Instructions for ispacs 2003 Camera-Ready Manuscript

Journal of Research and Innovation in Language
 
Available online at: 
 
http://ojs.journal.unilak.ac.id/index.php/reila
Vol. 1, No. 3, December 2019, pp. 111-117
116 
reasonably familiar to each other. It typically tries to 
minimize 
the 
difference 
between 
them 
by 
demonstrating friendliness and a keen interest in 
wanting to follow the address (minimize FTA), i.e. 
this technique aims to minimize the danger to the 
audience.
Positive politeness is less polite than negative 
politeness because the particular face violated by the 
FTA is not necessarily corrected. Brown and 
Levinson (1978:106) note that good politeness is that 
the correction partly meets the desire that one desires, 
or that in some ways some of the redresses are close 
to the desire of the addressee. Brown and Levinson 
(1978), added that the dimension of insincerity in 
inflated 
expressions 
of 
consent 
or 
interest 
compensates by implicating that the speaker 
genuinely wants a right image to be improved, for 
example.
3.2.3 
Negative Politeness 
Brown and Levinson (1978:129) said: "It is a 
remedial action directed at the negative face of the 
addressee, who needs unimpeded freedom of action 
and 
consideration 
from 
the 
addresser 
and 
differentiates between the negative and positive 
politeness. The negative politeness is the core of the 
respective compartment, just as the heart of ' families' 
and 'joking' is positive politeness. In addition, Brown 
and Levinson (1978:130) say that the negative 
politeness outputs in all forms are used in general for 
social “distancing”. Therefore, they are likely to be 
used whenever a speaker or a sender wants to put a 
social brake on the course of interaction.
3.2.4 Off-record 
Brown and Levinson (1978:216) noted that for off-
record strategy “the actor leaves it up to the addressee 
to decide how to interpret the act”. The off-record 
strategy as a communicative act which is done in such 
a way that a clear communicative intention cannot be 
attributed. In this situation, the actor leaves himself 
"out" by giving some defensible interpretations. In 
addition, Brown and Levinson (1978:230-232) listed 
one of the main strategies of non-recording and its 
sub-categories, giving hints, giving association clues, 
presupposing, 
understating, 
overstating, 
using 
tautologies, using contradictions, being ironic, using 
metaphors, and using a rhetorical question. The other 
primary technique is unclear or uncertain, and its 
subcategories 
are 
ambiguous, 
vague, 
over-
generalizing, hearing-displacing and incomplete.