“You're barking mad, I'm out”: Impoliteness and broadcast talk

The primary objective of this paper is to elucidate the workings of (intentional) impoliteness in multi-party film talk. The departure point is the diversification of hearer types, coupled with the premise that film discourse operates on two communicative levels, namely the inter-character level and the recipient's level, at which the audience interprets characters' conversations. It is thus argued that the speaker's impolite utterance may carry different pragmatic effects when directed towards (yet not necessarily targeting), and interpreted by, his/her interlocutor(s) (an addressee or a third party), overhearers (a bystander or an eavesdropper), or when face-threatening to a non-participant. Moreover, the recipient (i. e., the viewer), is yet another hearer category, for whose pleasure impoliteness is interactionally rendered at the characters' level. The theoretical proposal to extend the dyadic model of impoliteness is illustrated with utterances produced by Gregory House, the main protagonist of the television series "House."

mentioning

confidence: 88%

Section: Face-threat and Entertainment/humour In The Mediamentioning

confidence: 99%

Setting our House in order: The workings of impoliteness in multi-party film discourse

Dynel

2012

“…Works on politeness (Escandell-Vidal 1995;Watts 2003;Kerbrat-Orecchioni 2004;Hidalgo 2006;Bravo 2001;Brown and Crawford 2009;Harrison and Barlow 2009) are much more frequent than those on impoliteness. Yet, the term impoliteness has received a great variety of definitions (Culpeper 1996(Culpeper , 2011aCulpeper et al 2003;Kienpointner 2008;Lorenzo-Dus 2009;Angouri and Tseliga 2010;Alvarez Muro et al 2011;Mugford 2012). Consequently, the task of adopting a single notion for each of these terms is a complicated one.…”

Section: Politeness Impoliteness and Other Related Termsmentioning

confidence: 99%

On the importance of the prosodic component in the expression of linguistic im/politeness

Navarro

Nebot

2014

This paper outlines the important relationship between prosody and im/politeness and presents a brief overview of what has been done in this field. Sections 2, 3 and 4 present several theoretical concepts which are especially relevant for understanding im/politeness in concrete frameworks (mainly in conversation). Section 5 points out the necessity of studying a pragmatic phenomenon like im/politeness with its prosodic expression. Finally, section 6 discusses some studies in this field on different languages, with a special focus on prosodic values like the F 0 (pitch/fundamental frequency), intonation patterns, duration and speech rate.

“…Where impoliteness is genre-sanctioned, there has been a vigorous debate about whether the confrontainment within which it emerges and develops can still be considered impolite (e.g., Culpeper 2005;Mills 2005;Garcés-Conejos Blitvich 2009Lorenzo-Dus 2009a). The recent global explosion of confrontainment-based, reality television genres signals that impoliteness is recognized as such, even when it is genre-sanctioned, and that it acts as an important attention-grabbing mechanism.…”

Section: The Talent Show Genre: Idol Showsmentioning

confidence: 99%

Identity and impoliteness: The expert in the talent show Idol

Blitvich

Bou‐Franch

Lorenzo-Dus

2013

Self Cite

Premised on the belief that both identity construction and im/politeness assessments relate to norms associated with genre practices, the aim of this paper is to examine the interconnections between identity co-construction and impoliteness in a media genre: the talent show. This aim is innovative in so far as im/politeness has traditionally been related to the notion of face, rather than identity. Our study draws upon a corpus of 160 interactional sequences from the UK and US versions of the talent show Idol. All sequences in the data include music expert Simon Cowell, who has been singled out as playing the role of the malicious judge by both journalists and scholars. However, to our knowledge, no previous study has undertaken a micro-analysis of the linguistic resources deployed by Simon Cowell to construct his expert identity or has examined the role that impoliteness may play therein. This is what we set out to do in this paper. To that end, our analytic framework combines socio-constructivist approaches to identity construction (Anton and Peterson 2003;Joseph 2004;Bucholtz and Hall 2005; De Fina et al. 2006) with a recently revised, discursive approach to im/politeness, i.e., the genre approach (Garcés-Conejos Blitvich 2010, this issue).