i

ABSTRACT

Nur Latifah, A Pragmatic Approach to the Incongruity of Humor in the Dialog of

Kung Fu Panda Movie. Thesis. Jakarta: Letters and Humanities Faculty, State Islamic University Syarif Hidayatullah, September 2009.

This research is a study of the incongruity of Humor in the dialogues of

Kung Fu Panda Movie based on the violation of cooperative principle in pragmatics. It is aimed to know the violation of cooperative principle which can

create the incongruity of humor. The writer uses a descriptive qualitative method

in which she tries to describe the violation of cooperative principle that creates the

incongruity of humor. The unit analysis is taken by the writer from a manuscript

of Kung Fu Panda movie released in June 26th

2008.

The thesis examines the analysis of the incongruity of humor through the

dialogues violated the cooperative principles. The incongruity of humor will be

elaborated through Grice theory of cooperative principle. The writer observes the

context which supported the analysis then she identifies the violation of

cooperative principle in Kung Fu Panda movie’s dialogues and the implicature of

those dialogues.

The conclusions that the writer can get from the analysis are; there are two

dialogues violate the maxim of quality and five dialogues violate the maxim of

manner.

ii

APPROVEMENT

A PRAGMATIC APPROACH TO THE INCONGRUITY OF HUMOR IN

THE DIALOGUES OF KUNG FU PANDA MOVIE

A Thesis

Submitted to the Letters and Humanities Faculty in Partial Fulfillment of

the Requirements for the Degree of Strata 1

NUR LATIFAH

105026000910

Approved by:

Advisor

Dr. Muhammad Farkhan, M.Pd NIP. 150 299 480

ENGLISH LETTERS DEPARTMENT

LETTERS AND HUMANITIES FACULTY

STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH

JAKARTA

2009

iii

LEGALIZATION

The thesis entitled “ A Pragmatic Approach to the Incongruity of Humor in the

Dialogues of Kung Fu Panda Movie” has been defended before the Letters and

Humanities Faculty’s Examination Committee on November 03, 2009. The thesis

has already been accepted as a partial fulfillment of the requirement for the degree

of strata one.

Jakarta, November 03, 2009

Examination Committee

Chair Person, Secretary,

Dr. Muhammad Farkhan, M.Pd Drs. Asep Saefuddin, M.Pd

NIP. 150 299 480 NIP. 150261902

Members:

Drs. Asep Saefuddin, M.Pd M. Supardi, S.S, M. Hum

NIP. 150261902

iv

DECLARATION

I hereby declare that this submission is my own work and that, to the best of my

knowledge and belief, it contains no material previously published or written by

another person nor material which to substantial extent has been accepted for the

award of any other degree or diploma of the university or other institute of higher

learning, except wher due acknowledgement has been made in the text.

Jakarta, September 29, 2009.

Nur Latifah

v

AKCNOWLEDGEMENT

In the name of Allah, the most Gracious and the most Merciful.

Praise and gratitude are only for Him, the Lord of the universe, who has

given his extraordinary mercy by succeeding the writer in making this thesis. May

blessing and salutation be upon the most honorable prophet and messenger

Muhammad SAW, his families, his companions, and his congregations.

In terms of the completion of the writer’s study, she wants to express her

deepest gratitude to Prof. Dr. Komarudin Hidayat as the Rector of UIN Syahid

Jakarta, Dr. Abdul Chair, MA as the Dean of Letters and Humanities Faculty, Dr.

Muhammad Farkhan, M.Pd as the Chief of English Letters Department, Drs. Asep

Saefuddin, M.Pd as the Secretary of English Letters Department, and all inspiring

lecturers of English Letters Department for having taught and educated her during

her study at State Islamic University Syarif Hidayatullah Jakarta.

The writer dedicates her much love and thanks to her beloved parents for

their guidance, struggles, sacrifice, support, pray, and material and psychological

support. She offers everything to them, and to her brothers for motivating her to

graduate.

Her foremost and deepest thanks to Boogie for teaching her the skill of life

which she never learnt it at any formal school in this world. S’ Agapo.

Furthermore, she would like to thank to mbak’ Eti for teaching her

Linguistics especially Pragmatics, uda Andri for his kindness to motivate, Ophy

and ‘Nyut for their kindness in sharing the time together, Hery for his jokes and

vi

advice, Bang Sholah for teaching me the balance of life, A’ Izzi for his kindness to

make me smile, her great classmates in class A as well as her friends in class B

and C, Imaria friends (Ida, Ayu, Mardel, Yuni, Hanum, Jannah, Hikna, Rini, and

Nurul) for the wonderful friendship, and all of her friends wherever they are that

can’t be voiced here.

Thanks are also addressed to all staffs of some libraries in Jakarta; such as

Letters and Humanities Library, State Islamic University Syarif Hidayatullah

Jakarta Library, Atma Jaya Library, Indonesia University Library, British Council

Library and Regional Library of South Jakarta.

Finally, she hopes this thesis will be beneficial for the readers who are

especially interested in pragmatics.

Jakarta, September 2009

Nur Latifah

vii

TABLE OF CONTENTS

ABSTRACT ................................................................................................. i

APPROVEMENT......................................................................................... ii

LEGALIZATION ......................................................................................... iii

DECLARATION.......................................................................................... iv

AKCNOWLEDGEMENT ............................................................................ v

TABLE OF CONTENTS.............................................................................. vii

CHAPTER I. INTRODUCTION ................................................................. 1

A. Background of the Study.................................................. 1

B. Focus of the Study ........................................................... 5

C. Research Question .......................................................... 5

D. Objective of the Study ..................................................... 5

E. Significance of the Study ................................................. 6

F. Research Methodology ................................................... 6

1. Method of Research ................................................... 6

2. Technique of Data Analysis ....................................... 6

3. Unit of Analysis ......................................................... 7

4. Instrument of Research.............................................. 7

CHAPTER II. THEORETICAL FRAMEWORK…………………………. .. 7

A. Pragmatics ....................................................................... 7

1. Cooperative Principle ................................................. 10

2. Implicature................................................................. 13

3. Context ...................................................................... 14 B. Humor ............................................................................. 15

1. Theory of Humor ....................................................... 15

viii

a. Theory of Incongruity........................................... 16

b. Theory of Hostility ............................................... 17

c. Theory of Liberation............................................. 18

CHAPTER III RESEARCH FINDINGS ....................................................... 20

A. Data Description .............................................................. 20

B. Data Analysis................................................................... 26

CHAPTER IV CONCLUSIONS AND SUGGESTIONS............................... 58

A. Conclusions ..................................................................... 58

B. Suggestions...................................................................... 60

BIBLIOGRAPHY......................................................................................... 61

ix

CHAPTER I

INTRODUCTION

A. Background of the Study

Human being and communication are two related items. Human being as

social creature can’t live alone without another human. Then, he needs

communication to interact with other meanwhile communication only can take

place if the people are involved in. “Communication itself means a process by

which information is exchange between individuals through a common system of

symbols, signs, or behavior”.1

Toward the definition, the writer assumes at least two summaries. First,

communication is a process by which information is exchanged between

individuals. Then, there are two persons or more involved in communication. The

person who utters his idea or information is called the speaker and the person who

hears the speaker’s idea or information is called the hearer. Second,

communication between individuals can be done through some media such a

common system of symbols, signs, or behavior. It can be suggested that the media

are language, gestures, the visual arts - painting and sculpture, etc. Although there

are some media can be used, but language is the primary and most sophisticated

media means in communication between people because the people can’t

communicate in any real sense without language. Thus, the essence of language

which argued by the Danish linguistics philosopher Otto Jespersen in his book

Philosophy of Grammar that is a human activity -activity in the part of one

1 A. Chaedar Alwasilah, Sosiologi Bahasa (Bandung:Angkasa, 1986), p. 9.

x

individual to make him self understood by another and activity on the part of that

other to understand what was in the mind of the first.2 Therefore, when the people

use language, they are obviously engaged in communication activity to make

themselves understood by another and hope the other understand the idea they

want to inform.

To have the communication gone well, the speaker and the hearer have to

expect that there are principles in communication which manage their act, their

using language, and the interpretation of their act and speech. They are

responsible for their act and for the violation to the communication principles3.

Therefore, they have to adhere to the rule of communication, which are clarity,

consciousness, and directness, by giving their contribution to communication as

informative and effective as it is required and going in line with the context.

Communication, furthermore, requires them to cooperate because the

communication only comes alive in mutually accepted and pragmatically

determined context. For the example, the person asks for help by uttering “help!”

and “can you help me?” for different purpose and condition. He tends to utter

“help!” if he is in an emergency condition meanwhile he tends to utter “can you

help me?” if he is not in an emergency situation. The situation will be strange if

the burned house victim asks for help by uttering “help” and the person whose pen

fell asks for help by uttering “can you help me?” in the same intonation with the

burned house victim.

2 Jan Renkema, Discorse Studies. (Amsterdam: John Benyamins Publishing Company,

1993), p. 8. 3 I Dewa Putu Wijana, Dasar-dasar Pragmatik (Yogyakarta : Andi offset, 1996), p. 45

xi

Toward the explanation above, then, it can be assumed that there is

underlying principle which determines the way in which language is used with a

maximum efficiency and effectiveness. The principle is called cooperative

principle introduced by Herbert Paul Grice who classified it into four maxims to

have the communication gone well4. If the speaker violates to the cooperative

principle, it can be suggested that there are some possibilities why he violates it,

such as he aims to imply his utterances and conveys more than literal meaning

which is called implicature, or he is not cooperative, or he tries to create humor.

Humor is any creative works of human intended to lead the comic effect.

Humor is friendly, insulting, aggressive, cheerful, and also fun. The work of

humor is not easy because sometimes it will be useless if it is performed before

the people don’t have any sense of humor or doesn’t recognize at least one of the

universal character of humor such absurdity, superiority, liberation, incongruity,

etc. The creative work of humor can be a picture, discourse, or other created

materials produced to make laughter for those catching them through the senses,

such as comic, cartoon, poetry, drama, and dialog of film.5

One of the dialog of film which can be involved to the creative works of

humor is dialog of Kung Fu Panda movie. Kung Fu Panda movie is a 2008

American animated comedy released on 6 June 2008 and produced by

DreamWorks Animation's studio. Initially, the idea for the film was to make it a

parody and spoof, but John Stevenson, the co-director of Kung Fu Panda movie,

4 Ibid, p. 25.

5 George E. Riday, The anatomy of Humor. Redlands: The Fortnightly Club. Accessed on

November 22, 2008. www.redlandsfortnightly.org/ridayhum.htm.

xii

was not particularly keen on the idea so instead chose the direction of simplistic

comedy.6

Kung fu panda has been nominated in some awards such in golden trailer

award for best animation, teen choice award for choice summer movie: comedy,

and win in Annie Award for ten categories that one of them is best script.7 Kung

Fu Panda opened in 4,114 theaters resulting in the number one position at the box

office. The film held its worldwide premiere at the 61st Cannes Film Festival,

where it received massive and sustained applause at the end of the film's

screening. Since its release, Kung Fu Panda has received very positive and

favorable reviews from critics. Rotten Tomatoes reported that 88% of critics gave

the film positive reviews, based on 156 reviews. The film has an approval rating

of 74% from a select group of critics and an approval rating of 92% from users of

the site and The Chicago Tribune called the film "one of the few comedies of

2008 in any style or genre that knows what its doing".8 Opened in many theaters,

Kung Fu Panda movie is easier to be analyzed because it presented universal

humor which every one can has the sense of it.

Toward the explanation above, the writer is interested in analyzing the

violation of cooperative principle in dialog of Kung Fu Panda movie, the

incongruous homur in those dialog, and the implicature of those dialog. The writer

is interested to analyze this topic because there are many humor researches based

6 Tom O’ neil, Kung Fu Panda, March 19, 2009. http://goldderby.latimes.com/awards_

goldderby/2009/01/kung-fu-panda-d.html. 7 Dominic Von Ruedemann, 'Kung Fu Panda' dropkicks 'Wall-E' at Annie Awards’,

suite101, March 19, 2009. http://hollywoodanimatedfilms.suite101.com/article.cfm/kung_fu_

panda_wins_annie_ award, p. 2. 8 Pete Hammond, Reception and performance of Kung Fu Panda, March 19, 2009.

http://goldderby.latimes.com/awards_goldderby/2009/01/kung-fu-panda-d.html.

xiii

on psychology theory meanwhile humor actually can be analyzed through its

language using semantics or pragmatics theory.

B. Focus of the Study

On the background of the study, the writer tells that the creative works of

humor can be a picture, discourse, or other created materials produced to make

laughter for those catching them through the senses. Then, the writer solely

focuses her research to the violence to the maxims of cooperative principle in the

dialogues of Kung Fu Panda movie, the incongruos humor in those dialogues, and

the implicature of those dialogues.

C. Research Question

To make more convenient and simply in the research, the writer

formulates her research through the following questions:

1. Which maxims of the cooperative principle are being violated in the dialog of

Kung Fu Panda movie?

2. How do the incongruity of humors in those dialogues of Kung Fu Panda

movie which are violating the maxims of cooperative principle occur?

3. What are the implicature of those dialogues of Kung Fu Panda movie which

are violating the maxims of cooperative principle?

D. Objective of the Study.

The aim of this research is to analyze the incongruous humor through

pragmatics approach, specifically to:

1. Identify the maxims of the cooperative principle which are being violated

in the dialogues of Kung Fu Panda movie.

xiv

2. Identify how the incongruity of humors in those dialogues which are

violating the maxims of cooperative principle occur.

3. Identify the implicature of those dialog which are violating the maxims of

cooperative principle.

E. Significances of the Study

With this existence of this research, the writer hopes that it will be a

stimulation to analyze humor based on pragmatics which is still rare. The writer

also hopes this reserch will be profitable and beneficial for the readers especially

the ones who have interest in humor analysis based on pragmatics.

F. Research Methodology

1. Methodology of the Study

The method applied in this research is descriptive qualitative method.

Then, the writer will describe the data which are violating the cooperative

principle, the incongruity of humor, and the implicature.

2. Data Analysis.

An analysis of the data obtained qualitative cooperative principle based on

Grice theory. In order to succeed this research, the writer benefited the qualitative

analysis data by implementing the following procedures:

a. Collecting the whole books that are relevant to pragmatics and humor

theory.

b. Reading and understanding some theories of pragmatics and humor

theory..

c. Reading and understanding a manuscript of Kung Fu Panda movie.

xv

d. Identifying the dialogues of Kung Fu Panda movie that are violated the

cooperative Principle and created the incongruity of humor, and the

implicature of the dialogues.

e. Concluding the data which have been collected.

3. Unit of the Analysis.

The unit of analisis that is researched by the writer is the dialogues of

Kung Fu Panda movie released on 6 June 2008 and produced by DreamWorks

Animation's studio.

4. Instrument of The Research

The writer uses herself as a main research instrument through reading,

identifying, and classifying the data. She observes and signs the violence of

maxims of the cooperative principle within the text.

xvi

CHAPTER II

THEORETICAL FRAMEWORK

A. Pragmatics

Pragmatics is different from the study of grammar. Pragmatics is the study

of language use which offers a complementary perspective on language, providing

an insight into the linguistic choices that users make in social situations. It is not

too important whether they observe a particular syntactic rule or not. Meanwhile,

the study of grammar focuses on the language system. “The term ‘pragmatics’ is

derived from Greek pragma which means ‘action’. Action is defined as

intentional behavior.”9

The definition of pragmatics has been stated by some linguists. Parker

stated in his book “Linguistics for non Linguists” that quoted by Kunjana Rahardi

says “pragmatics is distinct from grammar, which is the study of language.

Pragmatics is the study of how language is used to communicate”.10

Parker’s statement of the definition of pragmatics is emphasized and

supported by the statement of Jacob L. Mey and Jean Stiwell Peccei. Jacob L.

Mey argued that “pragmatics is the study of the conditions of human language

uses as these are determined by the context of the society”.11

9 Philipp Strazny, (ed.), “Pragmatics”, Encyclopedia of Linguistics vol 2 (New York:

Taylor & Fransis Book, Inc., 2005), p. 869. 10

Kunjana Rahardi. Pragmatik: Kesantunan Imperative Bahasa Indonesia (Jakarta:

Erlangga, 2002), p. 49 11

Jacob L. Mey. Pragmatics : An introduction (Oxford : Blackwell Publishers Ltd.,

2001), p. 6.

xvii

Jean Stilwell Peccei assumed that “pragmatics is the study concentrated on

aspects of meaning that can’t be predicted by linguistics knowledge alone and

takes into account knowledge about the physical and social world”12

Based on some definitions above, the writer assumes that pragmatics is the

study of meaning that can’t be identified by linguistics knowledge alone or

grammar but it is also determined by knowledge of context of society.

The example:

John : What time is it?

James : The class has begun.

If the dialog above is analyzed semantically or grammatically, that dialog

consists of interrogative sentence “what time is it? And the answer “the class has

begun” consists of noun phrase “the class” and verb phrase “has begun”. That

dialog describes that John asks James what time it is and James answers that the

class has begun. Then, grammatical analysis as a formal analysis can’t explain the

idea of that dialog. Furthermore, pragmatics analysis is able to complete it to get

the idea of it. Concerning to the context, James answers John’s question

explicitly. They can infer what time in that moment by concerning to the time

when the class begins and they have the same assumption of the time so then the

question has been answered already by saying the class has begun.

According to the explanation above, grammatical and lexical knowledge

are generally only two or several factors in the interpretation process. Aside from

physical setting, participants’ personal background knowledge and their attitude

toward each other, sociocultural assumptions concerning role and status

12 Jean stiwell peccei. Pragmatics (Routledge : New York, 1999), p. 15.

xviii

relationship as well as social values associated with various massage (sic)

components also play an important role.13

Then, to have the conversation come

alive in mutually accepted and pragmatically determined context, the speaker and

the hearer have to cooperate and adhere to the rule of communication which is

called the cooperative principles.

1. Cooperative principles

Grice suggested that there is an underlying principle that determined the

way in which language is used with the maximum efficiency and effectiveness to

achieve rational interaction in communication. He called this overarching dictum

the cooperative principle which is proposed in stating that participants expect that

each will make a “conversational contribution such as is required, at the stage at

which it occurs, by the accepted purpose or direction of the talk exchange in

which you are engaged."14

The cooperative principle is subdivided into four maxims. Maxim means

a succinct formulation of some fundamental principle or rule of conduct.15 The

cooperative principle and its component maxims ensure that in an exchange of

conversation, the right amount of information is provided and that the interaction

is conducted a truthful, relevant, and perspicuous manner. A Speaker may respond

to the maxim by obeying the rule, violate one of the four, choose one of them, or

13

A. Hamid Hasan Lubis. Analisis Wacana Pragmatik (Bandung : Angkasa, 1986), p. 70. 14

Steve Hoenisch, Grice’s Cooperation Principle and Conversational Maxims, Accessed

on February 14, 2009. www.criticism.com/da/grice-maxims.php. 15

Anonymous, The heritage Illustrated dictionary of English Language, vol. 2 (Atalanta :

Houghton Mifflin Company, 1699), p. 808.

xix

sacrifice among the four if the condition demanding the speaker to choose, or just

ignoring the rule.16

The four maxims of cooperative principle are:

a) the maxim of quantity

This maxim proposes the speaker to give his contribution sufficiently

informative for the current purpose of the conversation and doesn’t give more

information than required.17

Example:

a. John : Excuse me, do you know what time it is?

Henry : Yes.

b. John : Excuse me, do you know what time it is?

Henry : five o’clock.18

In the discourse a, it can be identified that Henry violates the maxim of

quality because he doesn’t give sufficiently informative for the current purpose of

the conversation. John apparently doesn’t need a short answer, yes or not, but he

needs extra information for his question. On the other hand, the maxim of quality

is fulfilled all the way in the discourse b. Henry has sent sufficient information for

the question being asked by John.

b) the maxim of quality

This maxim requires the speaker not to say what he believes to be false

and lack adequate evidence.19

16

Steve Hoenisch, Grice’s Cooperation Principle and Conversational Maxims, Accessed

on February 14, 2009. www.criticism.com/da/grice-maxims.php 17

Alison Ross. The Language of Humour (London : Routledge, 1998), p. 40. 18

Salvatore Attardo. Lingustic Theories of Humor (Berlin : Mouton de Gruyter, 1994), p.

272. 19 Jacob L. Mey (2001), op. cit. p. 72.

xx

Example:

c. Sandy : What is your name?

Jack : My name is jack d. Sandy : What is your name?

Jack : You can call me Spiderman.

In conversation c, both Sandy and Jack adhere to the maxim of quality

because they believe what they say is not false or lack of evidences. In contrast to

conversation c, Jack violates the maxim of quality in conversation d because he is

not a Spiderman. Then, his said is lack of evidence.

c) the maxim of relevance

This maxim requires the speaker to give the information as required for the

goal of conversation.20

Example:

e. Boogie : What do you like to drink? Ray : I like to drink coffee

f. Boogie : What do you like to drink? Ray : I have bought a linguistics book.

Boogie and Ray have accorded the maxim of relevance in conversation e.

Ray has given the relevant information boogie asks for meanwhile Ray violates

the maxim of relevance in conversation f. He gives irrelevant answer to Boogie’s

question.

d) the maxim of manner

This maxim proposes the speaker to be brief, be orderly, avoid obscurity

of expression, and avoid ambiguity.21

20

Soenjono Dardjowidjojo. Psikolinguistik : Pengantar pemahaman Bahasa Manusia.

(Jakarta: Yayasan Obor Indonesia, 2005), p. 110. 21 I Dewa Putu Wijana. Dasar-dasar Pragmatik (Yogyakarta: Andi Offset, 1996), p. 50.

xxi

Example:

g. Glory : What movie do you want to watch? Horror or comedy?

Victoria : I want to watch comedy h. Glory : What movie do you want to watch? Horror or comedy?

Victoria : Actually, the drama is good movie but I don’t understand the plot or action movie is also good but I don’t like the actors.

In conversation g above, Glory and Victoria have evoked their ideas

clearly. All statements are understood well by them. This fact is real evidence that

the maxim of manner has been satisfied in conversation g. In conversation h,

Victoria seems to violate the maxim of manner. She doesn’t say her ideas briefly.

2. Implicature

The cooperative principle goes both ways: speakers (generally) observe

the cooperative principle, and listeners (generally) assume that speakers are

observing it. This allows for the possibility of implicatures, which are meanings

that are not explicitly conveyed in what is said, but that can nonetheless be

inferred.22

The word “implicature” is derived from the verb “to imply” as is its

cognate “implication”. Originally, ‘to imply’ means ‘to fold something into

something else’ (from the Latin verb plicare “to fold”); hence, that which is

implied is “folded in” and has to be ‘unfolded” in order to be understood.23

The notion of implicature was originated by the Oxford philosopher

Herbert Paul Grice who introduced it at Harvard in 1967.24 As John J. Gumperz in

his book “Discourse Strategies” stated that the term implicature is used to account

for what a speaker can imply, suggest, or mean as distinct from what the speaker

22 Steve Hoenisch, Grice’s Cooperation Principle and Conversational Maxims, Accessed

on February 14, 2009. www.criticism.com/da/grice-maxims.php 23

Jacob L. Mey (2001), op.cit. p. 45. 24 Yan Huang. Pragmatics (New York : Oxford university Press, 2007), p. 23

xxii

literally says.25

Therefore, the literally meaning can’t be identified by linguistics

knowledge alone or grammar but it is also determined by knowledge of context of

society. The following example is from the classic article Logic and Conversation

by Herbert Paul Grice:

“Suppose that A and B are talking about A mutual friend C, who is now

working in a bank. A asks B how C is getting on in his job, and B replies, Oh quite well, I think; he likes his colleagues and he hasn’t been to prison yet.”26

The form of B’s statement does not say everything about the meaning and

therefore the function. A can derive from B’s remark that B does not hold a high

opinion of C. in fact, B has basically said that C is a potential criminal. Yet, this

can not be derived from the literal meaning of B’s words. Why then can A draw

these conclusions? Because A can assume that there is some relevance to B’s, at

first glance, superfluous addition concerning prison. The only reason B would add

that remark is if B meant to imply that C is a potential criminal.27

3. Context

Pragmatics view context primarily as “knowledge”; although a key part of

such knowledge is “knowledge of situation”. The term of knowledge is what

speakers and hearers can be suggested to know and how that knowledge guides

the uses of language and the interpretation of utterances.28

25

A. Hamid Hasan Lubis (1986), op.cit. p. 76. 26

Jan Renkema (1993), op. cit. p. 8. 27

Ibid 28 Deborah Schiffrin. Approaches to Discourse (Oxford : Blackwell, 1994), p. 365.

xxiii

Dell Hymes identified the relevant context which quoted by A. Hamid

Hasan Lubis as advesser or speaker, advessee or hearer, topic, setting, channel,

code, massage from (sic), event.29

B. Humor

Rollo May, a humanistic psychologist, argued that humor is the capacity to

perceive, appreciate, or express what is funny, amusing, incongruous, ludicrous,

etc.30

Humor is the quality that makes something laughable or amusing;

funniness: could not see the humor of the situation, the ability to perceive, enjoy,

or express what is amusing, comical, incongruous, or absurd, or That which is

intended to induce laughter or amusement: a writer skilled at crafting humor.31

The goal of humor is to violate pragmatic knowledge to a funny end.

Then, it can liberate the perceivers of humor from the telic state, the situation

which is full of pressure, to the paratelic state, the situation when the perceivers of

humor are liberated from pressure.32

1. Theory of humor

The number of different theories of humor from the times of ancient Greek

philosophers through the present is so extensive. Victor Raskin believed that

29

A. Hamid Hasan Lubis (1986), op.cit. p. 84. 30 Steven M. Sultanoff. Integrating Humor into Psychotherapy, in Play Therapy with

Adults. ed. Charles Schaefer, (New York: Wiley and sons, 2002). Accessed on February 4, 2009.

http://www.humormatters.com. P. 17. 31

Alison Ross (1998), op.cit. p. 7. 32 I Dewa Putu Wijana. Kartun : Studi Tentang Permainan Bahasa (Yogyakarta: Ombak,

2003), p. 23.

xxiv

existing theories could be divided into three groups: incongruity theories, hostility

theories, and release theories. 33

a. The theory of Incongruity

The theory of incongruity is often called by biosociation. Many researcher

have noted that incongruity is fundamental to humor.34 This theory was proposed

by Aristotle. It stated that humor appears as a result of understanding the

incongruity between the expected, and the achieved result.35

Then, when

something is perceived or understood that was not expected or predictable from

the situation as understood up to the moment of surprise can create a joke.36

Incongruous means inconsistent; not fitting well together; disjoined;

unsuitable; which all sound of negative term. The term incongruity refers to the

possibility for two meanings being understood from the utterance.37

The humor

will often have the following elements:

a. There is a conflict between what is expected and what actually occurs in the

joke.

b. The conflict is caused by an ambiguity at some level of language.

c. The punch line is surprising, as it is no the expected interpretation, but it

resolves the conflict.38

33

Igor Krichtafovitch, Humor Theory, Linguistics. Accessed on January 28, 2009.

http://www.amazon.com/Humor-Theory-Laughter-IgorKrichtafovitch/dp/1598002228. p. 14. 34

E. Judith Weiner, “The Incongruity of Jokes, Riddles, and Humorous Situation”, Social

interaction and Discourse Structures, Vol. 2. (1997), p. 139. 35

Tom Veatch, Humor Theory, Linguistics. Accessed on February 15, 2009.

http://www.lebed.com/HumorTheory/Humorheoryfinal3.htm. 36

Tom Veatch, Humor is Affective Absurdity, Linguistics. Accessed on November 22,

2008. http://www. Tomveatch.com/else/humor/paper/node32.html. 37

Alison Ross. (1998), op.cit. p. 7. 38 Ibid. p. 8.

xxv

In this theory, humor is symbolized by X and a circumstance of

intersection in the mind of two disjointed but logically justified associative

contexts is symbolized by M1 and M2. The humor occurs when X = M1 and X =

M2 but M1 = M2

The example:

Dialogue in a French film:

“Sir, I would like to ask for your daughter’s hand.”

“Why not? You have already the rest.39

The word “hand” is perceived first in a metaphorical frame of reference, then

suddenly in a literal bodily context. Here is the conflict between the expected and

the achieved result occur and create a comic effect. Hand is identified as a humor,

X, the circumstance when hand is perceived in a metaphorical frame of reference

is identified as M1 and the circumstance when hand is perceived in a literally

bodily context as M2. This situation can be formulated in the following:

M1 = M2

Hand in a metaphorical = = hand in a literally frame of reference bodily context

X

Hand

(Wilson 1979 :31)

b. The theories of hostility

This theory often called by the theory of superiority. Such theories state

that funniness consists of attaining a feeling of superiority over something, or in

39

Jacob E. Safra and Ilan Yoshua, Humour and Wit, The New Encyclopedia Britannica

vol. 20 (Chicago: Britannica, Inc., 1768), p. 682.

xxvi

overcoming an obstacle, or aggression, in the attack of some object.40

The

philosopher Thomas Hobbes (author of Leviathan, 1651) characterized laughter as

a ‘sudden glory’ at a triumph of our own or at indignity suffered by someone else.

He claimed that those who laugh are momentarily released from awareness of

their own lack of ability. These accords with a commonsense perception of much

humor being a form of mockery – a way of attacking others, so maintaining power

and status by gaining support from other who join in the laughter. People most

likely to laugh, according to Hobbes, are those ‘that are conscious of the fewest

abilities in themselves; who are forced to keep themselves in their own favor, by

observing the imperfections of other men41

.

The example:

Jennifer : Before we go for your Record Choice, let’s see if wee can paint a

picture of the young Eleanor Wood, and maybe recall a few childhood memories for you. You excelled in school academically and at sport. I

love to imagine this picture of you, this Cornish dumpling, probably goalie in the hckey team, cheerfully bouncing around in goal, lifting

everyone’s spirits. You were, I should imagine, a happy, jolly, sturdy person.

Dawn : I suppose so. Jennifer : The class clown, perhaps? So many people with physical disadvantages

like yourself often end up compensating. Was it, dare I say, your

chunkiness, the fact that you were and are a fuller-figured person, that

made you more determined to succeed?

Dawn : Oh all right, you can describe me as chunky, ample, bubbly, huggable,

and so on, as log as I can describe you as slow-witted, uninteresting,

obtuse, dull, tedious, mentally stagnant…because what you’re really

wanting to say about me is ‘fat’and what I’m skirting around about you

is ‘stupid’.42

40

Tom Veatch, Humor Theory, Linguistics. Accessed on February 15, 2009.

http://www.lebed.com/HumorTheory/Humorheoryfinal3.htm. Accessed on November 22, 2008. 41

Alison Ross (1998), op.cit p. 53 42 Ibid. p. 54.

xxvii

c. The theories of liberation

According to this theory, humor is a result of the release of a type of

psychic energy, liberating man from a certain amount of restraint. One of the more

famous of these theories belongs to Freud.43 The adherents of a similar viewpoint

include such authors as Spencer (1860), Penjon (1893), Kline (1907), Gregory

(1924), Eastman (1936) and Monro (1951). These authors postulate that human

actions are limited by numerous prohibitions – sustention of rational behavior, the

need for straightforward expression of thought, and adherence to common sense.

The humorous manner of expression of thought and way of socialization frees us

from these restrictions.

The example:

Seorang majikan marah kepada bawahannya yang selalu terlambat masuk

kantor. “Kemarin ban mobilmu kempes. Kemarinnya lagi mobilmu mogok. Pagi

ini jalanan macet. Besok kamu bilang mobilmu nabrak pohon.” “Jangan begitu, Pak. Nanti perusahaan rugi.”44

43

Tom Veatch, Humor Theory, Linguistics. Accessed on February 15, 2009.

http://www.lebed.com/HumorTheory/Humorheoryfinal3.htm. Accessed on November 22, 2008. 44

Wuri Soedjatmiko, “Aspek Linguistik dan sosiokultural di dalam humor”, Pertemuan

Linguistik Lembaga Bahasa Atma Jaya(Pellba): kelima (1992), February 18, 2009, p. 71.

xxviii

CHAPTER III

RESEARCH FINDING

A. Data Description

In this chapter, the writer will examine the analysis of the way to appear

humor through the dialogues violated the cooperative principles. The humor will

be elaborated through Grice theory of cooperative principle. The data are

collected from the dialogues in Kung Fu Panda movie. They can be presented

below:

1. Speaker

Speaker is one of the elements of context which is fundamental to

determine the meaning of speech based on Pragmatics theory. The speakers who

engaged in dialog of Kung Fu Panda movie are shown at the following table:

Table I

The Table of the Speakers engaged in Dialog of Kung Fu Panda Movie

No Speakers Details Proofs

1 Po A young, lazy, irreverent, slacker,

clumsy, giant panda. He is kung

fu fanatic who

works in his

father’s noodle

restaurant and

unexpectedly

chosen to fulfill an

ancient prophecy

to be the Dragon

Warrior.

Tigress : Master, are you pointing at...me?

Oogway : Him. Po : Who--? {Po tries moving

out of the way of

Oogway's finger, but it

keeps following him}

Oogway : You.

Po : Me?

Oogway : {Oogway grabs Po's

hand and holds it up for

all to see} The universe

has brought us the

Dragon Warrior!

(Scene 19)

xxix

Shifu : Yes. Look at you...this fat

butt. Flabby arms...

Po : Those are sensitive in the

flabby parts.

Shifu : And this ridiculous belly (Scene 27)

Po : I lied. I don't dream about

noodles, Dad! I love kung fuuuuuuuuuuuuuuuuu-

(Scene 17)

2. Po’s dad His name is Mr.

Ping, the goose

father. He sells

noodle in his

restaurant

Po's Dad : And then you will fulfill

your destiny and take

over the restaurant, just

as I took it over from

my father, who took it

over from his father,

who won it from a

friend in a game of

mahjong.

(scene 6)

3. Oogway The tortoise. He is the master of kung

fu in the Jade Palace

Shifu : Master Oogway? You summoned me Is

something wrong?{Reveal Master Oogway... a wise,

old tortoise} (Scene 8)

4. Shifu The red mouse. He is Master

Oogway’s protégé who trains the

Furious Five in the

Jade Palace.

End next to palace on an old red

panda (SHIFU) playing a flute. He

is surrounded by the bushes and trees that nestle between the Palace

buildings back on Shifu, still

playing. (Scene 8)

Shifu enters the hallway of the bunkhouse. The Five burst out of

their rooms and land, ready for inspection.

Furious Five : Good morning master!

(Scene 39)

5. The furious

five (Tigress, Monkey,

Mantis, Viper,

A quintet of

warriors trained in kung fu by tortoise

Master Oogway,

Shifu : Citizens of the Valley of

Peace! It is my great honor to present to you... Tigress!

Viper! Crane! Monkey!

xxx

Crane) and his protégé,

Master Shifu.

Mantis! The Furious Five!

( Scene 15)

Shifu : Well done, students... if you

were trying to disappoint

me. {He uses his flute to

correct the Five's technique}Tigress, you

need more ferocity. Monkey, greater speed.

Crane – height. Viper – subtlety. Mantis—

(Scene 7)

6. Tai Lung

Shifu’s former

pupil and foster-

son. He is the

vengeful and

treacherous snow

leopard.

They approach TAI LUNG, a giant,

muscular snow leopard bound in a

giant piece of tortoise shell armor

and chains. (Scene 23)

Shifu peeks out of the Training

Hall and finds a baby leopard cub

on the steps.

Tigress : Shifu found him as a

cub. And he raised him

as a son.

(Scene 46)

7. Kg. Shaw The pig as the

villager of the

valley of peace.

Throngs of Villagers are streaming

into the arena… Two Pigs pass by.

Kg Shaw : Sorry, Po.

Jr Shaw : We'll bring you

back a souvenir

( Scene 12–13)

8. Jr. Shaw The pig as the

villager of the

valley of peace.

Throngs of Villagers are streaming

into the arena… Two Pigs pass by.

Kg Shaw : Sorry, Po.

Jr Shaw : We'll bring you back a souvenir

( Scene 12–13)

xxxi

2. The Violation of Cooperative Principle

Geoffrey Leech in his book “The Principles of Pragmatics” argued that

humor can be created from the violation of cooperative principle.45 In the dialog

of Kung Fu Panda movie, the writer finds some violation of the cooperative

principle which can create the incongruity of humor and their implicature. The

dialogues are identified below:

Table II

The Violation of cooperative Principle that Create the Incongruity of

humor and their implicature

No. Data Indication Incongruity

of Humor

Implicat

ure

Scene

1 Po's Dad : Oh, because it was a stupid dream.

Can you imagine, me making tofu? (Laughs at

the thought) No. We all have our place in this

world. Mine is here. And yours is—

Po : I know. Is here.

Po's Dad : No, it's at

tables two, five, seven,

and twelve. {He loads

Po's arms with bowls of

soup} Service with a

smile!

Maxim of quality.

X = here

M1 = in the

restaurant

M2 = at

tables two,

five, seven,

and twelve

X = M1

X = M2

M1 = M2

Po’s dad aims to

force Po to stop

talking and serve

the villagers

exactly.

6 – 7

2.

Po : Come on!

Come on, ya—almost

there... {He stops,

flopping onto his back

to catch his breath.

WIDEN TO REVEAL

he's only made it up

Maxim of

quality

X = Almost

there

M1 = Near by the Jade

Palace

He

doesn’t

believe

that he is

only

makes

seven

12-13

45

Geoffrey Leech. Prinsip-prinsip Pragmatik. Jakarta: Penerbit Universitas Indonesia,

1993. p. 152.

xxxii

seven steps} What? No!

Oh No! (Two Pigs pass

by)

M2 = Po

only makes

seven steps

X = M1

X = M2

M1 = M2

steps

3. Crane : Look, you don't belong here.

Po : {Po looks stung to be hearing this from

one of his heroes}I know. I know. You're

right. I just - my whole life I've dreamed of-

Crane : {Crane stops Po before he

embarrasses himself

even more} No no no...

I meant you don't

belong here. I mean, in

this room. This is my

room. Property of

Crane.{Po is mortified,

but covers}

Maxim of manner

X = You don’t belong

here

M1 = You don’t belong

to the Jade Palace

M2 = You

don’t belong

to the

Crane’s

room

X = M1 X = M2

M1 = M2

Crane implies

that Po has to get

out from his room

because he wants

to sleep.

33-34

4. Po : {Po makes a

googly-eyed face} Doieeeee...

Tigress : (charging at Po) Oh! That is ill!

Mantis : {Mantis

pops up and halts

Tigress} Wait! My

fault! I accidentally

tweaked his facial

nerve. {Po falls face

first to the floor,

revealing his back is covered with needles}

And may have also stopped his heart.

Maxim of

manner

X=“Doieeee

e...” with googly-eyed

face

M1 = ill

because

hearing

Tigress’ mockery

M2 = Ill

because acupuncture

Po

implies to stop the

acupuncture

because

he is hurt.

45-48

xxxiii

X = M1

X = M2

M1 = M2

5. Po : (Normal)

Ears. It's not working

for you? I thought they

were pretty good. {Po

looks at the stone-faced Five. Tigress jumps to

her feet} Monkey : It's Shifu.

Po : Of course it's Shifu. What do you

think I'm doing? {He finally notices Shifu

standing there, doing a

slow burn.

Embarrassed, he places

the soup bowls on his

chest like a bra}

Po : Ooh! Master

Shifu!

Maxim of

manner

X = It’s

Shifu M1 =

Monkey

understands

what Po does

M2 =

Monkey says it to tell

Po that Shifu has

entered the room

X = M1

X = M2

M1 = M2

Po warns

Po that

Shifu has

entered

the room and

Monkey orders Po

to stop imitating

Shifu

53-54

6. Shifu : Look at you

Po : Yeah, I

know. I disgust you

Shifu : No no, I

mean... how did you get

up there?

Maxim of

manner

X = Look at

you

M1 = Po

expectas that Shifu

utters it to berate and

humiliate

him

M2 = Shifu

utters it to

tell Po that

he has done

a perfect

spit

X = M1

X = M2 M1 = M2

Shifu

implies

his

amazeme

nt for

seeing

the

perfect

split done

by Po.

58-60

xxxiv

7. Shifu : You did?! [Shifu smiles and

shakes his head in disbelief] Wow. It is as

Oogway foretold —You are the Dragon Warrior.

You have brought peace to this Valley. And to

me. Thank you. Thank

you, Po. Thank you.

[Shifu closes his eyes.

He is still. Po starts

freaking out]

Po : No! Master!

No No No! Don’t die,

Shifu. Please...

Shifu : (eyes

snapping open) I’m not

dying, you idiot—ah, Dragon Warrior. I’m

simply at peace. Finally.

Maxim of manner

X = Thank you

(Closing the

Eyes)

M1 = Shifu

is dying

M2 = Shifu

feels in

peace

X = M1 X = M2

M1 = M2

Shifu

implies his

statement and

action to express

his

feeling of

peaceful

after Po

defeated

Tai Lung

and he

needs a

silent

situation

to feel peaceful.

82

B. Data Analysis

For analyzing, the writer uses the data from the dialogs of kung fu panda

movie. First, she observes the context which supported the analysis. Second, she

identifies the violation of the cooperative principle in dialog of Kung Fu Panda

movie, the incongruous humor in those dialogues, and the implicature of those

dialogues.

1. Datum 1

Po : Dad Dad Dad, it was just a dream.

Po's Dad : No, it was the dream. We are noodle folk. Broth runs through our

veins.

Po : But Dad, didn't you ever, I dunno, want to do something else?

Something besides noodles? Po's Dad : Actually... {Po looks surprised}When I was young and crazy...

xxxv

{Dad gets a wistful look in his eyes} I thought about running

away and learning how to make tofu.

Po : So why didn't you?!

Po's Dad : Oh, because it was a stupid dream. Can you imagine, me making tofu? (Laughs at the thought) No. We all have our place in this

world. Mine is here. And yours is— Po : I know. Is here.

Po's Dad : No, it's at tables two, five, seven, and twelve. {He loads Po's arms with bowls of soup} Service with a smile!

a. Context

Pragmatics is a study of how the linguistic elements interact with the

contextual factors to produce the utterance interpretation.46

The contextual factors

which are supported the analysis can be identified as below:

1) Character : Po and Po’s dad.

2) Setting : In the kitchen in his father’s restaurant

3) Context of situation : The restaurant is crowded. Po goes late to work.

His father, Mr. Ping, asks him what he does until he comes late for

working. He tells his father that he has a crazy dream. He lies to his father

by saying that he dreams about noodle but actually he dreams about

becoming the kung fu warrior, his obsession. His father is very excited

hearing his dream because his father has been waiting for this moment. His

father believes that his dream about noodle is the sign that he is almost

already to be entrusted with the secret ingredient of his grandfather’s

secret ingredient soup then he will fulfill his destiny to take the restaurant

from his father.

46

Ira Noveck and Dan Sperber, eds. Experimental Pragmatics. London: Palgrave.

Accessed on 20 february, 2009. www.nove.edu.

xxxvi

b. The violation of cooperative principle

Humor is non-cooperative communication because it is created from the

violation of cooperative principle. The violation of cooperative principle in datum

1 to create the humor is identified below:

1) Maxim of quality

In this maxim, the speaker is required to not say what he believes to be

false or lack of evidence.47

The maxim of quality in the conversation in datum 1 is

seen in the information contributed by Po and his father. Po shares his idea that

his dream is only a dream by saying “Dad Dad Dad, it was just a dream”. He also

debates his father why his father did not learn to make tofu. It is reflected by his

statement “But Dad, didn't you ever, I dunno, want to do something else?

Something besides noodles?“ and it is emphasized by his statement “So why didn't

you?” It means that Po believes what he says are true. After hearing Po’s

questions, Po’s father answers that when he was young and crazy he thought

about running away and learning how to make tofu. But he did not do it because

he thought that it was a stupid dream. He believed that everybody has his own

place in the world. He believed that his place is in the restaurant to make noodles.

It is depicted in his statement “Actually...When I was young and crazy... I thought

about running away and learning how to make tofu”. He shared his reason why he

did not learn to make tofu by saying “Oh, because it was a stupid dream. Can you

imagine, me making tofu? No. We all have our place in this world. Mine is here.

And yours is—“. Po assumed that his place is also in the restaurant to make

47 Jacob L. Mey. Pragmatics (2001), loc. cit.

xxxvii

noodles but his father says that is wrong. His father says that Po’s place in the

world is at table two, five, seven, and twelve. It is described clearly in his

statement “No, it's at tables two, five, seven, and twelve”. It seems that Po’s

father gives information what he believes to be false. He says that Po’s place in

the world is at table two, five, seven, and twelve while they talking about the

place of noodle seller. In sum, Po’s father violates the maxim of quality.

2) Maxim of quantity

Po repeats the word “dad” in his statement “Dad Dad Dad, it was just a

dream” to emphasize his speech. It means that he doesn’t violate this maxim. Po

utters some questions which elaborated in his questions “But Dad, didn't you ever,

I dunno, want to do something else? Something besides noodles?“ and “So why

didn't you?”. He utters his question sufficiently. Hearing Po questions, His father,

Mr. Ping, has sent some information for the questions being asked by Po. He says,

“Actually... When I was young and crazy... I thought about running away and

learning how to make tofu”. He also answers, “Oh, because it was a stupid dream.

Can you imagine, me making tofu? No. We all have our place in this world. Mine

is here. And yours is—“. The information that has been sent by Po’s father is

uttered sufficiently. Based on some facts above, the writer concludes that the

speakers have fulfilled the maxim of quantity all the way

3) Maxim of relevance

Po says that his dream is only a dream but his father doesn’t believe it. He

argues that they are noodle folk. Then, Po is curious to ask him. He asks, “didn't

you ever, I dunno, want to do something else? Something besides noodles?” His

xxxviii

father answers, “When I was young and crazy... I thought about running away

and learning how to make tofu.” Po asks him any more, “So why didn't you?!” his

father answers, “Oh, because it was a stupid dream. Can you imagine, me making

tofu? No. We all have our place in this world. Mine is here.” Based on the

conversation above, both Po and his father have sent the relevant statement. Po’s

father always sends the relevant answer for some questions being asked by Po.

Hearing his father’s answers, Po also sends the relevant statements and questions

to represent his feelings. In conclusion, all the speakers involved in conversation

have accorded the maxim of relevance.

4) Maxim of manner

In datum 1, there are two questions that asked by Po. He asked did his

father ever want to do something else beside noodle and he asks why his father

did not learn to make tofu. Po asked his questions straightforwardly. His father

answers that actually, when he was young and crazy he thought about running

away and learning how to make tofu but he thought that it was a stupid dream. His

father answers his questions clearly. All speakers have evoked their ideas clearly.

All statements are understood well by them. This fact is real evidence that this

maxim has been satisfied in the conversation.

From the explanation above, the writer concludes that the maxim of

quality is violated in the dialog in datum 1.

xxxix

c. Humor

As argued by Aristotle, humor appears as a result of understanding the

incongruity between the expected, and the achieved result.48 The dialog in datum

1 seems the conflict between what Po expects and what actually occurs. When his

father says that his place is here, it leads Po and also the perceivers of humor to

assume what Mr. Ping wants to say. Then, Po cuts in his father’s speech and says

that he knows his place is also here. The punch line occurs when his father says it

is wrong. Po’s place is at tables two, five, seven, and twelve. Then, it creates the

different situation between what Po expects and what actually occurs. Of course,

his father’s answer surprises Po and the perceivers of humor who has the

assumption what Mr. Ping wants to say. Then, his father’s answer brings them

from the telic state to the paratelic state. This situation can be formulated in the

following:

M1 = M2

In the restaurant = = At tables two, five, seven, and twelve

X

Here

Here is the humor which is identified as X and in the restaurant and at tables two,

five, seven, and twelve are the situations made by the humor which are identified

as M1 and M2.

48

Tom Veatch, Humor Theory, Linguistics. Accessed on February 15, 2009.

http://www.lebed.com/HumorTheory/ Humorheoryfinal3.htm

xl

d. Implicature

The implicature of this dialogue can be seen in the last conversation when

Po’s dad says that Po’s place is at table two, five, seven, and twelve. Based on the

context situation, the restaurant is crowded. Then, by saying it, Po’s dad aims to

force Po to stop talking and serve the villagers exactly.

2. Datum 2

[Where's Po? PAN DOWN a long, long, long, long flight of stairs. Po stands at

the bottom with his noodle cart, looking up at the daunting task before him. Po

struggles to pull his noodle cart up the stairs]

[The sun beats down on Po, but he presses forward. Climbing. Climbing. Po is

still struggling up the stairs]

Po : Come on! Come on, ya—almost there... {He stops, flopping onto

his back to catch his breath. WIDEN TO REVEAL he's only

made it up seven steps} What? No! Oh No! (Two Pigs pass by)

Kg Shaw : Sorry, Po.

Jr Shaw : We'll bring you back a souvenir

a. Context

The contextual factors which are supported the analysis in datum 2 can be

identified in the following:

1) Character : Po, Kg Shaw, and Jr Shaw.

2) Setting : In the stairs, in the bottom of jade palace with his

noodle cart.

3) Context of situation : After knowing master Oogway will choose the

dragon warrior, the villagers go to the Jade Palace. They are streaming into

the arena. Po is anxious to see the tournament but is instead forced to take

a noodle cart up the mountain to the Jade Temple.

xli

b. The cooperative Principle

The violation of cooperative principle in datum 2 to create the humor is

identified below:

1) Maxim of quality

Po says that he almost arrives to jade palace but when he stops and flop

onto his back to catch his breath he is aware that he is only seven stairs from the

bottom. He says, “Come on! Come on, ya—almost there” but when he is aware

he says, “What? No! Oh No!”. What Po says that he is almost to the Jade Palace is

lack of evidence. In sum, Po violates maxim of quality.

2) Maxim of quantity

This maxim proposes the speaker to give his contribution sufficiently

informative for the current purpose of the conversation and doesn’t give more

information than required.49 Po expresses his feeling when he comes almost to the

Jade Palace and when he realizes that he is only seven steps from bottom by

saying “Come on! Come on, ya—almost there. What? No! Oh No!”. He expresses

his feeling sufficiently. Kg. Shaw and Jr Shaw express their sympathy when they

know that Po only makes seven steps. Kg. Shaw says, “Sorry, Po” and Jr. Shaw

says, “We'll bring you back a souvenir". They express their sympathy sufficiently.

It means that all the speaker give their contribution sufficiently informative. It

proves that this maxim has accorded well in datum 2.

49 Alison Ross (1998), op.cit. p. 40.

xlii

3) Maxim of relevance

Po’s statement “Come on! Come on, ya—almost there. What? No! Oh

No!” is relevant to the situation when he is struggling to go to the Jade Palace and

feeling that he is almost there. His statement “What? No! Oh No!” is also relevant

to the situation when he is aware that he is still far from the Jade Palace. The

statement of Kg Shaw saying that he is so sorry for Po and the statement of Jr

Shaw saying that he’ll bring Po a souvenir are relevant to the Po’s situation when

he realizes that he is still at the bottom of the Jade Palace. All facts prove that this

maxim has been fulfilled.

4) Maxim of manner

Po expresses his happiness and sadness clearly by saying “Come on! Come

on, ya—almost there. What? No! Oh No!” Kg Shaw and Jr Shaw also say their

idea clearly about their sympathy by saying “We'll bring you back a souvenir”.

Then, the speakers in datum 2 share their ideas straightforwardly. They adhere to

this maxim well.

In sum, the writer finds the maxim of quality is not adhered to in dialog in

datum 2.

c. Humor

Po tries to get to the Jade Palace by stepping some stairs. It will be hard

for the clumsy giant panda to do it. After stepping stairs, he feels that he almost

arrives to the Jade Palace. He expresses his happiness by saying, “Come on!

Come on, ya—almost there. It guides the audience to expect that he will arrive

there successfully. The expectation is broken up when he says No! Oh No! And he

xliii

realizes that he is still far from the Jade Palace. Here the punch line occurs. The

situation is not fitting well between Po’s statement and what he and the perceivers

of humor expect. It creates a comic effect. It is formulated below:

M1 = M2

Near by the Jade Palace = = Po only makes seven steps

X

Almost there

Po’s statement “Almost there” is the humor which is identified as X because it

creates the conflict between Po’s expectation and the happened situation. Po’s

expectation that he almost arrives to the Jade Palace is identified by M1 and the

happened situation that he is still far from he Jade Palace is identified by M2.

d. Implicature

Po’s statement “Almost there” makes the audiences understand that he is

almost to the Jade Palace and they also understand when Po says “What? No! Oh

No!” by observing the Po’s statement and the happened situation. Po implies that

he doesn’t believe that he is only makes seven steps.

3. Datum 3

Po : You guys were totally amazing at the Battle of Weeping River.

Outnumbered a thousand to one, but you didn't stop, and then you

just...HI-YAH! {Po does a spastic series of Kung Fu moves. We

hear a RIP, and reveal that he's kicked his foot through the paper

wall} Ooo, sorry about that.

Crane : Look, you don't belong here.

Po : {Po looks stung to be hearing this from one of his heroes} I

know. I know. You're right. I just - my whole life I've dreamed of-

xliv

Crane : {Crane stops Po before he embarrasses himself even more}No no

no... I meant you don't belong here. I mean, in this room. This is

my room. Property of Crane. {Po is mortified, but covers}

Po : Oh, okay. Right right. Yeah, you want to get to sleep. Crane : Yeah.

Po : I'm keepin' you up. We got big things tomorrow. Alright. You're awesome. Last thing I'm gonna say. Okay. Bye bye. [Po shuts the

door. Crane sighs. The door flies open. Po enters with an eager smile] What was that?

Crane : I didn't say anything.

a. Context

The contextual factors which are supported the analysis in datum 3 can be

identified in the following:

1) Character : Po and Crane.

2) Setting : In the bunkhouse, in the night.

3) Context of situation : Po is dejected after his first day of training but

advised by Master Oogway, he refuses to quit. He goes back to the

bunkhouse. Po peeks around the corner. He tiptoes into the hall. The

floorboards strain beneath him. Po takes a gentle step but Po's foot goes

through the floor. Po tries to recover. Po rolls his ankle and stumbles

through a bedroom door. Crane is staring back at him. Po tries to have the

conversation with Crane but he says that he should probably get to sleep.

Po is sad and feels dejected.

b. The Cooperative Principle

The violation of cooperative principle in datum 3 to create the humor is

identified below:

xlv

1) Maxim of quality

Crane tells the fact that Po is not belong here because they are in Crane’s

room. He says, “Look, you don't belong here. No no no... I meant you don't belong

here. I mean, in this room. This is my room. Property of Crane” and Po also

realizes that he is in Crane’s room and Crane wants to get sleep. He utters, “Oh,

okay. Right right. Yeah, you want to get to sleep”. Crane is sure that the idea in his

statement is true and Po is honest about what he realizes. In sum, the maxim has

been well-fulfilled.

2) Maxim of quantity

Po expresses his amazement by saying “You guys were totally amazing at

the Battle of Weeping River. Outnumbered a thousand to one, but you didn't stop,

and then you just...HI-YAH!” He also expresses his awareness by saying “I know.

I know. You're right. I just - my whole life I've dreamed of- Oh, okay. Right right.

Yeah, you want to get to sleep. I'm keepin' you up. We got big things tomorrow.

Alright. You're awesome. Last thing I'm gonna say. Okay. Bye bye”. Po says his

ideas effectively. Crane says, “Look, you don't belong here. No no no... I meant

you don't belong here. I mean, in this room. This is my room. Property of Crane”.

Crane also says his statement effectively. Then the writer identifies that all

speakers adhere to the maxim of quantity because they say their ideas in right

portion.

3) Maxim of relevance

Po shows his kung fu but he breaks Crane’s paper wall. Seeing this fact,

crane says that Po doesn’t belong here. Po misunderstands with Crane statement.

xlvi

He feel dejected the Crane explains that he means that Po doesn’t belong to there

room. Crane sends the appropriate statement to cheer Po when he is upset for

feeling dejected. He utters, “No no no... I meant you don't belong here. I mean, in

this room. This is my room. Property of Crane”. Then, Po is aware that Crane

wants to get sleep and he go out of Crane’s room. Po also gives the relevant

respond for Crane’s statement when he says that there is his room. Po understands

that Crane wants to get sleep. He says, “Oh, okay. Right right. Yeah, you want to

get to sleep. I'm keepin' you up.” In sum, the maxim has been satisfied.

4) Maxim of manner

In this maxim, the speaker is required to be brief, be orderly, avoid

obscurity of expression, and avoid ambiguity.50

Crane utters, “Look, you don't

belong here”. This statement creates an mbiguity for Po. Po says, “I know. I

know. You're right. I just - my whole life I've dreamed of-“. He creates an

ambiguity for Po. He means that Po does not belong in his room but Po

misunderstands. Po suggests that Crane’s statement means he does not belong to

the Jade Palace. Crane doesn’t send his message directly. He doesn’t say that Po

has to get out from his room. Then, Po misunderstands. It means that Crane, in

this conversation, seems to violate the maxim.

Toward the explanation above, the writer concludes the maxim of manner

is violated in dialog in datum 3.

50 I Dewa Putu Wijana (1996), loc. cit.

xlvii

c. Humor

Crane expects Po gets out from his room by his statement that Po is not

belong here, but the achieved result from Crane’s statement is Po feels that he is

refused and he is not appropriate to be the Dragon warrior. Hearing Po’s

statement, Crane is panic. The panic situation creates a punch line because it can

bring Po and the perceivers of humor from the telic state to paratelic state. To feel

the punch line, the perceivers of humor have to get the ambiguity from the

sentence “you don’t belong here”. The ambiguity creates the situation not fitting

well between what Crane expects and the achieved result. It means that in datum 4

are two meanings that being understood from the statement “you don’t belong

here”. The term incongruity refers to the possibility for two meanings being

understood from the utterance.51

It can be formulated as below:

M1 = M2

You don’t belong to the = = You don’t belong to

the Jade Palace Crane’s room

X

You don’t belong here

The Statement “You don’t belong here” is the humor which identified as X

because it creates a conflict between Po’s expectation and Crane’s purpose. Po’s

expectation that he doesn’t belong to the Jade Palace is identified as M1 and

Crane’s purpose that Po doesn’t belong to his room is identified as M2.

51 Alison Ross. (1998), op.cit. p. 7.

xlviii

d. Implicature

The implicature in this conversation is seen from Crane’s statement saying

that Po is not belonging here. Actually, Crane implies that Po has to get out from

his room because he wants to sleep.

4. Datum 4

Po : (Trying to ease the tension) Guys, guys. I know about Tai Lung.

{Tigress turns to Po} He was a student, the first ever to master the thousand...{Tigress approaches Po and leans in towards him}

(nervously trailing off)...scrolls of... kung fu... and...then he

turned bad... and now he's in jail.

Tigress : {Tigress shakes her head at the panda's ignorance} He wasn't just

a student. {Shifu peeks out of the Training Hall and finds a baby

leopard cub on the steps} Shifu found him as a cub. And he

raised him as a son. {Baby Tai Lung pulls on Shifu's

whiskers}...and when the boy showed talent in Kung Fu... {Baby

Tai Lung punches the training dummy across the floor} ...Shifu

trained him. {Shifu teaches Baby Tai Lung how to punch} He

believed in him. He told him he was destined for greatness.{Hard

cut to a full-grown Tai Lung demolishing a training dummy} It was never enough for Tai Lung. He wanted the Dragon Scroll.

But Oogway saw darkness in his heart and refused. Outraged, Tai Lung laid waste to the valley. He tried to take the scroll by force.

And Shifu had to destroy what he had created. {Tai Lung ransacks a village on his way up to the Jade Palace. He crashes

through the doors, running towards a waiting Shifu and Oogway. Shifu leaps at Tai Lung to deliver a kick} But how could he?

{Seeing only baby Tai Lung running towards him, Shifu pulls his kick short. Tai Lung counters with a devastating strike and Shifu

crashes to the ground holding his broken leg.Tai Lung leaps for

the scroll, but Oogway stops him with strikes at his pressure

points. He falls to the ground in a heap} Shifu loved Tai Lung

like he'd never loved anyone before... {Young Tigress in the

training hall strikes the dummy in the same manner as Tai Lung.

Shifu corrects her form. Nothing more. Young Tigress looks

crestfallen}...or since. {The sad, young Tigress cross-dissolves to

adult Tigress}{Everyone is quiet in the moment} And he has a

chance to make things right, to train the true Dragon Warrior.

And he's stuck with you: a big, fat panda who treats it like a joke.

Po : {Po makes a googly-eyed face} Doieeeee... Tigress : (charging at Po) Oh! That is ill!

Mantis : {Mantis pops up and halts Tigress} Wait! My fault! I accidentally

xlix

tweaked his facial nerve. {Po falls face first to the floor, revealing

his back is covered with needles} And may have also stopped his

heart.

a. Context

The contextual factors which are supported the analysis in datum 4 can be

identified in the following:

1) Character : Po, Tigress, and Mantis.

2) Setting : Bunkhouse – Evening

3) Context of situation : After training, Po gets acupuncture from Crane

and Mantis. While acupuncturing, Po tells them that Shifu tries to get rid

of him. The others look at each other and chuckle awkwardly. Mantis says

that he can seem kind of heartless but he isn’t always like that. Viper

supports Mantis’ argument by saying that according to legend, there was

once a time when Master Shifu actually used to smile. But that was

before... Crane stops his speech and makes Po curious to know. Suddenly,

tigress enters the room and continues the crane’s speech. Crane argues that

they aren’t really supposed to talk about him. But tigress disagree and

argue if Po is going to stay in the Jade Palace, he should know.

b. The Cooperative Principle

The violation of cooperative principle in datum 4 to create the humor is

identified below:

1) Maxim of quality

Po says that he know Tai Lung. He utters, “Guys, guys. I know about Tai

Lung. He was a student, the first ever to master the thousand...scrolls of... kung

fu... and...then he turned bad... and now he's in jail”. What Po says about Tai

l

Lung is true because he is a kung fu fanatic. Meanwhile, Tigress says that Tai

Lung is not only a student. She believes that it is true and not lack of evidence

because she is one of a quintet of warriors who trained in kung fu by master

Oogway and master Shifu in the Jade Palace. While talking about Tai Lung,

Mantis says that he tweaks Po’s facial nerve and it can stop Po’s heart. He says it

truly. It depicted by his statement “Wait! My fault! I accidentally tweaked his

facial nerve. And may have also stopped his heart”. All the statement that said by

Tigress, Po, and Viper are true. Based on some proofs, the writer identifies that all

speakers engaged in this conversation adhere to this maxim.

2) Maxim of quantity

Po tells that Tai Lung was a student who turned bad and now he is in jail.

Po says, “He was a student, the first ever to master the thousand...scrolls of...

kung fu... and...then he turned bad... and now he's in jail”. Po says what he knows

about Tai Lung sufficiently. Tigress explains more about Tai Lung. She says that

Tai Lung was not just a student. Shifu found him and raised him as his son. He

loved Tai Lung like he’d never loved any one before. Shifu believed that Tai Lung

was destined for greatness. Tai Lung wanted the Dragon Scroll but Oogway saw

darkness in his heart and refused. Although Tigress’s explanation is longer

explanation than Po’s, she shares his idea in right portion. Meanwhile Mantis

doesn’t share his idea about Tai Lung, He also gives his contribution in this

conversation. He tells Tigress that he tweaked Po’s facial nerve sufficiently

informative. In sum, the contributions which given by Tigress, Po, and Mantis are

li

informative as required. The speakers don’t say anything much more than it is

needed in this conversation. Then, the maxim has been adhered to.

3) Maxim of relevance

Po evokes his idea about Tai Lung. Feeling unsatisfied with Po’s idea,

Tigress tells more about Tai Lung. Tigress gives the relevant statement to Po’s

statement. Although Mantis doesn’t talk about Tai Lung, He tells Tigress why Po

shouts with his googly-eyed face by saying “Wait! My fault! I accidentally

tweaked his facial nerve. And may have also stopped his heart”. In conclusion, Po

and Tigress have accorded the maxim of relevance in the datum 5. Po says the

relevant statement about Tai Lung. According to Po’s statement, Tigress sends her

relevant additional information about Tai Lung. Mantis has also accorded the

maxim by sending his relevant contribution for easing Tigress’ tension.

4) Maxim of manner

This maxim regards the speaker to be brief, be orderly, avoid obscurity of

expression, and avoid ambiguity.52 Po says, “Doieeeee...” with his googly-eyed

face in serious situation while talking about Tai Lung. Tigress suggests that Po is

ill hearing her explanation but actually he is ill because acupuncture. In serious

condition when they talk about Tai Lung, the strange shout with googly-eyed face

will be confusing. Po seems violate this maxim by his statement “Doieeeee...”

with googly-eyed face.

From the explanation above, the writer finds the maxim of manner is

violated in the dialog in datum 4.

52 I Dewa Putu Wijana (1996). loc. cit.

lii

c. Humor

Tigress thinks that his speech makes Po ill but actually the real condition

is Po fells ill because the acupuncture. The reason why Po shouts isn’t explained

By Po himself but it is explained by Mantis. Actually, Mantis can explain why Po

shouts before the Tigress asks but he says it after the Tigress asks. The

incongruity created by constructing the dialog elements. The dialog element

which is actually uttered by Po is uttered by Mantis in different time whether it’s

actually uttered in the same time. Then, the different expectation between

Tigress’s expectation and the happened condition occurs. It makes a comic effect.

The incongruous can be formulated as below:

M1 = M2

Ill because hearing = = Ill because acupuncture

Tigress’ mockery

X

Doieeeee...

[With googly-eyed face]

The utterance “Doieeeee...” with googly-eyed face makes a conflict between

Tigress’ expectation and what actually occurs. Then, it is identified as X, the

humor. The writer finds the expectation of Tigress that Po shouts “Doieeeee...”

with googly-eyed face because he is ill hearing Tigress’ mockery as M1 and the

real situation that Po shouts “Doieeeee...” with googly-eyed face because he is

hurt with the acupuncture as M2.

liii

d. Implicature

The implicature in this case is seen from Po’s shout “Doieeeee” with his a

googly-eyed face when he gets the acupuncture. He implies to stop the

acupuncture because he is hurt.

5. Datum 5

Tigress : It is said that the Dragon Warrior can survive for months at a time

on nothing but the dew of a single gingko leaf and the energy of the universe.{On the others for a beat. Then Po shrugs}

Po : I guess my body doesn't know it's the Dragon Warrior yet. I'm

gonna need a lot more than dew. And, uh, universe juice. {Po

laughs. He picks up his bowl and takes a giant gulp. When he

lowers the bowl, we see a noodle hanging from his face -- it looks

like a moustache. Mantis snickers}What?

Mantis : Oh, nothing... Master Shifu!{The rest start laughing. Po realizes

he's wearing a noodle moustache. He plays it up}

Po : (imitating Shifu) You will never be the Dragon Warrior, unless

you lose five hundred pounds and brush your teeth! {The Five

LAUGH} (imitating Shifu) What is that noise you're making?

Laughter? I never heard of it!{The Five keep LAUGHING. Po reaches over and grabs two empty bowls and holds them up like

ears} Po : (imitating Shifu) Work hard, Panda. And maybe, someday... you

will have ears like mine.{As the rest of the Five laugh, Tigress sneaks a moment to smell Po's soup. Leaning towards the bowl,

she suddenly looks up and stops. The Five also look up and stop laughing} {Reveal Shifu has entered behind Po. He is holding

Oogway's staff} Po : (normal) Ears. It's not working for you? I thought they were

pretty good. {Po looks at the stone-faced Five. Tigress jumps to

her feet}

Monkey : It's Shifu.

Po : Of course it's Shifu. What do you think I'm doing? {He finally

notices Shifu standing there, doing a slow burn. Embarrassed, he

places the soup bowls on his chest like a bra}

Po : Ooh! Master Shifu!

a. Context

The contextual factors which are supported the analysis in datum 5 can be

identified in the following:

liv

1) Character : Po, Tigress, Mantis, and Monkey.

2) Setting : In the kitchen, in the night.

3) Context of situation : Po is cooking Soup for the Five. The Five, except

tigress, say that the soup is delicious. They have joke together. Finally,

Monkey realizes that tigress doesn’t enjoy the joke. Monkey orders tigress

to sit and try the soup. She sits and begins to talk.

b. The Cooperative Principle

The violation of cooperative principle in datum 5 to create the humor is

identified below:

1) Maxim of quality

Tigress tells the fact that the Dragon Warrior can survive for months at a

time on nothing but the dew of a single gingko leaf and the energy of the universe.

Tigress is sure that the idea in her statement is true. She says, “It is said that the

Dragon Warrior can survive for months at a time on nothing but the dew of a

single gingko leaf and the energy of the universe”. Po also says the fact that he

needs a lot more than dew. He utters, “I guess my body doesn't know it's the

Dragon Warrior yet. I'm gonna need a lot more than dew. And, uh, universe

juice”. Po also imitates Shifu well. Mantis doesn’t hide any information when he

sees Po has a noodle moustache like Shifu’s moustache by saying “Oh, nothing...

Master Shifu!” and Monkey says, “It’s Shifu!” when he realizes that Po imitates

shifu and he also tells Po when Shifu comes. He has nothing for reason to tell a

lie. The writer concludes that the information contributed by Tigress, Mantis, Po,

and Monkey are true. Then, this maxim has accorded well by the speakers.

lv

2) Maxim of quantity

Tigress and Po share their idea about the Dragon warior. He says, “It is

said that the Dragon Warrior can survive for months at a time on nothing but the

dew of a single gingko leaf and the energy of the universe” and Po says, “I guess

my body doesn't know it's the Dragon Warrior yet. I'm gonna need a lot more than

dew. And, uh, universe juice”. Po imitates Shifu in right proportion. Both Mantis

and monkey say their ideas sufficiently. The ideas described in their statement

“Oh, nothing... Master Shifu” and “it’s Shifu!”. All speakers have said their ideas

effectively as the communication required. It means that the maxim of quantity is

obeyed by the speakers.

3) Maxim of relevance

Tigress says, “It is said that the Dragon Warrior can survive for months at

a time on nothing but the dew of a single gingko leaf and the energy of the

universe”. Hearing Tigress’ statement, Po, the chosen Dragon Warrior, argues

that he needs a lot more than dew. He eats his noodle but the rest of it hangs like a

moustache. Seeing the moustache, Mantis calls him master Shifu. It described in

his statement “Oh, nothing... Master Shifu!”. Then, Po realizes that he wears a

noodle moustache and begins playing it up by imitating Shifu. Suddenly Shifu

comes and Monkey warns Po by saying “It’s Shifu!”. Observing the data in datum

5, the writer identifies that all the speakers say the relevant statement. The goal of

the conversation is fulfilled. Yet, the maxim has been adhered to.

lvi

4) Maxim of manner

Herbert Paul Grice argued in his book “Logic and Conversation” which

quoted by Geoffrey Leech says “Maxim of manner is relating not to what is said

but rather to how what is said is to be said.”53 In datum 5, Monkey says, “It's

Shifu” and Po misunderstands with Monkey’s statement by saying “Of course it's

Shifu. What do you think I'm doing?”. Monkey doesn’t send his idea clearly when

Shifu comes. Then it creates an ambiguity for Po. In sum, this maxim has been

violated by Monkey.

Thus, the writer gets the violation of maxim of manner in the dialog in

datum 5.

c. Humor

Looking at the stone-faced Five, Po thinks that his action is not working.

Then, when Monkey said “It’s Shifu”, it evokes an ambiguity. Po expects that

Monkey says it because he has been understood what Po does that he imitates

Shifu. In fact, Monkey says it to tell Po that Shifu has entered the room and stands

behind him. Po surprises when he realizes that Shifu has entered the room. This

surprising thing is the punch line. The conflict between Po’s expectation and the

happened situation is amusing. It is formulated below:

53 Geoffrey Leech. (1993), op. cit. 155

lvii

M1 = M2

Monkey understands = = Monkey tells Po that Shifu

what Po does has entered the room

X It’s Shifu

The humor in the Sentence “It’s Shifu” is identified as X because it creates an

ambiguity for Po. Po’s expects that Monkey understands what he does is

identified as M1 and the real situation that Monkey says it to tell Po that Sjifu has

entered the room is identified as M2.

d. Implicature

In this case, the implicature is seen from Monkey’s statement saying “Its

shifu”. It is a warning used to tell Po that Shifu has entered the room and Monkey

orders Po to stop imitating Shifu but Po fails to understand the implicature.

6. Datum 6

Po : (Mouth full) Don't tell Monkey. {He glances back down at Shifu,

whose disbelief turns to a wise smile} Shifu : Look at you

Po : Yeah, I know. I disgust you

Shifu : No no, I mean... how did you get up there?

Po : I don't know. I guess I-- I don't know. I was getting a cookie...[He

looks at the cookie and then can't help but eat it}

Shifu : And yet you are ten feet off the ground and have done a perfect

split.

Po : No, this... this is just an accident.

[He and Po stare at each other for a beat. Then... WHOOMP! Po

slips and crashes to the kitchen floor. A cookie rolls over to Shifu.

He picks it up}

lviii

a. Context

The contextual factors which are supported the analysis in datum 6 can be

identified in the following:

1) Character : Po and Shifu.

2) Setting : In the kitchen of Bunkhouse, in the morning.

3) Context of situation : Shifu looks inside the training hall. It’s empty. He

hears The noises from the bunkhouse. He turns the corner in the

bunkhouse. He sees Po's shadow as he performs some amazing Kung Fu.

Entering the kitchen, He finds Po is stuffing his face with food. Seeing

Shifu, he stops mid-munch. Shifu surveys the room. He finds the broken

lock, smashed doors, unhinged cabinets. Po belches. Seeing master Shifu

amazes, Po tells him that he eats when he is upset. Master Shifu gets the

idea and he tells Po that monkey hides his almond cookies on the top shelf.

Shifu calmly exits and hides just outside the doorway, waiting to see if his

hunch is correct. He hears some noises. He peeks back inside and finds Po

perched atop the high shelves jamming more cookies into his mouth. Po

notices Shifu walking back in.

b. The Cooperative Principle

The violation of cooperative principle in datum 6 to create the humor is

identified below:

1) Maxim of quality

The maxim of quality in the conversation in datum 6 is seen in the

information contributed by Shifu and Po. Po tells the fact that he eats when he is

lix

upset. He also tells that he disgusts Shifu and he doesn’t know how he gets up on

ten feet off the ground. It can be proven by his statements “Yeah, I know. I disgust

you”, I don't I-- I don't know. know. I guess I was getting a cookie”, and ” This is

just an accident”. He believes that his idea is true. Shifu utters, how did you get

up there. And yet you are ten feet off the ground and have done a perfect split”

when he sees Po do the perfect split. Shifu says honestly about his amazement for

seeing the perfect split done by Po. In conclusion, both have accorded the maxim.

2) Maxim of quantity

Po asks Shifu not to tell that he eats Monkey’s almond cookies. He says,

“Don't tell Monkey”. Seeing Po eats the cookies in perfect split position, Shifu

surprises. He asks Po sufficiently how he gets up there. Po answers that he doesn’t

know. He suggests that it is just an accident. Based on the situation happens, the

writer argues that the goal of the conversation is satisfied well because all

speakers evoke the relevant idea.

3) Maxim of relevance

Shifu asks Po how he gets up ten feet off the ground and Po sends the

relevant answer by saying that he does not know how he gets there. He suggests it

is just an accident. It is depicted in Po’s statement saying, “I don't know. I guess I-

- I don't know. I was getting a cookie”. Hearing Po’s answer, Shifu tells the

relevant statement that Po is ten feet off the ground and has done a perfect split.

But Po utters, “This... this is just an accident”. The writer identifies the ideas that

contributed by Po and Shifu are relevant for the goal of communication. It means

that this maxim has been accorded.

lx

4) Maxim of manner

Shifu statement “Look at you” used to express his amazement for seeing

the perfect split. But Po misunderstands. He suggests that Shifu’s statement means

that he disgusts Shifu because he eats greedily. Here, the ambiguity occurs. Shifu

doesn’t send clearly his amazement. Then, Shifu, in this conversation, seems to

violate the maxim of manner.

The writer, from the explanation above, concludes that the maxim of

manner is violated in the dialog in datum 6.

c. Humor

Shifu utters, “Look at you” makes two expectations. It depicts clearly in

the situation when Shifu utters it. He utters it in purpose to tell Po that Po has

done a perfect split whether Po expects that Shifu utters it to berate and humiliate

him. The different expectation between Po’s and Shifu’s create a comic effect.

The comic effect is added by the situation when Po’s action is being adored by

Shifu, he utters “this is just an accident” so he slips and crashes to the kitchen

floor. This surprising thing also creates a punch line. The ambiguity in datum 6 is

formulated as the following:

M1 = M2

Shifu berates and = = Shifu Tells Po that he has

humiliates Po done a perfect split

X

X

Look at you

lxi

Humor occurs in the statement “Look at you”. Then, it is X. The situations

happened because it are identified as M1 and M2. Po’s suggestion that Shifu utters

it to berate and humiliate Po is M1 and the happened situation that Shifu utters it

to tell Po that he has done a perfect spit is M2.

d. Implicature

John J. Gumperz in his book “Discourse Strategies” stated that the term

implicature is used to account for what a speaker can imply, suggest, or mean as

distinct from what the speaker literally says.54

Shifu attempts to berate and

humiliate Po because he is unwilling to believe that a clumsy fat panda can

become the Dragon Warrior. When panda can do a perfect split, it amazes him.

Shifu says, “Look at you”. It is used to imply Shifu’s amazement for seeing the

perfect split done by Po.

7. Datum 7

[Po arrives breathless at the Jade Palace. Shifu is still lying in the scroll room, his

eyes closed. Po rushes to his side] Po : Master! Shifu! Shifu! Are you okay?

Shifu : [Shifu weakly opens his eyes] Po! You're alive! (Then, darkly) Or we're both dead.

Po : No, Master, I didn't die. I defeated Tai Lung!

Shifu : You did?! [Shifu smiles and shakes his head in disbelief] Wow. It

is as Oogway foretold --You are the Dragon Warrior. You have

brought peace to this Valley. And to me. Thank you. Thank you,

Po. Thank you. [Shifu closes his eyes. He is still. Po starts

freaking out]

Po : No! Master! No No No! Don't die, Shifu. Please...

Shifu : (eyes snapping open) I'm not dying, you idiot-- ah, Dragon

Warrior. I'm simply at peace. Finally.

Po : Oh. So, um, I should...stop talking?

Shifu : If you can.

54 A. Hamid Hasan Lubis, op.cit. p. 76.

lxii

a. Context

The contextual factors which are supported the analysis in datum 7 can be

identified in the following:

1) Character : Po and Shifu.

2) Setting : In the jade palace

3) Context of situation : Villagers emerge from hiding. Po walks out from

the mist looking very much like the warrior from the opening dream. As

he nears, we see that his hat is an upside down wok and his scarf is a torn

apron. Villagers cheer the Dragon Warrior. Po's Dad emerges from the

crowd. Po hugs his father and notices the Furious five. The deeply

impressed Furious Five accept Po as a kung fu master and their equal.

They call him ‘master’. Suddenly, he remembers master Shifu is badly

wounded. Po races toward the Jade Palace. He climbs the steps. Then more

steps. Po finds that Shifu is exhausted and appears to dying.

b. The Cooperative Principle

The violation of cooperative principle in datum 7 to create the humor is

identified below:

1) Maxim of quality

This maxim rules the speakers always say things they believe to be true.55

In this case, Po tells Shifu that he has defeated Tai Lung. When Shifu begins to

close his eyes, Po utters, “Master! Shifu! Shifu! Are you okay? No, Master, I didn't

die. I defeated Tai Lung. No! Master! No No No! Don't die, Shifu. Please...”. Po

55 Jan Renkema (1993), op. cit. 10.

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believes that what he say are true. Shifu, in another, closes his eyes to feel the

peace. He says, “I'm not dying, you idiot-- ah, Dragon Warrior. I'm simply at

peace. Finally”. Shifu also believes that what he say is true because he has not

reason to tell lie. Yet, both just say the truth. They are sure about what they say.

Then, they adhere to this maxim.

2) Maxim of quantity

Po’s contribution in this conversation is seen from his statements when he

has defeated Tai Lung and finds Shifu is exhausted and appears to dying. He says,

“Master! Shifu! Shifu! Are you okay? No, Master, I didn't die. I defeated Tai

Lung. No! Master! No No No! Don't die, Shifu. Please...”. Based on Po’s

statement, the writer identifies that Po give his contribution sufficiently

informative for the current purpose of the conversation. He repeats the word “No”

to express his fear for seeing Shifu appears to dying He doesn’t mean to violate

the maxim. Shifu thanks Po for defeating Tai Lung by his statement “You did?!

Wow. It is as Oogway foretold --You are the Dragon Warrior. You have brought

peace to this Valley. And to me. Thank you. Thank you, Po. Thank you”. The

writer suggests the repetition of “thank you” doesn’t mean to violate the maxim. It

used to emphasize Shifu’s thank. Shifu responds Po’s fear sufficiently. He says,

“I'm not dying, you idiot-- ah, Dragon Warrior. I'm simply at peace. Finally”.

Based on some proofs above, the writer concludes that the speakers obey this

maxim well.

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3) Maxim of relevance

Shifu asks Po about his battle by saying, “Po! You're alive! Or we're both

dead”. Po sends the relevant answer “No, Master, I didn't die. I defeated Tai

Lung!” when Po is afraid if Shifu dies, he utters, “Master! No No No! Don't die,

Shifu. Please...” and Shifu calms him by saying “I'm not dying, you idiot-- ah,

Dragon Warrior. I'm simply at peace. Finally”. Po has sent the relevant answer

for the question being asked by Shifu about his battle and Shifu has also sent

information to calm Po’s fear of his condition. In sum, all speakers engaged in this

conversation obey the maxim of relevance

4) Maxim of manner

Shifu thanks Po for defeating Tai Lung. Shifu says, “You did?! Wow. It is

as Oogway foretold --You are the Dragon Warrior. You have brought peace to

this Valley. And to me. Thank you. Thank you, Po. Thank you” Shifu says it in

small voice and after that he closes his eyes like he is dying. Then, Po starts

freaking out. Po says, “Master! No No No! Don't die, Shifu. Please...”. It seems

that Shifu violates the maxim because he creates an ambiguity in his speech.

Toward the explanation above, the writer concludes that the maxim of

manner is violated in the dialog in datum 7.

c. Humor

The dialog in datum 7 seems the conflict between what Po expects and

what actually happens. The conflict occurs when Shifu utters “thank you” with

smaller voice so then he closes his eyes. Po assumes that Shifu is dying but what

actually occurs is Shifu wants to feel peace after Tai Lung is defeated. This

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ambiguity is caused by the different interpretation of “thank you” which uttered

by Shifu in small voice so then he closes his eyes. The punch line is seen in the

statement “I'm not dying, you idiot”. It is surprising because the statement before

leads the audience’s expectation that Shifu will die. The different expectation

from Shifu’s statement “thank you” formulated as the following:

M1 = M2

Shifu is dying = = Shifu is in simply peace

X

Thank you

(Closing the Eyes)

The statement “Thank you” is the humor, X. it makes a different situation between

Po’s suggestion and Shifu’s condition. Po’s suggestion that Shifu is dying is M1

and The condition when Shifu feels in peace is M2.

d. Implicature

Shifu’s statement “Thank you. Thank you, Po. Thank you” and Shifu

action by closing his eyes after saying it evoke implicature. Po thinks Shifu is

dying but Shifu implies his statement and action to express his feeling of peaceful

after Po defeated Tai Lung and he needs a silent situation to feel peaceful.

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CHAPTER IV

CONCLUSIONS AND SUGGESTIONS

A. Conclusions

Communication means a lot to the human activity because communication

is human activity on the part of one individual to make him self understood by

another, and on the other part of that other to understand what was in the mind of

the first. Communication, furthermore, requires the human to cooperate because

communication only comes alive in mutually accepted and pragmatically

determined context. Therefore, to have communication comes alive, there are

underlying principle which manages the human’s act, his using language, and the

interpretation of his act and speech. The principle is called by cooperative

principle.

lxvii

If the human violates the cooperative principle, it can be assumed that

there are some possibilities why he violates it, such as he aims to imply his

utterances and conveys more than literal meaning which called implicature, or he

is not cooperative, or he tries to create humor. The violation of cooperative

principle can creates the incongruous humor to make something laughable or

amusing. The cooperative principle is classified into four maxims which are

maxim of quality, maxim of quantity, maxim of relevance, maxim of manner.

In this research, the writer has found and analyzed seven data violated the

cooperative principle to create the humors. As explained in the previous chapter,

the seven data analyzed data are dialogues in kung fu panda movie. The result of

analysis shows that two data violate the maxim of quality (datum one and datum

two). In datum one; Po’s father gives information what he believes to be false. He

says “here” which creates an ambiguity. Po expects that his father will say that his

place is at the restaurant but his father says that his place is at table two, five,

seven, and twelve. In datum two; Po says something that lack of evidence. Po says

that he almost arrives to the Jade Palace but when he stops to take a breathe, he is

aware that he is only seven stairs from the bottom.

Five data violate the maxim of manner (datum three, datum four, datum

five, datum six, and datum seven). In datum three; Crane doesn’t send his

message directly. Crane thinks that Po does not belong in his room but Po

misunderstands. Po assumes that Crane’s statement means he does not belong to

the Jade Palace. In datum four; Po says, “Doieeeee…” with his googly-eyed face

in serious situation while talking about Tai Lung. It creates an ambiguity. Tigress

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assumes that Po is hurt because his speech but actually because the acupuncture.

In datum five; Monkey doesn’t send his idea clearly when Shifu comes. Then, it

creates an ambiguity for Po. Po assumes that Monkey understands that he imitates

Shifu but actually Monkey utters it to tell Po that Shifu has entered the room. In

datum six; Shifu’s statement “Look at you” used to express his amazement for

seeing the perfect split but he does not send clearly his amazement. Then, po

misunderstands. In datum seven; Shifu says, “thank you” in small voice and after

that he closes his eyes as if he die. Then, Po starts freaking out. He creates an

ambiguity for Po.

B. Suggestions

The analysis of humor has been observed since the times of ancient Greek

philosophers through the present. Then, humor has many theories and approaches

with their own useful perspectives. In all its many splendor varieties of theories,

humors are mostly investigated through psychological theory. Based on

psychological theory, incongruous humor is seen as the perceiving of a situation

in two self-consistent but mutually incompatible frames of reference.

Actually, the incongruous humor also can be analyzed through linguistics

theory. The linguists argued that incongruous humor caused by violation of

communication principle. But the analysis of humor through linguistics theory is

still rare so that the analysis of this thesis entitled “Pragmatics Approach to the

Incongruity of Humor in the Dialogues of Kung Fu Panda Movie” can be a

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stimulation for the ones who are interested in the research of humor through

linguistics theory.

The study of humor indirectly can explore pragmatic issues of natural

language since it is the violation of communication principle which makes things

funny. Studies of large corpora of humor may be useful in the discovery of other

relevant pragmatic rules.

Finally, this research only embraces a small scope of humor whereas there

are various theories of humor. The writer suggests to whom are interested in

humor analysis based on linguistics theory a research which embraces a wide

scope of humor with various theories.

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