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THE TYPES OF AND THE POSSIBLE REASONS
FOR A CODE-SWITCHING PHENOMENON
IN INDONESIAN TEENAGE MAGAZINE ‘HAI’
A Thesis
Presented as Partial Fulfillment of the Requirementsto Obtain the Sarjana Pendidikan Degree
in English Language Education
By
Leonardus Dikka Maha Putra
Student number: 041214113
ENGLISH LANGUAGE EDUCATION STUDY PROGRAMDEPARTMENT OF LANGUAGE AND ARTS EDUCATIONFACULTY OF TEACHERS TRAINING AND EDUCATION
SANATA DHARMA UNIVERSITYYOGYAKARTA
2008
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A Thesis on
THE TYPES OF AND THE POSSIBLE REASONS
FOR A CODE-SWITCHING PHENOMENON
IN INDONESIAN TEENAGE MAGAZINE ‘HAI’
By
Leonardus Dikka Maha Putra
Student Number: 041214113
Approved by
Sponsor
Yohana Veniranda, S.Pd., M.Hum. November 15, 2008
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A Thesis on
THE TYPES OF AND THE POSSIBLE REASONS
FOR A CODE-SWITCHING PHENOMENON
IN INDONESIAN TEENAGE MAGAZINE ‘HAI’
ByLeonardus Dikka Maha PutraStudent Number: 041214113
Defended before the Board Examinerson November 27, 2008
and Declared Acceptable
Board of Examiners
Chairperson : A. Hardi Prasetyo, S.Pd., M.A. ________________
Secretary : Made Frida Yulia, S.Pd., M.Pd. ________________
Member : Yohana Veniranda, S.Pd., M.Hum. ________________
Member : Made Frida Yulia, S.Pd., M.Pd. ________________
Member : G. Punto Aji, S.Pd., M.Hum. ________________
Yogyakarta, November 27, 2008Faculty of Teachers Training and EducationSanata Dharma UniversityDean,
Drs. Tarsisius Sarkim, M.Ed., Ph.D.
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STATEMENT OF ORK’S ORIGINALITY
I honestly declare that this thesis, which I wrote, does not contain the work or
parts of the work of other people, except those cited in the quotations and the
bibliography, as a scientific paper should.
Yogyakarta, November 15, 2008
The Writer
Leonardus Dikka Maha Putra041214113
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[ Today is a gift ]
Dedicated to:
My beloved parents ; Fortunatus Teguh Pudjiprawoto & Florentina YustianiMy lovely brothers ; Christophorus Rikko Agita & Eduardus Vikki Verdhian
Thank you for todayI’ll do my best for tomorrow
[ Tomorrow is a mystery ]
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ACKNOWLEDGMENTS
I would like to praise Jesus Christ for giving me the belief that
encourages me to always keep doing the right things. I thank Him for the belief
that I have which whispers that there is something I can admire at the end of this
exhausting process so I have good reasons why I have to finish my study. I also
would like to express my gratitude to those who have supported me
First, I thank Yohana Veniranda, S.Pd., M.Hum., my sponsor, for her
guidance in the process of completing my thesis. I would like to give much
respect and appreciation of her kindness and patience in correcting simple-minor
errors in which I should have been able to produce everything correctly.
Second, I thank F.X. Ouda Teda Ena, S.Pd., M.Pd. for giving me a new
hope in the new topic for my thesis. I thank him for his trust that I can produce a
fruitful research on code-switching in ‘HAI’ teenage magazine. I hope that I have
given beneficial interpretations of the language phenomenon.
Third, I thank all lecturers and staff of the English Language Education
Study Program for their care and guidance. I thank them for the shared
knowledge and experience that would be very useful for me in the future.
Next, I also would like to give my never-ending thanks to my parents,
Fortunatus Teguh Pudjiprawoto & Florentina Yustiani, for all of the
opportunity that I have had. My warmest thanks are to my little brothers,
Christophorus Rikko Agita & Eduardus Vikki Verdhian, I thank them very
much for giving me another reason for finishing my study.
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Last, I also express my big thanks to all of my friends in PBI. They are
Santi ‘Bantul’, Vensi ‘Solo’, Sigit ‘Puncak Merapi’, Bekti ‘Bantul juga’, Lexi
‘Jepang’, Susan ‘Kalimantan’, Alit ‘??’, Ayoex ‘Gombong’, Bernard
‘Magelang’ Dita ‘Kaliurang’, and Berto ‘NTT’. I thank them for their willingness
to study together with me in our beloved, Sanata Dharma University.
Leonardus Dikka Maha Putra
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TABLE OF CONTENTS
Page
PAGE OF TITLE …………………………………………............................... i
PAGES OF APPROVAL ……………………………………………………… ii
STATEMENT OF WORK’S ORIGINALITY………………………………… iv
PAGE OF DEDICATION …………………………………………………….. v
ACKNOWLEDGEMENTS …………………………………………….……... vi
TABLE OF CONTENTS ………………………………………………..…..... viii
LIST OF TABLES …………………………………………………………….. xi
LIST OF FIGURE …………………………………………………………….. xii
ABSTRACT …………………………………………………………………... xiii
ABSTRAK ……………………………………………………………………... xv
CHAPTER I: INTRODUCTION ……………………………………………. 1
A. Background of the Study …………………………………………………… 1
B. Problem Identification ……………………………………………………… 3
C. Problem Limitation ………………………………………………………… 4
D. Problem Formulation ………………………………………………………. 4
E. Objectives of the Study ………………………………….…………………. 4
F. Benefits of the Study ……………………………………………………….. 5
G. Definition of Terms ……………………………………………………….... 5
CHAPTER II: THEORETICAL REVIEW …………………………………. 7
A. Theoretical Description …………………………………………………….. 7
1. The Nature of Code-Switching ……………………………………………... 7
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Page
2. The Types of Code-Switching ……………………………………………… 9
3. The Reasons for Code-Switching …………………………………….......... 13
4. Code-Switching and Language Learning …………………………………... 15
B. Theoretical Framework ……………………………………………………. 16
CHAPTER III: METHODOLOGY ………………………………………... 18
A. Research Method ………………………………………………………….. 18
B. Source of Data …………………………………………………………….. 20
C. Research Instruments ……………………………………………………… 21
D. Data Gathering Techniques ……………………………………………….. 21
E. Data Analysis Techniques ………………………………………………… 22
F. Research Procedures ………………………………………………………. 24
CHAPTER IV: RESEARCH DISCUSSION AND OTHER FINDINGS .... 27
A. The Types of and the Possible Reasons for Code-Switching …………….. 27
1. Analysis of The Types of Code-Switching ……………….………………. 28
a. Organize the Data………………………………………………………….. 28
b. Peruse the Data…………………………………………………………….. 29
c. Identify General Categories and Classify Each Piece of Data…………….. 30
d. Integrate and Summarize the Data…………………………………. …….. 31
2. Identification of the Possible Reasons for Code-Switching………………. 36
B. Code-Switching in Teaching-Learning Process of English Language…….. 42
CHAPTER V: CONCLUSIONS AND SUGGESTIONS…………………. 45
A. Conclusions………………………………………………………………... 45
1. The Types of Code-Switching in ‘HAI’ Teenage Magazine…………....... 45
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2. The Possible Reasons for Code-Switching in ‘HAI’ Teenage Magazine….. 46
B. Suggestions………………………………………………………………… 46
BIBLIOGRAPHY…………………………………………………………… 48
APPENDICES
APPENDIX 1: The Observation Form of the List of Code-Switching………… 50
APPENDIX 2: The Observation Form of the Types Analysis ………………... 51
APPENDIX 3: Code-Switching Cases in Vol. 37 …………….......................... 52
APPENDIX 4: Code-Switching Cases in Vol. 13 …………………………….. 74
APPENDIX 5: E-mail Transcript……………………………………………… 94
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LIST OF TABLES
Page
Table 4.1: The Summary of the Types of Code-Switching in Vol. 37………… 33
Table 4.2: The Summary of the Types of Code-Switching in Vol. 13 ………... 34
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LIST OF FIGURE
Page
Figure 3.1: The Data Analysis Spiral ………………………………………… 24
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ABSTRACT
Putra, Leonardus Dikka Maha. (2008). The Types of and the Possible Reasons fora Code-Switching Phenomenon in Indonesian Teenage Magazine ‘HAI’.Yogyakarta: Sanata Dharma University.
This study aimed at giving interpretations of code-switching in ‘HAI’teenage magazine. There were some language elements of English language whichwere juxtaposed with Indonesian utterances in the magazine. Sosiolinguisticsdefined this kind of language switching as code-switching. The code-switchingwas employed prominently by the writers of the articles of the magazine so itbecame a language phenomenon.
There were two questions to be answered in this study. They were: 1) whatare the types of the code-switching in Indonesian teenage magazine ‘HAI’? 2)what are the possible reasons for code-switching in Indonesian teenage magazine‘HAI’? To answer the questions, I followed the steps in analyzing the data ofqualitative research constructed by Creswell (1998) as cited by Leedy and Ormrod(2005: 150-151). The steps were: 1) organize the data, 2) peruse the data, 3)identify the data, 4) integrate and summarize the data. The steps were conductedto answer the first research question. In order to reveal the answer to the secondresearch question, further interpretation of the data of code-switching and theanswer to the first research question was conducted.
In order to present a clear description of what code-switching actually was,I organized the sentences that contained code-switching on an observation form.Then I perused the entire data. This process spelt out that there were three types ofcode-switching that existed in ‘HAI’ teenage magazine; single-word code-switching, conversational code-switching and integrated loanwords. Afterwards,further analysis was conducted to find out each type of the code-switchingcollected before. The summary of this process came up with the findings thatsingle-word code-switching was the most frequent type in the occurrence, whereasconversational code-switching and integrated loanwords were consecutively in thesecond and third position of the percentage.
The identification of the possible reasons for code-switching in ‘HAI’teenage magazine involved two important aspects. They were theories of code-switching from some linguists and the purposes of employing code-switchingstated by the editorial staff of the magazine. I used them as the considerations tointerpret the meaning of the existence of the language phenomenon in themagazine. The result of the interpretation implied that there were four possiblereasons for code-switching in the magazine. First, code-switching was used tobuild intimate relationship with teenagers as the readers. Second, the writers facedsome difficulty to describe or express certain things in Indonesian language.Third, it was because of the special terms related to the topic under discussionwhich were difficult to be translated to another language. Last, some quotedstatements from the informants themselves contained code-switching.
Whatever the types or the possible reasons are, I suggest that code-switching utterances in ‘HAI’ teenage magazine provide good models for English
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language understanding. The appropriate form of the juxtaposed foreign languageelement related to its function on the text is of chief importance.
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ABSTRAK
Putra, Leonardus Dikka Maha. (2008). The Types of and the Possible Reasons fora Code-Switching Phenomenon in Indonesian Teenage Magazine ‘HAI’.Yogyakarta: Universitas Sanata Dharma.
Penelitian ini bertujuan untuk memaparkan interpretasi mengenai code-switching di majalah remaja ‘HAI’. Terdapat beberapa elemen bahasa Inggrisyang penggunaannya diselipkan dalam ungkapan-ungkapan berbahasa Indonesiadalam majalah tersebut. Sosiolinguistik mendefinisikan alih bahasa semacam inidengan istilah code-switching. Code-switching digunakan secara sering oleh parapenulis artikel majalah tersebut sehingga ini menjadi sebuah fenomena.
Ada dua pertanyaan yang ingin dijawab dalam penelitian ini yaitu: 1) tipecode-switching apa saja yang terdapat di majalah remaja ‘HAI’? 2) apa saja yangmungkin menjadi alasan dari penggunaan code-switching di majalah remaja‘HAI’? Guna menemukan jawab dari pertanyaan-pertanyaan tersebut, sayamengikuti langkah-langkah penelitian untuk menganalisa data dalam penelitiankualitatif yang disusun oleh Creswell (1998) dan dikutip oleh Leedy dan Ormrod(2005: 150-151) sebagai berikut 1) mengorganisir data, 2) mengkaji data, 3)mengidentifikasi data, 4) mengkaitkan semua data dan merangkum kesimpulan.Langkah-langkah tersebut dilaksanakan guna menjawab pertanyaan yang pertama.Sedangkan untuk menguak jawaban dari pertanyaan yang kedua, dilaksanakanproses interpretasi lebih jauh dari data mengenai code-switching dan jawaban daripertanyaan penelitian yang pertama.
Dalam rangka memberikan gambaran yang jelas mengenai apa sebenarnyacode-switching di majalah remaja ‘HAI’, saya mendaftarkan semua ungkapanyang mengandung code-switching dalam suatu lembar observasi. Kemudian sayamenkaji data tersebut yang kemudian menguak fakta bahwa ada tiga tipe code-switching di majalah ‘HAI’ yaitu single-word code-switching, conversationalcode-switching, dan integrated loanwords. Proses selanjutnya adalah menganalisatipe setiap code-switching yang ada dalam lembar observasi. Proses tersebutmenghasilkan kesimpulan bahwa single-word code-switching adalah tipe yangpaling sering muncul. Sedangkan conversational code-switching dan integratedloanwords secara berurutan berada di posisi kedua dan ketiga menurut persentase.
Peoses identifikasi dari apa saja yang mungkin menjadi alasan ataspenggunaan code-switching di majalah remaja ‘HAI’ melibatkan dua aspekpenting yaitu teori-teori mengenai code-switching dari para ahli bahasa dan tujuandari penggunaan code-switching yang disampaikan oleh para editor majalahtersebut. Saya menggunakan dua aspek tersebut sebagai pertimbangan dalammenguak interpretasi dari maksud atau tujuan penggunaan code-switching dimajalah tersebut. Dari proses interpretasi, dapat kesimpulan bahwa ada empat halyang menjadi alasan dari penggunaan code-switching di majalah tersebut. Halyang pertama, code-switching digunakan dalam rangka membangun hubunganyang akrab dengan pembaca. Kedua, para penulis artikel di majalah ‘HAI’mengalami kendala dalam menyampaikan beberapa hal dalam bahasa Indonesia.
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Alasan ketiga yaitu karena istilah-istilah khusus dalam topik yang sedang dibahassulit untuk diterjemahkan ke dalam bahasa lain. Alasan yang terakhir yaitu karenabeberapa pernyataan yang dikutip dari para narasumber sendiri mengandung code-switching.
Apapun tipenya atau yang mungkin menjadi alasannya, saya menyarankanagar code-switching di majalah remaja ‘HAI’ memberi model yang baik bagiproses pemahaman bahasa Inggris. Bentuk yang tepat dari elemen-elemen bahasaasing yang digunakan sesuai dengan fungsinya masing-masing didalam teksmerupakan hal yang sangat penting.
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CHAPTER I
INTRODUCTION
A. Background of the Study
Nowadays, people can easily gain as much as possible information that
they need because there are a number of information resources such as
newspapers, magazines, TV stations, and internet websites. Everybody needs up
to date information to keep her or himself in touch with the world. In the middle
of the fast advances in technology of the electronic information media such as
television and internet, people are still interested in gaining much information that
they need from the printed mass media like newspapers and magazines.
Unlike the middle-aged people who really love to read newspapers to
support their social life, teenagers would rather read magazines than newspapers,
especially teenage magazines. They have certain reasons for this; it can be because
of some more interesting features of magazines such as colourful papers and
pictures or due to various topics of the magazines which are in line with the
interest among teenagers. In order to fulfill the needs of information among
teenagers, at present, so many teenage magazines are published and they compete
to be the best. ’HAI’ teenage magazine is one of the most popular teenage
magazines in Indonesia which still concerns in supplying teenagers with enough
information in line with entertainment. This commitment is being realized within
a lot of interesting features of the magazine that can increase teenagers’ interest in
reading the magazine.
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One interesting language feature that can be found in ‘HAI’ teenage
magazine is prominent borrowing of words, phrases, or even sentences from
English language juxtaposed with Indonesian words, phrases, or sentences to
create interesting language utterances. In addition, the writers of the articles are
aware of their process of adoption by italicizing those foreign language elements.
This becomes a phenomenon because the adoption is employed prominently.
Almost in every page of the magazine, there are so many words from English
language that exist within Indonesian utterances.
This phenomenon can be explained by linguists by the term code-
switching. Asher (1994: 581) explains “the term ‘code-switching’ refers to the
juxtaposition of elements from two (or more) languages or dialects.” So, someone
may switch the language that she or he uses from one language to another. She or
he can produce a language utterance which consists of language elements from
two or more different languages. It can be found in ‘HAI’ teenage magazine in
which the writers produce Indonesian utterances with the language elements of
Indonesian and English language.
There are a number of reasons for code-switching. One of them can be a
matter of necessity. Sometimes, people find some difficulty to explain something
in their native language expression since there is no obvious word or expression of
the language to be used. As the compensation they decide to find the more
obvious expression from other languages. They employ the more expressive or
representative word or phrase from foreign languages to explain what they want to
say, so they speak with two different languages. For example, Indonesians
frequently borrow ‘gender’ from English language. It can be seen in a popular
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phrase of Indonesian language kesetaraan gender. Indonesians prefer borrowing
an English word ‘gender’ to using an Indonesian phrase jenis kelamin. It is not
strange at all to find an alteration between two different languages within a single
utterance, which is called code-switching, as far as the speaker has appropriate
reasons to apply it.
There is a great deal of implementation of code-switching dealing with the
foreign language elements which are borrowed. There is apparent distinction on
the length of these elements which vary from a single word up to a complete
sentence. Language theories are chief matters which should be obeyed as guidance
toward better understanding and implementation of various kinds of code-
switching.
Since ‘HAI’ teenage magazine is one of the Indonesian public media
which carries out education mission, it needs appropriate reasons for borrowing
language elements from foreign language, in this case English language, to be
juxtaposed with Indonesian utterances.
B. Problem Identification
Some examples of code-switching in ‘HAI’ teenage magazine assert
clearly the different length of the juxtaposed language elements which are
borrowed from English language. The foreign language elements are not only
single words, phrases or clauses but also complete English sentences. This
difference suggests various types of code-switching dealing with the length of the
juxtaposed elements exist in the magazine. The analysis of the types hopefully
may reveal the possible reasons for the existence of code-switching in ‘HAI’
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teenage magazine, which are of chief importance for the process of language
learning and understanding. The magazine has to have appropriate reasons for
this.
C. Problem Limitation
I am going to gain further comprehension and gain interpretations of a
language phenomenon that exists in ‘HAI’ teenage magazine which is identified
as code-switching. The code-switching, which should involve at least two
languages, in this study involves the switching between Indonesian and English
language.
D. Problem Formulation
There are two problems formulated in this study in order to specify the
main goal of the study. The problems can be formulated as follows:
1. What are the types of code-switching in Indonesian teenage magazine ‘HAI’?
2. What are the possible reasons for code-switching in Indonesian teenage
magazine ‘HAI’?
E. Objectives of the Study
In this study, there are two objectives to elaborate as follows:
1. to analyze the types of code-switching in Indonesian teenage magazine ‘HAI’,
and
2. to identify the possible reasons for code-switching in Indonesian teenage
magazine ‘HAI’.
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F. Benefits of the Study
There are a number of benefits of this study for other people. The benefits
are specified for two groups of people who are the learners and other researchers
of English language.
The benefits for English language learners can be formulated as follows:
1. English learners will have broader knowledge of code-switching, especially
about the types of code-switching that exist in society. The code-switching
with various types in ‘HAI’ teenage magazines can be models for English
language learners to be applied in their daily communication.
2. English learners will obtain some possible reasons for code-switching so they
can understand where and when to apply it appropriately.
The benefits for other researchers can be formulated as follows:
1. This study will hopefully encourage other researchers to conduct further study
of code-switching.
2. Other researchers will have a kind of enlightenment or inspiration to explore
other language phenomena which exist in society.
G. Definition of Terms
These are some terms which need to be defined:
1. Code-switching
Code-switching is one of the objects of sociolinguistics, the study which
accounts the relationship between language use and the condition of the
society. Chrystal (1987) as cited by Skiba in Code Switching as a
Countenance of Language Interference explains that code-switching happens
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when a bilingual person employs more than one language in her or his speech.
This involves the alteration of the language expressions of languages used by
the speaker. The alternated language elements take a number of forms such as
sentences and phrases.
2. Teenage Magazines
Teenage magazines are magazines which assert teenagers as the target
readers. The topics of the articles vary in line with teenagers’ favorites. The
language which is conformed to the teenagers’ language style or dialect is
important to be considered in order to build teenagers’ interest in the
magazines. It can also be an identity of a teenage magazine which can be used
to differentiate this sort of magazine from the others.
3. ‘HAI’ Teenage Magazine
‘HAI’ teenage magazine is one of the local teenage magazines of
Indonesia which has been published since 1977. This weekly magazine
presents review of information for teenagers. It has various topics for the
articles in line with teenagers’ life style such as pop music, sports, teenage
idols, up-to-date events, horoscope, etc.
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CHAPTER II
REVIEW OF RELATED LITERATURE
This chapter is divided into two main parts namely theoretical description
and theoretical framework. The theoretical description presents general
understanding of code-switching which is explained through discussion of some
definitions from some linguist besides a number of type classifications and
reasons for it as the main points of this study. Meanwhile, the theoretical
framework explains procedures organized to accomplish this study.
A. Theoretical Description
In order to obtain good understanding of code-switching, this theoretical
description is presented. This section consists of some definitions of code-
switching from some linguists, where and when it may happen in a society, some
types classifications and reasons for it, and also the relation of it with teaching and
learning activities.
1. The Nature of Code-Switching
According to Wardhaugh (1992: 103) the term ‘code’ refers to any dialect
or language used by a speaker to build communication with others. He asserts that
a person may use more than one code in her or his speech instead of just
employing a single code. People may switch or mix the codes or languages that
they use. And a term ‘code-switching’ is used to name this conversational
strategy.
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There are a number of definitions of code-switching according to some
linguists. They have various definitions of it and employ different ways to explain
it. In order to obtain in-depth comprehension of code-switching, this study
presents a number of definitions from a number of linguists.
Valdes-Fallis (1977) as cited by Duran in Toward a Better Understanding
of Code-Switching and Interlanguage in Bilinguality: Implications for Bilingual
Instruction explains that code-switching may happen if two languages used
simultaneously or interchangeable. In addition, Peter Stockwell (2002: 135) states
that “Code-switching is often the specific mechanism through which the
borrowing of words and constructions happens.” From these two arguments, it
can be understood that code-switching involves two languages used
simultaneously by a speaker. As a result, there is a kind of alteration in the
language utterances involving language elements of those two languages by the
process of borrowing and constructing or combining. A speaker may borrow
certain language elements from another language and combine them with the
language elements of her or his native language. The language elements here can
be a word, phrase, clause or even complete sentence. But of course code-switching
pursues a number of requirements such as the speaker’s language competence of
the two languages in order to construct together the language elements of both
languages appropriately. The construction needs match combination of the
grammatical rules of the languages involved in the code-switching. It is explained
by Chana (1984) as cited by Duran in Toward a Better Understanding of Code-
Switching and Interlanguage in Bilinguality: Implications for Bilingual
Instruction that code-switching is the juxtaposition within the passage of
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someone’s speech which involves items of two different languages. The items are
tied together according to the rules of both languages so the speaker is obliged to
put much respect on both language rules.
Since code-switching belongs to sociolinguistics, social context is also
important to be put in the discussion. The setting that enables code-switching to
happen may be described. Wardhaugh (1992: 103-104) elaborates where code-
switching may happen.
First, code-switching may happen in a multilingual country. It is a country
which employs more than one language as media of communication among the
citizens. Singapore, for instance, has five languages which are English, the
Mandarin variety of Chinese, Tamil, Malay, and Hokkien, another variety of
Chinese. The educational activity in formal school is held in formal Singapore
English and Mandarin. Meanwhile, people tend to bargain something with either
Hokkien or informal Singapore English in a traditional market.
Second, code-switching may also occur where there are multilingual
people meet each other in a foreign setting. For example, Indonesian students who
live in the United State have a tendency to use not only English language all the
time but they may also speak in their native language or dialect in certain
occasions. When they discuss academic work they may use English language, but
when they want to share daily activities in their spare time, they may choose
Indonesian language.
2. The Types of Code-Switching
Every linguist has her or his own theory or point of view to classify the
types of code-switching. Code-switching is a broad and complex language
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phenomenon since it involves two distinctive languages in a single context of
occurrence. There are so many factors that affect code-switching to happen. The
different classification of the types of code-switching is considered normal and
acceptable.
According to The Encyclopedia of Language and Linguistics, there are
seven types of code-switching. The classification among those seven types is
mainly according to the length of the juxtaposed elements which are borrowed
from foreign language.
The first one is called diglossia. There are two distinctive varieties of code
that exist in diglossic communities. They are high (H) and low (L) variety. The
first one is the prestige variety which is used in formal discourse, and the other,
which is lack of prestige, is used in less formal discourse. People may use L
variety when they speak to their family at home but choose H variety, the more
formal variety, when they do job presentation in the office. The switching in
diglossia occurs in discourse level and involves the switching from H to L variety
or just on the contrary. Discourse is a unit of language elements which is longer
than a sentence.
The second type is situational code-switching. The language change
depends on the occasion faced by a speaker since certain occasion may encourage
the speaker to exchange the language which is used. The change happens for the
whole part of one’s speech in one context. For example, an English teacher may
talk in English for the whole part of the explanatory speech of a past perfect tense
to the second-grade students of Junior High School. Unfortunately, the students
have not understood the teacher’s explanation of when to use this tense. It is
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helpful and possible if the teacher re-explains her or his English explanatory
speech in Indonesian so the students can fairly comprehend it. Despite the
framework of the context of occurrence which should be within one context, this
example of situational code-switching also gives salient description that
situational code-switching happens without any change of the topic.
The third one is metaphoric code-switching. The role of relationship
between the speakers in a conversation may change. The change of the language
or dialect that they use may also change in line with it. Unlike the previous one,
this type of code-switching asserts a change of the topic under discussion. When
someone meets her or his neighbour doing a duty as a bank teller the person may
greet her or his neighbour with their daily language, the less formal one, such as a
local dialect. But the person, then, appropriately and politely chooses the more
formal language to assert her or his main purpose to come to the bank, that she or
he wants to draw some money. Here, the person changes the role of relationship
from personal to official. The different relationship between the speakers which is
built by changing the code that they use asserts the existence of metaphoric code-
switching.
The fourth type of code-switching is called conversational code-
switching. It can also be called style shifting or code mixing. It allows the speaker
to juxtapose various length of foreign language elements within her or his speech.
The juxtaposed foreign language element in this type can be a phrase, clause, or
full sentence.
When the juxtaposed element is a single word, the process involves single-
word code-switching. This fifth type can also be called borrowing. It welcomes
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the speaker to borrow a single word from another language or dialect and place it
within her or his native language utterances. Here is one example of this type of
code-switching which involves Indonesian and English language:
‘Ceritanya dari film itu mengambil setting di Portugal.’
From the example, it can be seen that the speaker replaces an Indonesian
word lokasi with an English word ‘setting’.
The last type of code-switching introduced in The Encyclopedia of
Language and Linguistics is integrated loanwords. The juxtaposition in this type
happens in a morpheme level. Morpheme is a minimal functional element of a
word. Here, someone may integrate a word from a foreign language with affixes
of her or his native language to form a certain language expression. Here is an
example of this type of code-switching which involves English and Indonesia
language.
‘Ronald adalah pemain gitar yang ber-skill tinggi.’
From the sentence above, the speaker combines an Indonesian prefix ber-
with an English word ‘skill’.
The next classification of code-switching is presented by Ronald
Wardhaugh. He discusses three kinds of language switching that may exist in
society.
The first type of code-switching is situational code-switching.
Wardhaugh (1992: 106) explains that situational code-switching happens when
the language which is used by a speaker changes according to the situation which
is faced by the speaker. She or he may speak one language in one situation and
another language in the different one. It can be seen when a teacher starts a kind of
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formal lecture in a standard variety and then tries to encourage the following
discussion in a local dialect so that the students will not get tired.
Second, there is metaphorical code-switching. One thing that enables
people to identify metaphorical code-switching is that it has an affective
dimension; formal to informal, official to personal, serious to humorous, etc. This
type of code-switching can be seen when two leaders of local companies transact
business together. Even though the standard language is generally used,
sometimes they also speak in a local dialect for special effect, e.g., to show that
they trust each other.
The last type is conversational code-mixing. The difference between
code-switching and code-mixing can be seen through the context of the
occurrence in which code-mixing occurs within a single utterance of someone’s
speech as what Wardhaugh (1992: 106) says that “Code-mixing occurs when
conversances use both languages together to the extent that they change from one
language to the other in the course of a single utterance.” Here are some examples
of conversational code-mixing that Wardhaugh gives between Spanish and
English language:
a. No van a bring it up in the meeting.
‘They are not going to bring it up in the meeting.’
b. Todos los Mexicanos were riled up.
‘All the Mexicans were riled up.’
3. The Reasons for Code-Switching
This study elaborates various reasons for code-switching from two
linguists; D. Crystal and Ronald Wardhaugh.
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Crystal (1987) as cited by Skiba in Code Switching as a Countenance of
Language Interference identifies three reasons why people employ code-switching
in their communication.
First, there is a possibility that a speaker may not be able to express her or
himself in one language so she or he switches to another language to compensate
for the deficiency. Someone’s language competence, even in her or his native
language, may be limited. For a multilingual person who is able to speak more
than one language, switching the language that she or he uses may be the best
answer for the deficiency problem.
Second, code-switching is used because someone wants to express
solidarity with a particular social group of speakers. She or he may use a language
which is used to show her or his sympathy or express what they fell toward others.
Almost every ethnic group has a vernacular language or dialect, and switching the
language toward the language of a particular ethnic group can be one way to
express solidarity toward the group.
Third, someone applies code-switching as a sort of variation in the level of
formality of her or his speech. A speaker has to be able to decide the opportunity
when to use each of them appropriately. Someone may accidentally change the
degree of the formality of the language by code-switching. It is needed to give
special effect of the relationship such as to build intimate relationship.
Meanwhile, Wardhaugh (1992: 106) provides three reasons for code-
switching.
The first reason is to express solidarity with the listeners. Language can be
used as a bridge of solidarity. People may choose a language from a certain
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country or ethnic group to show their solidarity toward the people from that
country or ethnic group besides to build the more intimate atmosphere or
relationship.
The second reason is because of the choice of topic. In a conversation,
people often switch the topic under discussion. A particular language might be
appropriate to discuss a certain topic. The change of the topic might be also
accompanied by language switching so the variety of the language can be
appropriate with the new topic.
The last reason for code-switching given by Wardhaugh is that someone
uses code-switching because she or he perceives social and cultural distance. It is
related to the level of formality of the language. Someone may choose an informal
variety if she or he talks to her or his friend, on the other hand, a formal-standard
variety will be the best choice if she or he talks to her or his teachers since there is
social distance.
4. Code-Switching and Language Learning
Cook (1991) as cited by Skiba in Code Switching as a Countenance of
Language Interference agrees that code-switching can be used to help the process
of language learning. He describes the Institute of Linguistics' examinations in
Languages for International Communication test as one which uses code
switching. At beginners’ level, students may use the second language to obtain
some information from materials such as a travel brochure or a phone message to
answer comprehension questions in the first language. At advanced stages, the
students may be required to research a topic and provide a report in the first
language.
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B. Theoretical Framework
In order to conduct a systematic study, I organize this theoretical
framework to explain the procedures organized to accomplish this study. There
are five steps presented in this theoretical framework.
1. Conducting preliminary observation of code-switching in ‘HAI’ teenage
magazine
By conducting preliminary observation of the code-switching in ‘HAI’
teenage magazine, I can obtain an overview of the language phenomenon
being studied. The results of this process can be very useful for further
processes since the preliminary observation may give me basic description of
code-switching in the magazine. So, this step is also important in this study.
2. Conducting a confirmation of code-switching to the editorial staff of ‘HAI’
teenage magazine
Conducting a confirmation of the existence of code-switching in ‘HAI’
teenage magazine to the editorial staff of the magazine is also needed. The
information that I receive from them, as the informants of this study, hopefully
can give me salient comprehension of the existence of code-switching in the
magazine.
3. Collecting the code-switching cases which exist in ‘HAI’ teenage magazine
By listing the code-switching cases on an observation form, I may gain much
help in the process of analyzing the data. It can also give the readers a clear
description of code-switching cases in ‘HAI’ teenage magazine.
4. Analyzing the types of code-switching in ‘HAI’ teenage magazine
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The analysis of the types of code-switching is conducted after all of the
utterances that contain code-switching in the magazine have been listed on the
observation form. I employ some categories of the type of code-switching
stated by linguists to classify the types of code-switching in ‘HAI’ teenage
magazine.
5. Identifying the possible reasons for code-switching in ‘HAI’ teenage magazine
The identification of the possible reasons involves three important aspects; a
number of reasons for code-switching stated by linguists, some information
collected from the informants of this study, and my interpretations of the
phenomenon. The first two aspects are used as the basis for my interpretations
in identifying the data. The result of this process may come up with some
possible reasons for code-switching in ‘HAI’ teenage magazine.
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CHAPTER III
METHODOLOGY
I used a certain methodology to conduct this study, and this chapter aimed
at discussing the methodology systematically. The discussion included research
method, source of data, research instrument, data gathering techniques, data
analysis techniques, and research procedures.
A. Research Method
A certain methodology was needed as guidance to conduct and organize
steps or procedures of this study. Since this study was conducted to comprehend a
language phenomenon that existed in society, in this case code-switching,
qualitative research was considered as the most appropriate term to name the
method of this study because Leedy and Ormrod (2005: 133) argued that
qualitative research focuses on understanding social phenomena in their natural
setting. Code-switching in ‘HAI’ teenage magazine was considered as a social
phenomenon in language use because the writers of the articles employed code-
switching prominently. Through this study I was going to analyze and
comprehend this kind of social phenomenon that existed in ‘HAI’ teenage
magazine.
The objective of finding some possible reasons for code-switching in
‘HAI’ teenage magazine was to interpret the meaning of the existence of code-
switching in the magazine since it was essential, in qualitative research, to figure
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out interpretations of the phenomenon which were constructed in the particular
setting. The identification of the possible reasons could represent my
interpretations of code-switching. Merriam (2002:3-4) discussed further about
this:
The key to understand qualitative research lies with the idea that meaning issocially constructed by individuals in interaction with their world. There aremultiple constructions and interpretations of reality that are flux and changeover time. And qualitative research tries to understand what thoseinterpretations are at a particular point in time and in a particular context.
Holliday (2002: 12) stated that qualitative research also tries to understand
the complexities of a culture of the social world where we live and how we can go
about thinking, acting and making meaning of it. He defined ‘culture’ according to
the belief of Beales, G. Spindler and L. Spindler (1967: 8) that “’Culture’
therefore refers to the cohesive behaviour within any social grouping from a
neightbourhood to a work group.” From this definition of culture, it could be
concluded that the process of employing code-switching done by the writers of the
articles in ‘HAI’ teenage magazine was a kind of culture since they employed
code-switching prominently almost in every page of the magazine. In addition, it
became cohesive behaviour which was implemented by most of the writers of the
articles of ‘HAI’ teenage magazine.
Since this research was an in-depth study of code-switching which
presented further analysis and an description of this existing phenomenon, it was
considered as descriptive research. Bungin (2007: 68-69) explained that
descriptive study involved an in-depth exploration of the object being studied.
That was why it was appropriate and necessary to not only identify the types of
code-switching but also analyze the possible reasons for code-switching in ‘HAI’
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teenage magazine. The analysis of the types of code-switching might come to the
understanding of its complexities and through the identification of the possible
reasons I would like to interpret the meaning of applying code-switching in the
magazine.
The choice of using the first person point of view was appropriate in this
qualitative research to describe the inclusiveness of the researcher toward the
object of the study. It was also needed to enable the readers to see my
interpretations saliently. It was supported by Clark and Ivanič (1997: 169) who
said that the use of ‘I’ could create:
A different, more transparent relationship with her reader. […] She tried tomake it very clear what her own opinions are. In other words, she tries not todisguise ‘opinion’ as ‘fact’ by using impersonal so-called objective language.
B. Source of Data
‘HAI’ teenage magazine was considered as the main source of data since
this study concerned in code-switching that existed in ‘HAI’ teenage magazine
only. There was a sort of combination between Indonesian and English language
to produce certain utterances which was then considered as code-switching. I
employed two editions of ‘HAI’ teenage magazine to be analyzed and chose the
magazines randomly without paying much attention on the edition number or
publish due date. I decided to choose two editions of ‘HAI’ teenage magazine as
the objects of my research to answer the research questions since it had already
been able to describe the existence of code-switching in ‘HAI’ teenage magazine.
They were as follows:
a. 12-18 SEPTEMBER 2005/TH XXIX NO 37
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b. 26 MARCH-1 APRIL 2007/TH XXXI NO 13
The editorial staff of ‘HAI’ teenage magazine played a significant role as
the informants of this study. Informants were needed to obtain a vivid description
of code-switching in the magazine.
C. Research Instrument
Kountur (2003: 151) explained that instruments of a research played an
important role in data collection and analysis. Since this study was qualitative
research, the researcher was considered as the research instrument of this study. It
was supported by Merriam (2002: 5) who explained that
A second characteristic of all forms of qualitative research is that theresearcher is the primary instrument for data collections and data analysis.Since understanding is the goal of this research, the human instrument,which is able to be immediately responsive and adaptive, would seem to bethe ideal means of collecting and analyzing data.
D. Data Gathering Techniques
In order to obtain qualified data to support my research, I employed two
methods offered by Bungis (2007: 115-124). They were participant observer and
online data search method.
Participant observer was a method used by researchers to obtain data of a
research by observation and sensory perception. It required the use of human
senses like eyes, ears, or skin to obtain data. I used this method to get the data of
code-switching cases in ‘HAI’ teenage magazine. The implementation of this
method was conducted in three steps.
First, the observation form was designed to list the code-switching cases
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which were found in ‘HAI’ teenage magazine. They were accompanied by the
page numbers in the magazine. The data of code-switching presented on the
observation would be easier to be analyzed.
Second, the identification of the code-switching cases was conducted.
Since English language elements, as the juxtaposed elements of the code-
switching in ‘HAI’ teenage magazine, were italicized, I gained much help to
identify the code-switching cases in the target magazines. The process of the
identification of the code-switching cases was done by reading and analyzing
carefully the target magazine.
Finally, all of the code-switching cases found in ‘HAI’ teenage magazine
were listed on the observation form. They were accompanied by the page numbers
in the magazine.
Online data search was a method to get data from the internet. I conducted
this method to obtain information from the editorial staff of ‘HAI’ teenage
magazine as the informants of this study. I sent them an e-mail to clarify whether
or not they had any purpose of using code-switching in the magazine. The answer
from the informants might help me to identify possible reasons of code-switching
in the magazine.
E. Data Analysis Techniques
Data analysis was very important this qualitative study, so appropriate
method in analyzing the data was necessary. In order to gain qualified findings, I
followed the organized steps in organizing and analyzing the data of qualitative
research which were constructed by Creswell (1998) as cited by Leedy and
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Ormrod (2005). He created a data analysis spiral which was implemented within
the following steps:
1. Organize the data
The large bodies of text should be broken down into the smaller one which
could be presented in the form of sentences or individual words. I conducted
scanning reading to identify language expressions in the target magazines that
contained code-switching. And then the code-switching cases were listed on
the observation forms.
2. Peruse the data
In this step, I might obtain an early overview of the data collected in the
previous step which could be very helpful for the later steps. The sense of
early interpretations toward the phenomenon being studied might arise here.
3. Identify general categories and classify each piece of data
This step might come up with specific patterns of data. The data presented on
the observation forms was the primary object of identification in this step.
Every code-switching case which was listed on the observation forms was
identified for its type.
4. Integrate and summarize the data
After the identification process of the types of the code-switching in ‘HAI’
teenage magazine had been finished, the findings could be summarized.
Creswell suggested that researchers presented the summary in an
organizational scheme such as a table, figure, or diagram. This step also
encompassed further interpretations of the data beyond certain types of code-
switching that existed in the magazine. The integration of every code-
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switching case might spell out further interpretations of the language
phenomenon.
The data analysis spiral could be figured out as follows:
Figure 3.1: The Data Analysis Spiral
F. Research Procedures
This section described the procedures of this study which were organized and
done to obtain deep comprehension of the phenomenon being studied. There were
six steps conducted to accomplish the research as follows:
1. Selecting the target magazine
There were two editions of ‘HAI’ teenage magazine used as the target
magazines in this study since they had already been able to describe the
existing phenomenon in the Indonesian teenage magazine. I chose the
magazine randomly.
The Final Report
Synthesis
The Raw Data
Organization
Perusal
Classification
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2. Designing the observation form
It was important to produce the observation form in the very beginning of the
process. Observation form was needed to accommodate the data of code-
switching cases from the target magazine. They were used to list all of the
code-switching cases found in the magazines so every code-switching case
could be clearly seen within its context of the occurrence.
3. Listing the code-switching cases on the observation form
After the observation form had been designed, code-switching identification
on the target magazines could be conducted. Since the borrowed language
elements were italicized, I gained much help in identifying the code-switching
cases in the magazine. Every code-switching case which was found in the
magazine then listed on the observation forms.
4. Analyzing the types of the list of code-switching
Code-switching cases which were listed on the observation form were directly
analyzed to find out the types according to the categories employed by this
study.
5. Identifying the possible reasons for code-switching
A number of linguists had asserted some reasons for code-switching
application. I used the reasons as the bases to figure out the possible reasons
for code-switching in ‘HAI’ teenage magazine. The process of identifying the
possible reasons also included the reasons for code-switching stated by the
editorial staff of ‘HAI ‘teenage magazine. My personal interpretations of the
language phenomenon were also very important here.
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6. Making conclusions based on the findings
The results of the steps done previously were concluded in this step. They
were the answers to the research questions presented in the problem
formulation.
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CHAPTER IV
RESEARCH DISCUSSION AND OTHER FINDINGS
As it had been stated in the problem formulation, this study had two
questions to be answered. They were 1) what are types of code-switching in
Indonesian teenage magazine ‘HAI’? 2) what are the possible reasons for code-
switching in Indonesian teenage magazine ‘HAI’? This chapter was presented to
discuss the implementation of the research procedures to answer the research
questions and gain in-depth interpretations of the language phenomenon.
A. The Types of and the Possible Reasons for Code-Switching
I conducted literature review to obtain enough data of the definition of
code-switching. The data was sufficient to conclude that the language
phenomenon which existed in ‘HAI’ teenage magazine was code-switching. I
identified that the writers of the articles juxtaposed some English language
elements with Indonesian utterances in their articles in the magazine. Based on a
number of definitions of code-switching from some linguists, I defined code-
switching in ‘HAI’ teenage magazine as the juxtaposition of language elements of
Indonesian and English language used simultaneously by the writers of the articles
to produce certain utterances. Asher (1994: 578) gave a little support for my
definition of code-switching in ‘HAI’ teenage magazine by stating that “Code-
switching then is the switching from one variety, either of the same language or of
different languages, in speech or writing.”
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The complexity of code-switching arose on which one definition had been
implemented to form various types. And every people might have different
reasons for applying code-switching. Yet, this might be the starting point to gain
in-depth interpretations of the existence of code-switching in ‘HAI’ teenage
magazine. Moreover, the code-switching occurred prominently so it became a
language phenomenon which could be studied to obtain meaningful
interpretations.
1. Analysis of the Types of Code-Switching
In the process of analyzing the types of code-switching in ‘HAI’ teenage
magazine, I adopted the steps for analyzing data in qualitative research formulated
by Creswell (1998) as cited by Leedy and Ormrod (2005). There were four main
steps which were started by data collection or organization. Further explanation
and implementation of the process could be seen in the discussion of the following
steps.
a. Organize the Data
The data of this research were all of the code-switching cases in ‘HAI’
teenage magazines. There were two editions of ‘HAI’ teenage magazine which
were used as the target magazines. They were as follows:
1) 12-18 SEPTEMBER 2005/TH XXIX NO 37
2) 26 MARCH-1 APRIL 2007/TH XXXI NO 13
An observation form was used to collect data of code-switching cases
found in the teenage magazines. The observation form to collect the data of code-
switching in the contextual utterances could be seen in Appendix 1.
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There were two observation forms used in this study. The code-switching
cases in one edition of the magazine were collected on one observation form.
I found so many utterances that contained code-switching cases almost in
every page in the magazines. It showed that the writers of the articles employed
code-switching prominently. All of the code-switching cases were listed on the
observation form by writing the code-switching cases in the contextual utterances
and not merely the switched or juxtaposed language elements. The code-switching
in the magazines were mostly occurred within a sentence and only few of them
occurred between sentences. The page number column accommodated the page
numbers of the magazines where the code-switching were found. It was important
to write also the page numbers so the existence of the code-switching cases in the
magazines could be proved effectively.
b. Peruse the Data
This section was done to obtain an overview of the data of code-switching
cases collected before. From the analysis of code-switching cases presented on the
observation forms, I found that three of the six types of code-switching from The
Encyclopedia of Language and Linguistics existed in the magazines. The
classification of the types was based on the length of the juxtaposed language
elements. The three types and the examples of code-switching from the magazines
were as follows:
1) Conversational code-switching; the juxtaposed element can be a sentence,
clause, or phrase. E.g.:
a) Sekardus cat semprot warna-warni plus masker jadi senjata andalan. It’s
show time! (p.5, vol. 37)
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b) Nih mobil menjadi mobil yang paling sering memecahkan rekor fastest
lap. (p.21. vol. 37)
c) Siapa sangka kalo in the real life dia juga MisssRing-Ring? (p.2, vol.13)
2) Single-word code-switching; the juxtaposed element is a single word. E.g.:
a) Next, tentang belajar dari coba-coba. (p.27, vol.37)
b) Nggak nyangka kalo iklan itu bakal booming. (p.6, vol.13)
3) Integrated loanwords; the juxtaposed element consists of morphemes of
English and Indonesian language which are integrated to form a single
expression. E.g.:
a) Sound-nya bener-bener dikulik abis. (p.13, vol.37)
b) Yang udah pasti, ambience-nya jadi berubah. (p.13, vol.37)
c) Nanti penonton kasih komentar, terus kalo ada penonton yang suka sama
lagunya, mereka harus temenin nge-date. (p.10, vol.37)
d) Rio pun menyanyikan salah satu lagu legend-nya The Groove itu dengan
lancer. (p.12, vol.13)
From the finding of the types of code-switching that existed in ‘HAI’
teenage magazine above, it could be concluded that the length of the juxtaposed
language elements varied from a single word up to a complete sentence. And the
code-switching mostly happened within a sentence.
c. Identify General Categories and Classify Each Piece of Data
In this step, the list of code-switching cases presented on the observation
form was analyzed to find out each type of every code-switching case. Before the
code-switching types analysis, the observation form was updated by adding the
categories of the types of code-switching that existed in ‘HAI’ teenage magazine;
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single-word code-switching, conversational code-switching, and integrated
loanwords. The three types had been proved to be the only types of code-
switching which existed in the magazine. For a more detailed description of the
observation form for analyzing the types of code-switching cases in the target
magazines, see Appendix 2.
d. Integrate and Summarize the Data
I accounted code-switching based on the existence of the foreign language
elements, in this case English language elements, which were combined with
Indonesian language elements. The data implied that within a single sentence,
there could be more than one unit of the juxtaposed element with various lengths.
In other words, there could be more than one type of code-switching as it could be
observed from the examples below.
1) Integrated loanwords and single-word code-switching
a) Kalo udah di-perform-in secara live, tapi mereka nggak bisa ngeliat
penontonnya. (p.5, vol.37)
b) Problem utama band ini terletak pada frontman-nya yang pecandu berat
drugs. (p.78, vol.37)
c) Sayang, di single terakhir, pronunciation-nya rada kacrut. (p.21, vol.13)
In the first example, an English-Indonesian expression ‘di-perform-in’
was the juxtaposed language element for the integrated loanwords code-
switching. Meanwhile, an English word ‘live’ was the juxtaposed language
element for the single-word code-switching. So, there were two types of code-
switching.
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2) Conversational code-switching and integrated loanwords
a) Bams cs “memaksa” music maniacs Palembang ber-sing a long. (p.8, vol.
37)
b) Job desk-nya hampir sama dengan stage crew. (p.29, vol.13)
In the first example, conversational code-switching could be identified by
the existence of an English phrase ‘music maniacs’, and integrated loanwords
involved ‘ber-sing a long’.
3) Single-word code-switching and conversational code-switching
a) Kombinasi medium beat dan ballad yang emang jadi kelebihan cewek
berambut panjang itu. (p.19, vol.37)
b) Cuma mungkin lo belum sadar sepenuhnya akan gift itu, dan malah
kadang suka ngerasa ketakutan. Man, just don’t take it for granted and
use it in a good way. (p.46, vol.37)
c) So, ayo tunjukin kalo kalian bisa menjaga mereka! Lets dance together lah
…. (p.46, vol.13)
From the first example, single-word code-switching could be identified
by the existence of an English word ‘so’. And the English clause ‘there’s
something wrong with him’ revealed that there was also conversational code-
switching.
4) Single-word code-switching, conversational code-switching, and integrated
loanwords
a) Nggak cuma ngandelin lagu-lagu ballad, mantan lady rocker Indonesia ini
lebih mengeksplorasi kemampuan vokalnya untuk ngebawain single nge-
beat kayak yang termuat di single In Your Mind. (p.19, vol.37)
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
b) Misalnya, kaos biru elektrik dengan hooded sweater magenta. Soal waktu
pemakaian, warna “gonjreng” ini cocok banget buat dipake nonton konser,
nonton di bioskop, pergi ke pensi, party di disko, bahkan nge-date sekali
pun. (p.35, vol.13)
The first example above contained three types of code-switching. The
first one was single-word code-switching with ‘ballad’ as the borrowed word.
The second one was conversational code-switching which involved an English
phrase ‘lady rocker’. The last one was integrated loanwords which could be
identified by the existence of ‘nge-beat’.
The last step was summarizing the data. The summary of the number of
code-switching cases in both target magazines and the occurrence percentage of
every type of code-switching could be seen in the tables below:
No. The Types of Code-Switching
The Number of
Code-Switching
Cases
Percentage
1. Single-word code-switching 166 58%
2. Conversational code-switching 91 32%
3. Integrated loanwords 29 10%
The total number and percentage 286 100%
Table 4.1: The Summary of the Types of Code-Switching in Vol. 37
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
No. The Types of Code-Switching
The Number of
Code-Switching
Cases
Percentage
1. Single-word code-switching 143 55%
2. Conversational code-switching 94 36%
3. Integrated loanwords 24 9%
The total number and percentage 261 100%
Table 4.2: The Summary of the Types of Code-Switching in Vol. 13
Both summaries showed similar indications of code-switching
phenomenon in ‘HAI’ teenage magazine dealing with the frequency of occurrence
of each type. The results of the percentage did not show salient distinction of the
occurrence of the types of code-switching in the target magazines. From the data,
it could be concluded that single-word code-switching was the most frequent type
in the occurrence. Furthermore, the percentage in each target magazine was more
than 50% of the total occurrence. The absolute presence of this type indicated that
the writers of the articles in ‘HAI’ teenage magazine frequently juxtaposed a
single English word with Indonesian utterances in their articles.
The English words in the single-word code-switching were mostly content
words such as nouns, verbs, adjectives and adverbs. But I also found that the
writers also juxtaposed some English conjunctions.
1) Content words
a) A noun
Sebuah tagline yang menarik. (p.52, vol.13)
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
b) A verb
Mereka para finalis Moka 2005. Meet, Eline, Livia dan Nadia. (p.5,
vol.37)
c) An adjective
Setiap kali gue menonton film itu, gue selalu merasa amazed sama apa
yang terjadi dalam alur gambarnya. (p.74, vol.13)
d) An adverb
Yakin aja, semua usaha keras kamu someday pasti ada hasilnya. (p.56,
vol.37)
2) Conjunction
Gue suka baca buku or nonton film horror, nanya-nanya ke temen yang “orang
pinter”. (p.46, vol.37)
Integrated loanwords code-switching itself essentially involved a process of
borrowing single English words which were integrated with Indonesian affixes. It
could be seen in the following examples.
a) “Seger kalo diliat,” bilang Via sambil me-retouch graffiti karyanya. (p.7,
vol.37)
b) Kalo udah di-perform-in secara live, tapi mereka nggak bisa ngeliat
penontonnya. (p.10, vol.37)
c) Sound-nya bener-bener dikulik abis. (p.13, vol.37)
From those four examples of integrated loanwords, it could be seen that
the juxtaposed language elements consisted of English words and Indonesian
affixes which were integrated. Their integration could not distract my
understanding that the writers were absolutely eager to use foreign words rather
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
than words of their native language for certain expressions. It, once again, asserted
how frequent the writer borrowed a single English word.
2. Identification of the Possible Reasons for Code-Switching
Since this study was qualitative research, it was important to give
interpretations of the existing phenomenon as it had been suggested by Holliday
(2002: 5).
The qualitative belief that the realities of the research setting and the people init are mysterious and can only be superficially touched by research which triesto make sense is interpretive. It maintains that we can explore, catch glimpses,illuminate and then try to interpret bits of reality.
The main focus of the interpretive process in this study was to obtain in-
depth comprehension toward the phenomenon through the identification of its
possible reasons. The identification of the possible reasons involved two
important aspects. They were theories from some linguists and purposes of
employing code-switching stated by the editorial staff of ‘HAI’ teenage magazine.
I conducted a confirmation of code-switching in ‘HAI’ teenage magazine by
sending an e-mail to the editorial staff of the magazine. I asked them whether or
not they had any reasons for juxtaposing English language elements with
Indonesian utterances in the magazine. From the reply of my e-mail that I
received, it could be concluded that they had three reasons for it. First, they
wanted to be closer to the readers. Second, code-switching was used to explain
what they wanted to express concisely. Third, a direct quotation from the
informants might also contain foreign language elements. I used them as my
considerations to interpret the possible reasons for the existence of the language
phenomenon in the magazine.
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
In qualitative research, the writer’s personal interpretations of the language
phenomenon being studied were important. I also used my interpretation of the
types of code-switching that existed in the magazine to reveal the possible
reasons. The tendency of the writers in using certain types might spell out the
underlying reasons for employing code-switching. There were four possible
reasons that I could identify.
The first reason was to build intimate relationship with the readers. This
was appropriate with the reason stated by Crystal (1987) as cited by Skiba in Code
Switching as a Countenance of Language Interference that code-switching could
be used to express solidarity with others. The writers chose words or terms which
were very familiar with teenagers as the readers. Teenagers usually used the terms
in their social interaction. The existence of such terms as melting, worthed, nge-
date, and jealous might distract the boundaries between the writers and teenagers
so teenagers could feel that the writers became the members of their society. The
use of such terms also enabled the writers to build up and close communication
with teenagers as the readers and described that they really understand where
teenagers lived; in their own dynamic-global-independent environment. A single
mistake in the implementation of code-switching in ‘HAI’ teenage magazine
really distracted my understanding that a code-switching phenomenon in the
magazine had given good models to comprehend English language. But, the
understanding of the essence of sociolinguistics which also accounted the culture
and the structure of the setting of the society might give permission for it.
Teenagers who frequently used informal-ungrammatical dialect or language
variation in their communication encouraged the writers of the articles of ‘HAI’
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
teenage magazine to really enter their custom of communication to be closer to the
readers. The understandable message was, then, the most important point. It could
be understood by the existence of these two understandable examples, yet
grammatically ineffective.
a. Beda sama banci yang dari penampilan dan gesture tubuhnya aja udah
keliatan. (p.26, vol.37)
b. Peralatan yang ada tuh mulai dari tool kit yang kecil-kecil, sampai peralatan
besar kayak dongkrak hidrolik. (p.49, vol.37)
In the first example, the word ‘gesture’ actually had described the movement
of the part of the body. The Indonesian word of ‘body’, tubuh, which followed the
word ‘gesture’ asserted the ineffectiveness. It might also deviate the meaning of
‘gesture’ itself. But as what I had stated that the salient message was the most
important point for code-switching in ‘HAI’ teenage magazine. The repetition
could describe that the writer wanted to produce a clear message. For addition, the
trend among teenagers in using informal-ungrammatical dialect might also affect
the presence of ‘gesture’ in front of its Indonesian version ‘tubuh’.
The ungrammaticality in code-switching in ‘HAI’ teenage magazine could
be seen in the following example where the writer of the article produced ‘speak-
speak’ as the juxtaposed element.
a. Sadar kalo momennya tepat buat bikin cewek-cewek termehek-mehek, Ello
langsung nunjukin skill-nya speak-speak. Pokoknya setiap abis satu lagu doi
nggak pernah absen ngeluarin rayuan gombal. (p.75, vol.37)
b. Bareng Aghi, Everybody Loves Irene menghasilkan sound-sound aneh yang
berisik. (p.76, vol.13)
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
English language rules clearly did not allow the speaker to double the
same verbs simultaneously like ‘speak-speak’ in the example above. But the
ungrammaticality of code-switching in ‘HAI’ teenage magazine, once again, could
be tolerated since one of the reasons for code-switching in the magazine was to
build intimate relationship with the readers. And all of the juxtaposed elements
had been conformed to the language style or dialect which were used by teenagers
in their daily conversation. The ungrammatical part in code-switching came from
teenagers themselves as one of the criteria of their informal dialect. The writer did
not mean to plunge the readers into a mistake, yet it became a strategy to be closer
to the readers by imitating the way they treated a language.
The second possible reason came from the tendency that the writers
frequently employed a single-word code-switching by juxtaposing a single
English word with Indonesian utterances. It implied that the writers found some
difficulty in describing what they wanted to express in Indonesian language or
with Indonesian terms. It was supported by Crystal (1987) as cited by Skiba in
Code Switching as a Countenance of Language Interference that a speaker might
find difficulty to express her or himself in one language so she or he switched to
another language to compensate for the deficiency. It was not because of the
limited vocabulary of Indonesian language, I believed that there were some people
who assumed that some English words might imply broader meaning than the
Indonesian versions. It was supported by the editorial staff of ‘HAI’ teenage
magazine. They explained that they decided to use foreign language elements to
produce concise expressions without obscuring the fundamental meaning. They
explained that they faced some difficulty to find Indonesian words which had
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
equal meanings with the English words or terms in the following code-switching
cases.
a. Score itu kan song-writing reality-dating game show. Jadi pesertanya dikasih
waktu seharian buat bikin lagu. (p.10, vol.37)
b. Pada fase ini seseorang sedang belajar tentang identitas dan tanggung jawab
gender. (p.26, vol.37)
c. Ini lazim disebut sebagai guilty pleasure. (p.54, vol.37)
d. Buktinya lewat album repackage mereka yang sudah tidak menyertakan Dimi
dalam daftar personil. (p.68. vol.13)
The English words or terms in the examples above would be difficult to
be translated into Indonesian and the translations might also eliminate some
essential messages instead. Code-switching was very helpful to cover the
deficiency problem of vocabulary. A speaker may switch the language that she or
he uses to another if she or he has this kind of problem. The writers of the
magazine had given me a good example to comprehend it. But it was important to
make sure that teenagers absolutely understood the foreign words. Since the
foreign language elements had been compromised with the teenagers’ daily
dialect, as it had been stated in the previous paragraph, it could be guaranteed that
teenagers had already understood the meaning of those foreign expressions.
Actually, a strategy could be implemented to make sure that the readers really got
the meaning by explaining the message of the foreign words in Indonesian, for
certain English terms, after the presence of those terms. Even though the meaning
would not be exactly similar, at least the readers could get clear description of it. I
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
guarantied that some teenagers did not understand what actually guilty pleasure
means.
Third, code-switching was employed because of the special terms related
to the topic under discussion that should be used. Every topic might have some
specific terms which were sometimes very difficult to be translated to another
language. Like the term sticking in the following example of code-switching in
‘HAI’ teenage magazine.
Sementara Claudia sibuk fingering, Ajeng tetep duduk manis sambil sticking.
(p.66, vol.37)
Indonesian language did not have an exact term to describe the term
‘sticking’, as the compensation; the writer borrowed and then juxtaposed it with
Indonesian language elements. Other terms could be seen in the following code-
switching utterances.
a. Selain itu stage manager juga berhak untuk memutuskan durasi pertunjukan.
(p.28, vol.13)
b. Kalo ngeliat faktanya, banyak banget film jenis ini yang jadi box office. (p.51,
vol.13)
c. Gara-gara ada catwalk baru yang dipasang di kanan-kiri panggung, Eross,
Sakti dan Adam jadi rajin mejeng di areal itu. (p.31, vol.37)
For the fourth possible reason, I agreed with the editorial staff of ‘HAI’
teenage magazine who said that sometimes a direct quotation from the informants
was needed. It was also important to be informed that the informants themselves
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
might employ code-switching. The writers of the articles had to write exactly what
their informants said. Some examples in the magazine revealed this argument. The
foreign language elements in the following examples came from the informants
themselves. It also described that some English expressions came from teenagers
themselves
a. “We need to start the revolution of streetball in Indonesia! Kami ngeliat kalo
selama ini basket tuh nggak berkembang. … ,” beber Anwar a. k. a Hyper
Drive yang juga salah satu dedengkot tim ini. (p.40, vol.37)
b. “Ya udah langsung ketemuan di sana aja ya! Sekalian ada yang pengen aku
retouch,” sahut Nadia pas janjian di telepon. (p.5, vol.37)
It could be seen from the examples that sometimes the informants
themselves applied code-switching in their speech. To express natural message of
what the informants said or to be as informative as possible, the writers had to
employ a direct quotation in their articles.
B. Code-Switching in Teaching-Learning Process of English Language
Cook (1991) as cited by Skiba in Code Switching as a Countenance of
Language Interference had stated that code-switching could be integrated in the
process of language learning. He had given an example of how code-switching
was used in the test of the Institute of Linguistics' examinations. Through this
study I would like to provide an alternative material to teach English language
dealing with the code-switching in ‘HAI’ teenage magazine. ‘HAI’ teenage
magazine would be used as the teaching material.
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
The most important point for a public media like ‘HAI’ magazine was the
salient messages which should be received by the readers. One of the purposes of
employing code-switching was to build intimate relationship with the readers. The
code-switching which was used prominently in the magazine should have been
very helpful for the readers to gain effective process of understanding the articles
since all of the foreign language elements, as the juxtaposed elements, were
reader-familiar expressions. Teenagers were supposed to understand the messages
of the utterances that contained code-switching. But the understanding of the
teenagers toward utterances containing code-switching could be tested through the
process of translating the foreign language elements into Indonesian to produce
full Indonesian utterances. English teachers could use it as a teaching material for
their students. But it was important to consider that the age of teen was the most
appropriate period for the students since the expressions and also the topics of the
articles in the magazine had been compromised for teenagers. According to
Encarta Webster’s College Dictionary: 2nd Edition, a teenager could be defined as
a young person between the age of 13 and 19. If it was related to the educational
levels in Indonesia, the students in the second grade of Junior High School – the
third grade of Senior High School were at the appropriate period to learn English
through this alternative material.
Teachers could provide two magazines for one class with 30-40 students.
There were approximately 80 pages in one magazine, she or he could divide the
students into groups of 3 and 4 and provided 15-17 pages for each group. Almost
in every page of the magazine there were a number of utterances that contained
code-switching.
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
The teacher could also ask the students to provide their own magazines. I
believed that the students would be exited to bring their own magazines. It also
could be one strategy to build interest among the students in the teaching-learning
process.
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CHAPTER V
CONCLUSIONS AND SUGGESTIONS
This chapter aimed at accommodating final results of this research and
some suggestions. The final results were the answers to the research questions of
this study. The research questions were 1) what are types of code-switching in
Indonesian teenage magazine ‘HAI’? 2) what are the possible reasons for code-
switching in Indonesian teenage magazine ‘HAI’? The suggestions were presented
for the importance of current practice of code-switching in ‘HAI’ teenage
magazine and future research of code-switching.
A. Conclusions
1. The Types of Code-Switching in ‘HAI’ Teenage Magazine
I identified that there were three types of code-switching that existed in
the magazine. The classification was based on the length of the switched language
elements. The three types and the examples of code-switching from the magazine
were as follows:
a. Conversational code-switching; the juxtaposed element can be a sentence,
clause, or phrase.
b. Single-word code-switching; the juxtaposed element is a single word.
c. Integrated loanwords; the juxtaposed element consists of morphemes of
English and Indonesian language which are integrated to form a single
expression.
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
2. The Possible Reasons for Code-Switching in ‘HAI’ Teenage Magazine
There were four possible reasons that I could identify. They were as
follows:
a. The writers of the articles employed code-switching to build intimate
relationship with teenagers as the readers. It was possible since the juxtaposed
language elements were the terms that teenagers usually used in their social
interaction.
b. The writers of the articles found some difficulty in describing what they
wanted to express in Indonesian language. And switching to another language,
in this case English language, was the answer for this deficiency problem.
c. Code-switching was used because of the special terms related to the topic
under discussion. Every topic might have specific terms which sometimes
were very difficult to be translated to another language.
d. Sometimes a direct quotation from the informants was needed. And the quoted
statements might contain code-switching. The writers of the articles had to
write exactly what their informants said.
B. Suggestions
There are two suggestions in this study; one is for the writers of the articles in
‘HAI teenage magazine and the other is for other researchers of English language
who are also interested in code-switching.
1. The writers of the articles should choose an appropriate form of the foreign
language element, which is borrowed from English language, related to its
function in the utterance. The inappropriateness of its form will deviate the
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
readers’ understanding of the standard rules of English language. The
following example contains an inappropriate choice of the foreign word
related to its function in the utterance:
Lagi nggak boring sama rutinitas. (p.70)
The word ‘boring’ in the example above functions as an adjective which
should describe the condition of the unspoken subject. But the essential
meaning of this form of English word does not, actually, accommodate that
function. The form ‘bored’ would be the appropriate form to be juxtaposed
within the utterance. According to Encarta Webster’s College Dictionary: 2nd
Edition, ‘bored’ means “feeling tired because one has nothing to do or has lost
interest in sb/sth”. Whereas ‘boring’ means not interesting or dull.
2. Other researchers may conduct a research on code-switching in a spoken
context. Code-switching may happen in either written or spoken context. It has
been explained by Asher (1994: 578) that “Code-switching then is the
switching from one variety, either of the same language or of different
languages, in speech or writing.” Since a study of code-switching needs
researchers’ acute understanding of the setting of the society, it is important
for them to decide the domain, such as family and official, at the very
beginning of the research.
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BIBLIOGRAPHY
Asher, R.E. The Encyclopedia of Language and Linguistics. Volume 2. 1994.Oxford: Pergamon Press.
Bloomsbury Dictionary Database Team. 2005. Encarta Webster’s CollegeDictionary. 2nd edition. New York: Bloomsbury.
Bungis, H. M. Burhan. 2007. Penelitian Kualitatif: Komunikasi, Ekonomi,Kebijakan Publik, dan Ilmu Sosial. Jakarta: Prenada Media Group.
Beales, A.R., Spindler, G. and Spindler, L. 1967. Culture in Process. New York:Holt, Rinehart and Winston.
Clark, R. and Ivanič, R. 1997. The Politics of Writing. London: Routledge.
Creswell, J. W. 1998. ‘Organizing and Analyzing the Data from QualitativeStudies.’ in Leedy, Paul D. and Ormrod, Jeanne Ellis. (ed), PracticalResearch: Planning and Design. 8th edition. New Jersey: Pearson PrenticeHall. pp. 150-151.
Crotty, M. 1998. The Foundations of Social Research: Meaning and Perspectivein the Research Process. Thousand Oaks, CA: Sage.
Flick, U. 1998. An Introduction to Qualitative Research. London: Sage.
Holliday, A. 2002. Doing and Writing Qualitative Research. London: SAGEPublications Ltd.
Holmes, J. 1992. An Introduction to Sociolinguistics. New York: Addison WesleyLongman Inc.
Indriani, M.I. 2003. English Pronunciation: the English Speech Sounds Theory &Practice. Jakarta: RT Gramedia Pustaka Utama.
Kountur, R. 2003. Metode Penelitian untuk Penulisan Skripsi dan Tesis. Jakarta:PPM
Leedy, P.D. and Ormrod, J.E. 2005. Practical Research: Planning and Design. 8th
edition. New Jersey: Pearson Prentice Hall.
Meriam, S.B. and Associates. 2002. Qualitative Research in Practice: Examplefor Discussion and Analysis. San Fransisco: Jossey-Bass.
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Spolsky, B. 1998. Sociolinguistics. Oxford: Oxford University Press.
Stockwell, P. 2002. Sociolinguistics: A Resource Book for Students. London:Routledge.
Poole, S.C. 1999. An Introduction to Linguistics. New York: St. Martin’s Press.
Pride, J. B. 1971. The Social Meaning of Language. London: Oxford UniversityPress.
Richards, C.J. and Schmidt, R.W. 1983. Language and Communication. NewYork: Longman Inc.
Wardaugh, R. 1992. An Introduction to Sociolinguistics. 2nd
edition. Oxford:Blackwell.
Auer, P.1998. Code-switching in Conversation: Language , Interaction, andIdentity, http://www.udc.es/dep/lx/cac/c-s/ (accessed on November 15,2007)
Chana, U. (1984). ‘Code-Switching Description.’ in Duran, L. Toward a BetterUnderstanding of Code-Switching and Interlanguage in Bilinguality:Implications for Bilingual Instruction.http://www.ncela.gwu.edu/pubs/jeilms/vol14/duran.htm (accessed onNovember 15, 2007)
Chrystal, D. 1987. ’The Reasons for Code-Switching.’ in Skiba, R. CodeSwitching as a Countenance of Language Interference.http://iteslj.org/Articles/Skiba-CodeSwitching.html (accessed on 15November, 2007)
Cook, V. 1991. ‘Code-Switching in Language Examination.’ in Skiba, R. CodeSwitching as a Countenance of Language Interference.http://iteslj.org/Articles/Skiba-CodeSwitching.html (accessed on 15November, 2007
Valdes-Fallis, G. (1977).’ Code-Switching among Bilingual People.’ in Duran, L.Toward a Better Understanding of Code-Switching and Interlanguage inBilinguality: Implications for Bilingual Instruction.http://www.ncela.gwu.edu/pubs/jeilms/vol14/duran.htm (accessed on 15November, 2007)
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No. Page
Number
The Code-Switching in ‘HAI’ Teenage Magazine
Appendix 1 the Observation of the List of Code-Switching
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
The Types of
Code-SwitchingNo. Page
Number
The Code-Switching in ‘HAI’
Teenage Magazine CCS SW IL
Notes:
CCS: Conversational code-switching
SW: Single-word code-switching
IL: Integrated loanwords
Appendix 2 the Observation Form of the Types Analysis
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
Publishing date: September 12th – 18th, 2005
Edition number: TH XXIX NO. 37
The Types of the
Code-SwitchingNo. Page
Number
The Code-Switching in ‘HAI’
Teenage Magazine CCS SW IL
1. 2 Kok kayaknya enak ya punya sixth-
sence alias indera keenam? √
2. 2 Nggak nyangka, jack! √
3. 3 Negara kita selalu masuk dalam chart
5 besar negara terkorup di planet
Bumi.
√
4. 5 Sekardus cat semprot warna-warni
plus masker jadi senjata andalan. It’s
show time!
√
5. 5 Aksi nge-bomb malam itu dimulai
lewat tengah malam.√
6. 5 Di antara crew bomber yang dateng
malam itu ada tiga bomber cantik yang
ikutan. √
7. 5 Mereka para finaalis Moka 2005.
Meet, Eline, Livia dan Nadia. √
8. 5 “Ya udah langsung ketemuan di sana
aja ya! Sekalian ada yang pengen aku
retouch,” sahut Nadia pas janjian di
telepon.
√
Appendix 3 Code-Switching Cases in Vol. 37
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
9. 5 Selevel sama graffiti crew lain yang
udah senior. √
10. 6 Marceline Febriani Dalimatra ini juara
Moka 2005 kemarin. So, tampang
orientalnya langsung bisa diliat di
cover Kawanku sebulan lalu.
√
√
11. 6 Nggak cuma modelling aja. Cewek
yang doyan hang out di eX ini juga
gape nge-dance, balet sampe
menggambar.
√ √
12. 6 “Menurut aku street culture kayak
graffiti tuh keren banget! Bikin Jakarta
eye catching,” komentar pelahap
masakan italia ini.
√
√
13. 6 Soal style, cewek yang mengaku
jomblo ini suka gaya Jepang. √
14. 6 Terus warnanya tuh harus shocking
pink. √
15. 7 Abis nih cewek emang friendly banget.
√
16. 7 Asik diajak ngobrol dan gampang nge-
blend sama orang-orang baru. √
17. 7 By the way, seru nggak sih ikutan
Moka? √
18. 7 Sayang cuma tiga hari kurang puas.
Hehehe,“ sambung pelahap steak ini
sambil ketawa.
√
53
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
19. 7 Katanya kamu interest ya sama
graffiti? √
20. 7 “Seger kalo diliat,” bilang Via sambil
me-retouch graffiti karyanya. √
21. 8 So, biar umurnya baru 17 tahun Nadia
udah lulus SMA. √
22. 8 Dengan skill kayak gitu Nadia emang
nggak perlu diragukan, coy!
√
√
23. 8 See, liat sendiri dong kehebatan tiga
bidadari ini. √
24. 10 Well, kalo gitu bagi resep pedenya deh.
√
25. 10 Soalnya gue dari kecil ngerasa born to
be musician. √
26. 10 Score itu kan song-writing reality-
dating game show. Jadi pesertanya
dikasih waktu seharian buat bikin lagu.
√
27. 10 Kalo udah di-perform-in secara live,
tapi mereka nggak bisa ngeliat
penontonnya.
√
√
28. 10 Nanti penonton kasih komentar, terus
kalo ada penonton yang suka sama
lagunya, mereka harus temenin nge-
date.
√
29. 10 Ya udah, bagi resep bikin lagu yang
bisa bikin cewek melting aja. √
30. 11 Kita kan denger rekaman suara kamu
yang lagi di-mixing di studio. √
31. 11 Dia butuh orang nyanyi buat nyobain
alat recording yang dibelinya. √
54
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
32. 11 Yang bener? Yani ditinggalin Oka,
pacarnya yang rapper itu? √
33. 11 Rencananya kami mau married. √
34. 11 Kebetulan pas ngeliput launcing film
Catatan Akhir Sekolah ketemu
Thomas Nawilis.
√
35. 11 Kita kan udah tau kalo Gwen Stefani
baru aja ngebuka label fashion yang
dikasih nama Love Angel Music Baby
alias L.A.M.B akhir tahun 2004 lalu.
√
36. 11 Maklum, modelnya emang fashionable
dan nggak norak.
√
37. 13 Kebetulan, malam itu mereka sengaja
berkumpul buat proses mixing terakhir
album berjudul Retropolis itu. √
38. 13 Yang udah pasti, ambience-nya jadi
berubah. √
39. 13 Soalnya, nih lagu di-set buat dibawain
secara akustik. √
40. 13 Untuk sound, album ini bisa dikasih
acungan jempol. √
41. 13 Sound-nya bener-bener dikulik abis. √
42. 13 Saat finishing album Retropolis, Jarwo
bernasib naas. √
43. 13 Tanggal 28 Juli 2005 tengah malam,
kelar David take vocal, Jarwo
meninggalkan markas Naif menuju
rumah menunggangi skuter
55
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
kesayangannya. √
44. 14 Yang kami tau, saat ngebikin album
ini kami ngerasa fresh banget. √
45. 14 Man, meski materinya beda sama
album sebelumnya, kelihatan banget
David cs. dan perusahaan rekaman
optimis sama Retropolis.
√
46. 14 Awalnya, gue pengen bikin konsep
cover yang in-line sama klip. √ √
47. 14 Jadi deh, kami bikin hitung-hitungan
yang kira-kira worthed sama konsep
itu.
√
48. 14 Terserah, bagaimana imajinasi mereka
terhadap set Retropolis itu sendiri. √
49. 14 Soalnya, lagunya berubah last minute. √
50. 14 Kalo gitu, good luck aja, deh! √
51. 14 Yang versi kedua seru karena sesuai
dengan taste kami. √
52. 14 Mulai dari groupies sampe pesan
terakhir nyokapnya Emil.
√
53. 14 Sebenarnya, ini bukan lagu. Melainkan
intro buat single Gula-gula. Tapi,
karena panjang, sengaja track-nya
dipisahin.
√
√
54. 14 Sebetulnya dia nggak pengen lagu itu
jadi nge-slow. √
55. 14 Tercipta gara-gara doi pengen
ngebuktiin kalo computer juga bisa
dipake bikin lagu slow.
√
56. 14 Ibal mincing pake song, diterusin sama
David di bagian reff.
√
√
56
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
57. 14 Pas Pepeng bikin nih lagu, Naif lagi
dikejar-kejar deadline.√
58. 14 Nyokap gue tuh orangnya cool. √
59. 14 Sedangkan, buat song-nya yang
ngegambarin jawaban gue dari
pertanyaan, gue pake bahasa
Indonesia.
√
60. 16 Buat aku. Avril tuh sosok yang perfect. √
61. 16 Belakangan, pelahap fettuccini dan
french fries ini terobsesi buat bikin
konser tunggal.
√
62. 16 Terus aku jadi leader-nya sambil main
piano dan diiringi orkestra.√
63. 18 Dan mungkin hanya di Indonesia, gim
bola yang satu ini punya patch paling
banyak.
√
64. 18 Mulai dari outfit sampe cara
permainan.√
65. 18 Pencahayaan, make up, dan alur cerita
masih kental sinetronnya.√
66. 18 Kalo pun ada hal baru mungkin pada
setting cerita.√
67. 18 Anyway, kalo untuk sekadar
penyegaran nonton film ini boleh-
boleh aja tuh.
√
68. 18 Biarpun gaya penulisannya lumayan
asyik, tetep saja suspense khas novel-
novel konspirasi nggak ada sama
sekali.
√
69. 19 Sejak single Biar Cinta Menyatukan
Kita yang dipasang di track 1√
57
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
diperdengarkan, udah ada bakat kalo
album ini bisa dijual.
70. 19 At least, dari sisi musik. √
71. 19 Overall, album ini pantes didenger
buat yang suka rock n’ roll.√
72. 19 Toh, musiknya masih masuk dalam
areal easy listening.√
73. 19 Nggak Cuma ngandelin lagu-lagu
ballad, mantan lady rocker Indonesia
ini lebih mengeksplorasi kemampuan
vokalnya untuk ngebawain single nge-
beat kayak yang termuat di single In
Your Mind.
√ √ √
74. 19 Kombinasi medium beat dan ballad
yang emang jadi kelebihan cewek
berambut panjang itu.
√ √
75. 19 Emang sih, judulnya bonus track. √
76. 20 Empat kali naik podium dan cuma 3
kali gagal finish.√
77. 20 Dua posisi pertama dan runner up
diambilnya.√
78. 21 Ketenangan Alonso di belakang
kemudi yang bikin R25 bisa sering
memimpin pole position.
√
79. 21 Cuma 4 kali pembalap Spanyol ini ada
di grid 1.√
80. 21 Punya skill tinggi dan didukung mobil
yang cepat.√
81. 21 Buktinya 5 kali Kimi memimpin
lomba sejak start.√
82. 21 Nih mobil menjadi mobil yang paling √
58
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
sering memecahkan rekor fastest lap.
83. 22 Selain punya beberapa ruang
pengendali, di dalam orbiter terdapat
living-room, dapur, ruang tidur, WC
dan ruang kedap udara.
√
84. 23 Berat tangki 1,67 juta pon (sekitar 760
ton) plus muatan penuh zat pembakar
cair dan pengoksidasi.
√
85. 24 Terus pesta perpisahan gimana? Prom
Night gimana? √
86. 24 Well, begitulah yang terjadi kalo
system SKS ini bener-bener
diberlakukan.
√
87. 25 Nggak ada kelas tetap. Yang ada pada
moving class kayak kuliahan. √
88. 26 So, katanya kalo begini kejadiannya
berarti there’s something wrong with
him!
√ √
89. 26 Soalnya denger-denger gosipnya, gay
itu bisa menular!√
90. 26 Udah gitu, physically gay nggak bisa
keliatan dari luar.√
91. 26 Beda sama banci yang dari penampilan
dan gesture tubuhnya aja udah
keliatan.
√
92. 26 Pada fase ini seseorang sedang belajar
tentang identitas dan tanggung jawab
gender.
√
93. 27 Bisa bikin dia selalu happy, bisa bikin
dia ngerasa nyaman….√
94. 27 Sehingga bisa jadi message yang √
59
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
keluar justru menguatkan kesan bahwa
jadi gay itu asyik.
95. 27 Next, tentang belajar dari coba-coba. √
96. 27 Man, namanya juga masih remaja,
hasrat kita buat yang namanya coba-
coba kan gede banget.
√
97. 27 Saya cuma mau ingatkan bahwa gay
itu bukan sebuah penyakit. Being a
gay is a choice!
√
98. 27 Semua orang punya hak untuk
memilih, jadi kita nggak boleh men-
judge kalo ada orang yang memilih
menjadi gay,” tambah bu Yati
mengakhiri pembicaraan.
√
99. 27 Setiap gue ngobrol ama cewek lain,
udahannya pasti aja kita ribut. Dia
jealous.
√
100. 28 Kalo kemaren-kemaren sempet
boming “tren” nenteng botol air
mineral ke mana-mana, sekarang beda
lagi.
√
101. 29 Yang namanya study tour itu emang
asoy.√
102. 31 Gara-gara ada catwalk baru yang
dipasang di kanan-kiri panggung,
Eross, Sakti dan Adam jadi rajin
mejeng di areal itu.
√
103. 31 Langsung deh adegan unbelivable
dimulai.√
104. 31 Rupanya, kegokilan personil Sheila On
7 memancing dua additional musician√
60
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
yang membantu mereka untuk ikut-
ikutan gokil.
105. 31 At least, di atas panggung. √
106. 38 Hari gini, make merchandise band
dalam negeri emang asik.√
107. 38 Abis, merchandise mereka-mereka ini
emang patut dikoleksi.√
108. 40 Mengaku sebagai penyebar virus
olahraga basket jalanan, Future makin
mantap berdiri mengusung
entertainment basketball.
√
109. 40 Mungkin kalo mau diurut, Future
tergolong klub basket pertama yang
mainin streetball di Indonesia.
√
110. 40 “We need to start the revolution of
streetball in Indonesia! Kami ngeliat
kalo selama ini basket tuh nggak
berkembang.
√
111. 40 Anwar cerita saat pertama kali tim ini
show-off kemampuan streetball
mereka pada sebuah turnamen basket
di Sukabumi, penonton di sana
awalnya pada nggak terima.
√ √
112. 40 Makanya, untuk ngelatih skill aja, gue
sehari latihan 200 kali push-up, 100
kali nembak, 10 kali lari lapangan bola
dan kudu nyiptain trik baru setiap
hari,” curhat Richard a.k.a Insane yang
kepilih jadi saah satu dari 10 best
streetballers dalam LA Light
Streetball Bandung kemaren.
√ √
√
61
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
113. 40 Walaupun dalam streetball yang bikin
fun buat penonton itu freestyle-nya,
para pemain juga kudu mikirin gimana
mencetak angka biar jadi pemenang.
√
√
√
114. 40 Makanya di tim Future ini tiap pemain
punya tipe dan desk-job-nya masing-
masing.
√
115. 40 “Ada yang gayanya new school, yaitu
menghadang lawan pake trik-trik
freestyle tadi.
√ √
116. 40 Terus ada yang gayanya old school,
menghadang lawan dengan
menggunakan otak (mirip-mirip trik
basket biasalah, RED.), yang terakhir
ada hard knock yaitu pemain yang
menggunakan power dan badannya
yang gede untuk menghadang lawan,”
beber Richard.
√
√
√
117. 40 Beli aja DVD Future Streetball Mix
Tape volume 1dan 2 yang beredar tiap
kali timini show.
√
118. 40 Kalo sempet, kamu juga bisa datengin
langsung bahkan maen streetball
bareng di basecamp mereka di Jalan
Ambon, Bandung.
√
√
119. 41 Apa tanggapan kita kalo ada temen
yang bilang dia baru saja melihat UFO
atau alien?√
120. 41 Pokoknya merasakan ada sesuatu yang
spooky deh.√
121. 41 Even bukti nyata soal ini pun nggak √
62
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
pernah ada juga.
122. 41 Salah satu contohnya mungkin kayak
temen kita tadi yang tiba-tiba aja
punya feeling aneh.
√
123. 41 Bahkan sejumlah sinetron remaja pun
nggak ketinggalan memakai fenomena
ini sebagai background ceritanya.
√
124. 41 Soalnya, konon, siapapun bisa dan
berbakat memiliki kamampuan ini.
Well, ready to gain a new experience?
√
125. 43 Awalnya aku sempet shock, yang
tadinya nggak pernah ngeliat mahluk
yang seperti itu tiba-tiba bisa ngeliat.
√
126. 44 Katanya sih bisa aja asal diasah
dengan bener. Hmm, worth to try nih!√
127. 44 Kalo nggak, bisa-bisa di tengah
meditasi kita diganggu sama debt
collector.
√
128. 45 Makanya ada kemungkinan kita yang
newcomer buat urusan ini bakal kaget
setengah mampus begitu mengalami
sendiri.
√
129. 46 a. Sering banget!
b. Sekali-sekali pernah.
c. Never!
√
130. 46 No! Kepikiran ke situ aja nggak
kaliiii…!!√
131. 46 a. Iya, itu sering banget terjadi.
b. Hmm, munglin! Tapi nggak
sering.
c. Nope, that has never happened.
√
63
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
132. 46 Gue suka baca buku or nonton film
horror, nanya-nanya ke temen yang
“orang pinter”.
√
133. 46 Gimana ya, tertarik sih…! Menurut
gue it’s kinda cool.√
134. 46 Gue nggak tertarik sama yang
begituan! Don’t hate it, cuma males
aja nyari tau soal begituan.
√
135. 46 Cuma mungkin lo belum sadar
sepenuhnya akan gift itu, dan malah
kadang suka ngerasa ketakutan. Man,
just don’t take it for granted and use it
in a good way.
√ √
136. 46 Tapi kalo lo mulai belajar untuk
percaya bahwa ada kehidupan lain di
luar kehidupan kita, terus lo mau open
mind, bisa aja suatu saat indra keenam
lo tiba-tiba terbuka. Anything could
happen bukan?
√
√
137. 49 Sebagai contohnya bengkel-bengkel
resmi dealer mobil bisa jadi
perbandingan.
√
138. 49 Peralatan yang ada tuh mulai dari tool
kit yang kecil-kecil, sampai peralatan
besar kayak dongkrak hidrolik.√
139. 50 Yang paling bikin bete adalah lantaran
tuh mobil udah full modifikasi.√
140. 50 Tapi berhubung belinya second,
kondisi tuh mobil masih standar abis.√
141. 50 Coba deh perhatiin posisi bannya.
Semuanya gue camber tuh!√
64
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
142. 50 Asal tau aja, ban belakang mobil sedan
Jepang tuh sebenarnya sama sekali
nggak bisa di-camber.
√
143. 50 Tapi overall nih mobil emang oke
banget.√
144. 51 Ada yang bilang tenaga mesin motor
bisa meningkat kalo memakai octane
booster, power booster, atau yang
sejenisnya.
√
√
145. 51 Guys, apa yang kebayang di benak kita
kala mendengar kata power booster? √ √
146. 52 Tentang seorang loser yang harus jadi
gigolo gara-gara kesialan menimpa
dirinya.
√
147. 52 Lagi-lagi bad luck menjerumuskan
Deuce ke persoalan pelik.√
148. 52 Nggak tahunya pihak berwajib
ngeluarin statement pencarian buronan
pengacau pantai lewat sebuah sketsa
wajah yang mirip dirinya.
√
149. 53 Tentunya buat masuk ke event ini,
Deuce kudu lebih serius menjalani
profesi gigolonya.
√
150. 53 Buat gue, film sekuel ini adalah
sebuah masterpiece,” kata Rob
Schneider yang juga bertindak sebagai
penulis cerita.
√
151. 54 Seluruh kawasan dipenuhi tempat
praktek prostitusi, sex shop, serta sex
theatre.
√
√
152. 53 Bisa dibilang film komedi yang √
65
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
memakai setting Eropa lebih seru
ditonton.
153. 54 Remote TV diambil, tombol on
dipencet.
√
√
154. 54 Lawakannya garing dan slapsticks. √
155. 54 Udah gitu face-nya juga cantik. √
156. 54 Ini lazim disebut sebagai guilty
pleasure.√
157. 54 Contoh gampangnya yaitu makan junk
food.√
158. 54 Terus terang, gue nyari horny-nya aja. √
159. 55 Yang kedua adalah jenis news feature
atau berita yang mendalam.√
160. 55 Kayak ngebahas fenomena tattoo,
pecun sekolah, penari striptease dan
sisi gelap profesi public relation (ada-
ada aja nih!).
√ √
161. 55 Tiga besar hasil polling Hai
menunjukkan, ketiga jenis tayangan
yang berlainan jenis nongkrong di
puncak perolehan suara.
√
162. 55 Ada yang niat mau cari informasi
“underground”, dan ada yang
mentingin bodi mulus doang.
√
163. 55 Kalo tayangan tengah malam tadi udah
mulai ngerasa nggak meaning alias
nggak penting, mendingan buru-buru
ambil remote dan matiin.
√
164. 55 So, it’s your call. Mau guilty pleasure
ini berlanjut atau nggak?
√
√
165. 56 Musik yang laku adalah musik yang √
66
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
easy listening.
166. 56 Tapi, kami berlima berusaha
menyampurkan semua influence itu
dalam satu warna musik yang enak
didenger,” timpal Rendra.
√
167. 56 Single Berpaling yang jadi andalan di
album perdana mereka yang selftitled,
dapet respon cukup bagus di radio.
√
168. 56 Yakin aja, semua usaha keras kamu
someday pasti ada hasilnya.√
169. 57 Kalo sempet nonton seri pertamanya
dan termasuk suka sama gaya action
yang ditawarkan nih film, kayaknya lo
akan suka nontonin sekuelnya.
√
170. 57 Tentunya sekalian jadi body guard
para langganannya.√
171. 57 Action-nya masih aja paten. √
172. 58 Sekarang semuanya udah cooling
down.√
173. 58 Makanya ketika beberapa jam setelah
sholat Ied tiba-tiba chaos terjadi,
semua orang kaget.
√
174. 58 Man, it’s not over yet! Setelah
ngerasain pegel yang luar biasa akibat
berjam-jam berada pada posisi yang
sama, Lukas dan keluarganya masih
harus ngerasain nyawanya di ujung
tombak.
√
175. 58 Syukurnya adegan itu berakhir dengan
happy ending.√
176. 59 Thanks god sekarang chaos itu udah √ √
67
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
berakhir (meski sempet terulang tahun
2004 lalu).
177. 59 Supaya traffic-nya enak, becak-becak
itu dibagi dua kubu, yang bercat merah
dan bercat kuning.
√
178. 60 Hei….What’s up? Hai yang makin
keren aja dengan logo barunya!√
179. 60 Jadi jangan di pulau Jawa and Bali
melulu….Itu aja usul gue…Thanks
ya…Be cool man!
√ √
180. 60 Di Hai yang cover-nya DEWA,’kan
ada artikel ama gambar CD
Kotak…Sumpah ma, doi keren banget!
Swear!
√
181. 60 Kalo ada emailnya dia, atau gimana
deh caranya biar gue bisa get
connected ama doi…Oke deh..gue
tunggu email balik dari Hai. Makasih
banget sebelumnya..KEEP ON
ROCKIN!!!ALWAYS!
√
√
182. 61 Seenggaknya, di art exhibition satu
malam yang diselenggarakan di
Museum Nasional 27 Agustus lalu.
√
183. 61 Pertama: ada sneakers exhibition.
Isinya sneakers alias sepatu olah raga.√ √
184. 62 Soalnya kalo bicara soal founding
father musik reggae, kita harus
kembali ke tahun 1963.
√
185. 63 “Omarian mengajarinya untuk
tidakmencuri, selalu berkata benar dan
patuh kepada orang tua, dia sangat
√
68
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
ketat dan strict,” kenang Cedella.
186. 63 Cuma, komunitas ghetto atau gembel
di Kingston malah ngeliat Bob sebagai
ancaman.
√
187. 63 Malah dia pernah gagal pacaran karena
masalah warna kulit. “No white man
screwing up our bloodlines!” begitu
kata mereka.
√
188. 63 Lagu-lagunya selalu diputar lewat
sound system di jalan. Nggak heran
kalo The Wailers dijuluki The Sound
System King. Guys, it was the birth of
a legend.
√
√
189. 65 Seru, deg-degan, nervous, panas tapi
tetep gokil.√
190. 65 Untung aja tim fashion stylish-nya
punya segudang baju buat Oky.√
191. 65 Terlebih di depan kamera, asli banci
foto semua. “Guys say cheese!”√
192. 66 Sandy “Pas” band tiba-tiba nyusup ke
back stage!√
193. 66 Sementara Claudia sibuk fingering,
Ajeng tetep duduk manis sambil
sticking.
√
√
194. 66 Ini dia ritual paling penting sebelum
naik panggung. Yap. Briefing! Semua
dibahas abis, mulai dari blocking
mereka sampe kapan mereka harus
bersiap-siap. Kelar itu? Show time.√
√
√
195. 68 Tanyain dulu background musik
mereka.√
69
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
196. 68 Kan nggak lucu kalo ada salah satu
personil masih basic banget skill-nya.√
√
197. 68 Maju dikit, kita bergerak ke style emo. √
198. 68 Ini penting karena sound yang keluar
dari alat-alat ini punya signature sound
yang cocok banget buat musik emo.
√ √
199. 69 Untuk gitar salah satu gaya yang selalu
muncul adalah octave chord.√
200. 69 Kord oktaf bakal bikin pitcht yang
tinggi saat sound gitarnya keluar serta
sangat kaya tekstur.
√
201. 69 Sedikit spike juga boleh tuh. Kalo
rambut keriting mending dibotakin aja.√
202. 69 Kalo pake kacamata pastiin frame-nya
dari berwarna hitam. Kako nggak
punya, cari aja frame hitam yang tebal.
√ √
203. 69 T-shirt warna gelap yang rada kecil. √
204. 69 Cardigan yang rada sempit atau V-
neck sweater.√ √
205. 70 Capricorn (22Desember-20 Januari)
Life: Semuanya datar!... apapun yang
lo kerjain nggaj sukses.
Love: Rasanya kok mulai ilfil sama
dia?!
Single:’Duh, lagi males nyari gebetan
nih.
Money: Wah, bonus dari ortu lumayan
lho!
Health: Gendut…gendut! Olahraga
don?!
Tanggal penting: 12 September.
√
√
√
√
√
70
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
206. 70 So far so good….Semoga jadi deh. √
207. 70 Ada yang ngajakin kenalan, who?? √
208. 70 Waaa, nemu soulmate nih! √
209. 70 Lagi nggak boring sama rutinitas. √
210. 70 Makin cinta. Support-nya penuh..! √
211. 70 Orang Pisces suka terlalu idealis dan
cenderung selfish.√
212. 72 Lantaran Bali itu identik dengan
pantai, venue yang dipilih di pinggir
pantai.
√
213. 72 Dihibur lebih dari 30 artis di tiga
panggung, bli-bli dan mbok-mbok dari
seluruh penjuru Bali pol-polan
mengalami adrenalin rush.
√
214. 73 Something interesting in A Mild Live
Soundrenalin 2005 adalah: ada
helicopter yang sering banget keliatan
berkeliling di area konser.
√
215. 73 Caranya, tinggal ikut games yang ada
di areal A Mild Zone.√
216. 73 Manusia-manusia ini paling eye
catching di antara crowd. √ √
217. 73 Mereka adalah volunteer. Mereka
ditransfer dari booth informasi untuk
melayani para penonton langsung di
lapangan.
√
√
218. 73 Penonton yang dateng bisa request
lagu dan titip pesen sama orang yang
mau dititipin pesen.
√
219. 73 Udah gitu kalo untung bisa sekalian
diwawancara buat live report.√
71
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
220. 74 Gimana nggak, cuma mereka satu-
satunya band yang perform pake
kontrabas dan tampil dengan kostum
rapih kayak orang mau pergi
kondangan.
√
221. 74 “Sejak pertama terbentuk kami banyak
ter-influence musik 90-an macam
Sound Garden dan Pearl Jam.
√
222. 74 Tapi buat perform aksi panggung tetep
nge-rock, Cuma dengan kostum
hippies!” cerocos Robbie sang front
man.√
√
√
223. 74 Ngebeset enam lagu: Impresi, Bocah,
Anak Bali, Bayangan, Kesepian Kita,
dan Jengah, sejak lagu pertama mereka
udah tampil full power.
√
224. 75 Pasalnya biar performance-nya kalem,
aransemen lagu-lagu dibawain beda
banget.
√
225. 75 Tapi bukan rock star namanya
kalonggak bisa cepet mengatasi
situasi.
√
226. 75 Nggak diragukan lagi, cowok satu ini
emang jago banget urusan bikin
melting cewek-cewek.
√
227. 75 Sadar kalo momennya tepat buat bikin
cewek-cewek termehek-mehek,
Ellolangsung nunjukin skill-nya speak-
speak. Pokoknya setiap abis satu lagu
doi nggak pernah absen ngeluarin
rayuan gombal.
√
72
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
228. 76 But, sampe sekarang, dia masih seru
aja dibilang popstar.√
229. 76 By the way, gue tertarik banget sama
lagu-lagu di album lo.√
230. 76 Since judul single lo Bad Day, pernah
nggak sih ngerasain hari yang beber-
bener jelek?
√
231. 76 Kalo nggak salah pas gue masih di
high school.√
232. 76 Kalo jadi berangkat, gue langsung
samperin lo, deh! It’s a promise! √
233. 77 Buktinya, soundtrack film animasi
Saint Seiya yang jadi lagu pembuka
bisa dibawain dengan selamat.√
234. 77 Nih band terpilih jadi headliner di
Jersey Live Festival awal September
lalu.√
235. 78 Problem utama band ini terletak pada
frontman-nya yang pecandu berat
drugs.√ √
236. 79 Tapi, sebelumnya, mereka sempet
ikutan proyek album From Us to You
yang bentuknya tribute untuk Titik
Puspa.
√
73
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
Publishing date: March 26th – April 1st, 2007
Edition number: TH XXXI NO. 13
The Types of
Code-SwitchingNo. Page
Number
The Code-Switching in ‘HAI’
Teenage Magazine CCS SW IL
1. 2 Siapa sangka kalo in the real life dia
juga MisssRing-Ring? √
2. 4 Cewek satu ini …, ibarat drugs. Bikin
addict!
√
√
3. 4 Waktu itu sulung dari dua bersaudara
ini berdandan ala cheerleaders di film
Bring It On. √
4. 4 (dari kru sampe stylist dan fotografer
kompak melotot, jack!).
√
√
5. 4 Iklan sebuah operator telepon seluler
yang hampir tiap sepuluh menit sekali
nongol di channel mana pun.
√
6. 6 Nggak nyangka kalo iklan itu bakal
booming. √
7. 7 Well, terlepas dari side effect tadi,
fakta ngobrol sama Ryan emang asyik. √
√
8. 7 Maklum, alumni SMA 8 Jakarta ini
tergolong cewek smart. √
9. 7 Daripada ngirim-ngirim SMS atau
nelpon sana-sini, aku dengerin iPod aja
Appendix 4 Code-Switching Cases in Vol. 13
74
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
sampe puas, “bilang pelahap tiramisu
dan milk shake coklat ini.
√
10. 8 A Milt Live Rising Stars menyajikan
konser yang seru. Naff, Samsons dan
Ungu, semua tampil all out.
√
11. 8 The Next Rising Stars nggak mau! √
12. 8 Belasan ribu music maniacs yang
memadati stadion Kamboja,
Palembang (4/3) lalu adalah saksi
betapa memukaunya konser A mild
Love Rising Stars ini. √
13. 8 Coin kelihatan enjoy dan main tanpa
beban. √
14. 8 Lima lagu yang dibawain dapat
applause dari music maniacs
Palembang. √ √
15. 8 Permainan bassis gimbal itu membuat
banyak music maniacs terpana. √ √
16. 8 Bams cs “memaksa” music maniacs
Palembang ber-sing a long. √ √
17. 9 So, emeng nggak salah memasang
Ungu sebagai penutup A Mild Live
Rising Stars.
√
18. 9 Publik Palembang emang menunggu
aksi mereka. Konser makin panas,
jack!
√
19. 9 Aksi Ungu sempet break sebentar
karena juri mengumumkan pemenang
A Mild Live Wanted regional Sumatra
√
75
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
Bagian Selatan.
√
20. 9 Hasilnya, Coin yang menjadi
pemenang A mild Live Wanted
regional Sumatra bagian Tengah. √
21. 9 Andai Ku Tahu dan Bayang Semu
yang menjadi barisan the best single
Ungu dibawain. √
22. 9 Music maniacs makin menggila. √
23. 9 Entah ada berapa belas ribu orang
yang menjadi backing vocal Pasha
malam itu.
√
24. 9 Cukup asyik didengerin, jack! √
25. 9 Band asal Lampung ini tetep tampil all
out.
√
26. 9 Hapus Aku-nya Nidji bikin ribuan
penonton yang memadati lapangan
parkir Bumi Sriwijaya ber-sing a long. √
27. 9 Dua lagu tadi jadi poin penting untuk
menyakinkan juri bahwa mereka
pantas sepanggung bareng the next
rising star. √
28. 9 Plus menemani Rising Star tur di
Lampung. √
√
29. 9 “Surprise banget! Kami sama sekali
nggak nyangka. √
30. 9 Kami janji akan tampil sebaik
mungkin,“bilang Dheru vokalis Coin
76
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
mantap. Keep rockin bro! √ √
31. 9 Sama seperti Kimzy, LVT punya basic
fans yang lumayan banyak.
√
32. 9 Mereka kelihatan kurang pede, jack! √
33. 9 Next time better ya! √
34. 10 Doi males bawa tas, jack! √
35. 10 “Ada satu yang udah pasti gue bawa.
charger ponsel.
√
36. 10 Takut kehilangan job, atau diputusin
pacar, ya?
√
37. 10 Buktinya, si cantik ini sempet nervous
berat pas disuruh berakting.
√
38. 10 “Iya nih, gue nervous karena disuruh
berakting. √
39. 10 Gimana nggak nervous?,” bilang
cewek kelahiran 30 Maret ini. √
40. 11 Eh, drummer Peterpan ini punya side
job baru! √
√
41. 11 Katanya, lo sibuk ngurusin launching
segala. √
42. 11 Kemarin, gue sempet bantuin temen
gue buat launching albumnya.
√
43. 11 Bunga bergaya ala Michael Jackson,
jack!
√
77
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
44. 11 “Gue udah tau kalo Gavin adalah chick
magnet. √
45. 11 In case kalo-kalo ada cewek yang
nekat ngegodain cowok gue,” repet
Gwen, lempeng. √
46. 12 Singgle mereka yang easy listening
kenceng diputer di radio. √
47. 12 Nggak heran kalo lagu mereka masuk
ke jajaran chart teratas. √
48. 12 Single Cinta Pertama (Sunny) banyak
di-request.
√
49. 12 Rio pun menyanyikan salah satu lagu
legend-nya The Groove itu dengan
lancer.
√
50. 13 Cewek-cewek kelihatan melting
ngeliat Rio yang juga makin menggila. √
51. 13 Diset sebagai closing Bunga tampil
pukul 1 dini hari dan membawakan 8
lagu.
√
52. 13 Tampil keren dengan membawakan
cover version Leaving on a Jet Plane
dan tiga kali berkolaborasi.
√
53. 13 Kolaborasi Bunga masih berlanjut,
giliran seorang cewek bernama Santi
yang diajak nyanyi bareng di lagu Saat
Kau Pergi yang jadi soundtrack film
Dealova.
78
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
√
54. 13 Semuanya kompak bernyanyi… So
sweet!
√
55. 13 Termasuk ngasih pengumuman kalo
backing vocal-nya bentar lagi mau
menikah.
√
56. 13 Lewat Palsu, Ku Ada Disini, Alasan
Untuk Hidup bikin semua berebutan
menjadi backing vocal dadakan. √
57. 18 Kalo lagi jenuh bermusik, Eet biasanya
main games.√
58. 19 Biasanya gue main games yang di
computer buat iseng-iseng aja.√
59. 19 Keseringan yang sedikit old fashion
gitu. Kayak Flash Simulator.√
60. 19 Sekarang lagi tahap finishing. √
61. 20 So, untuk menghindari keributan, Tony
Wong yang juga penasehat film itu
sengaja merilis empat seri komik yang
ceritanya berdasarkan cerita film
Dragon Tiger Gate.
√
62. 21 Mencoba bermain di jalur pop yang
dipadu dengan sentuhan R&B dan
dance bikin album ini lebih berwarna.
√
63. 21 Sayang, di single terakhir,
pronunciation-nya rada kacrut.√
√
64. 21 Baik visual maupun attitude-nya
memang rada mirip sama band asal
Yogja itu.
√
65. 21 Yang memang punya tingkat
pergaulan yang standard dan nggak√ √
79
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
high class.
66. 21 Malah, sound-nya rada-rada cupu dan
ketinggalan jaman.√
67. 22 Maka, kali ini band pengundang masa
kayak The Upstairs dan Clubeighties
nggak termasuk sebagai headliners.
√
68. 22 Dengan tema Summer yang
merupakan singkatan dari Saturday
Under Musik Melody and Rhymes,
pengisi acara Klassix kali ini dibilang
full band pensi yang lagi naik daun.
√
69. 23 Seperti misalnya menggubah setting-
an pintu masuk menjadi di depan.√
70. 23 Mereka tetep mencoba menjebol pagar
itu sambil melempari batu ke dalam
venue.
√
71. 23 Mereka tetep fun dan menikmati
suguhan panggung.√
72. 23 Sejumlah head unit, subwoofer dan
barang-barang berharga yang ada di
daldm mobil pun harus mereka
relakan.
√ √
73. 23 Akhirnya setelah DJ Marquee perform
dengan berat hati acara Klassix ini
dihentikan.
√
74. 24 Sekarang kami tinggal nunggu aja
keputusan apa yang bakal keluar,”
tambah Cesar, koordinator
merchandise yang ikutan repot
ngejagain keamanan.
√
75. 24 Geng Petra anak-anak 82 is back! √
80
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
76. 24 So, ternyata seni juga bisa dipakai
sebagai sarana ekspresi cinta, selain
coklat!
√
77. 24 Sedangkan, prediksi best sciences
diraih oleh Aji Nugraha Santosa
Kasmaji, Nadia Amelia Prasetyo, dan
Mega Christivana.
√
78. 28 Mulai dari mengatur kabel yang
berserakan di bawah rig panggung,
mengatur sound sampe lighting.
√
√
√
79. 28 Bahkan, barisan orang ini juga yang
bertanggung jawab atas jadwal
soundcheck sampe mengatur flow
acara.
√ √
80. 28 Man behind the scene show! Tugas
mereka jelas nggak kalah disbanding
tugas si artis.
√
81. 28 Dari belakang panggung, mereka
(ikut) tampil all out demi memuaskan
penonton.
√
82. 28 Sebelum berkenalan, mari beri
applause pada mereka.√
83. 28 Tugas stage manager adalah mengatur
jalannya konser secara menyeluruh.√
84. 28 Mulai dari memantau jalannya
rundown acara, sampe memantau
sound output dari panggung.
√ √
85. 28 Selain itu stage manager juga berhak
untuk memutuskan durasi pertunjukan.√
86. 28 Nggak heran, saban kali konser √
81
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
digelar, stage manager selalu kelihatan
jadi sosok yang paling pusing.
87. 28 Stage manager, gampang dikenali. √
88. 28 Membawa handy talkie dan rundown
sambil sesekali berteriak.√ √
89. 28 Traffiker bertanggung jawab membuat
konser berjalan tepat waktu.√
90. 28 Biasanya, band punya sound engineer
sendiri.√
91. 28 Semata-mata untuk memudahkan
mereka mendapatkan setting sound
yang pas.
√
92. 29 Karena mengurusi tata cahaya
panggung seorang lighting man juga
ngendon di FOH.
√
93. 29 Banyak band yang menginginkan
setting lampu berbeda di tiap lagu.√
94. 29 Diantara tim produksi yang lain
rombongan stage crew adalah yang
paling banyak.
√
95. 29 Mulai dari gulung-gulung kabel,
sampe masang pernik dan backdrop.√
96. 29 Tapi, begitu panggung kehujanan atau
ada miss di panggung, stage crew
harus sigap bertugas.
√
97. 29 Job desk-nya hampir sama dengan
stage crew.√ √
98. 29 Musician crew bekerja berdasarkan
keahliannya.√
99. 32 (terutama tentang agama yang
dianutnya & about her hobbies).√
82
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
100. 32 Mulai dari isinya sampai harga
original-nya.√
101. 32 Oh ya, sisi lain tentang Tom DeLonge
ditunggu lho … Thanks before.√
102. 35 Sekarang udah nggak jamannya lagi
milih warna soft.√
103. 35 Beranikan diri untuk goes shocking. √
104. 35 Shocking colors cocok banget buat
semua warna kulit.√
105. 35 Serunya, warna ini bias ditabrakin
dengan warna shocking lainnya.√
106. 35 Misalnya, kaos biru elektrik dengan
hooded sweater magenta. Soal waktu
pemakaian, warna “gonjreng” ini
cocok banget buat dipake nonton
konser, nonton di bioskop, pergi ke
pensi, party di disko, bahkan nge-date
sekali pun.
√
√ √
107. 35 Nggak pake ngomong, penampilan lo
udah berteriak, “HEY LOOK AT ME!”√
108. 38 Bosen bikin acara intern, ngebuat
anak-anak OSIS Bopkri 1 memutuskan
untuk ngebuat event gede.
√
109. 38 Suasana acarapun memanas oleh para
performance yang tampil.√
110. 39 Mereka ngadain polling tentang perlu
atau nggaknya acara ini
diselenggarakan.
√
111. 39 Dan headliner yang tampil juga
banyak dan gokil-gokil! √
112. 40 Baca terus majalah Hai dan Kawanku
83
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
terbaru! Oke, lets prove your creativity
and your power!!! √
113. 41 Apalagi kalo terus diajak ngobrol dan
hang out. √
114. 41 Nggak perlu yang ganteng, yang
penting eye catching.√
115. 41 Mengorek informasi sedetail mungkin
tentang sosok cowok idaman mereka,
diliat dari aspek fisik, kepribadian,
juga lifestyle-nya. √
116. 41 Paling gampang kelihatan or dikenali! √
117. 42 Karena itu, para cewek ingin soulmate-
nya berkulit putih.√
118. 42 Tapi, kalo emang dasarnya rambut lo
nggak lurus, nggak usah maksain diri
nge-rebonding segala ya? Coz’ the
girls hate that! √ √
119. 43 Man, semua itu nggak penting! √
120. 44 Cewek-cewek merasa kalo cowok
smart alias pinter, pasti punya
wawasan yang luas.
√
121. 44 Buat mereka, cowok model gini cool
abis.√
122. 44 Yaaah, kalo nggak sukses bikin dia
penasaran, paling sial doi nggak notice
kehadiran kita aja kok.
√
123. 45 Yoi, mostly cewek nggak suka dengan
cowok yang sulit mengambil
keputusan dan susah untuk
menentukan sikap, brur.
√
124. 46 Soalnya, cowok-cowok model gini ada
84
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
di list teratas poling cowok idaman
Hai!
√
√
125. 46 See? Makanya, mulai sekarang di
depan cewek-cewek, kita pura-pura
rajin olahraga aja.
√
126. 46 Paling nggak, bisa jadi guide mereka
saban berpetualang di dunia gim dan
computer.
√
127. 46 Para clubhoppers nggak perlu miris. √
128. 46 So, ayo tunjukin kalo kalian bisa
menjaga mereka! Lets dance together
lah ….
√ √
129. 47 By the way, nggak usah panic dulu sih. √
130. 47 Sssst…, menurut Bu Wina, rata-rata
cewek-cewek masih memilih cowok
idamannya base on hal-hal yang
bersifat fisik aja.
√
131. 48 Liburannya menjelma jadi disaster. √
132. 49 Selanjutnya, ngakak all the way! √
133. 49 Meski banyak juga yang slapstick, tapi
tetep bisa ngilangin stres.√
134. 49 Dan, bukan Mr. Bean namanya kalo
akhirnya nggak happy ending.√
135. 50 Genre film ini bisa dibagi dalam dua
kelompok besar: based on true story
atau terjemahan bebasnya, diangkat
dari kisah nyata (yang ini bukan Cuma
soal tokoh, lho!), dan historic film alias
yang mengangkat kisah hidup
seseorang – atau paling nggak
sebagian kecil dari kisah hidupnya –
√
√
85
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
ke layer lebar.
136. 51 Kalo ngeliat faktanya, banyak banget
film jenis ini yang jadi box office.√
137. 52 Sebuah tagline yang menarik. √
138. 52 Dalam salah satu scene, Frankie the
Frog dan bandnya memainkan lagu I
Heard It Through the Grapevine.
√
139. 52 Dalam soundtrack film ini, juga
terdapat lagu klasik Disney yang
berasal dari decade ’60-an.
√
140. 54 Pada kompetisi tahun 1996 mereka
berhasil mencapai babak final four.√
141. 54 Kami terdiri dari pemain-pemain muda
dan punya skill yang cukup baik.√
142. 54 Pemain-pemain muda yang punya jiwa
satria,”cetus Wahyu Hidayat Jati,
pemain center senior SM Britama.√
143. 55 Selain treatment yang tepat, kondisi
dalam tim secara keseluruhan pun
emang mendukung solidnya
permainan.
√
144. 55 Nggak heran dengan modal sebanyak
itu, masih banyak lagi prestasi-prestasi
yan bisa diharapkan dari SM Britama.
Keep up the good work, guys! √
145. 58 Gagap sama transmisi matic bisa jadi
lantaran fitur ini kurang begitu
familiar di kalangan pengendara mobil
lokal.
√
146. 58 Lantas selain posisi-posisi basic tadi,
ada posisi lain yang bisa dipilih lewat√
86
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
tuas persneling matic.
147. 59 Ini adalah satu dari 2 posisi di mana
mobil bisa di-starter.√
148. 59 Misalnya saat terhenti di traffic light,
atau sekadar berhenti sebentar di
pinggir jalan.
√
149. 60 Maklum, selain ngerasa paling
penting, dia juga ngerasa nggak ada
orang yang bisa menyaingi power-nya. √
150. 60 Nah, karena sekarang kita yang paling
deket sama dia, dia jadi berusaha dapet
perhatian full dari kita.
151. 60 Lebih sensitif, moody, plus ekspresif
dibandingkan dengan cowok.
√
√
152. 60 Jika lo udah hands up, cari timing yang
tepat buat mutusin hubungan.√ √
153. 60 Cewek model cewek si Lobo ini nih
dijuluki drama queen. √
154. 62 “Gue lagi fall in love sama adik kelas. √
155. 62 “Gimana cara untuk ngedeketin dia
dan tau all about her?”√
156. 62 Yang paling ngetop sih multiple
choice.√
157. 62 Kompetisi yang fair biasanya berkisar
dalam adu program pembangunan aja.√
158. 62 Kata bijak bilang: love many, trust few. √
159. 63 Gue nervous nih kalo deket dia. √
160. 63 Ada yang bilang, harus merhatiin 5
“S”: Shave. Shower. Stylish. Smell.
Shoes.
√
161. 63 Plis kasih pick up line bikin cewek √
87
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
terkesan di segala kondisi saat kenalan.
162. 63 Cewek lebih nginget soal personality
atau kepribadian.√
163. 63 Maka jadilah orang yang fun, smart,
dan apa adanya.
√
√
164. 63 Guys, ayo kita Bantu temen kita yang
lagi punya masalah dengan
relationship mereka.
√
√
165. 63 Atau lo harus kreatif nyiapin suasana
pacaran yang baru. Misal, pacaran di
pom bensin. Good luck ya.
√
166. 63 Atau lo bisa kasih doi surprise yang
bisa bikin lo enjoy lagi!
√
√
167. 63 Vacum dulu aja. Lamanya lo atur. √
168. 64 Ada kata-kata bijak dalam bahasa
Inggris yang berbunyi: People
Change. Atau, jika diterjemahkan
secara mabok, artinya adalah:”Orang
Kembalian.”
√
169. 64 “Menurut gua, buat presentasi besok,
gua yang dapet bagian jadi pembicara,
dan elu yang bagian ngebuat slide,”
Endro berseru penuh semangat dengan
volume suara setara petugas ronda.
√
170. 64 Rako kembali manggut-
manggut,”Oke…berarti…gua at least
bisa kebagian jado moderator yah…”
√
171. 66 Dengan berbekal skill acting
tengkurep, cowok kriwil berbodi kremi
itu pun berusaha mengelak.
√
172. 67 Health: Stamina agak nge-drop nih. √ √
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Why?
173. 67 Single: Baru mulai pedekate? Good
luck!√
174. 67 Life: sibuk…sibuk…sibuk. Banyak
banget yang mau lo kerjain …,
beresin. Pahahal, kadang itu bukan
bagian lo. Perfectionost sih!
√
√
175. 67 Love: Sepertinya break lebih bagus
deh.
√
√
176. 67 Love: Mood-nya lagi nggak stabil. √ √
177. 67 Tinggal bikin list acara plus tempat
kencan yang seru, pasti lo bisa tambah
lengket sama dia.
√
√
178. 67 Mending lo support dia dengan pujian. √
179. 68 Sempet stuck karena album barunya
sukses, Maliq & Dessentials
memutuskan untuk berhenti berpikir.
√
180. 68 Buktinya lewat album repackage
mereka yang sudah tidak menyertakan
Dimi dalam daftar personil.
√
181. 69 Kalo ditambah proses mixing dan
mastering, bisa habis waktu enam
bulan.
√
√
182. 69 Whatta nice story! Lantas, soal
penggarapannya, gimana?√
183. 69 Soalnya, kami dibantu sama Simon
Cosworth, engineer-nya Incognito.√
184. 69 Cuma, kebanyakan stock lama. √
185. 69 Karena sifatnya yang lebih upbeat,
band ini oke aja kerjasama dengan DJ.√
186. 69 Salah satu penampilan weird adalah √
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saat tampil di acara yang digelar
sebuah bank.
187. 69 Abis itu, sound-nya jebol. √
188. 70 Dia ikut training di klub lain: klub
QPR.√
189. 70 Dia memanggil Rio dengan
sebutan’black bastard’. √
190. 70 Next, klub Millwall jadi persinggahan
Rio√
191. 70 Karena si Frank Lampard Sr ini mulai
annoying, akhirnya on Dave meminta
Rio untuk West Ham.
√
192. 71 From nothing to be something. Setiap
pertandingan fansnya berjubel di
pinggir lapangan!
√
193. 71 “Hehehe… Gue Emang shopaholic,
brur.
√
194. 71 Abis itu, dia beli Mercedes 500SL
limited edition beratap kaca milik
Jamie Rednapp.
√
195. 71 Bukan apa-apa, mobil sama flat
mahalan mobilnya!√
196. 71 “Cuma kalo ke nyokap gue lebih
seneng ngasih nyokap voucher.√
197. 72 Penonton langsung dihibur oleh
happening art persembahan tiga cewek
dari SMA Tarakanita.
√
198. 72 Nggak hanya itu, selama acara
berlangsung vocal grup SMA 70
menghiasi setiap jeda dengan lagu-
lagu bumper.
√
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199. 72 Udah kayak nonton talkshow di TV
aja!√
200. 72 Shannon Quinn dari Kedubes Amrik
sampe ngerasa surprised dengan
sambutan remaja Jakarta hari itu.
√
201. 72 Mereka berhak mendapat merchandise
dari Hai dan Kedubes US Embassy,
serta makan siang bersama di Kedubes
bareng Sang Duta Besar himself.
√
√
202. 73 Selang enam hari selepas acara
launching buku Berani Bermimpi di
Jakarta, acara serupa digelar juga di
Surabaya.
√
203. 73 Kali ini Ryo dari Hai, Shannon Quinn,
public affair kedubes Amerika Serikat
dan ibu Anita Lie, psikolog asal
Surabaya, bergantian memberikan
pendapat soal isi buku.
√
204. 74 Setiap kali gue menonton film itu, gue
selalu merasa amazed sama apa yang
terjadi dalam alur gambarnya.
√
205. 74 Sampai akhirnya, sebuah quote di atas-
yang gue dapat dari sebuah majalah-
bikin gue manggut-manggut sendiri.
√
206. 74 Di balik sebuah cerita yang hebat,
pasti ada seorang mastermind cerita
itu.
√
207. 74 Untuk jadi penulis, butuh waktu yang
panjang, dan mungkin tidak cukup
hanya dengan rajin menulis diary tiap
harinya.
√
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208. 75 Akhir kelas satu, di sekolah gue
diadakan pelatihan jurnalistik di situ
diajarin deh how to be a good
journalist, dan di akhir pelatihan kita
diajak melihat percetakan KOMPAS.
√
209. 75 Kelas dua SMA, gue dan temen-temen
gue ikutan wall magazine competition
dan menang juara tiga!
√
210. 75 Karena di situ gue harus bikin artikel,
wawancara narasumber, sampai nulis
report.
√
211. 75 Semua akan berhasil dengan baik. Try
and try because we never know about
next time.
√
212. 76 Dengan set remang-remang dengan
banyak lilin di sekitar para personil
band, membuat kita serasa memasuki
dunia lain.
√
213. 76 Bareng Aghi, Everybody Loves Irene
menghasilkan sound-sound aneh yang
berisik.
√
214. 77 Senin (12/3) kemarin, band yang
dimotori Kele Okereke ini menggelar
showcase di Paramount Theater,
Seattle, Amrik.
√
215. 77 So, mitos yang disebut tadi, ternyata
udah nggak ampuh lagi. Good job,
guys!
√ √
216. 77 The Killers, Babyshambles, Klaxons,
dan Tori Amos juga menjadi line up di
festival ini.
√
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217. 77 3 Diva kebanggaan Indonesia,
Krisdayanti, Titi DJ, dan Ruth
Shanaya, baru aja menggelar konser
kolaborasi dengan tiga penyanyi
Malaysia pada show-nya di Kuala
Lumpur tanggal 25 Maret lalu.
√
218. 78 Memuat 14 lagu, album yang cover-
nya bergambar kucing di papan putar
ini sempat meraih peringkat 1 di
Billboard 200 tahun 1997.
√
219. 80 Isinya? Anything that will make you
smile.√
220. 80 Mulai dari bloopers ajaib di musik dan
film, barang baru yang biarpun aneh,
toh tetep diproduksi, begitu pun
dengan parade mobil yang modelnya
nyeleneh.
√
221. 80 Ada juga tren t-shirt seru dan kocak. √
222. 80 Berasa butuh senyum dan refreshing? √
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Halo Dikka!
Terimakasih masih suka ngintip2! Langsung aja ya.
Tujuan kami sering nyomot kata Bahasa Inggris, terutama adalah mendekatkan diri ke
pembaca. Mengingat kata-kata itu cukup hidup (artinya, sering dipakai) dalam bahasa
obrolan sehari-hari. Ini sesuai dengan visi misi Hai yang salah satunya menjadi teman
bagi pembacanya. Maka kalau diperhatikan, pemakaiannya juga dipilih sesuai dengan
kata-kata apa yang sedang sering dipakai oleh pembaca.
Maksud berikutnya adalah, meringkas penulisan tanpa mengaburkan pemaknaan.
Terminologi seperti "guilty pleasure", misalnya, akan lebih rumit untuk diterjemahkan,
dan belum tentu maknanya sepadan. Seringkali, kata-kata dalam Bahasa Inggris
juga nggak bisa dihindari dalam kutipan dari narasumber.
Begitu?
Semoga membantu.
Cheers!
Appendix 5 E-mail Transcript
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-----Original Message-----
From: dikka putra <[email protected]>
Date: Thu, 17 Apr 2008 18:23:19 -0700 (PDT)
Subject: tanya-tanya
Hi HAI, kenalan dulu ah..., aku Leonardus Dikka Maha Putra (23) dari Jogja. Aku salah
satu penggemar berat HAI sejak kelas 1 SMP. Emang sich aku sekarang udah nggak
remaja lagi tapi kegemaranku ama HAI masih mbandel 'n nggak mau ilang, ampe
sekarang aku masih suka ngintip artikel-artikel keren di majalah HAI. Sekarang aku kuliah
di program study Pendidikan Bahasa Inggris, Universitas Sanata Dharma, Jogjakarta di
semester 8.
Oh iya...! Ngomong-ngomong soal kuliah, aku sebenernya lagi nyelese'in skripsi. Aku lagi
butuh bantuan HAI nich, soalnya aku pilih majalah HAI sebagai bahan penelitian skripsi
aku (secara penggemar berat gitu kale'!). So, aku mau tanya-tanya ama redaktur
HAI satu pertanyaan berikut, mohon dijawab yaa.
Kenapa HAI sering nyomot kata-kata dari bahasa Inggris t'rus digabung ama kalimat-
kalimat berbahasa Indonesia? Apa kata-kata itu lagi ngetren, lebih ke'ci di
telinga,ato....gimana? Nih contohnya nih...,aku ambil dari artikel-artikel di majalah HAI:
1. Salah satu guilty pleasure gue belakangan ini adalah American Idol.
2. Jack juga ngasih tau kalo debut album The Ranconteurs, Broken Boy Soldiers, udah
siap di-launcing tanggal 15 Mei nanti.
3. So, here we are! Sampe di Bandung sekitar pukul 8 malam dan dusambut oleh enem
orang penting sekaligus.Finally, album ini dirilis juga di Indonesia.
4. Finally, album ini dirilis juga di Indonesia.
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