Hedging devices in the film“call me by your name” by luca guadagnino

MINISTRY OF EDUCATION AND TRAINING QUY NHON UNIVERSITY NGUYỄN THỊ HỒNG DIỄM HEDGING DEVICES IN THE FILM "CALL ME BY YOUR NAME" BY LUCA GUADAGNINO MASTER THESIS IN ENGLISH Binh Dinh - 2020 MINISTRY OF EDUCATION AND TRAINING QUY NHON UNIVERSITY NGUYỄN THỊ HỒNG DIỄM HEDGING DEVICES IN THE FILM "CALL ME BY YOUR NAME" BY LUCA GUADAGNINO Field: English Linguistics Code: 8.22.02.01 Supervisor: TRƯƠNG VĂN ĐỊNH, Ph.D BỘ GIÁO DỤC VÀ ĐÀO TẠO TRƯỜNG ĐẠI HỌC QUY NHƠN NGUYỄN THỊ HỒNG DIỄM PHƯƠNG TIỆN RÀO ĐÓN TRONG PHIM “GỌI EM BẰNG TÊN ANH” CỦA LUCA GUADAGNINO Chuyên ngành: Ngôn Ngữ Anh Mã số : 8.22.02.01 Người hướng dẫn: TS TRƯƠNG VĂN ĐỊNH i STATEMENT OF AUTHORSHIP I certify my authority of the study submitted entitled: HEDGING DEVICES IN THE FILM "CALL ME BY YOUR NAME" BY LUCA GUADAGNINO for the degree of Master of Arts This is the result of my own research that has not used any other materials published elsewhere or extracted in the whole, or in part from a thesis except for the references made in the thesis Binh Dinh, 2020 Nguyễn Thị Hồng Diễm ii ACKNOWLEDGEMENTS In all sincerity and ingenuousness, I would like to express my heartfelt thanks to the following people who give me precious experience encouragement to fulfill my graduation thesis Firstly, I would like to thank the Department of Foreign Languages for offering me the opportunity to approach the scientific researching Secondly, I would like to express my special heartfelt thanks to my supervisor, Dr Truong Van Dinh, who gave me valuable advice and provided me with useful materials It is very difficult for me to finish the thesis without his guidance and encouragement Thirdly, my gratefulness extends to the Master‟s Thesis examiners for their valuable feedback and helpful suggestions for my thesis Last but not least, I am truly grateful for my family‟s support and encouragement, which motivates me to carry out the thesis iii ABSTRACT The study aims at analyzing hedging forms and frequency of hedging devices in the film “Call me by your name” by Luca Guadagnino under Yu‟s model (2009) to find out the functions of these devices in the film The data for analysis was 209 hedges collected in the film In order to achieve the aim and objectives of the research, both quantitative and qualitative approaches are conducted Besides, this study also utilizes descriptive and contrastive methods The findings of the study present the distribution of subtypes of hedging devices occurring in the film Based on Yu‟s (2009) framework, there are four main subcategories of hedges: modal hedges, performative hedges, quantificational hedges and pragmatic-marker hedges These modal hedges ranked first in terms of quantity The other subtypes: tag questions, impersonalization and subjunctives were found with the smallest percentage However, the frequency of each is different In addition, it also shows the functions of hedging devices in the films Moreover, it also suggests some theoretical and practical implications for teaching and learning hedges in communication iv TABLE OF CONTENTS STATEMENT OF AUTHORSHIP i ACKNOWLEDGEMENTS ii ABSTRACT iii TABLE OF CONTENTS iv LIST OF TABLES vii LIST OF FIGURES viii CHAPTER 1: INTRODUCTION 1 RATIONALE OF THE STUDY 1.2 AIM AND OBJECTIVES 1.2.1 Aim of the study 1.2.2 Objectives of the study 1.3 RESEARCH QUESTIONS 1.4 SCOPE OF THE STUDY 1.5 SIGNIFICANCE OF THE STUDY 1.6 ORGANIZATION OF THE STUDY CHAPTER 2: LITERATURE REVIEW 2.1 OVERVIEW OF HEDGES 2.1.1 Definitions of hedges 2.1.2 Classification of hedging devices and hedging functions 2.1.3 Properties of hedges 11 2.1.4 Hedges and cooperative and politeness strategies 12 v 2.1.5 The importance of hedges in conversation 15 2.1.6 The characteristics of dialogues in films 17 2.2 AN OVERVIEW OF THE FILM “CALL ME BY YOUR NAME” BY LUCA GUADAGNINO 17 2.3 HEDGE-RELATED STUDIES 20 CHAPTER 3: RESEARCH METHOD AND PROCEDURE 22 3.1 RESEARCH METHOD 22 3.2 SAMPLING 22 3.3 DATA COLLECTION AND ANALYSIS 23 3.3.1 Criteria for data collection 23 3.3.2 Data collecting sources 24 3.4 RESEARCH PRODURES 24 3.5 VALIDITY AND RELIABILITY 25 3.5.1 Validity 25 3.5.2 Reliability 25 CHAPTER 4: FINDINGS AND DISCUSSION 26 4.1 OVERVIEW OF HEDGING DEVICES IN THE FILM “CALL ME BY YOUR NAME” BY LUCA GUADAGNINO 26 4.2 HEDGING DEVICES IN THE FILM “CALL ME BY YOUR NAME” BY LUCA GUADAGNINO 27 4.2.1 Modal hedges 27 4.2.2 Performative hedges 39 4.2.3 Quantificational hedges 41 vi 4.2.4 Pragmatic–marker hedges 44 4.2.5 Others 49 4.3 FUNCTIONS OF HEDGING DEVICES IN THE FILM “CALL ME BY YOUR NAME” BY LUCA GUADAGNINO 51 4.3.1 Modal hedges 51 4.3.2 Performative hedges 61 4.3.3 Quantificational hedges 62 4.3.4 Pragmatic–marker hedges 63 4.3.5 Others which include sunjunctives, tag questions and impersonalization 65 CHAPTER 5: CONLUSION AND IMPLICATIONS 68 5.1 CONCLUSION 68 5.2 IMPLICATIONS 70 5.3 LIMITATIONS 70 5.4 SUGGESTIONS FOR FURTHER STUDY 71 REFERENCES 72 APPENDICES vii LIST OF TABLES Titles Table Page numbers Table 2.1 numbers Taxonomy of hedging devices (adapted from Yu, 10 2009) Table 2.2 Types of hedges according the four maxims 14 Table 4.1 Distribution of hedging devices in the film “Call 26 me by your name” by Luca Guadagnino Table 4.2 Distribution of subtypes of modal hedges 28 Table 4.3 Modal hedges 29 Table 4.4 Performative hedges 40 Table 4.5 Quantificational hedges: Quantity approximators, 42 Frequency approximators, Degree approximators and Negation + intensifier approximators Table 4.6 Frequency of subcategories of pragmatic-marker 45 hedges Table 4.7 Sunjunctives, impersonalization tag questions and 49 PL-2 Annella: No, no, no It's okay Please [21] Elio: I could show you around Oliver: That'd be great Thank you [22-23] Elio: Should I take him to Montodine? Mr Perlman: I think they're closed for summer vacation [24-25] Annella: Have another egg Oliver: No, no, no I know myself too well If I have a second, I'm just gonna have a third, and then a fourth, and then you're just gonna have to roll me out of here Delicious [26] Elio: Shall I give him Anchise's bike? Oliver: So, what does one around here? Elio: Wait for the summer to end [27] Oliver: Christmas? I thought you were Jewish Elio: Well, we are Jewish, but also American, Italian, French [28] Elio: Besides my family, you're probably the only other Jew to set foot in this town [29-31] Oliver: I know what it's like to be the odd Jew out So, what you around here? Elio: Just read books Transcribe music Swim at the river [32-33] Elio: I don't know Oliver: (That sounds) fun [34-35] Mr Perlman: What you have there? Oliver: (That should) all be [36] Mr Perlman: These are archaeology? Oliver: Yeah, those are archaeology The rest of these should be history PL-3 [37-39] Mr Perlman: The word "apricot" comes from the Arabic It's like the words "algebra," "alchemy," "alcohol." It derives from an Arabic noun combined with the Arabic article "al" before it The origin of our Italian albicocca is albarquq It's amazing that today in Israel and many Arab countries, the fruit's referred to by a totally different name, mismish Oliver: I may have to disagree with you there, Professor I'm gonna talk etymology, so just bear with me a second You're right in the case that most Latin words find their origins in Greek words However, in the case of "apricot," it's a little bit more of a complicated journey [40] Oliver: You're right in the case that most Latin words find their origins in Greek words However, in the case of "apricot," it's a little bit more of a complicated journey [41] Mr Perlman: How so? Oliver: Well, here, the Greek actually takes over from the Latin Latin word being praecoquum or precoquere So it's, "precook" or "pre-ripen," as you know To be precocious or premature And the Byzantines, to go on, then borrowed praecox, which became prekokkia, which then became berikokki, which is how the Arabs got al-barquq That's courtesy of Philology 101 [42] Oliver: Let's see What have we got? Can you start please? Man: Of course! [43] Marzia: He's better than the guy who came last year Remember? Marzia’s friend: Much better! See how cute he is [44] Oliver: Here Hold this Trust me I'm about to be a doctor Hey, hey, come here See? That's the problem You're too stressed You just gotta relax a little bit PL-4 Elio: I am relaxing [45] Marzia: You should relax more [46-51] Elio: (Don't you think) (Don't you think) he's impolite when he says, "Later"? Arrogant Mr Perlman: I don't think he's arrogant [52] Elio: Just watch This is how he'll say good-bye to us when the time comes with his "Later." [53-57] Mr Perlman: Meanwhile, we'll have to put up with him for six long weeks, won't we, darling? Mr Perlman: I think he's shy You'll grow to like him [58] Elio: What if I grow to hate him? Annella: Oh, no, sweetheart [59] Oliver: How come you're not with everyone else down by the river? Elio: I have an allergy Oliver: Yeah, me too Maybe we have the same one Why don't you and I go swimming? [60] Elio: Do we have to go right now? Oliver: I'll go get changed Elio: Okay [61-62] Oliver: I guess I'll go hang out with your mom [63-64] Oliver: Sounds nice Elio: Thought you didn't like it [65] Oliver: Play it again, will you? Elio: Follow me [66-68] Oliver: (That sounds) different Did you change it? PL-5 Elio: Well, I changed it a little bit [69] Oliver: Why? Elio: I just played it the way Liszt would have played it if he'd altered Bach's version [70-72] Oliver: I can't believe you changed it again Elio: I changed it a little bit [73] Oliver: Yeah Why? Elio: I just played it the way Busoni would've played it if he'd altered Liszt's version [74] Oliver: And what is wrong with Bach the way Bach would've played ? Elio: Bach never wrote it for the guitar In fact, we're not even sure Bach wrote it at all [75] Oliver: I need help Just be honest How bad is it? Mr Perlman: I think your insights here are persuasive, but [76] Oliver: What? Elio: Can't hear you [77-79] Oliver: "For the early Greeks, "Heidegger contends, this underlying hiddenness "is constitutive of the way beings are, not only in relation to themselves but also in relation to other entities generally In other words, they not construe hiddenness merely or primarily in terms of entities' relations to human beings Does that make any sense to you? Doesn't make any sense to me I don't think it makes any sense to your dad, either Elio: Maybe it did when you wrote it [80] Oliver: That might be the kindest thing anybody has said to me in months Elio: "Kind"? PL-6 [81] Elio’s friend: Coming? Elio: Er… I'll come later [82] Oliver: Well, you know, it's better to have tried and failed, right? [83] Mr Perlman: I just heard from the people in Sirmione They say they've come up with something Annella: Fantastic [84-85] Elio: Can I come, too? Mr Perlman: On the condition you remain silent [86] Chiara: Can you tell him I came by? Elio: He's inside with my dad, helping him [87-89] Elio: Dad always sits up front with Anchise to navigate (She seems) to like you a lot She's more beautiful than she was last year I saw her naked on a night swim once Great body [90-92] Elio: What would be the harm in that? Oliver: No, no harm Just typically like to go at those things on my own, if you don't mind Anchise: I'll drive today! Oliver: Just don't play at being the good host [93] Dr Roseburg: Look who's here He's grown a bit, eh? Mr Perlman: And this is Oliver [94-96] Mr Perlman: Who'd like to go for a swim before we head back? We're all such pros If I got my own statue, it would probably be on there [97-99] Elio: I have to go I have to go Mr Perlman: Hey! Hey! Elio: I have to go PL-7 Mr Perlman: Goodness [100] Mr Perlman: Are you going, too? Oliver: No, no I should stay and some work on my book [101-102] Mr Perlman: Come on How about a drink to celebrate the day? Oliver: Okay, maybe just one [103] Mr Perlman: The meaning of the river flowing is not that all things are changing so that we cannot encounter them twice, but that some things stay the same only by changing [103-110] Annella: I can't remember where we left off, but I think you'll like this one Come here, darling So, I'll translate, huh? "A handsome young knight is madly in love with a princess And she, too, is in love with him, though (she seems) not to be entirely aware of it Despite the friendship that blossoms between them, or perhaps because of that very friendship, the young knight finds himself so humbled and speechless that he's totally unable to bring up the subject of his love Till one day, he asks the princess point-blank Is it better to speak or to die?" [111-114] Elio: I'd never have the courage to ask a question like that Mr Perlman: I doubt that Hey, Elly-Belly You know that you can always talk to us [115-116] Elio: She read some of it to my dad and I the day the lights went out Oliver: Yeah, about the knight that doesn't know whether to speak or die? [117-118] Oliver: I gotta go to town in a little bit to pick some things up Elio: I can go I'm not doing anything today [119-120] Elio: Right now? PL-8 Oliver: Yeah Right now That is, of course, unless you have more important business going on [121] Oliver: Mind if I put this in your bag? Elio: Yes, please [122-123] Oliver: I fell I was coming home the other day, and I scraped myself pretty badly Anchiese insisted on applying some sort of witches' brew I think it helped Hold this for a second, will you? [124] Elio: I thought you didn't smoke Oliver: I don't [125] Oliver: Is there anything you don't know? Elio: I know nothing, Oliver [126-129] Oliver: Well, (you seem) to know more than anybody else around here Elio: Well, if you only knew how little I know about the things that matter [130] Oliver: What things that matter? Elio: You know what things [131-132] Oliver: Why are you telling me this? Elio: Cause I thought you should know [133-135] Oliver: Because (you thought) I should know? Elio: Cause I wanted you to know? [136-138] Oliver: Are you saying what I think you're saying? Don't go anywhere Stay right here Elio: (You know) I'm not going anywhere [139] Elio: Shouldn't have said anything Oliver: Just pretend you never did PL-9 [140-142] Elio: Does that mean we're on speaking terms but not really? Oliver: It means we can't talk about those kinds of things Okay? We just can't [143] Elio: Excuse me Could I ask for a glass of water? [144-145] Oliver: I like the way you say things I don't know why you're always putting yourself down, though Elio: So you won't, I guess [146-147] Oliver: We should go Elio: Why? Oliver: I know myself Okay? And we've been good We haven't done anything to be ashamed of, and that's a good thing I wanna be good Okay? [148-149] Oliver: I think it's starting to get infected Elio: We can stop by the pharmacist on the way back Oliver: Excellent idea [150] Man: Annella, what you think? A five party government! Annella: Darling, I think it's the historic compromise [151] Annella: Darling, he's American Woman: That doesn't mean stupid! [152] Elio: Sit for a second Oliver: If you insist [153] Oliver: How come you never wear it? Elio: My mother says we are Jews of discretion [154] Oliver: I guess that works for your mother [155-157] Elio: Fuck, you'll kill me if you that Oliver: I hope not PL-10 [158] Marzia: Hey, are you leaving? Where's Elio? Oliver: He's inside He had a bit of a nosebleed during lunch, and he's just resting [159] Elio: Okay Bye Oliver: I'll be back in a minute Don't go anywhere [160-164] Chiara: Are we going out? Elio: I don't know (if I can go out) If my mom sees, she'll worry [165] Chiara: She will? Elio: Yeah, she's a pain [166-167] Annella: You like him, don't you? Oliver? Elio: Everyone likes Oliver Annella: I think he likes you too [168] Elio: Mafalda, you know where Oliver is? Mafalda: I have no idea [169] Elio: It's me Is that Marzia? Marzia: Sure it is! Can't you tell? [170] Elio: Do you really read a lot? Marzia: I love reading too, but I don't tell anyone [171-173] Elio: Why not? Marzia: I don't know I think people who read are kind of secretive They hide who they really are [174-175] Elio: Not with me? Marzia: Well, maybe a bit [176-178] Elio: What you mean? Marzia: (You know) exactly what I mean PL-11 [179] Elio: Why you say that? Marzia: Why? Because I think you're going to hurt me, and I don't want to be hurt [180] Mr Perlman: Well, you must be tired, then Or were you playing poker, too? Elio: I don't play poker [181-184] Mr Perlman: Several hundred color slides of our boxer and the others like him arrived yesterday from Berlin We should start cataloguing them That'll keep us busy till lunch, I imagine Oliver: Sure [185-186] Mr Perlman: Beautiful, aren't they? Oliver: They're all so incredibly sensual Mr Perlman: Because these are more Hellenistic than 5th century Athenian Most likely sculpted under the influence of Praxiteles [187] Oliver: Grow up I'll see you at midnight [188-189] Mr Perlman: Not a straight body in these statues They're all curved Sometimes impossibly curved And so nonchalant Hence their ageless ambiguity As if they're daring you to desire them [190] Elio: I'm sorry It's too big It's too big Annella: Come on It will make them so happy [191-195] Elio: (It looks) ridiculous on me I'll try it on for Oliver If Oliver thinks I look like a scarecrow in it, I'm not wearing it Annella: Oliver? [196] Oliver: Mafalda I won't be here for dinner Mafalda: Okay, Mr Oliver PL-12 [197] Elio: Where are we going? Marzia: You'll see [198] Elio: Want to eat with us tonight? Marzia: No, no I have to go [199-200] Elio: This right here is the brand-new china that you guys so kindly sent to us Isaac: (It looks) wonderful [201-202] Elio: I can't put it on now They've already met me Mr Perlman: Yes, you can [203-208] Elio: It'll look like a put-up job Papa, it'll Mr Perlman: Yes Elio: Papa, it'll look like a put-up job Mr Perlman: No misbehaving tonight No No laughing When I tell you to play, you'll play You're too old not to accept people for who they are What's wrong with them? You call them Sonny and Cher behind their backs Elio: That's what Mom calls them [209-211] Mr Perlman: If you know as much about economics at Mounir's age, you'll be a very wise man, indeed And a credit to me [212] Elio: Sorry I have to go to bed I'm sorry I'm so tired [213] Oliver: Can I kiss you? Elio: Yes, please [214] Oliver: Does this make you happy? You're not gonna get a nosebleed on me, are you? Elio: I'm not gonna get PL-13 [215-216] Elio: Yeah Just pull it Oliver: Or I'll pull it Elio: Oliver Oliver: Call me by your name, and I'll call you by mine [217] Elio: I don't know Mafalda always looks for signs Oliver: Well, she's not gonna find any [218] Elio: You wore that shirt the first day you were here Will you give it to me when you go? [219-221] Oliver: Professor, I got your note Thank you for reminding me I'm gonna go into town and pick up those typed pages today, so maybe this afternoon would be a good time to Mr Perlman: Later We'll look them over later, before you leave [222-223] Oliver: You're not sick of me yet? Elio: No, I just I just wanted to be with you I'll I'm gonna I'll go [224] Oliver: Do you know how happy I am that we slept together? Elio: I don't know [225-226] Oliver: Of course, you don't know I don't want you to regret anything And I hate the thought that maybe I may have messed you up or I don't want either of us to pay for this, one way or another Elio: No, I It's not like I'm gonna tell anyone You're not gonna be, like, getting in trouble [227-229] Elio: Are you happy I came here? Oliver: I would kiss you (if I could) PL-14 [230-233] Woman 1: I know, but times have changed It's different Woman 2: What you think of Bettino? Woman 1: I don't like him Woman 2: I like him I'm happy, actually Woman 1: I don't know We'll see [234-236] Oliver: I suppose you've already given up animals Elio: (You know) that's me [237] Elio: I'm sick, aren't I? Oliver: I wish everybody was as sick as you [238-241] Elio: I didn't know that That's funny, I I thought that Oliver: Yeah, I know what (you thought) [242-244] Mr Perlman: Research at the university Then he'll fly home from Linate Annella: But what about Elio? Maybe it could be nice for the two of them to get away for a couple of days, no? What you think? [245-247] Annella: (You know ) you've been our favorite student? You must come back Oliver: You sure you're not just saying that? [248-249]Oliver: (If you'll excuse me) Just one second One second! [250]Elio: Yeah, everything is fine I'm at the station in Clusone Listen, Mom, can you come get me, Mom? [251] Mr Perlman: Oliver enjoyed the trip? Elio: Yeah I think he did [252] Elio: Oliver may be very intelligent but Mr Perlman: No, no, no He was more than intelligent PL-15 [253-254] Mr Perlman: What you two had, had everything and nothing to with intelligence He was good You're both lucky to have found each other because you, too, are good Elio: I think he was better than I think he was better than me [255-262] Mr Perlman: Just remember, I am here Right now, you may not wanna feel anything, maybe you never wanted to feel anything And maybe it's not to me you'd want to speak about these things but feel something you obviously did Look, you had a beautiful friendship Maybe more than a friendship And I envy you In my place, most parents would hope the whole thing goes away [263-265] Mr Perlman: And I'll say one more thing, it'll clear the air I may have come close but I never had what you two have [266] Elio: Does Mom know? Mr Perlman: I don't think she does [267] Elio: May I? [268-270] Mr Perlman: (She looks) a bit weak [271] Oliver: I have some news Elio: News? What, you're getting married? I suppose [272] Oliver: I might be getting married next spring, yeah Elio: You never said anything [273] Oliver: Oh, no Speaking of she's, I'm calling to tell you guys I got engaged Annella: Wonderful! Congratulations [274] Elio: They know about us Oliver: I figured PL-16 [275-276] Mr and Mrs Perman: Listen, we'll leave you We'll let you speak to Elio [277-278] Elio: How? Oliver: Well, from the way your dad spoke to me He made me feel like I was a part of the family Almost like a son-in-law You're so lucky My father would have carted me off to a correctional facility ... 26 4.1 OVERVIEW OF HEDGING DEVICES IN THE FILM “CALL ME BY YOUR NAME” BY LUCA GUADAGNINO 26 4.2 HEDGING DEVICES IN THE FILM “CALL ME BY YOUR NAME” BY LUCA GUADAGNINO 27 4.2.1... DEVICES IN THE FILM “CALL ME BY YOUR NAME” BY LUCA GUADAGNINO According to Yu‟s (2009) model, there are five main hedging categories found out in the data from the film “Call me by your name” by Luca. .. hedges used in the film "Call me by your name" by Luca Guadagnino + To investigate the functions of hedges used in the film "Call me by your name" by Luca Guadagnino 1.3 RESEARCH QUESTIONS In order