Refusal Strategies in English Speech A P

REFUSAL STRATEGIES I EGLISH SPEECH:
A PRAGMATIC STUDY
STRATEGI PEOLAKA DALAM TUTURA

BAHASA IGGRIS: KAJIA PRAGMATIS
BY
YULIAI KUSUMA PUTRI
1801 2008 0024
THESIS
submitted in partial fulfilment of the requirements for

the degree of Magister Humaniora
THE GRADUATE SCHOOL

FACULTY OF LETTERS
UIVERSITAS PADJADJARA
2010
REFUSAL STRATEGIES I EGLISH SPEECH:
A PRAGMATIC STUDY
By
Yuliani Kusuma Putri
1801 2008 0024
THESIS
proposed to be examined as one of the requirements

for the degree of Magister Humaniora
has been approved by Advisor Team on the following date.
Bandung, 13 August 2010

STATEMET OF ORIGIALITY
I, Yuliani Kusuma Putri, do herewith declare that the material contained in my

thesis entitled Refusal Strategies in English Speech: a Pragmatic Study is original
work performed by me under the guidance and advice of my faculty advisors, Dr. Eva
Tuckyta Sari Sujatna, M.Hum. and Ekaning Krisnawati, M.Hum.
I certify that, to the best of my knowledge, my thesis does not infringe upon
anyone’s copyright nor violate any proprietary rights and that any ideas, techniques,
quotations, or any other material from the work of other people included in my thesis,
published or otherwise, are fully acknowledged in accordance with the standard
referencing practices.
I declare that this thesis has not previously been submitted for the basis of award
of any degree or diploma/examining body, or university or institution.
Date : August 13, 2010.
iii
PREFACE
Bismillahirrohmanirrohim,
Assalamualaikum Warohmatullohi Wabarokatuh,
Alhamdulillah
Alhamdulillah,, by the blessing of Allah SWT, the writer has finally
completed her thesis entitled “Refusal

Refusal Strategies in English Speech: a Pragmatic
Study”. This study was taken as the partial fulfil

fulfilment
ment of the requirements
requirement for
taking Magister Humaniora degree in English linguistics, faculty of letters
Padjadjaran University.
The writer chooses the title “Refusal

Refusal Strategies in English Speech: a
Pragmatic Study” because she is interested in analyzing language phenomenon in
the societies, especially speech acts and refusals. Shee thinks that refusals, which
lay under speech acts, are very important activities in everyday conversation and
communication.. In addition, this thesis is conducted in the field of Pragmatics
because the writer wants to analyze the language from not only semantic point of
view but also contextual point of view.
The writer hopes that this thesis gives contribution

contributions as a useful reference
re
for those who want to do a study in the field of pragmatics.. The writer also hopes
that this thesis can help other linguistic researchers in finding

find interesting
phenomenon in pragmatic study; furthermore, it is also possible for other
researchers too dig up this topic from different perspectives.
iv
v
The writer realizes that this thesis is not perfect; as a result, the writer is
looking forward to being given suggestions and corrections to make this thesis be
better. Finally, the writer would like to eexpress her gratitude to all who help the
writer finish this thesis.
Bandung, July
Ju 2010
The writer
ACKOWLEDGEMETS
First and foremost I would like to say ““Alhamdulillahirabbil

Alhamdulillahirabbil alamiin”
alamiin all
praise only to Allah the Lord of universe, who gives me guidance, chance, power,
power
ability and health to finish my thesis. I always pray for Allah’s blessing and mercy
that I can do my best.
In doing this thesis, I have been helped by some great individuals who
have significantly given their meaningful contributions to me in finishing this
thesis. Therefore, on this occasion I would like to express my deepest gratitude to
Dr. Eva Tuckyta Sari Sujatna, M.Hum. and Ekaning Krisnawati, M.Hum. as my
advisors who have shared their valuable guidance and advice with me from the
start.
Moreover,, I would like to thank Dean of Faculty of letters Padjadjaran
University, Prof. Dr. Dadang Suganda, M.Hum. The deep gratitude is expressed
to all lecturers
turers in English Linguistics of the graduate program who give us
valuable knowledge. Big thanks are expressed to the examiners for my thesis
proposal who have given comments and suggestions. The gratitude

grat is also
expressed to the administrator of the graduate program Bapak

apak Musa for the
easiness and facilities given to me during my study.
My thanks are also giv

given to my beloved family: Papa, who have spent the
time transporting me during the finishing of my thesis; my uncle, my sisters and
brothers, my sister-in
in-law and brothers-in-law forr the prayers, assistance and
vi
vii
support; my nephewss and nieces who have brightened my days during the writing
of this thesis.
Many thanks are also given to my close friends Risty and her parents who
have enlightened and supported me. I also want to thank my

y classmates for the
support and craziness during the classes. Thank you all very much. Without you, I
am just an empty glass witho

without water.
ABSTRAK
Tesis ini berjudul “

“Refusal
Refusal Strategies in English Speech: a Pragmatic
Study”.”. Tesis ini bertujuan untuk mengetahui dan memaparkan tipe-tipe tipe
klasifikasi penolakan, strategi penolakan, serta proses penolakan.
penolakan Penelitian ini
didasarkan pada metode deskriptif kualitatif, dan peneliti memilih teknik
penelitian analisis dokumen untuk menganalisis data. Ada dua puluh tiga episode
film serial Ugly Betty yang peneliti gunakan dalam pencarian data. Peneliti yakin
bahwa film serial ini merefleksikan kehidupan masyarakat akat Amerika yang
sesungguhnya. Peneliti mendeskripsikan dan menganalisis setiap ujaran dari
tokoh dalam film serial sesuai dengan teori Beebe at al. (1990) serta Gass dan
Houck (1999). Dari hasil analisis data ditemukan bahwa semua pemeran di film
seri Ugly Betty menggunakan lebih dari satu strategi dalam satu penolakan.
Strategi yang paling sering digunakan adalah penolakan langsung, alasan, dan
ajun.
viii
ABSTRACT
This thesis is entitled ““Refusal

Refusal Strategies in English Speech: a
Pragmatic Study”. The objectives of this study are to find out and explain types
of refusal classifications, refusal strategies, and refusal process. This study uses
qualitative descriptive method; the researcher chooses document analysis research
technique in analyzing the data. There are twenty three episodes of Ugly Betty
serials the researcher uses to find the data
data. The researcher
rcher believes that the serials
reflect the real lives of Americans
Americans. The he researcher describes and analyzes
utterances which are uttered by the characters from the serials based on the
theories of Beebe et alal. (1990) and Gass and Houck (1999). The analysis shows
that all characters in Ugly Betty serials use more than one strategy in one refusal.
The mostly used strategies are direct refusal, explanation/reason, and adjunct.
ix
TABLE OF COTETS
STATEMET OF ORIGIALITY iii
PREFACE iv
ACKOWLEDGEMET vi
ABSTRAK viii
ABSTRACT ix
TABLE OF COTETS x
LIST OF ABBREVIATIOS xiii
LIST OF FIGURES xiv
CHAPTER I ITRODUCTIO 1
1.1 Rationale 1
1.2 Formulations of the Study 5
1.3 Objectives of the Study 6
1.4 Theoretical Outline 6
1.5 Method 7
1.5.1 Method and Technique of Data Collecting 7
1.5.2 Method and Technique of Data Analysis 9
1.6 Data Source 11
1.7 Weight and Relevances 12
CHAPTER II THEORETICAL BACKGROUD 13
2.1 Pragmatics 13
2.2 Context 14
x
xi
2.3 Speech Acts 15
2.3.1 Levels of Speech Acts 16
2.3.2 Classification of Speech Acts 16
2.4 Direct and Indirect Speech Acts 17
2.5 Speech Event 18
2.6 Refusals 19
2.6.1 Classification of Refusals 19
2.6.1.1 Refusals of Requests 20
2.6.1.2 Refusals of Offers 20
2.6.1.3 Refusals of Invitations 20
2.6.1.4 Refusals of Suggestions 21
2.6.2 Refusal Strategies 22
2.6.3 Refusal Sequences 27
2.6.4 Factors Influencing Refusal Strategies 28
CHAPTER III DATA AALYSIS 30
3.1 Refusals of Requests 30
3.2 Refusals of Offers 49
3.3 Refusals of Invitations 66
3.4 Refusals of Suggestions 82
CHAPTER IV COCLUSIO
COCLUSIOS AD SUGGESTIOS 100
4.1 Conclusion 100
4.2 Suggestions 101
BIBLIOGRAPHY 103
xii
DICTIOARIES 105
THE WRITER’S BIOGRAPHY 106
APPEDICES 107

LIST OF ABBREVIATIO S
DCT Discourse Completion Test
DVD Digital Versatile Disc
e.g. for
or example
EFL English as a Foreign Language
ESL English as a Second Language
et al. and
nd others
FO Final Outcome
i.e. that is
IR Initial Response
USA United States of America
xiii
LIST OF FIGURES
Fig. 2:1 Possible refusal trajectories involving negotiation
Fig. 2:2 Refusal sequence

sequences
xiv
CHAPTER I
ITRODUCTIO
1.1 Rationale
One sentence can have many meanings. In daily conversation, sometimes
what people say does not mean the same as what they intend. On some occasions,
when a speaker utters some words with a certain intention behind it, the hearer is
aware of the ‘hidden

hidden meaning
meaning’.. On the contrary, there are times when the hearer
does not catch on the ‘hidden meaning’ from the speaker

eaker when he or she utters the
words or the hearer misunderstands the utterance.
The ‘hidden
hidden meaning
meaning’ of an utterance is expected to have some effects.
effects As
stated by Aitchison (1999) that when a speaker utters some words, he or she tries
to gain some effects with this words. The effects are accomplished by an
alternative action.
on. For example an interrogative can be interpreted as a question or
a request. In short, she states that this phenomenon is called a speech act. In
relation to this, Finnegan (1992) says that speech act is actions that are
ar carried out
through language. Yu
Yule (1996) also adds that in attempting to express themselves,
people do not only produce utterances containing grammatical structures and
words, they perform actions via those utterances.
A speech act is an action performed by means of language, such as
requesting
questing something, complaining about something, or refusing something.
According to Austin (1962), a speech act is a functional unit in communication. It
1
2
is an act that a speaker performs when making an utterance. Phonetically, an
utterance is a unit of sspeech bounded by silence.
One of the speech acts is refusal. It is frequently performed in our daily
lives. Refusals or rejections can be defined as disapproval of the speaker’s
intention. People use refusals in response to requests, invitations, offers, and
suggestions.
In refusal behaviors, people use indirect communicative strategies in order
to try to avoid offending their partner in the dialogue. They might use a variety of
forms and contents in refusal situations.
There are some ways that are usuall

usuallyy applied in performing refusal actions
in order to reassure the speaker that he/she has an appropriate reason, i.e. refusal
strategy. Bardovi-Harlig
Harlig and Hartford (199
(1991)) state that refusers need to take their
own status and the face

face-threatening nature of refusal
efusal into consideration and
employ strategies to maintain the status balance.
According to Beebe et al. (1990), there are two kinds of refusal categories:
direct and indirect refusals

refusals.. We can use performative verbs such as I refuse, or
non performative verbs such as a direct ““o”” or negative willingness/ability such
as I can’t/I won’t/I don’t think so for direct refusals. For the indirect refusals,
refusal we
can use: statement of regret; wish; excuse, reason, explanation; statement of
alternative; set
et condition for future or past acceptance
acceptance; promise
romise of future
acceptance; statement
tatement of principle
principle; statement of philosophy; attempt
ttempt to dissuade
interlocutor; acceptance
cceptance that functions as a refusal
refusal; and avoidance
voidance. We can also
use adjuncts to refusal such as statement

tatement of positive opinion/feeling or agreement,
agreement
3
statement
tatement of empathy
empathy, pause fillers, and gratitude/appreciation. The followings are
the examples of refusals in English speech

speech.
In situation 1, A is B’s assistant. She walks in B’s office when B is talking
to a friend.
1. A: Um, sorry to interrupt, but can I get you lunch?
B: o, no, but you go ahead. Thanks.
The situation 1 above shows a direct refusal. B refuses A’s offer using a
direct “o”.
”. The word ““o” is a non performative statement in refusals.
In situation 2, the same as situation 1 of which A is B’s assistant. A and B
are hurriedly walking out of their office and heading to their car.
2. A: (Walking hurriedly behind B) You know, I was wondering if you
have a quick moment.
B: (In offensiv
offensive intonation) Do I look like I have a “quick moment”?
(typing on his cellphone while walking to his car)
B refuses A’s request for B’s time using an indirect refusal. B uses attempt
to dissuade interlocutor by asking back A whether B has time in an offensive

offensi
intonation.
day conversation, refusing requests, invitations, offers, and

In everyday
suggestions happen on many occasions. In making a refusal, speakers

peakers can use
either direct refusals or indirect refusals to avoid

oid being impolite or rude.
4
There are many studies on refusals. Those are American English refusals
(Beebe et al,, 1990; Bardovi

Bardovi-Harlig
Harlig & Hartford, 1991), Chinese refusals (Chen,
Ye, & Zang, 1995), British refusals (Kitao, 1996), Japanese refusals (Beebe,
Takashi, & Uliss-Weltz,

Weltz, 1990; Ikoma & Shimura, 1993), and Spanish refusals
(Garcia, 1992; Félix-Brasdefer

Brasdefer, 2002).
Takahashi and Beebe (1987) investigated written refusals by native
speakers of English, native speakers of Japanese, Japanese ESL students in the
United States, and Japanese EFL students in Japan and found that there was a
strong native language influence in the EFL context and negative transfer of
negative speech act behavior occurring in the more advanced levels

level of ESL. The
researchers claimed that the advanced stud

students
ents had greater facility at speaking
English which allowed them to express complex notions in Japanese like 'being
deeply honored' to receive an invitation.
Yet another refusal study, undertaken by Tickle (1991), looked at
pragmatic transfer in ESL refusa

refusals
ls made by Japanese speakers in a business
setting. Thirty-one
one Japanese men who all had at least five years of business
experience (including a year in the United States) were asked to complete a
discourse completion task (DCT) where hypothetical situation

situationss varied by turf
(customer’s vs. the businessperson’s), relationship (positive, negative), status
(higher or lower), and function (refusal to an invitation vs. refusal to a request).
The results showed that refusals on a customer’s turf were more direct than
th those
on the businessperson’s turf. They were also more direct when no prior
relationship existed between the interlocutors. In refusals to invitation (e.g., to go

5
drinking), lower-status
status interlocutors expressed more regret toward the higher-
higher
status one. In refusals to request (e.g., of co

co-workers),
workers), more negative
willingness/ability (e.g., “I can’t”)) and empathy occurred. Results of this
particular study provided material for cross

cross-cultural
cultural programs training American
businesspeople to deal more ef

effectively with Japanese clients.
Bardovi-Harlig
Harlig & Hartford (1991) studied American refusals among
graduate students in rejecting their academic advisors’ suggestions.

suggestions However, the
writer thinks that the study did not represent all American
Americans because the scope of
the
he study done by Bardovi
Bardovi-Harlig
Harlig & Hartford (1991) was limited to American
graduate students and the refusal was limited only as a response to suggestions.
Therefore, the present study is going to inv

investigate
estigate the refusal strategies in
English speech. The writer would like to know the refusal strategies and the
refusal sequences used by the utterers of English speech. The writer will
investigate refusal strategies used by Americans from different social distance and
power. Thus, in relation to this, the writer

ter expects that this investigation will
contribute to the field of linguistics, especially in the field of pragmatics.
1.2 Formulations of the Study
This study focuses on ways of expressing refusals in English speech as a
speech act, with the following formulations of the study:
1. What are the types of initiating act that trigger the act of refusals?
refusals
2. What kinds of refusal strategies are found in one refusal?

6
3. What are the refusal sequences found in one refusal?
4. What are the process of the refusals?
1.3 Objectives of the Study
There are several aims the writer hopes she will get while doing this study.
The aims are as follows:
1. To find out the types of initiating act that trigger the act of refusals.
refusals
2. To find out the kinds of refusal strategies found in one refusal.

refusal
3. To find out the refusal sequences found in one refusal.
4. To explain the process of the refusals.
1.4 Theoretical Outline
For the discussion and analysis of the data, the present study relies on the
theory of Yule (1995) which talks about pragmatics in general. Another theories
are Austin’s (1962) and Searle

Searle’s (1969)
9) which talk about speech acts: their levels,
classifications, and types in terms of indirectness. The other theories are Beebe et
al’s (1990), Yang’s ((2008) and Félix-Brasdefer’s (2008) which talk about
refusals: their classifications, strategies, and sequences and also theory of Gass
and Houck’s (1992) which talks about refusal trajectories

trajectories,, i.e. the process of the
refusal that may involve negotiations. The analysis of the data also relies on the
theory of Brown and Levinson (1987) which talks about social distance and power
as the factors influencing the use of refusal strategies.

7
1.5 Method
1.5.1 Method and Technique of Data Collecting
It is necessary for ever

everyy researcher to determine the research method that
will be used to obtain the data and information intended in a research. Since this
study is aimed to describe systematically the facts and characteristics of a given
population or area of interest, factually and accurately, then the appropriate
method should be used

sed is the qualitative descriptive research as Merriam (1988)
states:
Nonexperimental or, as it is often called, descriptive research is

undertaken when description and explanation (rather than prediction
based on cause and effect) are sought, when it is not possible or
feasible to manipulate the potential causes of behavior, and when
variables are not easily identified or are too embedded in the
phenomenon
non to be extracted for study.
Isaac and Michael (1982) add that descriptive research is used in the literal
sense of describing situations or events. It is the accumulation of a data base that
is solely descriptive –it does not necessarily seek or explain relationships, test
hypotheses, make predictions, or get at meanings and implications.
The kind of descriptive research used in this study is the document
analysis research, as stated by Riyanto (2001) in his book:
Penelitian analisis dokumen/analisis isi adalah penelitian yang

dilakukan secara
ara sistematis terhadap catatan
catatan-catatan
catatan atau dokumen
sebagai sumber data. Ciri Ciri-ciri
ciri dari penelitian ini adalah (1)
Penelitian dilakukan terhadap informasi yang didokumentasikan
dalam bentuk rekaman, gambar, dan sebagainya (2) Subjek
penelitiannya adalah se
sesuatu
suatu barang, buku, majalah dan sebagainya
(3) Dokumen sebagai sumber data pokok.
8
Riyanto states that the document analysis research has three
characteristics:
teristics: the research is conducted towards documented information in the
forms of recordings, pictures, etc.; the research subject is a thing, a book, a
magazine, etc.; and documents as the main source.
The data for analysis is collected from video clips from television series.
series
Compared with previous data collection methods such as discourse completion
tests or role plays according to Yang (2008)

(2008),, this data collection method has its
own advantages for pragmatic study:
1. Clips
lips from television series provide contextual information, which is
essential for pragmatic analysis. Most television series present
ongoing
going stories about a specific set of people at specific locations
doing certain things in culture. The contextual factors of a refusal
instance, such as time, place, and the roles of the participants, can be
easily identified in a television series.
2. Videoo clips from television series record both the verbal and
nonverbal behaviors of participants in interactions. This will facilitate
the examination of non

non-verbal behaviors of refusal.
3. Clips from television are materials that are readily adaptable for
foreign
gn language learning. They not only present linguistic
expressions but also present how these expressions are actually uttered
in certain contexts by native speakers.
4. From the operational perspective, contextual variables are easier to
control in produced video clips data, because researchers can more

9
easily select the genre, the topics and the main characters of the
television series.
Compared with discourse completion tests which are short segments of
realistic interactions, video clips from television series record the whole
interaction process of refusal, which includes the information of the turn-taking

turn
mechanism and the negotiation strategies. Compared with role plays, data
involving more situations can be collected in a short time by means of video clips
from television series.
1.5.2 Method and Technique of Data Analysis
The methods of data analysis in this study are going to be done by two
analysis procedures: during data collecting and after data collecting. The first
procedure will be executed using these steps:
1. reducing
educing the data by identifying refusals while observing the video
clips,
2. choosing
hoosing data relevant to the topic of the stu
study,
dy, in this case, refusals,
and
3. transcribing the data from video clips into transcriptions.
The second procedure

procedure, i.e. after data collecting will be carried out using
these steps:
1. examining
xamining the transcriptions and classifying the refusals, whether they
are used in response to requests, invitations, offers, or suggestions,

10
2. rewriting the conversations into eexcerpts

xcerpts so it will be easier for the
writer to analyze the refusal strategies and sequences,
3. describing the context of the conversation, i.e. describing the time,
place, and person

persons that the conversations take place,
4. describing the Initiating Act, refusal strategies, refusal sequences,

sequ and
refusal trajectories, and
5. drawing the figure of the refusal process.
The following is the example of the data analysis which is analyzed using
the steps.
Transcription:
Justin: I hate telenovelas. I want to watch Fashion TV.
Hilda: Justin, you can watch Fashion TV later when your Aunt Betty is
babysitting ok?
Context:
The conversation takes place in Suarez family’s house between Justin Suarez and
Hilda Suarez. Justin Suarez is Hilda’s son, therefore the degree of solidarity
between them is mother and son. Justin is in the living room watching telenovela
and Hilda, accompanied by her father, is in the dining room having lunch. The
dining room is facing the television in the livin

living
g room and the three of them are
watching television.
11
Analysis:
The Initiating Act of the dialogues above is request for permission.

permission Watching
telenovela on television, Justin declares that he hates telenovelas and requests to
change the channel and watch Fashion TV (II want to watch Fashion TV).
TV Hilda
refuses his request using a promise of future acceptance (Justin,

Justin, you can watch
Fashion
ion TV later when your Aunt Betty is babysitting ok
ok?).
). Hilda uses this
strategy because she does not want to disappoint Justin that she forbids him to
watch Fashion TV. The refusal sequence here is only head act (Justin,
( you can
watch Fashion
ok?).
). Justin accepts
his mother’s refusal, which makes Hilda’s response the Final Outcome. The
refusal process can be seen in the following figure.
Initiator (Initiating
I hate telenovelas. I want to watch Fashion TV.
Act)
Response Refusal Sequence Strategy
Justin, you can
Respondent watch Fashion TV
promise of future
later when your head act
acceptance
Aunt Betty is
babysitting ok?
Initiator (IR = FO) Accept
1.6 Data Source
The data for this study will be obtained from Ugly Betty serial DVDs
season one and the film subtitles of the same title. The writer decides to take the
data from this source because she thinks that the characters in Ugly Betty serial
12
represent almost all English speakers from various social distance,

distance i.e. degree of
solidarity and authorities

authorities, and because the stories in Ugly Betty serial are almost
the same as Americans' everyday lives.
1.7 Weight and Relevances
The contributions of this investigation to the field of linguistics, especially
in the field of pragmatics are as follows

follows:
1. Enriching the variety of analyses in speech acts.
2. Stimulating interest among language observers to continue conducting
research in the same field of study.
3. Improving the existing investigations in the same field of study.

CHAPTER II
THEORETICAL BACKGROUD
2.1 Pragmatics
Pragmatics is a branch of linguistics which studies meaning in interaction.
According to Yule (1996

(1996: 3),
), pragmatics is concerned with the study of meaning
as communicated by a speaker (or writer) and interpreted by a listener (or reader).
Yule (1996:: 33)) adds that pragmatics has more to do with the analysis of
what people mean by their utterances than what the words of phrases in those
utterances
erances might mean by themselves. Pragmatics is the study of speaker
spea
meaning. This type of study necessarily involves the interpretation of what people
mean in particular context and how the context influences what is said. Thus,
pragmatics is also the study of contextual meaning. In addition, pragmatics
explores how a great deal of what is unsaid is recognized as part of what is
communicated. On the other hand, pragmatics is the study of how more gets
communicated than is said. This perspective then raises the question

quest of what
determines the choicee between the said and unsaid. The basic answer is tied to the
notion of distance.. Closeness, whether it is physical, social, or conceptual, implies
shared experience. On the assumption of how close or distant the listener is,
speakers determine how much needs to be said. In bri

brief,
ef, pragmatics is the study of
the expression of relative distance.
Taken together, pragmatics is the study of the relationships between
linguistic forms and the users of those forms. Only pragmatics allows humans into
13
14
the analysis. Whereas the study of grammar focuses on the language system,
pragmatics offers a complementary perspective on language, providing an insight
into the linguistic choices that users make in social situations.
2.2 Context
According to Richard
Richards & Schmidt (2002:116), context is that which occurs
before and/or after a word, a phrase or even a longer utterance or a text. The
context often helps in understanding the particular meaning of the word, phrase,
etc.
Cruse (2006: 35) adds that ccontext is an

n essential factor
facto in the
interpretation of utterances and expressions. The most important aspects of
context are: (1) preceding and following utterances and/or expressions (‘co-text’),
(‘co
(2) the immediate physical situation, (3) the wider situation, including social and
power
wer relations, and (4) knowledge presumed shared between speaker and hearer.
McManis et al (1987: 197) state that context can be divided into four
subparts:
1. Physical context. That is, where the conversation takes place, what
objects are present, and what actions are taking place.
2. Epistemic context. Background knowledge shared by the speakers and
the hearers.
3. Linguistic context. That is, utterances previous to the utterance under

und
consideration.
15
4. Social context. The social relationship and setting of the speakers and
hearers.
To sum up,, context is that which determines the actual meaning of a word,
phrase, or utterance. Context can include additional information about the nature
of the text, the period written, fiction/non

fiction/non-fiction,
fiction, the age and nationality of the
writer.
2.3 Speech Acts
Speech act refers to an act that is performed when making an utterance; for
example, giving orders and making promises (Austin, 1962). Searle (1969:
(1969 16)
shares, “Speech acts are the basic unit of linguistic communication.” The minimal
unit of linguistic communication is not linguistic expression but rather the
performance of certain kinds of acts. When people utter a sentence, it is not just to
say things
ngs but rather actively to do things. There are sorts of things that can be
done with words, such as make requests, ask questions, give orders, and make
promises.
According to Félix-Brasdefer (2008: 37), languages

anguages have different
linguistic resources for co

communicating
mmunicating speech acts. Speech acts can be realized
explicitly using performative verbs or speech act verbs (e.g., I apologize, I refuse,
I promise,, etc.). However, it should be noted that not all speech acts may be
realized using speech act verbs, as one cannot use the verb ‘to insult’ to explicitly
insult someone (e.g.,‘

(e.g.,‘I insult you!’);
’); but rather, speakers may employ other
16
linguistic resources to express the illocutionary force of a speech act.

act Hence,
speech acts can be performed through either utteranc

utterances
es or other linguistic
instruments.
2.3.1 Levels of Speech Acts
Austin (1962)) identifies three distinct levels of action beyond the act
a of
utterance itself:
1. Locutionary
ocutionary act, it has to do with the utterance that is presented by a
sentence with a grammatical structure and meaning.
2. Illocutionary
llocutionary act, it has to do with the intention of the utterance, such
as stating, questioning, commanding, or promising.
3. Perlocutionary
erlocutionary act, the bringing about of effects on the audience by
means of ut
uttering
ering the sentence, such effects being special to the
circumstances
cumstances of utterance.
Of these three levels, based on Yule (1996

(1996: 49),
), the most discussed is
illocutionary force. Indeed, the term ‘s

‘speech
peech act’ is generally interpreted quite
narrowly to mean only the illocutionary force of an utterance. The illocutionary
force of an utterance is what it ‘counts as’.
2.3.2 Classification of Speech Acts
Austin (1962 in Wardaugh, 1992: 284

284) lists five categories of speech acts.
Verdictives typified by presenting evidences, reasons, or evaluations of truth, like
calculating, acquitting, and describing. Exercitives,, having to do with deciding or

17
advocating particular actions, such as ordering, directing, nominating, and
appointing. Commisives, typified by commiting to a future act like promise,
pledge, vow, and swear. Expositives, a term refers to how one make an utterance
fit into an argument or exposition, such as affirming, denying, emphasizing, and
illustrating. Behavities, having to do with such matter like applaud, deplore,
felicitate, and congratulate which provide reactions to the behavior of others.
Meanwhile, Searle (1969

(1969: 240)) proposes taxonomy that there are just five
basic kinds of action that one can perform in speaking:
1. Representatives is to commit the speaker to the truth of the expressed
proposition, such as asserting, concluding, and suggesting.
2. Directives is speech acts which attempt the addressee to carry out an
action, for example; re

requesting,
questing, questioning, and commanding.
3. Commisives is speech act which commit the speaker to some future
action like promising, threatening, offering, and pledging.
4. Expressives is to express a psychological state or attitude like thanking,
welcoming, and congratulating.
5. Declarations which bring about the state of affairs they name, such as
marrying, blessing, and firing.
2.4 Direct and Indirect Speech Acts
In terms of indirectness, there are two types of speech acts; direct and
indirect speech acts. Yule (1996) states that a direct speech act is an utterance that
is performed by the speaker means exactly and literally

literally.. It means that in uttering
18
something, the speaker says what he or she means and means what he or she says.
Thus, both the speaker and the hearer can understand what the utterance implies.
For example, the utterance ““Please take out the garbage.”

.” is a direct request for
the hearer to take out the garbage.
An utterance ccan
an be recognized as an indirect speech act if the literal
meaning of the locution differs from its intended meaning. Searle (1975)
introduced the idea of an 'indirect speech act'

act'. Hee describes indirect speech acts as
follows:
In indirect speech acts the speaker communicates to the hearer more

than he actually says by way of relying on their mutually shared
background information, both linguistic and nonlinguistic, together
with the general powers of rationality and inference on the part of the
hearer.
2.5 Speech Event
A speech event is an activity in which participants interact via language in
some conventional way to arrive at some outcome. It may include an obvious
central speech act, such as ‘‘I don’t really like this’, as in a speech event of
‘complaining’, but it will also include other utterances leading up to and
subsequently reacting to that central action

action.. The analysis of speech events is
clearly another way of studying how more gets coomunicated than is said (Yule,
1996: 57).
19
2.6 Refusals
The speech act of refusals represents one type of dispreferred response.
Refusals are one of relatively small number of speech acts which can be
characterized as a response to another’s act, rather than as an act initiated by the
speaker (Gass
Gass & Houck, 1999: 2).
Refusals,, according to Searle (1977), belong to the category of
commissives because they commit the refuser to performing an action (in Félix-
Brasdefer, 2008: 42).

). Beebe et al. (1990) adds that refusals can be used in
response to requests, invitations, offers, and suggestions (in Scarcella,

Scarcella p. 55-73).
In response to requests, invitations, offers, and suggestions, acceptance or
agreement are usually preferred, and refusing or rejecting are not. Refusals or
rejections can mean disapproval of the interlocutor's idea and therefore, a threat to
the interlocutor's face, w

while
hile acceptance or agreement tend to be used in direct
language without much delay, mitigation, or explanation, refusals tend to be
indirect, include
nclude mitigation, and/or delay within the turn or across turns. The delay
probably shows that the refuser has a good reason for refusing and may imply that
the refuser would accept or agree instead if it were possible or practical.
2.6.1 Classification of Refu

Refusals
As previously mentioned, refusal is initiated by four types of acts: request,
invitation, offer, and suggestion. Each type can be subcategorized in terms of their
different communicative functions (Yang, 2008: 1047).

20
2.6.1.1 Refusals of Requests
A request is an act of asking politely or formally for something. Request as
an initiating act is divided into four types:
1. Request for favor (e.g. borrowing or help)
2. Request for permission/acceptance/agreement (e.g. job aplication)
3. Request for information/advice (e.g. product information)
4. Request for action (e.g. payment)
2.6.1.2 Refusals of Offers
An offer is an expression of readiness to do or give something. Offer as an
initiating act is divided into four types:
1. Gift offer
2. Favor offer (e.g. giving a ride)
3. Food/drink offer
4. Opportunity offer (e.g. job, promotion)
2.6.1.3 Refusals of Invitations
An invitation is a written or verbal request inviting someone to go
somewhere or to do something. Invitation as an initiating act

ct is divided into two
types: ritual invitation

invitation, and real invitation.
1. Ritual invitation often occurs at the end of the interactions. It
functions as a leave
leave-taking
taking act between interlocutors. Through
unspecific expressions of invitation, the inviter shows the willingness

21
of maintaining relationship with the listener in the future. For example
‘Come to visit me some time.’
2. Real
eal invitation, shows speakers’ sincere intention to treat the listener
and functions as an invitation

invitation. For example ‘Do you want to come
with me to the movie?’
2.6.1.4 Refusals of Suggestion

Suggestions
A suggestion is an idea or plan put forward for consideration. Suggestion
as initiating act is divided into two types: solicited suggestion and unsolicited
suggestion.
1. Solicited suggestion: the suggestions asked by the interlocutor
2. Unsolicited suggestion: the suggestions voluntarily given by the
interlocutor
a. Personal suggestion: the suggestions given by the speaker to
establish or/and maintain the relationship between the listener.
• Show concern: ““The weather is getting cold. You’d better
wear more clothes.

clothes.”
• Develop conversation rapport: ““Time

Time is running late. Go
home earlier!
earlier!”
• Establish or show membership in a group: “Because

“ I
consider you as my insider, I suggest you not go.”

go.
22
b. Commercial suggestion: suggestions to guide others’ commercial
thoughts or behaviors, such as the suggestions to buy by salesmen
or advertisements.
2.6.2 Refusal Strategies
Refusals often include explanations/reasons why such refusals are
necessary. Refusal strategies function to reassure the recipient of the refusal that
he or she is still approved of but that there are necessary reasons for the refusal,
and that the refuser regrets the necessity for the refusal (Beebe et al., 1990).
Beebe et al. (1990

(1990) proposed a classification of refusals comprised
com of three
categories: direct refusals; indirect refusals; and adjuncts to refusals (in Scarcella,
p. 55-73). In direct refusals, the speaker can use either performative verbs (I
(
refuse)) or non performative statements with a direct “0o” and negative
willingness/ability (II can't/I won't

won't/I don't think so).
If a refusal response is expressed indirectly, the degree of inference
increases as the speaker must choose the appropriate form to soften the negative
effects of a direct refusal (Félix-Brasdefer, 2008: 43). Indirect refusals may
include the following strategies:
1. Statement of regret ((I'm sorry.../I feel terrible...)
2. Wish (II wish I could help you...

you...)
3. Excuse, reason, explanation ((My

My children will be home that night./I
have a headache
headache)
4. Statement of alternative
23
a. I can do X instead of Y ((I'd rather.../I'd prefer...)
b. Why don't you do X instead of Y ((Why

Why don't you ask someone
else?))
5. Set condition for future or past acceptance ((If

If you had asked me
earlier, I would have...

have...)
6. Promise of future acceptance ((I'll do it next

ext time./I promise I'll.../0ext
time I'll...))
7. Statement of principle ((II never do business with friends.)

friends.
8. Statement of philosophy ((One can't be too careful.)
9. Attempt to dissuade interlocutor
a. Threat or statement of negative consequences to the requester (I

(
won't be any fun tonight to refuse an invitation).
b. Guilt trip (waitress to customers who want to sit a while: I can't
make a living off people who just order coffee.

coffee.)
c. Criticize the request/requester (statement of negative feeling or
opinion; insult/atta
insult/attack (Who
Who do you think you are?/That's a
terrible idea!
idea!)
d. Request for help, empathy, and assistance by dropping or holding
the request.
e. Let interlocutor off the hook ((Don't

Don't worry about it./That's
okay./You don't have to.

to.)
f. Self-defense
defense ((I'm trying my best./I'm
'm doing all I can do.)
do
24
10. Acceptance that functions as a refusal
a. Unspecific or indefinite reply
b. Lack of enthusiasm
11. Avoidance
a. Nonverbal
1) Silence
2) Hesitation
3) Doing nothing
4) Physical departure
b. Verbal
1) Topic switch
2) Joke
3) Repetition of part of request (Monday?)
4) Postponement (I'll think about it.)
5) Hedge (Gee, I don't know./I'm not sure.)
Finally, a refusal response is often accompanied by adjuncts to refusals
which may preface or follow the main refusal response. Adjuncts to refusals
include:
1. Statement of pos
positive
itive opinion/feeling or agreement (That's
( a good
idea.../I'd love to...

to...)
2. Statement of empathy ((II realize you are in a difficult situation.)

situation
25
3. Pause fillers ((uhh/well/oh/uhm)
4. Gratitude/appreciation (Thanks
Thanks for the invitation, but…)
but…
According to Gass & Houck (1999: 2), refusals are often played out in
lengthy sequences involving negotiation of a satisfactory outcome. They proposed
possible refusal trajectories involving negotiation, as seen in Figure 2.1.
Fig. 2:1 Possible refusal trajectories involvi

involving negotiation (Gass & Houck, 1999:
1999
8)
According
rding to Gass & Houck (1999: 33),
), there are a number of possible
Initial Responses after an Initiating Act such as a request; similarly, there are a
26
number of possible Final Outcomes. The Initial Response and Final Outcome may
not coincide.
Gass & Houck (1999

(1999: 3)) add that the Initiating Act sets the process in
motion. Two general types of Initial Reponse by a Respondent are possible. The
Respondent can either accept or not accept. An Accept in this case refers to
sincere acceptance, that is, an acceptance that is intended as agreement and is
perceived as such. With Nonaccepts, the situation becomes more complex,
particularly because numerous options confront a refuser. A Nonaccept can be
expressed as a refusal, a postponement,, or the proposal of an alternative.
If the response is a Nonaccept, the Initiator can concur or go along with
the Respondent’s Nonaccept, in which case the current interaction is resolved, and
the Initial Response serves as the Final Outcom

Outcome.
e. On the other hand, if the
Initiator does not accede to the Respondent’s Nonaccept, the Initiator can attempt
to work out a more acceptable resolution. This circumstance leads to negotiation,
where negotiation is part of interaction in which interactants performs a series of
linguistic acts with the goal of producing a satisfactory Final Outcome. The Final
Outcome refers to the resolution of the interaction, the status of the action (or
nonaction) by the Respondent that is in force at the end of the interaction.

inter
In summary,, refusals are complex speech acts that require not only long
sequences of negotiation and cooperative achievements, but also “face saving
maneuvers to accommodate the noncompliant nature of the act” (Gass & Houck,
1999: 2).
27
2.6.3 Refusal Sequences

uences
The linguistic expressions employed in a refusal sequence may include
direct and indirect strategies ((Félix-Brasdefer, 2008: 42). Based on Beebe et al.
(1990), refusals
efusals can be seen as a series of the following sequences.
1. Pre-refusal
refusal strategies
strategies:: these strategies prepare the addressee for an
upcoming refusal
2. Main refusal (Head Act)

Act):: this strategy expresses the main refusal.
3. Post-refusal
refusal strategies
strategies:: these strategies follow the head act and tend to
emphasize, justify, mitigate, or conclude the re

refusal
fusal response.
For instance, a refusal example below shows an instance of a refusal
sequence to a boss' request for an employee to stay at work two extra hours.
Boss: I was wondering if you might be able to stay a bit late this evening, say,
until about 9:00 pm or so.
Employee: Uh, I'd really like to, but I can't. I'm sorry. I have plans. I really can’t
stay.
Response Refusal-sequences Strategy
Uh, I'd really like to Pre-refusal Willingness
but I can't Head act Direct refusal
I'm sorry Post-refusal Apology/regret
I have plans Post-refusal Reason/explanation
I really can’t stay Post-refusal Direct refusal
Fig. 2:2 Refusal sequences

28
2.6.4 Factors Influencing Refusal Strategies
From a pragmatic perspective, the negotiation of a refusal may entail
frequent attempts at directness or indirectness and politeness or impoliteness that
are appropriate to the situation and may vary according to the social values of a
particular culture. The choice of a direct or indirect refusal and the appropriate
degree of politeness
eness employed will depend on the relationship between the
participants (close or distant, power), age, gender, and the situation (Félix-
Brasdefer, 2008: 1).
According to Leech (1983: 126), maxims are measured in terms of five
pragmatic scales. Two of them are the ‘authority’ scale, which measures the
degree of distance with respect to the power or authority that one participant has
over another; and the ‘social distance’ scale, which describes the degree of
solidarity between the interlocutors.
Brown and Levinson

evinson (1987
(1987) argue that during social interaction a speaker
must rationally assess the nature of a face

face-threatening
threatening act (FTA). The assessment
of the seriousness of an act involves three independent factors that are culture-
culture
sensitive: the social distance (D) and social power (P) between a speaker and a
hearer, and the absolute ranking (R) of impositions in a particular culture:
1. Social Distance (D) between the speaker and the hearer; in effect, the
degree of familiarity or solidarity they share (a symmetric relation);
2. Relative Power (P) of the speaker with respect to the hearer; in effect, the
degree to which the spe

speaker
aker can impose his/her will on the hearer (an
asymmetric relation); and

29
3. Absolute Ranking (R) of impositions in the culture in terms of the
expenditure of goods and/or services by the hearer, the right of the speaker
to perform the act, and the degree to which the hearer welcomes the
imposition.
From the explanation above, it can be concluded that the use of refusal
strategies by the speaker

speakerss is mostly influenced by power and social distance
between the speaker and the hearer. The refuser pays attention to the closeness
between the refuser and the refusee.

CHAPTER III
DATA AALYSIS
3.1 Refusals of Requests
There are ten data in refusals of requests. It is found that there are three
t out
of ten refusals of requests that consist of negotiation.
Data (1)
Transcription:
Man: Betty Suarez?
Betty: Hi! Um, that's me. Uh, I have a hard copy of my resume if you need it.
Should I follow you?
Man: Uh actually.. there's been a mistake.
Betty: A mistake?
Man: All the entry level positions we've been hiring for? They've been filled.
I'm sorry.
Betty: Um, sir? While you've got me here, I thought I could tell you a little about
myself. Magazines are my passions, ever since I was a little kid. And I can't
imagine a more amazing place to start my career than Meade publications. I
know most of your magazines inside out, I try to devour as much as I can.
Man: Clearly.
Betty: Also, I've learnt so much through them, stuff so beyond my world, like who
the up-and-comers
comers are on the London art scene, or what the political in Darfur
30
31
are all about or which is considered the most romant

romantic
ic in the world. And I have
tons of ideas, I'm always

lways jotting stuff down on the subway, but I'm getting ahead
of myself, sir. All I really want is a chance,
any position or publication

publication-
Man: Goodbye.
Context:
The conversation takes place in Meade Publi

Publication
cation building, in a job interview,
between Betty Suarez who acts as an interviewee and a man who acts as an
interviewer. Meade Publication is one of the biggest publications in New York
which only hires good

good-looking
looking and fashionable employees. Betty Suarez
Suare is a not-
good-looking
looking young Latin woman who wears braces, glasses, whose hair is frizzy
and eyebrows are thick, so much to become an employee at Meade Publication.
The interviewee calls Betty’s name up. When she responds, he looks disappointed
of her appearance.
Analysis:
The Initiating Act of the dialogues above is a request for acceptance,

acceptance it can be
seen that the man is refusing Betty’s request for a job. The
he man refuses Betty’s
Betty
offer (Uh,
Uh, I have a hard copy of my resume if you need it. Should I follow you?)
by pause filler (Uh)) followed by explanation (actually... there's been a mistake.

mistake
All the entry level positions we've been hiring for? They've been filled),
filled then ends
it with a statement of regret (I'm sorry). The actual reason that the man refuses
32
Betty’s request is because her appearance does not fit the physical criteria of
becoming an employee at Meade Publication, but he uses different explanation in
order to avoid hurting Betty’s feeling. He refuses the offer in a series of
sequences: pre-refus
refusal (Uh actually.. there's been a mistake),
), followed by head
act (All
All the entry level positions we've been hiring for? They've been filled)
filled which
expresses the main refusal and ended by post-refusal (I'm sorry).
The refusal
fusal does not yet come to the Final Outcome,
utcome, for the initiator, Betty, makes
a negotiation. She insists that she be considered an applicant by negotiating the
man using an explanation about how devoted she is to magazines, yet the man still
refuses Betty’s request for acceptance by an indefinite

inite reply (Clearly). The
refusal sequence here is head act (Clearly).
Still, this is not the Final O

Outcome of the refusal. Betty keeps negotiating so that
she will get an acceptance. Betty keeps asking for a chance to get a job by
promoting herself (I've

ve learnt so much through them, stuff so beyond my world)
world
and (And
And I have tons of ideas, I'm always jotting stuff down on the subway, but
I'm getting ahead of myself, sir

sir). Betty’s negotiation shows that she is eager to get
a job at Meade Publication beca

because
use she is very interested in magazines. However,
the man insists on rejecting Betty to be an employee at Meade Publication by
giving an indefinite reply (Goodbye), which also functions as head act.

act
33
There are two negotiations following an Initiating Act aand

nd three refusals in the
speech event. After two negotiations, the man’s indefinite reply (Goodbye)
( is the
Final Outcome
utcome of the refusal. The refusal process,, started from the Initiating Act
from the Initiator, followed by responses from Respondent, negotiations

negotia and
ended with the Final Outcome can be seen in the following figure.
Initiator (Initiating Hi! Um, that's me. Uh, I have a hard copy of my resume if you
Act) need it. Should I follow you?
Uh
Uh, pre-refusal pause filler
actually.. there's been pre-refusal explanation
a mistake
mistake.
Respondent All the entry level
positions we've been
head act explanation
hiring for? They've
been filled
filled.
I'm sorry
sorry. post-refusal statement of regret
Um, sir? While you've got me here, I thought I could tell you a
little about myself. Magazines are my passions, ever since I was
Initiator
a little kid. And I can't imagine a more amazing place to start my
(egotiation)
career than Meade publications. I know most of your magazines
inside out, I try to devour as much as I can.

Respondent
Clearly
Clearly. head act indefinite reply
Also, I've learnt so much through them, stuff so beyond my

world, like who the up
up-and-comers
comers are on the London
Lo art scene,
or what the political in Darfur are all about or which is
Initiator
considered the most romantic in the world. And I have tons of
(egotiation)
ideas, I'm always jotting stuff down on the subway, but I'm
getting ahead of myself, sir. All I really want is a chance, any
position or publication
publication-

Respondent (FO)
Goodbye! head act indefinite reply
Refusal process of data (1)
34
Data (2)
Transcription:
Justin: I hate telenovelas. I want to watch Fashion TV.
Hilda: Justin, you can watc

watch Fashion
ion TV later when your Aunt Betty is
babysitting ok?
Context:
Hilda Suarez. Justin Suarez is Hilda’s son, therefore the degree of solidarity
between them is mother and son. Justin is in the living room watching telenovela
and Hilda, accompanied by her father, is in the dining room having lunch. The
dining room is facing the television in the living room and the three of them are
watching television.
Analysis:
ting Act of the dialogues above is a request for permission.

The Initiating permission Watching
telenovela on television
television, Justin declares that he hates telenovelas and requests to
change the channel and watch Fashion TV (II want to watch Fashion TV).
TV Hilda
refuses his request using a promise of future acceptance (Justin,

Justin, you can watch
Fashion
ok?).
). Hilda uses this
strategy because she does not want to disappoint Justin that she forbids him to
watch Fashion TV. The refusal sequence here is only head act (Justin,
( you can
watch Fashion
ok?)). Justin accepts
35
his mother’s refusal, wh

which
ich makes Hilda’s response the Final Outcome.
O The
refusal process can be seen in the following figure.
I hate telenovelas. I want to watch Fashion TV.
Act)
Respondent Response Refusal Sequence Strategy
Justin, you can
watch Fashion TV
promise of future
later when your head act
acceptance
Aunt Betty is
babysitting ok?
Data (3)
Transcription:
Betty: Daniel, I was wonder

wondering, if you had a quick moment.
Daniel: Do I look like I have a quick moment?
Betty: 1o. So sorry.
Context:
The conversation takes place on a sidewalk, in front of Meade Publication

Public
building between Betty Suarez and Daniel Meade. Daniel Meade is the editor-in-
editor
chief of “Mode” magazine and Betty is his assistant. Their social distance is
between boss and assistant. This is Betty’s first week as Daniel’s assistant, and
she still feels

els awkward talking to Daniel
Daniel. They are walking hurriedly to their car,
car
36
and Betty seems to have something on her mind

mind. Therefore, she awkwardly starts
to talk to Daniel.
Analysis:
The Initiating Act of the dialogues above is a request for permission.

permission Betty
requests for Daniel’s time to tell her idea.. Daniel refuses the request by giving a
guilt trip to Betty (Do

Do I look like I have a quick moment?
moment?).
). Betty understands that
Daniel is so busy to give her his time that she apologizes ((1o.
1o. So sorry).
sorry Daniel is
able to give the guilt trip to Betty because he is higher in status than her. The guilt
trip given by Daniel to Betty is the head act of the refusal, and Betty’s apology is
an acceptance of Daniel’s refusal which makes Daniel’s refusal the Final
Outcome. The refusal process can be seen in the following figure.
Daniel, I was wondering, if you had a quick moment.
Act)
Respondent Do I look like I
have a quick head act guilt trip
moment?
Accept: 1o. So sorry.
Data (4)
Transcription:
Daniel: I really want you to come back, be my assistant. I promise you, things will
be different.
Betty: I, um. Daniel, I really have to think about that.

37
Context:
The conversation takes place in Suarez family’s house, between Daniel and Betty.
Betty is no longer Daniel’s assistant, thus there is no relative power between them
whatsoever. Daniel comes to Betty’s house to ask her to be his assistant for the
second time after

ter Betty quit her job because she found out that she got a job as
Daniel’s assistant because Daniel’s father, Bradford Meade, did not want his son
to sleep with his assistant. Daniel also manipulated some efforts to make Betty
quit, but when he read Betty

Betty’s proposal about a photoshoot concept for Fabia
Cosmetics,, he realized that Betty was able to do more than just get coffee.
coffee He
regrets it and wants to make it up to Betty.
Analysis:
The Initiating Act of the dialogues above is a request for agreement.

agreement Daniel asks
Betty to come back to work for him, and promises that everything will be
different, but Betty refuses Daniel’s request

request. She refuses the request using pause
fillers (I, um)) followed by a postponement (Daniel,

Daniel, I really have to think about
that). Shee uses the pause fillers because she is surprised of how Daniel has
changed, and she uses the postponement because she is doubtful whether to accept
his request or not since she found out that she got the job not because of her talent.
The refusal sequencess here are pre-refusal (I, um) and head act (Daniel,
( I really
have to think about that

that). Daniel accepts her postponement
nt which makes her
refusal the Final Outcome

utcome of the refusal process. The refusal process can be seen
in the following figure.

38
Initiator (Initiating I really want you to come back, be my assistant. I promise you,
Act) things will be different.
I, um
um. pre-refusal pause filler
Respondent
Daniel, I really have head act postponement
to think about that
Data (5)
Transcription:
Betty: Daniel, you have to be here.
Daniel: I am sick, Betty. I'm still drunk. Just cover for me.
Betty: #o, I can’t take charge of this.
Context:
The conversation takes plac

placee on the phone, between Betty and Daniel, on a
Thanksgiving holiday. Betty has worked as Daniel’s assistant again. Even though
the status between Daniel and Betty is boss and assistant, the degree of solidarity
between them is friend to friend because they have become close friends. Daniel
is in Betty’s house, resting after drinking a lot of alcohol last night and still having
hangover. Betty is at the office, “Mode”, covering Daniel for a photo shoot of
baby Chutney, a child of famous selebrities. Not know

knowing
ing what to do since there is
no one in charge at the office, Betty calls Daniel to ask him to come to “Mode”.
39
Analysis:
The Initiating Act of the dialogues above is a request for action.

action Betty requests
Daniel to come to “Mode”, but he refuses her requ

request. Daniel refuses Betty’s
request to come to the office by giving explanations why he cannot come (I

( am
sick, Betty. I'm still drun

drunk), followed by a request for assistance (Just cover for
me). Daniel gives the explanation to Betty to emphasize that he is really unable to
get out of the house, and he makes the request because he is sure that Betty can
cover him. The refusal sequences are head act (I am sick,, Betty. I’m still drunk.)
drunk.
and post-refusal (Just

Just cover for me
me).
However, Betty refuses Daniel’s re

request
quest to cover him by using a direct #o
followed by a direct refusal statement of negative ability (II can’t take charge of
this). Betty gives Daniel the direct refusal strategies because she is both panicked
and confused. She is able to give direct refusal to Daniel because they are now
friends. The refusal has a head act (1o) and a post-refusal (II can’t take charge of
this)) as the sequences. Hence, there are two refusals in one speech event: Daniel’s
refusal to Betty’s request and Betty’s refusal to Daniel

Daniel’s
’s request. Betty as the
Initiator also acts as the second Respondent in the refusal process. Daniel accepts
her refusal which makes her refusal the Final Outcome. The refusal process can be
seen in the following figure.

40
Danie
Daniel, you have to be here.
Act)
I am sick, Betty
Betty. head act explanation
Respondent
I'm still drunk
drunk. head act explanation
Just cover for me
me. post-refusal request for assistance
Initiator (as 2nd
Respondent) Response Refusal Sequence Strategy
1o, head act direct refusal

I can’t take charge
of this
this. post-refusal direct refusal
Respondent (FO) Accept
Data (6)
Transcription:
Betty: I'm writing an article about being an outsider at "Mode," and I wanted to
interview you.
Marc: As much fun as that sounds, I so don't have time for it right now.
Wilhelmina's due back any second, and she's always extremely tense after a
relaxing vacation.
Betty: Okay, well, then, just a quick quote.
Marc: Okay.
Context:
The conversation takes place at “Mode”, between Betty and Marc St. James. Betty
is no longer Daniel’s assistant. She is working at M.Y.W magazine as Sofia
Reyes’s assistant. Sofia wants Betty to write an article for the magazine about a
41
girl like Betty

ty working at Mode magazine. Betty then goes back to “Mode” to ask
some of the employees about their first impressions about her. The first one she
asks is Marc, Wilhelmina’s assistant, who has been nothing but a mischief to
Betty. They are both assistants

assistants,, so the degree of solidarity between them is
between colleagues. Marc is cleaning Wilhelmina’s office hastily when Betty
comes up and request for his permission to interview him.
Analysis:
The Initiating Act of the dialogues above is a request for favor.

favor Betty requests
Marc to do an interview with her. Marc rejects Betty’s request for an interview by
giving a statement of positive opinion (As sounds followed by

As much fun as that sounds)
a negative ability (II so don't have time for it right now

now)) which is a direct refusal,
and an explanation (Wilhelmina's

Wilhelmina's due back any second, and she's always
vacation). Marc gives the statement of positive

extremely tense after a relaxing vacation
opinion because he has many things to say about Betty, but he does not have time
to say it all because he is afraid that Wilhelmina will come to the office and get
cranky. He is able to give the direct refusal to Betty because they are colleagues.
The refusal sequences here are pre-refusal (As

As much fun as that sounds),
sounds head
act (II so don't have tim

time for it right now), and post-refusal (Wilhelmina's
Wilhelmina's due
back any second, and she's always extremely tense after a relaxing vacation).
vacation
However, that is not the Final O

Outcome of the refusal. Betty is negotiating Marc
to make a quick quote about her while he is cleaning. She negotiates because she
42
really needs everybody’s opinion about her for her article. Marc is willing to
answer Betty’s question. Therefore, Marc’s willingnes

willingnesss to make a quick quote is
the Final Outcome. The process of refusal and negotiatio

negotiation can be seen in the
following figure.
Initiator (Initiating I'm writing an article about being an outsider at "Mode," and I
Act) wanted to interview you.
As much fun as that pre-refusal statement of
sounds positive opinion
I so don't have time head act direct refusal
for it right now
Respondent
Wilhelmina's due
back any second, and
she's always post-refusal explanation
extremely tense after
a relaxing vacation
Initiator
Okay, well, then, just a qu
quick quote.
(egotiation)
Respondent (FO) Accept: Okay
Refusal process of data (6
(6)
Data (7)
Transcription:
Fabia: Well, you know, seeing that Fabia donated $20,000 in cosmetics for the
fashion show gift bag... I figured you take Fabia to lunch, no?
Wilhelmina: Oh, darling,

rling, II-I would love to, but I can't. I'm swamped.
43
Context:
The conversation takes place at “Mode”, in Wilhelmina’s office between Fabia
and Wilhelmina. Fabia is the owner of Fabia Cosmetics who contributes a lot to
“Mode”. She is one of the biggest sp

sponsors at “Mode”. Since Fabia is the main
sponsor for “Mode”, Wilhelmina respects her. She visits “Mode” during its
preparation for the upcoming event “Fashion Week”. She comes in to
Wilhelmina’s office who is busy preparing the “Fashion Week” to ask
Wilhelmina
lmina to take her to lunch.
Analysis:
The Initiating Act of the dialogues above is a request for favor.

favor Fabia requests
that she be taken lunch by Wilhelmina because Fabia has donated $20,000 for the
event. Wilhelmina rejects Fabia’s request using a pause filler (Oh, darling)
followed by a statement of positive opinion (I would love to), a negative ability
(but I can’t),
), and ends it with an explanation (I’m swamped). Wilhelmina uses
the pause filler, statement of positive opinion and explanation before and after the
direct refusal because she does not want to offend Fabia’s feelings. The refusal
sequences are pre-refusal

refusal (Oh, darling, I-I would love to), head act (but I can’t),
and post-refusal (I’m swamped). Fabia accepts Wilhelmina’s refusal, which

I’m swamped
makes her
er refusal the Final Outcome from the refusal process. The refusal process
can be seen in the following figure.

44
Well, you know, seeing that Fabia donated $20,000 in cosmetics

for the fashion show gift bag... I figured you take Fabia
F to lunch,
Act)
no?

Respondent Oh, darling pre-refusal pause filler
statement of positive
I-II would love to pre-refusal
opinion
but I can't head act direct refusal
I'm swamped post-refusal explanation
Data (8)
Transcription:
Henry: Betty, can we talk?
Betty: o. I'm getting some food, and I'm going home. Please tell Charlie that
I'm sorry.
Henry: At least let me pay for your pretzel.
Betty: o, I don'tt want anything from you.
Context:
The conversation takes place on a sidewalk near a subway station in front of a
food vendor, between Henry Grubstick and Betty. Henry is an accountant at
“Mode”.. The degree of solidarity between them is colleagues. Henry has a crush
on Betty. When Betty is about to open her heart for him, his ex-girlfriend
ex from
Tucson, Charlie, visits him in New York. Henry tells Betty that he and Charlie
want to give their relationship a chance. It tears Betty apart. Unfortunately, Betty
45
asked Charlie to go with her before she knew that Charlie is Henry’s girlfriend
which forces Betty to go with Charlie whether she likes it or not. At the station,
consumed with jealousy, when Betty and Charlie are just about to enter the
subway, Betty lets go of her hand from Charlie deliberately and ditches her.
Realizing that she has made a mistake, Betty asks Henry to come to the station
and explain why she does that. She explains that she is jealous of Charlie and then
leaves Henry alone. Henry is surprised that Betty also has feelings for him,
him then
he chases after Betty to talk about it.
Analysis:

agreement Betty
refuses Henry’s request for a chance to talk using a direct o followed by an
explanation (I'm home)) and ended by a

I'm getting some food, and I'm going home
statement of regret (Please tell Charlie that I'm sorry). She uses the strategies
because she is both regretful and embarassed of what she has done. She is also
able to give a direct refu

refusal
sal because she and Henry are colleagues. The refusal
sequences are head act (/o) and post-refusal (I'm

I'm getting some food, and I'm
going home. Please tell Charlie that I'm sorry

sorry).
However, that is not the Final O

Outcome. Henry makes a negotiation by offering
Betty to pay for her pretzel. He negotiates because he does not feel good about
going back with Charlie, let alone he finds out that Betty likes him. Still, Betty
refuses the offer by giving a direct o, followed by a negative willingness which
46
is also a direct refusal ((I don't want anything from you).

). The refusal sequences
here are head act (/o

/o) and post-refusal (II don't want anything from you).
you Henry
accepts Betty’s refusal which makes her refusal the Final Outcome. The refusal
process can be seen in tthe following figure.
Betty, can we talk?
Act)
/o
/o. head act direct refusal
I'm getting some food,

Respondent post-refusal explanation
and I'm going home
home.
Please tell Charlie

post-refusal statement of regret
that I'm sorry
sorry.
Initiator (egotiation) At least let me pay for your pretzel.
/o
/o. head act direct refusal
Respondent
I don't want anything
post-refusal direct refusal
from you
you.
Initiator (FO) Accept
Data (9)
Transcription:
Christina: Uh... look... can we please talk because I am really, really sorry.
Betty: You know what? I need to get this to Daniel. I'm gonna take the stairs
instead.
47
Context:
The conversationn takes place at “Mode”, in the elevator between Christina
McKinney and Betty. Christina and Betty are best friends

friends,, so they do not have a
distance whatsoever.. Betty gets mad at Christina after Christina tells Betty that
she sells Betty and Daniel out to W

Wilhelmina
ilhelmina in order to pursue her career as a
designer. Betty is so mad that she has been avoiding Christina. In the elevator,
when Betty is going to the office, Christina enters the elevator carrying clothes
and she sees Betty. Christina then asks Betty if she can talk about what happened.
Analysis:

agreement Christina
asks Betty to talk about what happened and tell

tells Betty that she regrets the thing
she did. But Betty refuses her request by switching the topic (You
You know what? I
Daniel), followed by a statement of alternative (I'm gonna

need to get this to Daniel
instead). Betty uses the strategies because she is actually not mad at
take the stairs instead
Christina anymore, but she does not want to talk to Christ

Christina
ina yet. Therefore, she
avoids Christina using the strategies. The refusal sequences here are head act
(You Daniel) and post-refusal (I'm gonna take

You know what? I need to get this to Daniel
the stairs instead). Christina accepts Betty’s refusal, which makes her refusal
re the
Final Outcome. The refusal process can be seen in the following figure.
48
Uh... look... can we please talk because I am really, really sorry.
Act)
You know what? I
need to gget this to head act topic switch
Respondent Daniel
Daniel.
I'm gonna take the statement of
post-refusal
stairs instead
instead. alternative
Data (10)
Transcription:
Wilhelmina: I want you to hit me as hard as you can.
Marc: Willie, isn't that a little extreme, even for you?
Context:
The conversation takes place at “Mode”, at the emergency exit stairs between
Wilhelmina Slater and Marc. Wilhelmina is Marc’s boss

boss,, therefore the social
distance between them is boss and assis

assistant. Wilhelmina is having an affair with
Bradford Meade, the owner of Meade Publication. She wants Bradford to marry
her so that she will get some of Meade’s fortune. However, Bradford tells
Wilhelmina that he will not divorce Claire Meade, his wife who iiss in jail. In order
to ensure Bradford what his wife is capable of, Wilhelmina manipulates a scenario
by injuring herself hoping that he will divorce his wife. She asks Marc to do the
honor.
49
Analysis:
The Initiating Act of the dialogues above is a request for favor. Wilhelmina asks
Marc to hit her so that she will have a proof to show Bradford
Bradford,, but Marc refuses.
refuses
Marc refuses it by giving a statement of negative opinion (Willie,

Willie, isn't that a
you?). He gives the statement of negativee opinion because

little extreme, even for you?
he thinks that her idea is way out of line, and he cannot just hit her because she is
his boss. Marc’s statement also functions as head act of the refusal. Wilhelmina
accepts Marc’s refusal, which makes his refusal the Final Outcome. The refusal
process can be seen in the following figure.
I want you to hit me as hard as you can.
Act)
Respondent Willie, isn't that a
statement of
little extreme, even head act
negative opinion
op
for you?
3.2 Refusals of Offers
The writer here provides the data analyses of refusals of offers. The writer
finds that there are three out of ten refusals consist of negotiation.
50
Data (11)
Transcription:
Betty: Um, sorry to interrupt, but can I get you lunch?
Daniel: o, no. But you go ahead, thanks.
Context:
The conversation takes place at “Mode”, in Daniel’s office between Betty and
Daniel. Betty is Daniel’s assistant whose jobs vary from taking hhis
is calls to getting
him meals and drinks. It is Betty’s first week as Daniel’s assistant, so they have
not got close to each other yet and there is still a gap between the two of them.
them
Betty comes into Daniel’s office when Daniel is talking to his photographer
photogra friend
about a photo shoot theme for Fabia Cosmetics to offer him lunch.
Analysis:
The Initiating Act of the dialogues above is a food offer. Betty offers Daniel to
get his lunch,, but Daniel refuses it

it.. Daniel refuses it by giving a direct o,
followed by letting Betty off the hook (But you go ahead)) and a gratitude
(thanks). Daniel gives the direct refusal because he is her boss and lets Betty off
the hook because he is busy talking to his friend about the photoshoot.
photoshoot He wants
Betty to leave the roo

roomm so he can continue his talking. He also ends his refusal
with gratitude to appreciate Betty’s offer. The refusal sequences here are head act
(/o, no) and post-refusal

refusal (But you go ahead, thanks). Betty accepts Daniel’s
51
refusal, which makes his refusal the Final Outcome. The refusal process can be
Um, sorry to interrupt, but can I get you lunch?
Act)
o, no
no. head act direct refusal
let the interlocutor off

But you go ahead, post-refusal
the hook
thanks
hanks. post-refusal gratitude
Data (12)
Transcription:
Steve: Anyway, I was thinking I'd break into

to the place today, go through, see if
there's anythingg incriminating.
Bradford: I'll do it. I have a key. Besides, you don't know what's really
incriminating.
Context:
The conversation takes place in a park at night between Bradford Meade and
Steve. Steve is a specialist hired by Bradford, thus Bradford is his boss. Bradford
Meade is the owner of Meade Publication who had an affair with former editor-in-
editor
chief of “Mode”, Fey Sommers. Fey Sommers died in a car crash, and Bradford
seems to have something to do with her death. He wants to get rid of Fey’s stuff
52
that can be used as evidence, therefore he hires Steve to find any information
about Fey Sommers. Steve comes to Bradford and tells him that some of Fey’s
stuff at her apartment will be auctioned

auctioned. Steve makes an offer to go to Fey’s
apartment for Bradford

Bradford.
Analysis:
The Initiating Act of the dialogues above is a favor offer. Steve offers Bradford a
favor to break into Fey’s apartment to find some things that can be evidence.
However, Bradford refuses Steve’s offer. He rejects the offer by letting Steve off
the hook (I'll do it),

), followed by an explanation (I have a key)) and a statement
of negative opinion (Besides, you don't know what's really incriminating).

incriminating
Bradford gives the strategies to Steve because he knows Fey’s apartment inside-
inside
out, but Steve doess not. Therefore, he decides to go to the apartment by himself.
He also gives the statement of negative opinion because he is Steve’s boss and he
can decide what Steve can and cannot do. The sequences from Bradford’s refusal
are head act (I'll

I'll do it
it) and post-refusal (II have a key. Besides, you don't know
what's really incriminating

incriminating). Steve accepts Bradford’s refusal, which makes his
refusal the Final Outcome. The refusal process can be seen in the following
figure.
53
Initiator (Initiating Anyway, I w

was
as thinking I'd break into the place today, go
Act) through, see if there's anything incriminating.
Respondent Refusal
Response Sequence Strategy
let the interlocutor
I'll do it
it. head act
off the hook
I have a key
key. post-refusal explanation
Besides, you don't
statement of negative
know what's really post-refusal
opinion
incriminating
incriminating.
Data (13)
Transcription:
Betty: Oh, wow. The book. I'll give it to him.
Marc: o, no. This is too important. I'l

I'll give it to him directly.
Context:
The conversation takes place at “Mode”, between Marc and Betty. Marc is
Wilhelmina’s assistant and Betty is Daniel’s assistant, therefore the degree of
solidarity between them is between colleagues. Daniel requests Wilhelmina

Wilh to
give him the book of “Mode”. The book is the mock-up of the entire magazine.
magazine
Each department submits their section throughout the day: photo, style,
advertising, all of "M

"Mode's" secrets. Since Daniel is the editor-in-chief
chief of “Mode”,
he asks for the book from Wilhelmina who has held it all the time. Wilhelmina
asks Marc to give the book to Daniel in his office. When Marc is walking to
54
Daniel’s office, Betty sees the book

book.. As Daniel’s assistant, she should take care of
it, therefore she offers Marc to give the book to Daniel.
Analysis:
The Initiating Act of the dialogues above is a favor offer. Betty offers Marc to
give the book to Daniel, but Marc refuses it. He uses a direct o,, followed by an
explanation (This
This is too important
important) and a statement of alternative (I'll give it to
him directly). Marc gives the strategies because he does not want Betty to
interfere about the book. Wihelmina, his boss, seems to be up to something with
the book and Marc does not want Betty to know. He is able to give a direct
d refusal
because they are colleagues. The refusal sequences in Marc’s refusal are head act
(o, no) and post-refusal

refusal (This
This is too important. I'll give it to him directly).
directly Betty
accepts Marc’s refusal, therefore his refusal is the Final Outcome. The refusal
Oh, wow. The book. I'll give it to him.
Act)
Refusal
o, nono. head act direct refusal
Respondent
This is too important
important. post-refusal explanation
I'
I'll give it to him statement of
post-refusal
directly
directly. alternative
55
Data (14)
Transcription:
Amanda: Hey, um, if you get tired of watching "Charlie Brown and the great
pumpkin" alone, I could... com

comee over and keep you company... in costume... or
not.
Daniel: I think... I just need to be alone tonight.
Amanda: Hey! We could just talk.
Daniel: Probably not..
Context:
The conversation takes place at “Mode”, on Halloween day, at the elevator
between Daniel
aniel and Amanda Tanen. Amanda is a receptionist at “Mode” who is
having a special relationship with Daniel. Amanda knows that their relationship is
not serious, therefore she wants to make the relationship more serious. Even
though the social distance bet

between
ween Daniel and Amanda is between boss and
employee, the degree of solidarity between them is between lovers. Daniel has
just got back from visiting his mother at a rehabilitation facility and looks sad.
When he gets out of the elevator, he meets Amanda wh

whoo is going to take the
elevator. There are just the two of them there, and Amanda intends to start making
their relationship more serious. She offers herself to accompany Daniel to spend
the night.
56
Analysis:
The Initiating Act of the dialogues above is a favor offer.. Daniel refuses
Amanda’s offer to accompany him for the night by giving a self-defens

defense (I think...
I just need to be alone tonight

tonight). He uses the strategy because he feels reluctant to
be accompanied after having dinner with his mother. There is only a head act in
the refusal.
However, this is not the final outcome because Amanda makes a negotiation by
giving an alternative ((Hey! We could just talk). She seems eager to work out on
their relationship. Still, Daniel still refuses Amanda’s negotiation

iation by giving her a
direct refusal (Probably

Probably not
not). He uses direct refusal to emphasize that he does not
want to be intruded for the night. There is only a head act in his refusal. Daniel’s
refusal towards
ds Amanda’s negotiation is the Final O
Outcome.
utcome. The refusal
sequences and trajectories can be seen in the following figure.
Hey, um, if you get tired of watching "Charlie Brown and the
great pumpkin" alone, I could... come over and keep you
Act)
company... in costume... or not.
Respondent I think... I just need to head act self-defense
self
be alone tonight
Initiator ('egotiation) Hey! We could just talk.
Respondent (FO)
Probably not head act direct refusal
Refusal process of data ((14)
57
Data (15)
Transcription:
Ignacio: Hey. You want a sandwich?
Hilda: o, thanks.
Context:
The conversation takes place in Suarez family’s house, in the kitchen between
Ignacio Suarez and Hilda Suarez. Ignacio Suarez is Hilda and Betty’s father. The
degree of solidarity between them is family. Suarez family is having a problem of
getting money for Ignacio to pay a lawyer to take his case, becoming a legal
citizen. Hilda comes up with an idea, but she hesitates to tell Ignacio. In the
morning, she
he comes into the kitchen in silence when Ignacio is making sandwich
and sits down.
Analysis:
The Initiating Act of the dialogues above is a food offer. Ignacio offers Hilda
breakfast, but Hilda refuses it by giving a direct o,, followed by a gratitude
(thanks). She refuses his offer briefly because she is thinking of telling her idea to
him and she is able to give direct refusal because there is no distance between her
father and her. However, she also gives gratitude in order not to offend her
h
father’s feelings. The refusal sequences of Hilda’s refusal are head act (o) and
post-refusal (thanks).
). The refusal process can be seen in the following figure.
58
Hey. You want a sandwich?
Act)
Respondent o, head act direct refusal
thanks
(15)
Data (16)
Transcription:
Sofia: Come work for my magazine. You'll have your own assistant within a year.
Betty: Oh, I-I'm not so sure about that.
Context:
The conversation takes place at the front door of Suarez family’s house, between
Betty and Sofia Reyes, in middle of baby Chutney’s photo shoot. Sofia Reyes is
the editor-in-chief
chief of M.Y.W magazine. Sofia has a higher status
us than Betty, and
Betty respects her. She notices Betty’s skill, and finds that Betty can be better than
Daniel’s assistant who brings coffee and gets lunch for Daniel. Therefore she
wants Betty to work for her.
Analysis:
The Initiating Act of the dialog

dialogues above is an opportunity offer.
offer Sofia offers
Betty a job at her magazine and ensure Betty that Betty will get her success
quickly if she works at Sofia’s magazine. Betty, however, refuses Sofia’s offer
using a pause filler (Oh

Oh), followed by a hedge (I'm not so sure about that).
that Betty
59
gives Sofia the hedge because she feels she cannot leave Daniel after what he has
done for Betty. Daniel has been very kind to Betty and her family. The refusal
only has head act (Oh,

Oh, II-I'm not so sure about that) as its sequence.
uence. Sofia accepts
Betty’s refusal, which makes her refusal the Final Outcome. The refusal
refus process
Initiator (Initiating Come work for my magazine. You'll have your own assistant
Act) within a year.
Refusal
Respondent Oh
Oh, head act pause filler
I'm not so sure about head act hedge
that
that.
Data (17)
Transcription:
Alexis: Peanut?
Wilhelmina: o, thanks. The band

band-aid in the bowl putss me off a little.
Context:
The conversation takes place in a pub, at a snowy night between Alexis Meade
and Wilhelmina Slater. Alexis Meade is Bradford’s former eldest son who
changed his sex into a woman. The social distance between them is between
friends. Having returned to “Mode” as a woman, she seems to not have many
friends. Seeing this, Wilhelmina makes an effort to get closer to Alexis by inviting
60
her to go to the opera. Unfortunately, a blizzard attacks on their way to the opera,
which forces them

em to stop at a pub until the blizzard stops. Having entered the
pub, they sit at the bar. Alexis takes some peanuts and eats them. She also offers
the peanuts to Wilhelmina.
Analysis:
The Initiating Act of the dialogues above is a food offer. Wilhelmina refuses
Alexis’s offer by giving a direct o, followed by a gratitude (thanks) and an
explanation (The
The band
band-aid in the bowl puts me off a little). Wilhelmina gives the
gratitude and explanation after the direct refusal in order not to offend Alexis’s
feelings. The refusal sequences are head act (o) and post-refusal
refusal (thanks. The
band-aid
aid in the bowl puts me off a little
little). The refusal process can be seen in the
following figure.
Peanut?
Act)
Refusal
Response Strategy
Sequence
o, head act direct refusal
Respondent thanks
The band
band-aid in the
bowl puts me off a post-refusal explanation
little
little.
61
Data (18)
Transcription:
Joel: Can I buy you a cocktai

cocktail?
Alexis: Um, I won't be staying very long. My friend has tickets to the opera.
Joel: How about one more game before you leave?
Alexis: All right.
Context:
The conversation takes place in a pub, between Joel and Alexis. Alexis knows
Joel from the pub when she and Wilhelmina are waiting for the blizzard to stop.
Since they have just known each other and they do not know whose status is
higher,, the social distance between them is between friends

friends. Joel seems to hit on
Alexis and Alexis seems to respond

respond.
Analysis:
The Initiating Act of the dialogues above is a drink offer.. Joel offers to buy
Alexis a cocktail, but she refuses. Alexis refuses Joel’s offer to buy her a drink
using a pause filler (Um), followed by a self-defense (II won't be staying very
long) and an explanation (My friend has tickets to the opera). Alexis gives the
strategies because she actually wants Joel to buy her a drink, but she is going to
leave as soon as the blizzard stops. Therefore, she uses the self-defense
self and
explanation to ensuree Joel that she cannot stay long. The refusal sequences here
62
are head act (Um, long) and post-refusal

Um, I won't be staying very long refusal (My friend has
tickets to the opera).
However, Alexis’s refusal is not the final outcome. Joel negotiates with her by
inviting her
er to play one more game of shoot
shoot-the-hoop after being refused to buy
her a drink. Joel invites her to play because playing shoot

shoot-the-hoop
hoop will not take
long. Alexis agrees to his negotiation and accepts his invitation

invitation.. Her acceptance is
the Final Outcome. The refusal process can be seen in the following figure.
Can I buy you a cocktail?
Act)
Um
Um, head act pause filler
I won't be staying
Respondent head act self-defense
self
very long
long.
My friend ha
has tickets
post-refusal explanation
to the opera
opera.
Initiator (egotiation) How about one more game before you leave?
Respondent (FO) Accept: All right.
Data (19)
Transcription:
Amanda: Anyway, I am here as long as you need m

me.
Alexis: I don't. Thanks. Good night.

63
Context:
The conversation takes place at “Mode”, between Alexis and Amanda. Alexis is
searching for ‘the love dungeon’, a secret room in which her father and Fey
Sommers used to use for their love affair. Amanda wants to be Alexis’s assistant,
therefore she makes efforts to get Alexis’s attention. The social distance between
them is between boss and employee and Alexis has a higher status than Amanda.
Seeing Alexis busy, Amanda approaches her and tries to get her attention by
promoting herself that she knows every little thing about what happens at “Mode”
so Alexis will make Amanda her assistant

assistant.
Analysis:
The Initiating Act of the dialogues above is a favor offer. Amanda tells Alexis
that she is available for hel

help.
p. Alexis refuses Amanda’s offer using a negative
willingness (I don’t),
), followed by a gratitude (Thanks) and by letting Amanda
off the hook (Good night). Alexis refuses using the direct refusal because she is
Good night
in higher status than Amanda, but she also use

usess the gratitude in order not to offend
Amanda’s feelings. She lets Amanda off the hook because she wants to be alone.
The refusal sequences of Alexis’s refusal are head act (I don’t)) and post-refusal
(Thanks. Good night).

). Amanda accepts Alexis’s refusal, which
hich makes her refusal
the Final Outcome. The refusal process can be seen in the following figure.
64
Anyway, I am here as long as you need me.
Act)
I don't
don't. head act direct refusal
Respondent Thanks
Thanks. post-refusal gratitude
let the interlocutor off the
post-refusal
Good night
night. hook
Data (20)
Transcription:
Daniel: Uh, look. I put together some money. There's $75,000. Is that
enough to forget this ever happened

happened?
Lena: This isn't about money! This is about Petra's career.
Daniel: Okay, look. We have a big ph

photo
oto shoot today with our sister
magazine, "Mode Brazil." I think I can probably get you in.
Lena: #ice try, Mr. Meade, but she is n

not
ot interested in a corner picture on page
80. It's the cover or jail.
Context:
The conversation takes place in Daniel Meade’s office, between Daniel and Lena.
Lena claims to be Petra’s mother, a young model with whom Daniel slept. She
tells Daniel that Petra

tra is only 16 years old, and threat
threats him she will put him in jail
for sleeping with an underage model unless he makes Petra May’s cover model of
Mode magazine. Even though Daniel is the editor

editor-in-chief
chief of “Mode”, he is in a
very difficult situation and Lena

na has a higher power than him. This makes Daniel
65
not able to do anything. It is very hard for Daniel, since he is no longer in charge
of “Mode”. Alexis is taking responsibility of “Mode” now, and he is afraid he is
not going to be able to persuade Alexis to make Petra May’s cover model. He
comes up with a solution that may end the blackmail.
Analysis:
The Initiating Act of the dialogues above is a gift offer. Daniel offers Lena a
check of $75,000 to forget everything

everything, but Lena refuses. She refuses his offer
of
using a statement of negative opinion (This isn't about money!),

), followed by a
reason (This career). She gives the strategies because she really
This is about Petra's career
wants Petra to be a professional model. The refusal sequencess here are pre-
refusal (This isn't money!) and head act (This

sn't about money! This is about Petra's career).
career
However, Lena’s refusal is not the final outcome. Daniel comes up with an
alternative option as a negotiation. Daniel offers Lena to get Petra in the photo
shoot of “Mode Brazil”. But Lena in

insists
sists that Petra be the cover model of
“Mode”. She refuses Daniel’s offer by giving a statement of positive opinion
(2ice Meade), followed by a statement of negative opinion (but she is

2ice try, Mr. Meade
80) and a threat (It's

not interested in a corner picture on page 80 It's the cover or jail).
jail
She is able to give the threat because she is in power to blackmail Daniel. The
statement of positive opinion functions as pre-refusal,, the statement of negative
opinion functions as head act of the refusal, and the threat functions
function as post-
66
refusal. Lena’s refusal to Daniel’s negotiation is the Final Outcome

O of the
refusal. The refusal process can be seen in the following figure.
Initiator (Initiating Uh, look. I put together some money. There's $75,000. Is that
Act) enough to for
forget this ever happened?
This isn't about statement of negative
pre-refusal
money! opinion
This is about Petra's
head act explanation
career
career.
Okay, look. We have a big photo shoot today with our sister
Initiator (egotiation)
magazine, "Mode Brazil." I think I can probably get you in.
Meade, pre-refusal
2ice try, Mr. Meade statement of positive
opinion
Respondent (FO) but she is not
statement of negative
interested in a corner head act
opinion
picture on page 80.
It's the cover or jail

jail. post-refusal threat
3.3 Refusals of Invitations
In refusals of invitations, the writer finds that there is only one refusal that
consists of negotiation.
Data (21)
Transcription:
Hilda: Come have some flan.
Justin: I don’t want flan. I’ll get fat.

67
Context:
Hilda Suarez. Justin Suarez is Hilda’s son, therefore the social distance between
be
them is mother and son. Justin is in the living room watching telenovela and
Hilda, accompanied by her father, is in the dining room having lunch. Justin wants
to watch FashionTV, but Hilda does not allow it. She invites Justin to join them
have lunch.
Analysis:
The Initiating Act of the dialogues above is a real invitation. Hilda invites Justin
to have lunch with her and Ignacio with flan, but Justin refuses it using a
statement of negative willingness which is a direct refusal (II don’t want flan)
flan
followed by an explanation (I’ll get fat). He is able to give the direct refusal
because he is very close to his mother. The refusal sequences here are head act (I
don’t want flan)) and post refusal (I’ll get fat). Hilda accepts Justin’s refusal,
which makes his refusal the Final Outcome. The refusal process can be seen in the
following figure.
Come have some flan.
Act)
Respondent flan. head act

I don’t want flan direct refusal
I’ll get fat

fat. post-refusal explanation
68
Data (22)
Transcription:
Henry: We're having a party up on 25 with human resources if you're free?
Betty: Oh. I'm, uh... well, II-I'd love to go, Henry, but...
Henry: Uh, you have a boyfriend.
Betty: Yeah. Yeah, I do.. and I really want to give this thing with Walter and me
a chance.
Context:
The conversation takes place at “Mode”, in the elevator between Betty Suarez and
Henry Grubstick. Henry is an accountant at “Mode” who just meets

me Betty at the
office. The degree of solidarity between them is between colleagues. He invited
Betty to have lunch with him at a sushi restaurant. When they were having lunch
there, Walter, Betty’s boyfriend, came and caught them. Betty feels guilty of what
w
she has done to Walter and wants to fix it. When she is going home from the
office, Henry comes into the elevator she is in. After the incident at the sushi
restaurant, Henry does not feel good about it. However, he starts to open a
conversation betweenn them by inviting her to go to a party.
Analysis:
The Initiating Act of the dialogues above is a real invitation. Henry invites Betty
to join a party with human resources

resources,, but Betty refuses it. She rejects Henry’s
invitation using pause fillers (Oh. I'm, uh... well),

), followed by a statement of
69
positive agreement ((I'd love to go, Henry, but..).

). When she is about to finish her
sentence, Henry says what she wants to say ((Uh, boyfriend Betty
Uh, you have a boyfriend).
then approves his saying ((Yeah. Yeah, I do) which is self-defense,, followed by an
explanation (and
and I really want to give this thing with Walter and me a chance).
chance
Betty refuses by giving the pause fillers and a statement of positive agreement
because she still feels guilty to both Walter and Henry. She also gives
giv Henry the
explanation in order to make Henry stop interfering her relationship with Walter.
The refusal sequences here are pre-refusal (Oh.

Oh. I'm, uh... well, I-I'd
I love to go,
Henry, but), head act (Yeah. Yeah, I do [have a boyfriend]),

), and post-refusal
(and
and I really want to give this thing with Walter and me a chance). Henry accepts
chance).
Betty’s refusal, which makes her refusal the Final Outcome. The refusal process
Initiator (Initiating We're having a party up on 225

5 with human resources if you're
Act) free?
Oh. I'm, uh... well pre-refusal pause fillers
I'd love to go, Henry, statement of
pre-refusal
but positive agreement
Respondent I have a boyfriend head act self-defense
self
and I really want to
give this thing with
Walter and me a
chance
70
Data (23)
Transcription:
Wilhelmina: We'll talk upstairs.
Nico: #o! We'll talk now.
Context:
ion takes place in “Mode” lobby, between Wilhelmina Slater and

The conversation
Nico Slater. Nico is Wilhelmina’s daughter, who is not given much attention by
her mother. She has tried to draw her mother’s attention by shoplifting, but it
comes to no avail. She finally tri

tries
es an effort to get Wilhelmina’s attention by
calling the press to “Mode” and then she gives a speech about fashion being
violent to animals. When she is giving the speech, Wilhelmina appears wearing a
coat made of animal’s fur and tells the press that “Mo
“Mode”
de” is going to discuss the
controversy between animal rights versus fashion rights. Wilhelmina succeeded to
disperse the press.
Analysis:
The Initiating Act of the dialogues above is a real invitation. When the press has
dismissed, Wilhelmina invites Ni

Nico
co to talk about it upstairs in her office. Nico
refuses it by giving a direct #o, followed by a statement of alternative (We'll
talk now). Nico refuses her mother’s invitation using a direct refusal because she
is furious at her mother that her mother nev

never
er pays attention to her. She also wants
to talk to her mother about how she feels. The refusal sequences here are head act
71
(o!) and post-refusal

refusal (We'll talk now). Wilhelmina accepts Nico’s refusal, which
makes her refusal the Final Outcome. The refusal process can be seen in the
following figure.
We'll talk upstairs.
Act)
o! head act direct refusal
We'll talk now

now. post-refusal statement of alternative

Data (24)
Transcription:
hy don't you come and stay with me at the hotel?

Betty: Why
Walter: I don't wanna stay at some lame Manhattan hotel. I'm going to A.C.,
and I'm winning a dinette set.
Context:
The conversation takes place in Suarez family’s house, between Betty and her
boyfriend Walter. Betty and Walter had a plan to go to Atlantic City for the
weekend, but Daniel gave Betty an assignment to stay at Soho Hotel and write a
review about the hotel. Since Betty has her he

heart
art set on writing, she is looking
forward to staying at the hotel and writing the review. Therefore, she talks to
Walter about it and asks for Walter’s permission

permission. Walter is disappointed of
72
Betty’s decision and he gets upset, however, Betty comes up with a solution that
may solve his disappointment.
Analysis:
The Initiating Act of the dialogues above is a real invitation. Betty gives Walter
an alternative to spend their weekend by inviting him to stay with her at the hotel,
but Walter refuses it. He refu

refuses
ses Betty’s invitation using a direct refusal
statement of negative willingness (II don't wanna stay at some lame Manhattan
hotel),
), followed by an explanation (I'm
I'm going to A.C., and I'm winning a dinette
set). Walter gives Betty the direct refusal because he is very upset that his plan to
spend a weekend with Betty in Atlantic City fails. He also gives the explanation to
state that he is still going to go to Atlantic City with or without Betty. The refusal
sequences here are head act (I don't wanna stay at some lame Manhattan hotel)
hotel
and post-refusal (I'm

I'm going to A.C., and I'm winning a dinette set).
set Betty accepts
Walter’s refusal, which makes his refusal the Final Outcome. The refusal process
Why don't you come and stay with me at the hotel?
Act)
I don't wanna stay at
some lame head act direct refusal
Respondent Manhattan hotel
hotel.
I'm going to A.C.,
and I'm winning a post-refusal explanation
dinette set
set.
73
Data (25)
Transcription:
Ignacio: I'm cooking. Stay for breakfast.
Daniel: Oh, I'm not much of a breakfast person. I should probably just head
home.
Ignacio: o, no, no, no, no, no. Betty told me to feed
d and water you. Stay for
coffee. You look like hell. Come on.
Context:
The conversation takes place in Suarez family’s house, in the morning on
Thanksgiving holiday between Ignacio Suarez and Daniel Meade. Ignacio is
Betty’s father. Daniel slept in Suare

Suarez’s
z’s house because he was drunk after drinking
a lot of alcohol last night. Betty goes to the office and she tells her father, Ignacio,
to keep an eye on Daniel. When Suarez family is having breakfast in the dining
room, Daniel tries to sneak out. Ignacio ssees him and calls him. Since Daniel has
just met Ignacio, the social distance between them is quite far. There is a gap
between them. When Daniel is at the front door, Ignacio approaches to invite him
to stay for breakfast.
Analysis:
The Initiating Act of the dialogues above is a real invitation.. Ignacio invites
Daniel to stay for breakfast with his family, but Daniel refuses it using a pause
filler (Oh),
), followed by a statement of principle (I'm
I'm not much of a breakfast
74
person) and a statement of alternati

alternative (II should probably just head home).
home
Daniel gives the strategies because he does not want to trouble Ignacio, not after
he troubled Betty for being sick and drunk. The refusal sequences here are head
act (Oh,
Oh, I'm not much of a breakfast person
person) and post-refusal (II should probably
just head home). However, Ignacio insist that Daniel stay by making a
negotiation (o,
o, no, no, no, no, no. Betty told me to feed and water you. Stay for
coffee. You look like hell. Come on

on).
). Ignacio makes the negotiation because he
notices that Daniel is really sick and he needs to eat. Daniel finally accepts
Ignacio’s negotiation because he is having a hangover and he cannot do anything.
This is the Final Outcome

utcome from Ignacio’s invitation. The refusal process can be
seen in the following

ollowing figure.
I'm cooking. Stay for breakfast.
Act)
Respondent I'm not much of a head act statement of principle

breakfast person
person.
I should probably statement of
post-refusal
just head hhome. alternative
Initiator o, no, no, no, no, no. Betty told me to feed and water you. Stay
(&egotiation) for coffee. You look like hell. Come on.
Respondent (FO) Accept
75
Data (26)
Transcription:
Amanda: Hey, I've been looking for you. Look what I just scored. ew Prada
store's opening tonight, and Steve Aoki's deejaying. Meet up for drinks
beforehand?
Marc: Oh, I can't. I have plans.
Context:
The conversation takes place at “Mode”, during wo

work
rk between Amanda Tanen
and Marc St. James. They are best friends who have many similar interests. There
is no social distance between them whatsoever since they are best friends.
Amanda is at her receptionist desk when Marc approaches. She stops him to invite
in
him to a party.
Analysis:
The Initiating Act of the dialogues above is a real invitation.. Amanda invites
Marc to go to new Prada store’s opening with her, but Marc rejects it by giving a
pause filler (Oh),

), followed by a direct refusal statement of negative
gative ability (I
can't) and an explanation (I have plans). Marc gives the direct refusal because he
knows it will not offend Amanda, however, he adds the explanation in order to
ensure Amanda that he really cannot go with her. The refusal sequences here are
a
head act (Oh,

Oh, I can't
can't) and post-refusal (I have plans). Amanda accepts Marc’s
76
refusal, which makes his refusal the Final Outcome. The refusal process can be
Hey, I've been looking for you. Look w

what
hat I just scored. ew
Prada store's opening tonight, and Steve Aoki's deejaying. Meet
Act)
up for drinks beforehand?
Oh
I can't
can't. head act direct refusal
I have plans
plans. post-refusal explanation
ex
Data (27)
Transcription:
Christina: Come on, let's go somewhere else.
Betty: !o, no, no, no, no. !o, I wanna stay, Christina, I do. I just... I need to tell
him one thing.
Context:
The conversation takes place at a club, between Christina McKinney and Betty
who are best friends. Christina invites Betty to go to a club in order to let Betty go
from her work. Christina thinks that Betty is so obsessed with Daniel and spends
her time focusing

ng on Daniel that she forgets to think about herself. At the club,
Betty sees Daniel partying with models. She also thinks that she sees Quincy
Combs, a journalist who wants to write a book about the Meades inside-out.
inside Betty
77
wants to protect Daniel by tell

telling him about Quincy. Christina approaches Betty
and sees Daniel. Christina sees Betty seeing Daniel, she then asks Betty to go.
Analysis:
The Initiating Act of the dialogues above is a real invitation.. Christina invites
Betty to go someplace else so tha

thatt Betty will not think about Daniel. However,
Betty refuses Christina’s invitation by giving her a direct !o,, followed by a self-
defense (II wanna stay, Christina, I do

do) and an explanation (II just... I need to tell
him one thing). Betty gives the direct ref

refusal
usal because she and Christina do not
have social distance, she also gives the self

self-defense
defense and explanation in order not
to make Christina worried. The refusal sequences here are head act (o, no, no,
no, no) and post refusal (o, I wanna stay, Christina, I do. I just... I need to tell
him one thing). Christina accepts Betty’s refusal, which makes her refusal the
Come on, let's go somewhere else.
Act)
Refusal
Response Strategy
Sequence
o, no, no, no, no
no. head act direct refusal
Respondent I wanna stay, post-refusal self-defense
self
Christina, I do
do.
I just... I need to tell post-refusal explanation
him one thing
thing.
Initiator (IR = FO) Accept (IR)
78
Data (28)
Transcription:
Rodrigo: After the shoot, perhaps you will join me for dinner? There's this little
restaurant I know, and I would love to take you there.
Alexis: I'm afraid I have a lot of work to do. But thank you for the invitation.
invitat
Context:
The conversation takes place “Mode” photo studio, between Rodrigo and Alexis.
Rodrigo is a photographer from “Mode Brazil”. He is having a photo shoot and
Alexis is supervising the photo shoot. They both just meet in the studio. The
social distance between them is between working partners. They get involved in a
conversation. Having talked, Rodrigo invites her to go on a date with him.
Analysis:
The Initiating Act of the dialogues above is a real invitation.. Rodrigo invites
Alexis to go out with him by taking her to dinner after the shoot, but Alexis
refuses it. She uses an explanation (I'm

I'm afraid I have a lot of work to do),
do
followed by a gratitude (But thank you for the invitation).

). She gives the
explanation because she does not want to of

offend
fend Rodrigo’s feeling. She also uses
the gratitude to appreciate the invitation. The explanation Alexis uses functions as
head act and the gratitude functions as post-refusal. Rodrigo accepts Alexis’s
refusal, which makes her refusal the Final Outcome. Thee refusal process can be

79
Initiator (Initiating After the shoot, perhaps you will join me for dinner? There's this
Act) little restaurant I know, and I would love to take you there.
Refusal
Response Strategy
Sequence
I'm afraid I have a head act explanation
Respondent
lot of work to do
do.
But thank you for the post-refusal gratitude
invitation
invitation.
(28)
Data (29)
Transcription:
Amanda: You're gonna be a Wilhelmina Slater di

discovery,
scovery, and because I hooked
you up, you have to make out with me in the ladies' room.
Tavares: !o! I'm supposed to be a big 'mo. I tried being straight in this
business, and it doesn't work.
Context:
The conversation takes place at “Mode”, between Tav

Tavares
ares and Amanda. Tavares
is Amanda’s designer boyfriend who pretends to be gay. They hide their
relationship from everyone. They are lovers, so there is no social distance between
them whatsoever. Amanda is the one who scheduled Tavares to meet Wilhelmina.
Tavares has just met Wilhelmina to show some of his designs. After Wilhelmina
says that she is going to introduce Tavares to her designer friends, she leaves
Tavares and Amanda alone. Being alone in a room, Amanda wants to make out
with Tavares.
80
Analysis:
The Initiating Act of the dialogues above is a real invitation.. Amanda invites
Tavares to make out with her in the ladies’ room, but he refuses. Tavares refuses
Amanda’s invitation by giving her a direct !o, followed by a self-defense

self (I'm
supposed to bee a big 'mo

'mo) and an explanation (II tried being straight in this
business, and it doesn't work

work). He gives the direct refusal because he is afraid
someone will notice, and he is able to give the direct refusal because there is no
distance between Amanda and him. He also uses the self-defense

defense and the
explanation to emphasize Amanda that they cannot show their relationship in
front of the public, including making out in public’s room. The refusal sequences
of Tavares’s refusal are head act (o!) and post-refusal (I'm

I'm supposed to be a big
'mo. I tried being straight in this business, and it doesn't work).

work Amanda
understands and accepts Tavares’s refusal, which makes his refusal the Final
Initiator (Initiating You're gonna be a Wilhelmina Slater discovery, and because I

Act) hooked you up, you have to make out with me in the ladies' room.
Refusal
Response Strategy
Sequence
o! head act direct refusal
I'm supposed to be a post-refusal self-defense
self
Respondent
big 'mo
'mo.
I tried being straight
in this business, and post-refusal explanation
it doesn't work.
(29)
81
Data (30)
Transcription:
Wilhelmina: You just have to get out in the world again. I'm gonna take you to a
party tomorrow, downtown.
Bradford: Party? Oh, I don't know.
Context:
The conversation takes place at Wilhelmina’s apartment between Bradford Meade
and Wilhelmina. Wilhelmina is Bradford’s fiance

fiance,, therefore there is no social
distance
stance between them whatsoever
whatsoever.. Bradford is telling Wilhelmina that he does
not feel like he is the same Brad as he was years ago when he was still married to
Claire Meade. He was wild and now he feels like he is getting old. Wilhelmina
denies what Bradfordd thinks and she thinks that he should go out more.
Analysis:
The Initiating Act of the dialogues above is a real invitation. Wilhelmina comes
up with a solution to make Bradford feel young again by inviting him to a party
downtown tomorrow. However, Brad

Bradford
ford refuses her invitation. He refuses the
invitation using a repetition (Party?), followed by a pause filler (Oh) and a
hedge (I don't know).

). Bradford gives the strategies because he feels that it is not
appropriate for him to go to parties at his age. The

he refusal sequences of the refusal
are pre-refusal (Party?

Party?) and head act (Oh, know Wilhelmina
Oh, I don't know).
82
understands and accepts Bradford’s refusal, which makes his refusal the Final
Initiator (Initiating You just have to get out in the world again. I'm gonna take you to
Act) a party tomorrow, downtown.
Party? pre-refusal repetition
I don't know. head act hedge
3.4 Refusals of Suggestions
The writer here provides the data analyses of refusals of suggestions.
There is no negotiation found in refusals of suggestions.
Data (31)
Transcription:
Daniel: You know,

ow, I could say I was mugged. I could get my golf club. You could
hit me across the face. Break my nose.
Betty: Daniel, there are a lot of things I'm willing to do for this job. That is not
one of them.
83
Context:
The conversation takes place in Queens, in Daniel’s car between Daniel and
Betty. The degree of solidarity between them is between friends. They just get
back from Gina Gambarro’s house, Betty’s neighbor. When Betty was at the
office, she noticed that Daniel forgot to bring the book of “Mode”, the mock-up of
the entire magazine,, back with him. In order to keep the book safe, Betty decided
to bring it back home with her. At home, when Betty was looking at the book, her
neighbor, Gina Gambarro, came to collect money from Betty because Betty had
broken her plasma. Gina saw the book and stole it when everyone was asleep. In
the morning, knowing that the book is gone, Betty calls Daniel to tell that Gina
Gambarro has it and she wants to trade the book for an amount of money. When
Daniel and Betty come to Gina’s house, the book has already been taken by
someone else and Gina has already installed her new plasma. In bare hands,
Daniel and Betty go back to “Mode”. In the car, they are figuring out how to tell
Bradford that the book is lost.
Analysis:
The Initiating Act of the dialogues above is an unsolicited suggestion Daniel

olicited suggestion.
comes up with an idea to tell Bradford. But Betty refuses it by giving a statement
of principle (Daniel,
Daniel, there are a lot of things I'm willing to do for this job),
job
followed by a direct
rect refusal statement of negative willingness (That
That is not one of
them). She gives the strategies because she thinks that Daniel’s suggestion is way
out of line. The refusal sequences here are pre-refusal (Daniel,

Daniel, there are a lot of
84
job) and head act (That

things I'm willing to do for this job them Daniel
That is not one of them).
accepts Betty’s refusal, which makes her refusal the Final Outcome. The refusal
Initiator (Initiating You know, I could say I was mugged. I ccould

ould get my golf club.
Act) You could hit me across the face. Break my nose.
Daniel, there are a
lot of things I'm statement of
pre-refusal
willing to do for this principle
job.
That is not one of head act direct refusal
them.
Data (32)
Transcription:
Betty: So just apologize.
Daniel: Ah, I can't just apologize. I mean, it's gotta be smarter. You know,
skillful.
Context:
The conversation takes place at “Mode”, in Daniel’s office between Daniel and
Betty. The degree of solidarity between them is between friends, even though
Daniel is Betty’s boss. Daniel tells Betty that he made a mistake to Sofia Reyes,
the editor-in-chief
chief of M.Y.W magazine under Mea
Meade
de Publication, at the editor
meeting. He thought Sofia was a waitress because he saw her serving coffee to
85
one of the editors. He feels awful and wants to make up to her. He asks Betty for
her advice.
Analysis:
The Initiating Act of the dialogues above is a solicited suggestion.

suggestion Betty suggests
that Daniel apologize to Sofia, but Daniel refuses it. He rejects Betty’s suggestion
using a pause filler (Ah), followed by a direct refusal statement of negative
willingness (II can't just apologize

apologize) and an explanation (II mean, it's gotta be
skillful). He gives the strategies because he thinks he cannot

smarter. You know, skillful
simply apologize after what he has done to Sofia, and also because he does not
want to look stupid when he apologizes to Sofia. The refusal sequences

sequen of
Daniel’s refusal are head act (Ah, I can't just apologize)) and post-refusal (I
skillful). Betty accepts Daniel’s refusal,

mean, it's gotta be smarter. You know, skillful
which makes his refusal the Final Outcome. The refusal process can be seen in the
following figure.
So just apologize.
Act)
Ah, head act pause filler
I can't just apologize. head act direct refusal
Respondent
I mean, it's gotta be
smarter. You know, post-refusal explanation
exp
skillful.
86
Data (33)
Transcription:
Betty: You have to entertain Oshi tomorrow night. Maybe you should just tell your
father.
Daniel: What, and look fiscally irresponsible? If I tell dad that's all I have left,
he'll make Wilhelmina publisher so fast, it'll make your head spin, and it'd be
like handing the magazine over to her. &o.
Context:
Betty. The degree of solidarit

solidarity between them is between friends. Betty got a job to
write Daniel’s financial report and give it to the accounting department. On the
report, Betty wrote miscellaneous expenses for $25,000. The accounting
department then gave the report to Bradford. Havin

Having
g read the report, Bradford
called Daniel to his office. He was not happy with how careless Daniel was in
spending the company’s money, therefore he decided to stop giving him money
temporarily and told Daniel to use his own money. If Daniel could prove that
th he is
able to manage his expenses, Bradford promised to re

re-supply
supply him. On the other
hand, if Daniel could not do it, Bradford would handle the magazine to
Wilhelmina. Unfortunately, Daniel only has $327 on his account. Not to mention,
he is meeting Oshi,, one of the biggest advertisers for “Mode”, he must entertain
Oshi and take him to dinner. In the office, Daniel and Betty are discussing about
how to solve the money problem.

87
Analysis:
The Initiating Act of the dialogues above is an unsolicited suggestion.

suggesti Betty
suggests that Daniel tell his father the truth, that he only has $327 left on his
account, yet Daniel refuses. He refuses Betty’s suggestion using a statement of
negative feeling (What,

What, and look fiscally irresponsible? ), followed by an
irresponsible?),
explanation (If
If I tell dad that's all I have left, he'll make Wilhelmina publisher so
fast, it'll make your head spin, and it'd be like handing the magazine over to her)
her
and a direct &o. He gives the strategies because he is so confused and upset that
he overthinks things. He knows that all this time Wilhelmina has been trying to
take over his position but he manages to maintain the position. He thinks that if
Wilhelmina gets to be the publisher, he will lose everything he has struggled. His
statement of negative fee

feeling and explanation are pre-refusal,, and his direct )o is
the head act of the refusal. Betty accepts Daniel’s refusal, which makes it the
Initiator (Initiating You have to entert

entertain
ain Oshi tomorrow night. Maybe you should
Act) just tell your father.
What, and look
statement of
fiscally pre-refusal
negative feeling
irresponsible?
If I tell dad that's all
I have left, he'll make
Respondent Wilhelmina publisher
so fast, it'll make
pre-refusal explanation
your head spin, and
it'd be like handing
the magazine over to
her.
)o
)o. head act direct refusal
88
Data (34)
Transcription:
Wilhelmina: Don't be afraid of office politics. Do favors for the right people. You
just might get rewarded at the end. Unfortunately, that is the cruel reality in this
business.
Christina: Okay, you can stop right there. I know exactly how you work,
Wilhelmina. Well, I'd rat

rather make it on my own. Thanks.
Context:
The conversation takes place at “Mode”, in the closet between Wilhelmina and
Christina McKinney during the preparation for the fashion week. Christina is a
designer at “Mode” and Wilhelmina is the creative director at “Mode”.
Wilhelmina is in a higher status than Christina. Christina has tried several times to
get in the fashion week to show her designs, but she is still not given the chance.
Wilhelmina visits her in the closet to tell Christina that she will put Christina
Ch in
the fashion week show, but she seems to have something on her mind.
Wilhelmina knows that Christina will not get tempted so easily, therefore she
gives a suggestion to Christina about how to be successful at “Mode”.
Analysis:

suggestion
Wilhelmina suggests Christin about how to be successful at “Mode”, but Christina
refuses. Christina refuses Wilhelmina’s suggestion by letting Wilhelmina off the

89
hook (Okay, there), followed by an explanation (I know

Okay, you can stop right there
Wilhelmina), a pause filler (Well),

exactly how you work, Wilhelmina ), a statement of
alternative (I'd own), and a gratitude (Thanks

I'd rather make it on my own Thanks). She gives
the strategies because she does not want to help Wilhelmina execute her
h ‘evil’
plan in order to get into the fashion week show. The refusal sequences are pre-
refusal (Okay,
Okay, you can stop right there. I know exactly how you work,
Wilhelmina), head act (Well, I'd rather make it on my own),

), and post-refusal
(Thanks). Wilhelmina accepts Christina’s refusal, which makes it the Final
Don't be afraid of office politics. Do favors for the right people.

You just might get rewarded at the end
end.. Unfortunately, that is the
Act)
cruel reality in this business.
Okay, you can stop let the interlocutor
pre-refusal
right there
there. off the hook
I know exactly how
you work, pre-refusal explanation
Respondent Wilhelmina
Wilhelmina.
Well
Well, head act pause filler
I'd rather make it statement of
head act
on my own
own. alternative
Thanks
Thanks. post-refusal gratitude
90
Data (35)
Transcription:
Wilhelmina: Well, what am I supposed to do till then?
Alexis: You wait. You bide your time a little longer.
Wilhelmina: I am not going back to being Daniel's creative director. I worked
too hard to get to the top.
Context:
The conversation takes place at “Mode”, between Wilhelmina and Alexis Meade.
M
The degree of solidarity between them is between partners. Alexis has just come
back to Meade Publication after being considered dead for two years. She and
Wilhelmina try to take over “Mode”. Having shocked the entire personnel at
“Mode” by declaringg Wilhelmina the new editor

editor-in-chief,
chief, Alexis has to postpone
taking over “Mode” due to Bradford’s will. The will says that when Bradford is
dismissed or dead, Meade Publication will be inherited to his first son.
Unfortunately, Alexis is no longer a son, sshe

he changed her sex into a woman which
makes her Bradford’s daughter. Alexis tells Wilhelmina that she cannot be
promoted to editor-in--chief
chief just yet. Bradford’s lawyer is taking care of the case.
Analysis:
The Initiating Act of the dialogues above is a solicited suggestion Having heard
licited suggestion.
the news, Wilhelmina asks Alexis what she should do until the case is taken care
of. Alexis suggests that she wait until then, but she refuses it by giving a direct
91
refusal statement of negative willingness (I am not going back to being Daniel's
), followed by an explanation (II worked too hard to get to the

creative director),
top). She gives the strategies because she is so excited about becoming the editor-
editor
in-chief
chief of “Mode” that she does not want it to be postponed. Wilhelmina’s
statement of negative willingness is the head act of the refusal, and the
explanation is post-refusal
refusal. Alexis accepts Wilhemina’s refusal, which makes her
refusal the Final Outcome. The refusal process can be seen in the following
figure.
You wait. You bide your time a little longer.
Act)
Refusal
Response Strategy
Sequence
I am not going back
Respondent to being Daniel's head act direct refusal
creative director.
I worked too hard to post-refusal explanation
explanat
get to the top.
Data (36)
Transcription:
Wilhelmina: I wanna know every de

detail
tail that's going on down there.
Marc: Well, why don't you just come down here?
Wilhelmina: I can't just stroll back in. I made a drama

dramatic exit.
92
Context:
The conversation takes place on the phone, between Marc and Wilhelmina.
Wilhelmina is Marc’s boss, so she has a higher status than him. Marc is at
“Mode”, and Wilhelmina is back at her apartment after making a dramatic exit
due to her dissapointment of Alexis. Alexis tells her to wait until Bradford’s will
is taken care of, then she can be the new editor

editor-in-chief,
chief, but she refuses and goes
home. Wanting to know what happens at “Mode”, she calls Marc.
Analysis:

suggestion Marc
suggests that Wilhelmina come to the office if she would like to know what is
going on down there, but she refuses. Wilhelmina refuses Marc’s suggestion to
come down to “Mode” by giving a direct refusal statement

tatement of negative
willingness (II can't just stroll back in

in), followed by an explanation (I made a
dramatic exit). She gives the strategies because she is too proud to go back to the
office after her dramatic exit. Her statement of negative willingness is

i the head
act of the refusal, and her explanation is the post-refusal.. Marc accepts
Wilhelmina’s refusal, which makes it the Final Outcome. The refusal process can
be seen in the following figure.

93
Well, why don't you just co
come down here?
Act)
Refusal
Response Strategy
Sequence
I can't just stroll
Respondent head act direct refusal
back in
in.
I made a dramatic
exit
exit.
Data (37)
Transcription:
Tyler: You gotta put your brakes on, man. Face your life.
Daniel: Can I just face it tomorrow? I have a really hot date tonight.
Context:
Tyler. Tyler is a psychologist whom Betty met from human resource department.
Tyler and Daniel have just met, and since Tyler is a psychologist whom Daniel
consult, the social distance between them between a psychologist and a client.
Betty wants him to solve Daniel’s problem, which is an addicti

addiction
on to sex. Having
met Daniel, Tyler concludes that Daniel’s addiction to sex is a get away from his
problem.
Analysis:

suggestion Tyler
suggests Daniel to face his problem in order to stop his aaddiction.

ddiction. However,
94
Daniel refuses it by giving a postponement (Can

Can I just face it tomorrow?),
tomorrow?
followed by an explanation (I have a really hot date tonight).

). He gives the
postponement and explanation because he seems to want to avoid consulting
Tyler about his life. The refusal sequences here are head act (Can
Can I just face it
tomorrow?) and post

post-refusal (I have a really hot date tonight).
). Tyler accepts
Daniel’s refusal, which makes his refusal the Final Outcome. The refusal process
can be seen in the followin

following figure.
You gotta put your brakes on, man. Face your life.
Act)
Refusal
Response Strategy
Sequence
Can I just face it head act postponement
Respondent
tomorrow?
I have a really hot post-refusal explanation
date tonight.
Data (38)
Transcription:
Henry: Maybe we should just go play darts instead. Much safer.
Betty: o, no, no, no, no. I have to do this.
Context:
The conversation takes place at “The Middle Ages” re

restaurant,
staurant, on the
Administrative Professionals Day between Betty and Henry. The degree of
solidarity between them is between colleagues. All “Mode” employees are

95
celebrating the Administrative Professionals Day

Day.. At the restaurant, there is a
challenge to tame
me the jousting steed. Whoever succeeds in overcoming the
challenge will get $1,000 as the reward. Betty is interested in taking the challenge
because her family is in desperate need of money. They need some money to send
Ignacio back to Mexico in order to become a legal citizen of the USA. When
Betty is looking at the steed, Henry approaches and knows what Betty has in
mind.
Analysis:

suggestion Henry
notices that Betty is going to tame the jou

jousting
sting steed and he suggests to go play
something else, but Betty refuses it. She refuses by giving a direct o, followed
by a self-defense (II have to do this

this). She gives the direct refusal because she
thinks that taming the jousting steed is the only optio

optionn she has to gain money for
her father and because there is no social distance between Henry and her. She also
gives the self-defense

defense because she is sure she is going to win the challenge. The
refusal sequences here are head act (%o, no, no, no, no) and post
st-refusal (I have
to do this). Henry accepts Betty’s refusal, which makes her refusal the Final
Maybe we should just go play darts instead. Much safer.
Act)
Respondent %o, no, no, no, no. head act direct refusal
I have to do this. post-refusal self-defense
self
(3)
96
Data (39)
Transcription:
Wilhelmina: %ow, let's talk about the fe

fearless
arless women feature. We've managed to
secure... Jordan Dunn

Dunn.
Alexis: Jordan Dunn? o. o,no,no,no. That's not a very good idea.
Wilhemina: That's a fabulous idea. She hang

hang-glides, she ice-climbs,
climbs, she swam the
English channel in a leather bikini,we've aalready have the title-- "the Dare Devil
Wears Prada".
Alexis: I said "O"! You know what? This meeting is done.
Context:
The conversation takes place at “Mode”, in the meeting room between
Wilhelmina and Alexis. The whole departments are having a creative

creati meeting for
the next issue of “Mode”. Alexis is now in charge of “Mode”, and Wilhelmina is
still the creative director. Therefore, Alexis is higher in status than Wilhelmina. In
the meeting, Wilhelmina has an idea to put Jordan Dunn as the fearless woman
woma
feature. Jordan Dunn is Alexis’s ex

ex-girlfriend
girlfriend when she was a man.
Analysis:

suggestion
Wilhelmina suggests to put Jordan Dunn as the fearless woman feature, but Alexis
refuses it. She refuses Wilhelmina’s idea using a repetition (Jordan

Jordan Dunn?),
Dunn?
followed by a direct o and a statement of negative opinion (That's

That's not a very
97
good idea). She gives the stretegies because she is surprised and it seems that she
does not want to meet Jordan Dunn after she becomes a woman. The refusal
sequences here are pre

pre-refusal (Jordan Dunn?), head act (%o. %o,no,no,no and
%o. %o,no,no,no),
post-refusal (That's
That's not a very good idea
idea).
However, this is not the Final O

Outcome
utcome of the refusal because Wilhelmina
negotiates it by tellin
tellingg Alexis the things that Jordan Dunn has done (That's
( a
fabulous idea. She hang

climbs, she swam the English channel in a
leather bikini,we've already have the title Prada" Still,

title-- "the Dare Devil Wears Prada").
Alexis refuses the idea. She refus

refuses it using a direct refusal (I said "%O"!),
followed by letting everyone in the meeting room off the hook (You know
done). She gives the strategies because she is upset about

what? This meeting is done
the idea to put Jordan Dunn. She is able to give the direc
directt refusal and dismiss the
meeting because she has the power to do it. The refusal sequences are head act (I
said "%O"!) and post

post-refusal (You done This is the
You know what? This meeting is done).
Final Outcome
utcome of the refusal. The refusal process can be seen in the following
figure.
98
Initiator (Initiating %ow, let's talk about the fearless women feature. We've managed
Act) to secure... Jordan Dunn.
Jordan Dunn? pre-refusal repetition
Respondent %o. %o,no,no,no. head act direct refusal
That's not a very statement of negative
post-refusal
good idea. opinion
Initiator
()egotiation) That's a fabulous idea. She hang
hang-glides,
glides, she ice-climbs,
ice she
swam the English channel in a leather bikini,we've already have
the title
title-- "the Dare Devil Wears Prada".

I said "%O"! head act direct refusal
Respondent (FO) You know what?
let the interlocutor
This meeting is post-refusal
off the hook
done.
Refusal process of data ((39)
Data (40)
Transcription:
Fabia: I suppose you're going to have to change your wedding date. Or do a
quickie in Las Vegas.
Wilhelmina: Wilhelmina Slater does not do Vegas.
Context:
The conversation takes place at “Mode”, in Wilhelmina’s office between
Wilhelmina and Fab

Fabia. Wilhelmina and Fabia are both
h business partners and
rivals. Wilhelmina is getting married to Bradford soon and so is Fabia. Their
wedding date is the same. To make it even worse, they book the same singer and
designer. Fabia comes to Wilhelmina’s offic

officee to tell that she will not give the
99
singer and the designer to Wilhelmina. This makes Wilhelmina confused because
she has to find a new singer and designer as soon as possible, otherwise the
wedding will be incomplete. Fabia comes up with a suggestion for Wilhelmina.
Analysis:

suggestion Fabia
suggests Wilhelmina to either change the wedding date or do the wedding in Las
Vegas,, but Wilhelmina refuses it

it. Wilhelmina rejects her suggestion by giving
giv a
statement of principle (Wilhelmina Slater does not do Vegas).

). She gives the
statement of principle because she is known as a fashion

fashion-diva who is considered
to have a high taste,, while getting married quickly in Las Vegas is for either low-
class peoplee or drunks. There is only head act in Wilhelmina’s refusal. Fabia
accepts Wilhelmina’s refusal, which makes it the Final Outcome. The refusal
Initiator (Initiating I suppose you're going to have to change your wedding date. Or
Act) do a quickie in Las Vegas.
Respondent Wilhelmina Slater statement of
head act
does not do Vegas. principle
CHAPTER IV
COCLUSIO
COCLUSIOS AD SUGGESTIOS
4.1 Conclusions
Having analyzed the data of refusal strategies in American English speech,
the writer comes up with some conclusions:
1. Based on the result

results of the obtained data regarding the refusal strategies in
English speech
speech, the writer concludes that the
he types of the Initiating Act
that trigger the act of refusals are requests, offers, invitations, and
suggestion. In requests,, it is found that there are six data of requests for
acceptance/agreement/permission; three data of requests for favor; and one
data of request for action. There is no data of request of information. In
offers,, there are four data of favor offer and food/drink offer; and one data
of gift offer and opportunity offer. In invitations,, all data are real
invitations. In suggestions,, there are eight data of unsolicited suggestions
and two data of solicited suggestions.
2. The mostly used strategies are direct refusals and explanations. When
direct refusals are used, most of them are followed by explanations. In
requests,, seven out of ten data show indirect strategies are used
refusing requests
as the head acts. Five of ten refusals given by the speakers consist of
explanations as one of the strategies in a refusal sequence. However, six of
ten data of ref

refusals of offers show that the refusers use direct refusals,
four of them followed by gratitudes. Only three out of ten data consist of
100
101
negotiations. Similar to offers, six of ten data of refusals of invitations
show that the refusers use direct refusals as their strategies, four of them
are followed by explanations. Surprisingly, in refusals of suggestions,

suggestions
seven out of ten data show that the characters in Ugly Betty serials use
direct refusals.
4. All characters in Ugly Betty serials mostly use more than one refusal
strategies in one refusal, which make refusal sequences. Although there are
some with pre

pre-refusals,, most of the refusal sequences consist of head acts
and post-refusals
refusals.
5. In the process of refusals, it can be concluded that the initiators accept the
th
respondents’ refusals which make the Initial Response the Final Outcome.
Rarely do they make negotiations after being refused.
This study still has some inadequacies. Hopefully, in the future the writer
can conduct a study from the same field and the source of the data is taken from
English speakers’ real life.
4.2 Suggestions
Having studied refusal strategies in English speech, the writer comes up
with some suggestions:
1. There are many studies on refusals which have been done before this
study. However, each of the study has some inadequacies. Therefore, the
writer thinks that linguistic researchers had better conduct new studies on
102
refusals or continue the previous studies from different perspectives,
different languages,
guages, and different cultures.
2. It is better for linguistic researchers to conduct more studies on pragmatics,
because not all aspects of pragmatics have been studied.

BIBLIOGRAPHY
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57). Urbana, IL:
University
rsity of Illionois.
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Uliss-Weltz,
Weltz, R. 1990. Pragmatic Transfer in ESL
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73). New York: Newb
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Leech, G. 1983. Principles of Pragmatics. New York: Longman Inc.
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DICTIOARIES
Cruse, Alan. 2006. A Glossary of Semantics and Pragmatics

Pragmatics.. Edinburgh: Edinburgh
University Press.
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Applied Linguistics
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105
THE WRITER’S BIOGRAPHY
She was born in Bandung, on 17 July, 1986. She is the fourth child of
five children.
In 1990 – 1991, she studied at TK Angkasa I Lanud Sulaiman Bandung.
In 1991 – 1997, she studied at SD Negeri Angkasa II Lanud Sulaiman Bandung. In
1997 – 2000, she studied at SLTP Negeri 3 Bandung.
In 2000 – 2001, she studied at SM

SMU Negeri 17 Bandung. In 2001, she
moved to SMU Negeri 4 Bandung and finished her study in 2003.
In 2003 – 2007
2007, she studied at STBA YAPARI – ABA Bandung
majoring
ng English Department and Tourism as the minor studies. In 2007 – 2008, she
worked as both part-time

time lecturer at Politeknik Pos Indonesia and English teacher at
Harvard English School and Cinderella School of English for Children.
In 2008 – now, she is taking

ing graduate program at Universitas
Padjadjaran, majoring English linguistics. During her study, in 2009 – 2010, she
worked as an English teacher at Education Laboratory.
106
APPEDICES
107
DATA FIDIGS
Classification of
o. Transcriptions
Refusal
1 Man: Betty Suarez?
Betty: Hi! Um, that's me. Uh, I have a hard

copy of my resume if you need it. Should I
follow you?
Man: Uh actually.. there's been a mistake.
Betty: A mistake?
Man: All the entry level positions we've

been hiring for? They've been filled. I'm
sorry.
Betty: Um, sir? While you've got me here, I

thought I could tell you a little about
myself. Magazines are my passions, ever
since I was a little ki
kid. And I can't imagine
a more amazing place to start my career Request
than Meade publications. I know most of
your magazines inside out, I try to devour
as much as I can.
Man: Clearly.
Betty: Also, I've learnt so much through

them, stuff so beyond my world, liklike who
the up-and-comers
comers are on the London art
scene, or what the political in Darfur are
all about or which is considered the most
romantic in the world. And I have tons of
ideas, I'm always jotting stuff down on the
subway, but I'm getting ahead of myself
myself,
sir. All I really want is a chance, any
position or publication
publication-
Man: Goodbye!
2 Justin: I hate telenovelas. I want to watch
Fashion TV. Request
Hilda: Justin,
ustin, you can watch Fasion TV
later when your Aunt Betty is babysitting
ok?
3 Hilda: Come have some flan.
Invitation
Justin: I don’t want flan. I’ll get fat.
4 Betty: Um, sorry to interrupt, but can I get
you lunch?
Offer
Daniel: 2o, no. But you go ahead, thanks.
5 Betty: Daniel, I was wondering, if you had
a quick moment..
Daniel: Do I look like I have a quick Request

moment?
Betty: 2o. So sorry.

6 Daniel: I really want you to come back, be
my assistant. I promise you, things will be
different.
Request
Betty: I, um. Daniel, I really have to think
about that.
7 Steve: Anyway,
yway, I was thinking I'd break
into the place today, go through, see if
there's
anything incriminating. Offer
Bradford: I'll do it. I have a key. Besides,
you don't know what's really incriminating.
8 Betty: Oh, wow. The book. I'll give it to
him.
Offer
Marc: 2o, no. This is too important. I'll
give it to him directly.
9 Daniel: You know, I could say I was
mugged. I could get my golf club. You
could hit me across the face. Break my
nose. Suggestion
Betty: Daniel, there are a lot of things I'm
willing to do for thi
this job. That is not one of
them.
10 Henry: We're having a party up on 25 with
human resources if you're free?
Invitation
Betty: Oh. I'm, uh... well, II-I'd love to go,
Henry, but...
Betty: Yeah. Yeah, I do

do-- and I really want
to give this thing with Walter and me a
chance.
11 Amanda: Hey, um, if you get tired of
watching "Charlie Brown and the great
pumpkin" alone, I could... come over and
keep you company... in costume... or not.
Daniel: I think... I just need to be alone Offer

tonight.
Amanda: Hey! We could just talk.
Daniel: Probably not.

12 Betty: So just apologize.
Daniel: Ah, I can't just apologize. I mean, Suggestion

it's gotta be smarter. You know, skillful.
13 Wilhelmina: We'll talk upstairs.
Invitation
2ico: 2o! We'll talk now.
14 Ignacio: Hey. You want a sandwich?
Offer
Hilda: 2o, thanks.
15 Betty: why don't you come and stay with
me at the hotel?
Walter: I don't wanna stay at some lame Invitation

Manhattan hotel. I'm going to A.C., and
I'm winning a dinette set.
16 Ignacio: I'm cooking. Stay for breakfast.
Daniel: Oh, I'm not much of a breakfast

person. I should probably just head home.
Invitation
Ignacio: 2o, no, no, no, no, no. Betty told
me to feed and water you. Stay for coffee.
You look like hell. Come on. There you go.
17 Betty: Daniel, you have to be here.
Daniel: I am sick, Betty. I'm still drunk. Request

Just cover for me.
Betty: 2o, I can’t take charge of this.
18 Sofia: Come work for my magazine. You'll
have your own assistant within a year.
Offer
I'm not so sure about that.
Betty: Oh, I-I'm
19 Betty: You have to entertain Oshi
tomorrow night. Maybe you should just tell
your father.
Daniel: What, and look fiscally
irresponsible? If I tell dad that's all I have Suggestion
left, he'lll make Wilhelmina publisher so
fast, it'll make your head spin, and it'd be
like handing the magazine over to her. 2o.
20 Betty: I'm writing an article about being an
outsider at "Mode," and I wanted to
interview you.
Marc: As much fun as that sounds, I so

don't have time for it right now. Request
Wilhelmina's due back any second, and
she's always extremely tense after a
relaxing vacation.
Betty: Okay, well, then, just a quick quote.

21 Wilhelmina: Don't be afraid of office
politics. Do favors for the right people.
You just might get rewarded at the end.
Unfortunately, that is the cruel reality in
this business.
Suggestion
Christina: Okay, you can stop right there. I
know exactly how you work, Wil Wilhelmina.
Well, I'd rather make it on my own.
Thanks.
22 Fabia: Well, you know, seeing that Fabia
donated $20,000 in cosmetics for the
fashion show gift bag... I figured you take
Fabia to lunch, no? Request
Wilhelmina: Oh, darling, II-I would love to,
but
ut I can't. I'm swamped.
23 Wilhelmina:
lmina: Well, what am I supposed to
do till then?
Suggestion
Alexis: You wait. You bide your time a
little longer.
Wilhelmina: I am not going back to being

Daniel's creative director. I worked too
hard to get to the top.
24 Wilhelmina: I wanna know every detail
that's going on down there.
Marc: Well, why don't you just come down
here? Suggestion
Wilhelmina: I can't just stroll back in. I
made a dramatic exit.
25 Alexis: Peanut?
Wilhelmina: 2o, thanks. The band-aid in Offer

the bowl puts me off a little.
26 Joel: Can I buy you a cocktail?
Alexis: Um, I won't be staying very long.

My friend has tickets to the opera.
Offer
Joel: How about one more game before
you leave?
Alexis: All right.

27 Henry: Betty, can we talk?
Betty: 2o. I'm getting some food, and I'm

going home. Please tell Charlie that I'm
sorry. Request
Henry: At least let me pay for your pretzel.
Betty: 2o, I don't want anything from you.

28 Amanda: Hey, I've been looking for you.
Look what I just scored. 2ew Prada store's
opening tonight, and Steve Aoki's
deejaying. Meet up for drinks beforehand? Invitation
Marc: Oh, I can't. I have plans.
29 Christina: Come on, let's go somewhere
else.
Betty: 2o, no, no, no, no. 2o, I wanna stay, Invitation
Christina, I do. I just... I need to tell him
one thing.
30 Amanda: Anyway, I am here as long as you
need me.
Offer
Alexis: I don't. Thanks. Good night.
31 Daniel: Uh, look. I put together some
money. There's $75,000. Is that enough to
forget this ever happened?
Lena: This isn't about money! This is about

Petra's career.
Daniel: Okay, look. We have a big photo Offer

shoot today with our sister magazine,
"Mode Brazil."
azil." I think I can probably get
you in.
Lena: 2ice try, Mr. Meade, but she is not

interested in a corner picture on page 80.
It's the cover or jail.
32 Christina: Uh... look... can we please talk
because I am really, really sorry.
Request
Betty: You kn
know what? I need to get this to
Daniel. I'm gonna take the stairs instead.
33 Rodrigo: After the shoot, perhaps you will
join me for dinner? There's this little
restaurant I know, and I would love to take
you there. Invitation
Alexis: I'm afraid I have a lot of work to
do. But thank you for the invitation.
34 Tyler:You gotta put your brakes on, man.
Face your life.
Suggestion
Daniel: Can I just face it tomorrow? I have
a really hot date tonight.
35 Henry: Maybe we should just go play darts
instead.
ad. Much safer.
Suggestion
Betty: 2o, no, no, no, no. I have to do this.
36 Wilhelmina: I want you to hit me as hard
as you can.
Request
Marc: Willie, isn't that a little extreme,
even for you?
37 Wilhelmina: 2ow,let's talk about the
fearless women feature. We've managed to
Alexis: Jordan Dunn? 2o. 2o,no,no,no.

That's not a very good idea.
Wilhemina: That's a fabulous idea. She Suggestion

hang-glides,
glides, she ice
ice-climbs, she swam the
English channel in a leather bikini,we've
already have th
the title-- "the Dare Devil
Wears Prada".
Alexis: I said "2O"! You know what? This

meeting is done.
38 Amanda: You're gonna be a Wilhelmina
Slater discovery, and because I hooked you
up,you have to make out with me in the
ladies' room.
Invitation
Tavares: 2o!! I'm supposed to be a big 'mo.
I tried being
eing straight in this business, and
it doesn't work.
39 Wilhelmina: You just have to get out in the
world again. I'm gonna take you to a party
tomorrow,downtown. Invitation
Invitation
Bradford: Party? Oh, I don't know.
40 Fabia: I suppose you're going to have to
change your wedding date. Or do a quickie
in Las Vegas.
Suggestion
Wilhelmina: Wilhelmina Slater does not do
Vegas.
DATA CLASSIFICATIOS
Request
1. Man: Betty Suarez?
Betty: Hi! Um, that's me. Uh, I have a hard copy of my resume if you need it.
Should I follow you?
Man: Uh actually.. there's been a mistake. Pre-refusal
Betty: A mistake?
Man: All the entry level positions we've been hiring for? They've been filled.
Head act
I'm sorry. Post-refusal

refusal
Betty: Um, sir? While you've got me here, I thought I could tell you a little about
myself. Magazines are my passions, ever since I was a little kid. And I can't
imagine a more amazing place to start my career than Meade publications. I
know most of your magazines inside out, I try to devour as much as I can.
egotiation
Man: Clearly. Head act
Betty: Also, I've learnt so much through them, stuff so beyond my world,
w like
who the up-and-comers

comers are on the London art scene, or what the political in
Darfur are all about or which is considered the most romantic in the world. And
I have tons of ideas, I'm always jotting stuff down on the
subway, but I'm getting ahead of myself, sir. All I really want is a chance,
publication- egotiation
any position or publication
Man: Goodbye. Head act

2. Justin: I hate telenovelas. I want to watch Fashion TV. Initiating act
Hilda: Justin, you can watch Fashion TV later when your Aunt Betty is
babysitting ok? Head act
3. wondering, if you had a quick moment. Initiating act

Betty: Daniel, I was wonder
Daniel: Do I look like I have a quick moment? Head act
Betty: /o. So sorry.
4. Daniel: I really want you to come back, be my assistant. I promise you, things
will be different. Initiating act
Betty: I, um. Pre

Pre-refusal
Daniel, I really have to think about that. Head act
5. Betty: Daniel, you have to be here. Initiating act
Daniel: I am sick, Betty. Head act
I'm still drunk. Post

Post-refusal
Daniel: Just cover for me. Initiating act
Betty: 'o, Head act
I can’t take charge of this. Post-refusal
6. Betty: I'm writing an article about being an outsider at "Mode," and I wanted to
interview you. Initiating act
Marc: As much fun as that sounds, Pre-refusal
I so don't have time for it right now. Head act
Wilhelmina's due back any second, and she's always extremely tense after a
relaxing vacation. Post-refusal
Betty: Okay, well, then, just a quick quote. egotiation

7. Fabia: Well, you know, seeing that Fabia donated $20,000 in cosmetics for the
fashion show gift bag... I figured you take Fabia to lunch, no? Initiating act
Wilhelmina: Oh, darling, II-I would love to, Pre-refusal
but I can't. Head act
I'm swamped. Post

Post-refusal
8. Henry: Betty, can we talk? Initiating act
Betty: 'o. Head act
I'm getting some food, and I'm going home. Please tell Charlie that I'm sorry.
Post-refusal
Henry: At least let me pay for your pretzel. egotiation
Betty: 'o, Head act
I don't want anything from you. Post-refusal
9. Christina: Uh... look... can we please talk because I am really, really sorry.
Initiating act
Betty: You know what? I need to get this to Daniel. Head act
I'm gonna take the stairs instead. Post refusal
10. Wilhelmina: I want you to hit me as hard as you can. Initiating act
Marc: Willie, isn't that a little extreme, even for you? Head act
Offers
1. Betty: Um, sorry to interrupt, but can I get you lunch? Initiating act
Daniel: 'o, no. Head act
But you go ahead, thanks. Post-refusal

2. Steve:: Anyway, I was thinking I'd break into
to the place today, go through, see if
there's anything incriminating. Initiating act
Bradford: I'll do it. Head act
I have a key. Besides, you don't know what's really incriminating. Post-
refusal
3. Betty: Oh, wow. The book. I'll give it to him. Initiating act
Marc: 'o, no. Head act
This is too important. I'll give it to him directly. Post-refusal

refusal
4. Amanda: Hey, um, if you get tired of watching "Charlie Brown and the great
pumpkin" alone, I could... come over and keep you company... in costume... or
not. Initiating act
Daniel: I think... I just need to be alone tonight. Head act
Amanda: Hey! We could just talk. egotiation
Daniel: Probably not. Head act (Final outcome)
5. Ignacio: Hey. You want a sandwich? Initiating act
Hilda: 'o, Head act
thanks. Post-refusal
refusal
6. Sofia: Come work for my magazine. You'll have your own assistant within a
year. Initiating act
I'm not so sure about that. Head act

Betty: Oh, I-I'm
7. Alexis: Peanut? Initiating act
Wilhelmina: 'o, Head act
aid in the bowl puts me off a little. Post-refusal

thanks. The band-aid refusal
8. Joel: Can I buy you a cocktail? Initiating act

Alexis: Um, I won't be staying very long. Head act
My friend has tickets to the opera. Post-refusal
Joel: How about one more game before you leave? egotiation
Alexis: All right. Final outcome
9. Amanda: Anyway, I am here as long as you need me. Initiating act
Alexis: I don't. Head act
Thanks. Good night. Post-refusal
10. Daniel: Uh, look. I put together some money. There's $75,000. Is that
happened? Initiating act

enough to forget this ever happened
Lena: This isn't about money! Head act
This is about Petra's career. Post-refusal
Daniel: Okay, look. We have a big photo

oto shoot today with our sister
magazine, "Mode Brazil." I think I can probably get you in. egotiation
Lena: 'ice try, Mr. Meade, Pre-refusal
but she is not interested in a corner picture on page 80. Head act
It's the cover or jail. Post-refusal
Invitations
1. Hilda: Come have some flan. Initiating act
Justin: I don’t want flan. Head act
I’ll get fat. Post--refusal
2. Henry: We're having a party up on 25 with human resources if you're free?
Initiating act
Betty: Oh. I'm, uh... well, I-I'd love to go, Henry, but... Pre-refusal
refusal
Betty: Yeah. Yeah, I do.. Head act
and I really want to give this thing with Walter and me a chance. Post-
refusal
3. Wilhelmina: We'll talk upstairs. Initiating act
/ico: 'o! Head act
We'll talk now. Post

Post-refusal
4. hy don't you come and stay with me at the hotel? Initiating act
Betty: Why
Walter: I don't wanna stay at some lame Manhattan hotel. Head act
I'm going to A.C., and I'm winning a dinette set. Post-refusal

refusal
5. Ignacio: I'm cooking. Stay for breakfast. Initiating act
Daniel: Oh, I'm not much of a breakfast person. Head act
I should probably just head home. Post-refusal
Ignacio: /o, no, no, no, no, no. Betty told me to feed and water you. Stay for
coffee. You look like hell. Come on. There you go. egotiation
6. Amanda: Hey, I've been looking for you. Look what I just scored. /ew Prada
store's opening tonight, and Steve Aoki's deejaying. Meet up for drinks
beforehand? Initiating act
Marc: Oh, I can't. Head act
I have plans. Post

Post-refusal
7. Christina: Come on, let's go somewhere else. Initiating act
Betty: 'o, no, no, no, no. Head act
'o, I wanna stay, Christina, I do. I just... I need to tell him one thing.
Post-refusal
8. Rodrigo: After the shoot, perhaps you will join me for dinner? There's this little
restaurant I know, and I would love to take you there. Initiating act
Alexis: I'm afraid I have a lot of work to do. Head act
But thank you for the invitation. Post-refusal
9. Amanda: You're gonna be a Wilhelmina Slater discovery, and because I hooked
you up, you have to make out with me in the ladies' room. Initiating act
Tavares: 'o! Head act
I'm supposed to be a big 'mo. I tried being straight in this business, and it
doesn't work. Post

Post-refusal
10. Wilhelmina: You just have to get out in the world again. I'm gonna take you to a
party tomorrow, downtown. Initiating act
Bradford: Party? Pre-refusal
Oh, I don't know. Head act
Suggestions
1. Daniel: You know, I could say I was mugged. I could get my golf club. You could
hit me across the face. Break my nose. Initiating act
Betty: Daniel, there are a lot of things I'm willing to do for this job. Pre-
refusal
That is not one of them. Head act
2. Betty: So just apologize. Initiating act
Daniel: Ah, I can't just apologize. Head act
I mean, it's gotta be smarter. You know, skillful. Post-refusal

refusal
3. Betty: You have to entertain Oshi tomorrow night. Maybe you should just tell
your father. Initiating act
Daniel: What, and look fiscally irresponsible? If I tell dad that's all I have left,
he'll make Wilhelmina publisher so fast, it'll make your head spin, and it'd be
like handingg the magazine over to her. Pre-refusal
'o. Head act
4. Wilhelmina: Don't be afraid of office politics. Do favors for the right people.
You just might get rewarded at the end. Unfortunately, that is the cruel reality in
this business. Initiating act
Christina: Okay, you can stop right there. I know exactly how you work,
Wilhelmina. Pre
Pre-refusal
Well, I'd rather make it on my own. Head act
Thanks. Post refusal
5. Wilhelmina:
lmina: Well, what am I supposed to do till then?
Alexis: You wait. You bide your time a little longer. Initiating act
Wilhelmina: I am not going back to being Daniel's creative director. Head
act
I worked too hard to get to the top. Post-refusal
6. Wilhelmina: I wanna know every de

detail
tail that's going on down there.
Marc: Well, why don't you just come down here? Initiating act
Wilhelmina: I can't just stroll back in. Head act
I made a dramatic exit. Post-refusal
7. Tyler:You gotta put your brakes on, man. Face your life. Initiating act
Daniel: Can I just face it tomorrow? Head act

I have a really hot date tonight. Post-refusal
8. Henry: Maybe we should just go play darts instead. Much safer. Initiating
act
Betty: 'o, no, no, no, no. Head act
I have to do this. Post-refusal
9. Wilhelmina: /ow, let's talk about the fearless women feature. We've managed to
Dunn. Initiating act

Alexis: Jordan Dunn? Pre-refusal
'o. 'o,no,no,no. Head act
That's not a very good idea. Post-refusal
Wilhemina: That's a fabulous idea. She hang

climbs, she swam
the English channel in a leather bikini,we've already have the title--

title "the Dare
Devil Wears Prada". egotiation
Alexis: I said "'O"! Head act
You know what? This meeting is done. Post refusal
10. Fabia: I suppose you're going to have to change your wedding date. Or do a
quickie in Las Vegas. Initiating act
Wilhelmina: Wilhelmina Slater does not do Vegas. Head act

Refusal Strategies in English Speech A P

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REFUSAL STRATEGIES I E GLISH SPEECH:

STRATEGI PE OLAKA DALAM TUTURA

submitted in partial fulfilment of the requirements for

THE GRADUATE SCHOOL

proposed to be examined as one of the requirements

has been approved by Advisor Team on the following date.

Bandung, 13 August 2010

I, Yuliani Kusuma Putri, do herewith declare that the material contained in my

Date : August 13, 2010.

Assalamualaikum Warohmatullohi Wabarokatuh,

completed her thesis entitled “Refusal

Study”. This study was taken as the partial fulfil

taking Magister Humaniora degree in English linguistics, faculty of letters

The writer chooses the title “Refusal

Pragmatic Study” because she is interested in analyzing language phenomenon in

communication.. In addition, this thesis is conducted in the field of Pragmatics

view but also contextual point of view.

The writer hopes that this thesis gives contribution

that this thesis can help other linguistic researchers in finding

phenomenon in pragmatic study; furthermore, it is also possible for other

researchers too dig up this topic from different perspectives.

writer finish this thesis.

First and foremost I would like to say ““Alhamdulillahirabbil

that I can do my best.

have significantly given their meaningful contributions to me in finishing this

thesis. Therefore, on this occasion I would like to express my deepest gratitude to

Moreover,, I would like to thank Dean of Faculty of letters Padjadjaran

proposal who have given comments and suggestions. The gratitude

expressed to the administrator of the graduate program Bapak

easiness and facilities given to me during my study.

My thanks are also giv

time transporting me during the finishing of my thesis; my uncle, my sisters and

have enlightened and supported me. I also want to thank my

am just an empty glass witho

Tesis ini berjudul “

This thesis is entitled ““Refusal

STATEMET OF ORIGIALITY iii

LIST OF ABBREVIATIOS xiii

LIST OF FIGURES xiv

1.2 Formulations of the Study 5

1.3 Objectives of the Study 6

1.4 Theoretical Outline 6

1.5.1 Method and Technique of Data Collecting 7

1.5.2 Method and Technique of Data Analysis 9

1.6 Data Source 11

1.7 Weight and Relevances 12

CHAPTER II THEORETICAL BACKGROUD 13

2.3 Speech Acts 15

2.3.1 Levels of Speech Acts 16

2.3.2 Classification of Speech Acts 16

2.4 Direct and Indirect Speech Acts 17

2.5 Speech Event 18

2.6.1 Classification of Refusals 19

2.6.1.1 Refusals of Requests 20

2.6.1.2 Refusals of Offers 20

2.6.1.3 Refusals of Invitations 20

2.6.1.4 Refusals of Suggestions 21

2.6.2 Refusal Strategies 22

2.6.3 Refusal Sequences 27

2.6.4 Factors Influencing Refusal Strategies 28

CHAPTER III DATA A ALYSIS 30

3.1 Refusals of Requests 30

3.2 Refusals of Offers 49

REFUSAL STRATEGIES I EGLISH SPEECH:

STRATEGI PEOLAKA DALAM TUTURA

STATEMET OF ORIGIALITY iii

LIST OF ABBREVIATIOS xiii

CHAPTER II THEORETICAL BACKGROUD 13

CHAPTER III DATA AALYSIS 30

DICTIOARIES 105

APPEDICES 107

non performative verbs such as a direct ““o”” or negative willingness/ability such

B: o, no, but you go ahead. Thanks.