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Politeness Strategies Between Ellen Degeneres and Barrack Obama in the Ellen Talk Show a Thesis By
POLITENESS STRATEGIES BETWEEN ELLEN DEGENERES AND BARRACK OBAMA IN THE ELLEN TALK SHOW A THESIS BY: MUHAMMAD ALI SAKTI NASUTION NIM: 167052015 ENGLISH POSGRDUATE STUDY PROGRAM FACULTY CULTURAL SCIENCES UNIVERSITY OF SUMATRA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA 1 POLITENESS STRATEGIES BETWEEN ELLEN DEGENERES AND BARRACK OBAMA IN THE ELLEN TALK SHOW A THESIS Submitted to English Department Posgraduate Program, Faculty of Cultural Sciences, University of Sumatera Utara in Partial Fulfilment of Requirement for the Degree of Master of Art(M.A.) in English BY: MUHAMMAD ALI SAKTI NASUTION NIM: 167052015 ENGLISH POSGRDUATE STUDY PROGRAM FACULTY CULTURAL SCIENCES UNIVERSITY OF SUMATRA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA 2 UNIVERSITAS SUMATERA UTARA 3 UNIVERSITAS SUMATERA UTARA 4 UNIVERSITAS SUMATERA UTARA 5 ABSTRACT This research entitles politenes Strategies Betweeb Ellen Degeneres and Barrack Obama in Ellen Talk Show, This research is about pragmatic politeness from the interview between Ellen DeGeneres and President of the United States, Barrack Obama on Ellen DeGeneres, episode 12 February 2016. The main data source of the research is a script of interview between presenter Ellen Degeneres and Barrack Obama. This is qualitative research that uses politeness strategies Brown and Levinson‟s Politenes Strategy (1978), supported by J.L. Austin speech act theory ( 1962 ). By applying theories, the authors found that Ellen and Obama were observed politenes strategies. This research is done to find kinds of Politenes Strategies used by Ellen Degeneres as the host of Ellen Degeneres Show and Barrack Obama when communicate which implied to save the speaker‟s and interlocutor face from face Threatening Act caused by their speech. -
It's Not About the Sex Ization and Queerness in Ellen and the Ellen Degeneres Show
It's Not About the Sex ization and Queerness in Ellen and The Ellen Degeneres Show MARUSYA BOClURKlW Cette auteure examine les analogies raciales et les juxtaposi- star, whose latest television incarnation is as host ofNBC tions employkes dans la reprhsentation de Eden Degeneres daytime talk show, The EhnDegeneres Show. I will discuss comme uedette de tklkuision lesbienne. Ily eut au dkbut une the ways in which, throughout the history of lesbian sortie du placard hyper rkaliste du personnage Ellen Morgan representation, excessively racialized images mark narra- b La tklkuision en 1977 et comme conclusion elle analyse les tive junctures where normalcy has been put into question. gestes qui sont la marque de Degeneres, quand elle anime son Further, the projection of sexuality onto racialized figures kmission * The Ellen Defeneres- Show a. L huteure uoit h is a way forwhiteness to represent, yet also dissociate itself, trauers l'bistoire de la reprksentation des lesbiennes, des from its (abnormal?)desires. Indeed, as the opening quote images trks racistes quand h normalitk est inuoquhe. to this paper implies, aleitmotifof Degeneres' and Heche's (her then new love interest) media interviews during- the 0prah: Okay, soyou saw Ellen across a crowdedroom... coming-out period was a bizarre denial of the sexual nature oftheir relationship. Historically,white femininity Anne Heche: Ifell in love with aperson. has frequently been represented as that which transcends the sexual "fallibility" of the body itself (Dyer). Richard Oprah: And felt, what, some kind of sexual attrac- Dyer writes that white women's "very whiteness, their tion, you felt sexually attracted to her. -
The Ellen Degeneres Show and the View: a Social Media Strategy Analysis
The Ellen Degeneres Show and The View: A Social Media Strategy Analysis Katelyn Staaben, Sheila Syrjala, Kelly El-Yaagoubi, Rachel Buhl, Amanda Hamann 12/12/2013 Table of Contents Executive Summary Page 3 Introduction Page 5 The Ellen Degeneres Show History Page 6 The Ellen Degeneres Show Social media use Page 7 The Ellen Degeneres Show Connections Page 8 The Ellen Degeneres Show Goals Page 9 The Ellen Degeneres Show Content Analysis Page 10 Evaluating The Ellen Degneres’ Show Strategy Page 12 The View History Page 13 The View Social Media Usage Page 14 The View Goals Page 16 The View Content Analysis Page 17 The View Connections Page 18 Evaluation Tool Page 19 The Ellen Degeneres Show Evaluation Page 20 The View Evaluation Page 21 Repair Plan Page 22 Rejected Solutions Page 25 Continuous Improvement Page 26 So What? Page 27 Appendix A- Group Rules Page 28 Appendix B- 100 Facts Page 29 Appendix C- Agendas and Minutes Page 36 Appendix D- Charts, Tools, and Examples Page 46 References Page 57 2 Executive Summary The Ellen Degeneres Show and The View are two well respected and long running talk shows on competing networks. Both shows are on a variety of social media platforms, though with varied effectiveness. After evaluating the social media strategy of both of these television shows we have come to several conclusions about their social media usage. The Ellen Degeneres Show has a very clear strategy behind its social media. It is clear that the show is attempting to duplicate the character of the show into its various social media platforms. -
Partial List of Reality Shows Signed to Dga Agreements
DGA’s REALITY DIRECTORS Contact Guide EF OP CH PRO T JE CT R FACT RU SE FEAR OR N W LO D BI A T E G Y S K K B E A K TAN A R N R ME O G HA R T G G S I H I N C I A E B ’ R T S A F E N D H E C X E R T C E F T T A F O S R O A P G E M M C N O I A Z F D A E R L M O I A R R E R T S S A I E A B W S D R T M A P A O T J K N A E K I E E N Y E V I B N N A C L A I R M E E A S T K M A U M L I E L T E L R C U H C A I L L A C E E N G A R N G G A R R I D T S ’ L U R A U P WHAT PRODUCERS AND AGENTS ARE SAYING ABOUT DGA REALITY AGREEMENTS: “The DGA has done an amazing job of building strong relationships with unscripted Producers. They understand that each show is different and work with us to structure deals that make sense for both the Producers and their Members on projects of all sizes and budgets. We always benefit from having talented and professional DGA Directors and AD teams on our shows and the Guild has made the deal-making process as easy as possible.” – Dan Murphy, EVP of Production & Operations, Magical Elves “There is no question that working with the Directors Guild and its members have contributed to the success of our shows. -
RTF 386C: Race, Class, Gender and U.S. Television Cross-Listed with AMS 391 and WGS 393 Fall 2020 - Online
RTF 386C: Race, Class, Gender and U.S. Television Cross-listed with AMS 391 and WGS 393 Fall 2020 - Online Meets Thursdays, 12:30-3pm (with an intermission midway) on Zoom Professor Mary Beltrán, [email protected] Office hours: 9:30-10:30am Tuesdays and 1-3pm Wednesdays via Zoom. Appointments can be scheduled at https://calendly.com/mary-beltran; please email for other meeting times. Virtual Meeting Space: https://utexas.zoom.us/j/94596164570 Email: [email protected] Course description: Television is one of the primary popular culture forums through which notions of race, ethnicity, citizenship, class, gender, and sexuality have been presented, validated, and challenged in the United States; this seminar explores the poetics and politics of this evolution. In addition to study of how racial and ethnic groups, and also of how gender, sexual orientation and class have been constructed in U.S. narrative television since its inception and how various groups have participated in the production of television texts throughout these decades, we will survey the seminal scholarship on these topics and areas of theoretical and popular contention. Key areas of focus will include the evolution of popular genres such as sitcoms, debates over equitable representation and over the possibilities for television to serve as a public forum for all, negotiations over self-representation and television authorship, feminist and anti-racist content, and televisual representation in the previous, so-called “post-“ era, and the current “peak TV” era. Although a variety of media studies approaches are taken up in the readings, critical and cultural studies scholarship will be emphasized. -
Humorous Situation Created from the Meaning Implied in Sofia Vergara’S and Ellen Degeneres’ Utterances in the Ellen Show Season 13, Episode 58
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI HUMOROUS SITUATION CREATED FROM THE MEANING IMPLIED IN SOFIA VERGARA’S AND ELLEN DEGENERES’ UTTERANCES IN THE ELLEN SHOW SEASON 13, EPISODE 58 AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By MADE ADELIA DESINTHA DEWI Student Number: 154214056 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI HUMOROUS SITUATION CREATED FROM THE MEANING IMPLIED IN SOFIA VERGARA’S AND ELLEN DEGENERES’ UTTERANCES IN THE ELLEN SHOW SEASON 13, EPISODE 58 AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By MADE ADELIA DESINTHA DEWI Student Number: 154214056 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI OM DEWA SUKSMA PARAMA ACINTYA YA NAMAH SVAHA, SARWA KARYA PRASIDHANTAM OM SANTIH, SANTIH, SANTIH OM (Ya Tuhan, dalam wujud Parama Acintya Yang Maha Gaib dan Maha Karya, hanya atas Anugerahmulah maka pekerjaan ini berhasil dengan baik. Semoga damai, damai di hati, damai di dunia, damai selamanya.) vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI Dedicated to the memory of my father, Ir. PutuSudarsana, who always believed in me even though he cannot see this thesis completed I miss you, Papa. viii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDGEMENTS I would like to express my grateful for his never ending blessings Ida Sang Hyang Widhi Wasa. -
DGA Reality Directors Contact Guide
DGA’s REALITY DIRECTORS Contact Guide EF OP CH PRO T JE CT R FACT RU SE FEAR OR N W LO D BI A T E G Y S K K B E A K TAN A R N R ME O G HA R T G G S I H I N C I A E B ’ R T S A F E N D H E C X E R T C E F T T A F O S R O A P G E M M C N O I A Z F D A E R L M O I A R R E R T S S A I E A B W S D R T M A P A O T J K N A E K I E E N Y E V I B N N A C L A I R M E E A S T K M A U M L I E L T E L R C U H C A I L L A C E E N G A R N G G A R R I D T S ’ L U R A U P 7/2018 WHAT PRODUCERS AND AGENTS ARE SAYING ABOUT DGA REALITY AGREEMENTS: “The DGA has done an amazing job of building strong relationships with unscripted Producers. They understand that each show is different and work with us to structure deals that make sense for both the Producers and their Members on projects of all sizes and budgets. -
View Latest Version Here. Episode #34 Stacy Westfall
This transcript was exported on Apr 02, 2021 - view latest version here. Speaker 1 (00:00:08): You're listening to the journey on podcast with Warwick Schiller. Warwick is a horseman trainer, international clinician and author, whose mission is to help people achieve a deeper connection with their horses through his transformational training program. Warwick Schiller (00:00:34): Everyone, welcome back to the Journey On podcast. I am your host Warwick Schiller. And today I have another extraordinary human being as a guest. It's a day, I get to have a chat to Stacy Westfall. Now, a lot of you, people who are horse people have probably heard of Stacy. If you haven't had a Stacy go onto YouTube before this whole thing starts and look up Stacy Westfall freestyle raining. And Stacy was a horse trainer still as a horse trainer, but was a horse trainer and did a freestyle raining a number of years ago that was bare back unbridled lists. And she did it in a wedding dress. It was at the all American quarter horse Congress that she dedicated to her father who had passed away. And this particular video went viral. And because of it, Stacy actually ended up being on the Ellen DeGeneres show and actually had Ellen degenerate get on a reining horse and spin her. Warwick Schiller (00:01:34): So, you know, that's one of, one of Stacy's claim to fame. She's since been a road to the horse Chan champion of road to the horse, she's inducted into the cowgirl hall of fame and she's just an all around amazing human being. -
The Invisible (And Hypervisible) Lesbian of Color in Theory, Publishing, and Media
Missing Bridges: The Invisible (and Hypervisible) Lesbian of Color in Theory, Publishing, and Media A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Renee Ann DeLong IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Maria Damon May 2013 Renee Ann DeLong copyright 2013 i I am indebted to the professors on my committee who helped guide me to the end of this journey: Dr. Omise'eke Tinsley, Dr. Patrick Bruch, Dr. Josephine Lee, and Dr. Roderick Ferguson. Rod read drafts generously, gave benedictions freely, and created the space for me to work within queer of color studies. He always reminded me that I was asking the right questions and welcomed me as a colleague. My adviser Dr. Maria Damon reserved many Friday mornings to talk me through the next steps of this project over double espressos. Her honesty helped me rethink my role as a scholar and educator as I began to plan the next phase of my career. Julie Enzer published a section of chapter two in Sinister Wisdom volume 82 as the article "Piecing Together Azalea: A Magazine for Third-World Lesbians 1977-1983." I am grateful for her early feedback and the permission to reprint the article within this dissertation. Taiyon Coleman was my sister in the struggle. Laura Bachinski kept me loved, grounded, humble, and laughing throughout the whole process. Thank you all. ii To Laura--my whole world. iii Abstract “Missing Bridges: The Invisible (and Hypervisible) Lesbian of Color in Theory, Publishing, and Media” While moving from theory, through the Women in Print Movement, and up to the current images of lesbians this dissertation considers how the figure of the lesbian of color has been erased and highlighted at different times and in different spaces. -
Monologue Humour in the Ellen Degeneres Show Season 17: a Pragma Stylistic Study
MONOLOGUE HUMOUR IN THE ELLEN DEGENERES SHOW SEASON 17: A PRAGMA STYLISTIC STUDY BY: HILMA NURAINI SASRI REG. NUMBER: A7316069 ENGLISH DEPARTMENT FACULTY OF ART AND HUMANITIES UIN SUNAN AMPEL SURABAYA 2020 KEMENTERIAN AGAMA UNIVERSITAS ISLAM NEGERI SUNAN AMPEL SURABAYA PERPUSTAKAAN Jl. Jend. A. Yani 117 Surabaya 60237 Telp. 031-8431972 Fax.031-8413300 E-Mail: [email protected] LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS Sebagai sivitas akademika UIN Sunan Ampel Surabaya, yang bertanda tangan di bawah ini, saya: Nama : Hilma Nuraini Sasri NIM : A73216069 Fakultas/Jurusan : Adab & Humaniora/ Sastra Inggris E-mail address : [email protected] Demi pengembangan ilmu pengetahuan, menyetujui untuk memberikan kepada Perpustakaan UIN Sunan Ampel Surabaya, Hak Bebas Royalti Non-Eksklusif atas karya ilmiah : √ Sekripsi Tesis Desertasi Lain-lain (……………………………) yang berjudul : MONOLOGUE HUMOUR IN THE ELLEN DEGENERES SHOW SEASON 17 : A PRAGMASTYLISTIC STUDY beserta perangkat yang diperlukan (bila ada). Dengan Hak Bebas Royalti Non-Ekslusif ini Perpustakaan UIN Sunan Ampel Surabaya berhak menyimpan, mengalih-media/format-kan, mengelolanya dalam bentuk pangkalan data (database), mendistribusikannya, dan menampilkan/mempublikasikannya di Internet atau media lain secara fulltext untuk kepentingan akademis tanpa perlu meminta ijin dari saya selama tetap mencantumkan nama saya sebagai penulis/pencipta dan atau penerbit yang bersangkutan. Saya bersedia untuk menanggung secara pribadi, tanpa melibatkan pihak Perpustakaan UIN Sunan Ampel Surabaya, segala bentuk tuntutan hukum yang timbul atas pelanggaran Hak Cipta dalam karya ilmiah saya ini. Demikian pernyataan ini yang saya buat dengan sebenarnya. Surabaya, 25 Agustus 2020 Penulis ( Hilma Nuraini Sasri ) ABSTRACT Sasri, H. N. (2020). An Analysis of Monologue Humour in “The Ellen Degeneres Show” season 17: A Pragma Stylistic Study. -
Chapter One Introduction
CHAPTER ONE INTRODUCTION 1.1 Background of the Study According to Khatib (2006), invitations, offers, and suggestions are a common occurrence in everyday life, particularly in the maintenance of good relationship. Besides, Choijimah (2015) is quoted by Ghassani (2016) stated that people have difficulties when they want to refuse something. Although people want to reject something, they must consider their language patterns in a good form and polite. However, to build a good communication people need to have politeness strategy. Leech (1993) was clear to point out that politeness is a universal and best expressed as the practical application of good manners or etiquette. People will communicate with different people whether with the older people, same age, and the younger ones. It means that in doing a communication, people have to pay attention to their utterance in order to keep the conversation running well to every kind of person they talk to and they have to have a strategy for being polite to reach a good relationship to the person they talk to. This show how powerful language can be not only that the function of language is to communicate ideas and desires (Rido, 2020). Liang and Min (2013) stated that in a refusal, the speaker to the greater or lesser extent threats the hearer‘s face. Hence, there is a need to put politeness strategy Universitas Teknokrat Indonesia 2 into action. That means that refusal strategy is needed to be used to maintain the threatening face when people want to refuse invitations, offers, and suggestions. Besides, in entertainment field, most way of communication is taking place on-air. -
An Analysis of Flouting Maxim in Talk Show “ the Ellen Degeneres Show”: Pragmatics Approach
AN ANALYSIS OF FLOUTING MAXIM IN TALK SHOW “ THE ELLEN DEGENERES SHOW”: PRAGMATICS APPROACH Thesis By: Rebekka sinaga 161210046 DEPARTMENT OF ENGLISH LITERATURE FACULTY OF SOCIAL SCIENCE AND HUMANITIES PUTERA BATAM UNIVERSITY 2020 AN ANALYSIS OF FLOUTING MAXIM IN TALK SHOW “ THE ELLEN DEGENERES SHOW”: PRAGMATICS APPROACH THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra By: Rebekka Sinaga 161210046 DEPARTMENT OF ENGLISH LITERATURE FACULTY OF SOCIAL SCINCES AND HUMANITIES PUTERA BATAM UNIVERSITY 2020 i SURAT PERNYATAAN ORISINALITAS Yang bertanda tangan di bawah ini saya: Nama : Rebekka Sinaga NPM : 161210046 Fakultas : Ilmu Sosial dan Humaniora Program Studi: Sastra Inggris Menyatakan bahwa “Skripsi” yang saya buat dengan judul: AN ANALYSIS OF FLOUTING MAXIM IN TALK SHOW “ THE ELLEN DEGENERES SHOW”: PRAGMATICS APPROACH Adalah hasil karya sendiri dan bukan “duplikasi” dari karya orang lain. Sepengetahuan saya, di dalam naskah Skripsi ini tidak terdapat karya ilmiah atau pendapat yang pernah ditulis atau diterbitkan oleh orang lain, kecuali yang secara tertulis dikutip di dalam naskah ini dan disebutkan dalam sumber kutipan dan daftar pustaka. Apabila ternyata di dalam naskah Skripsi ini dapat dibuktikan terdapat unsur- unsur PLAGIASI, saya bersedia naskah Skripsi ini digugurkan dan gelar akademik yang saya peroleh dibatalkan, serta diproses sesuai dengan peraturan perundang- undangan yang berlaku. Demikian pernyataan ini saya buat dengan sebenarnya tanpa ada paksaan dari siapapun. Batam, 30th July 2020 Rebekka Sinaga 161210046 ii DECLARATION OF THE THESIS ORIGINALITY I, Rebekka Sinaga, NPM No. 161210046 Here with declare that the thesis entitled: AN ANALYSIS OF FLOUTING MAXIM IN TALK SHOW “ THE ELLEN DEGENERES SHOW”: PRAGMATICS APPROACH Is the real work of myself and I realize that thesis has never been published in other media before, partially or entirely, in the name of mine or others.