive voice. 80
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APPENDIX F
Complete List of Wit
No Minute of in Radio Dialogue VH Drama 12 00.04.45 Martin: Well, you're not at Air England now. Where you are now, is in a co-pilot seat, and on the way to Bristol. You'll like it. They have a lovely suspension bridge. 17 00.06.35 Carolyn: I don't have an airline. I have one jet. You cannot put one jet in a line. If MJN is anything, it is an air dot. 27 00.12.12 Arthur: How do the wings give it lift? Carolyn: What? Arthur: The wings are really heavy. How does bolting two ginormous lumps of metal to a ginormous lump of metal give it lift? 28 00.12.22 Carolyn: Oh, because they are wings. They're like birds' wings. Arthur: Yeah, but birds' wings flap. Ours don't flap. They've got flaps, but I once watched the flaps, all the way to Stockholm, and take it from me, they're seriously misnamed. 33 00.14.30 Arthur: Tell you what, if it makes it easier, I can go in the front. Douglas & Martin: Shut up, Arthur. 40 00.17.14 Arthur: Mum was telling me this morning the planes fly because they've got wings. Douglas: Is there anything that woman doesn't know? 41 00.17.47 Arthur: Why does the air on the top have to keep up the air at the bottom? Why don't they just… split up? Douglas: For the sake of the kids? 42 00.18.03 Martin: Fuel system checked? Douglas: Checked. Martin: Hydraulics checked? Douglas: Checked. Martin: Transponder checked? Douglas: Like a picnic table cloth. 53 00.21.35 Martin: I checked it before the walk-around and I checked it the after walk around. And it was definitely, definitely off. Douglas: On. Martin: What? Douglas: Sir means on. Naturally, it was on. Whoops, must go now, Carolyn. Here comes a mountain, cheerio! 53 00.21.35 Martin: I checked it before the walk-around and I checked it the after walk around. And it was definitely, definitely off. Douglas: On. Martin: What? 81
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Douglas: Sir means on. Naturally, it was on. Whoops, must go now, Carolyn. Here comes a mountain, cheerio! 61 00.24.25 Douglas: The air is not passing over the wing. The wing is passing through the air. So the curved upper side stretches the air forced over it apart, reducing pressure, producing lift. The lift pushes up. The weight pushes down. So as long as the lift is more than the weight, up we go and that, my friend, is how an aeroplane flies. Arthur: Got it! Right. Yes. Cracking. I completely get it now. Douglas: Good. You see, is that quite easy to grasp when it's explained properly by someone who understands. Arthur: So that's why planes can't fly upside and down? 62 00.24.58 Douglas: Well, of course they can. Haven't you seen the Red Arrows? Arthur: But doesn't that mean the curved side of the wing is on the bottom? So the lift is pushing down as well as the weight. How does that work? 63 00.25.16 Douglas: Well, Arthur, there's a very simple explanation. But just to finish what we were saying, Martin, I think it's entirely up to you whether you let the cat in the hold freezed to death. Arthur: What?! Martin: Douglas! Arthur: Skipper! Douglas: No one wants to hear the explanation. What a shame!