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The gaul register is presented as the standard, preferred style for adolescent social media interaction. Udah Belom?! Rickford eds , Style and sociolinguistic variation, pp. Download pdf. Unbelievable by Winna Efendi Goodreads Author 3. Artikel ini mengupas interaksi remaja dalam jejaring sosial, seperti digambarkan dalam dua novel remaja.
We will not remove any content for bad language alone, or for being critical of a book. Prinkipissa 1 book 0 friends. Nindyard 4 books 0 friends. Adindaenpe 8 books 0 friends. Sansia books 86 friends. Adinda 53 books 2 friends. Sep 14, Nenangs wrote: Banyak di antara buku itu yg bukan untuk "teen" dan memang gak masuk genre teenlit. Sep 15, Sep 16, Klo dari versi penerbit, teenlit itu yg kisaran tokohnya masih "teen", ato masih ampe SMA.
Klo udah kuliah, masuknya ke genre YA Tapi ada juga beberapa orang yg menganggap definisi teenlit ya ampe kuliah. So list di atas mo pake batas yg mana?
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Unbelievable by Winna Efendi Goodreads Author 3. Examples of this are given in 5 and 6. Total number of postings: Also, of the 23 monologic postings, one is from Sasa. This suggests that other characters are also Facebook users and may also engage in similar activities as Icha does, the difference being that they are not addicted like Icha.
The relatively small number of postings that Sasa uploads suggests that, whereas Icha is an adolescent who is prone to losing her sense of control, Sasa is a teenager who is also familiar with social media but uses them sensibly. Sabtu ini nemenin Sa2 nge-date. This Saturday accompanying Sasa on her date. For example she never writes with irregular capitalization typical of alay.
Compare for example with the posting from Indies Boy in 9 , which contains this feature and also abbreviation the tag kan written as kn.
Pasti gARa2 onlinE kn?
Standard colloquial version: Indies Boy: Pasti gara-gara online kan? Must be because you were always online, right? His use of alay features here suggests this minor role. In this regard, her conservative style is closer to the moral style of the narrator than to the alay style of Indies Boy. As an unknown character, Indies Boy is important for two reasons. In this case, good language is presented as one close to the colloquial standard.
Normatively standard forms are indexical of an authoritative voice that reminds adolescents of the negative effects of social media. Forms associated with gaul and alay, along with other pragmatic features such as the time of posting and responses to posting, are used to typify adolescent social media interaction. However, the teen characters in the story are not of equal moral standing.
The protagonist, despite her lapses, is presented as a character who experiences self-growth. Hers is the position with whom the author aligns. In both cases, there is a strong alignment with the position of standardness. The protagonist is presented as an adolescent who communicates in the standard gaul register, while minor characters do so in alay. Jurnal Jo Online is a story about Josephine Wilisgiri, a year old girl from a modest family background.
She is portrayed as a smart, well-liked teen who enjoys socialising with peers but who, unlike her close friends, Ally and Novi, is not preoccupied with the latest fashion or with attracting the opposite sex. Like other teenagers, Jo enjoys interacting with friends through Facebook and Yahoo Messenger. Also like them, she uses gaul in interaction. However, unlike Ally who communicates online in alay, Jo writes mainly in standard colloquial orthography.
Here Ally is informing Jo that she recently acquired a new boyfriend through Facebook. Jo Wilisgiri: Koq bisa? How did you do that? Gmn kalo dia punya pacar lain? Km kan gak tau? What if he already has a girlfriend? Gw k4n jg bs cari coW laen. I c4n also find another guY, right. So Long as I have a boyfriend. Just FoR fUN really.
Below are some examples. However, abbreviation is not a salient feature in her style. Notice that in line 8 she uses the long version gimana. Similarly, she uses the long version of second person singular kamu in line 5 but abbreviates it into km in line Her use of abbreviation in this case indicates that this protagonist, like most teenagers, is familiar with the language of text-messaging and accommodates to the style of her peers.
These positions are represented by Jo and Ally respectively. Unlike Ally who communicates in alay, the stranger uses child speak mixed with alay features, as shown in Features of child speak in this example are given in bold. Notice in line 5 that the second person pronoun kamu is abbreviated as qm.
Lonely Girl: Hi Jo. Siapa nih? Who is it?
Each time Lonely Girl gives the impression that she knows Jo well and follows her daily, but when Jo asks her to reveal her identity, Lonely Girl always refuses. Terate uses child speak to communicate the idea that online interaction is risky as strangers may cyber-stalk you. It is playful as it imitates the manner with which an adult may interact with a child. The eeriness comes from its ascription to a character whose intentions are questionable.
Other registers, such as alay and child speak, index the less preferred and the dispreferred positions respectively. Minor characters such as Ally and Lonely Girl only serve to highlight this quality. The gaul register is presented as the standard, preferred style for adolescent social media interaction. It is the register used by young people of sound character. As mentioned, alay invokes the typification of youth as indulgent and idle.
The use of this register in Jurnal Jo Online accords with this typification. In addition to alay, child speak is used in this novel to index questionable behaviour and a moral position with which the author is concerned to show non-alignment.
Language, as argued by many scholars for example, Ochs , Bucholtz and Hall , Jaffe is an important resource for indexing stance. Both Tjiunata and Terate contrast features from different registers to index their position on the issue of social media interaction. Milroy and L. Milroy Their use of the standard colloquial orthography to portray the communication style and the moral quality of the protagonists reflects this orientation.
Agha, Asif. Bakhtin, M. Michael Holquist ed. Four Essays, pp. University of Texas Press. Bell, Alan. Eckert, and J. Rickford eds , Style and sociolinguistic variation, pp. Cambridge University Press. Bucholtz, Mary and Hall, Kira. Coupland, Nikolas. Style; Language Variation and Identity. Djenar, Dwi Noverini. Semantic, pragmatic and discourse perspectives of preposition use; A study of Indonesian locatives.
Pacific Linguistics. Englebretson, Robert. Englebretson ed.
Subjectivity, Evaluation, Interaction, pp. John Benjamins. Ewing, Michael C. Adelaar, and N. Himmelmann eds , The Austronesian languages of Asia and Madagascar, pp. The Fictions of Language and the Languages of Fiction: The Linguistic Representation of Speech and Consciousness. Irvine, J. Jaffe, Alexandra. Alexandra Jaffe ed. New York: Oxford University Press. Manns, Howard. Stance, style and identity in Java. Milroy, James and Lesley Milroy. Routledge and Kegan Paul. Ochs, Elinor. Alessandro Duranti ed.
Smith-Hefner, Nancy. Sneddon, James N. Colloquial Jakartan Indonesian. Terate, Ken. Jurnal Jo Online.