{"title":"电视电影讽刺多对话语用中的礼貌失配","authors":"A. Druzhinin, T. Scholte, T. Fomina","doi":"10.1075/ld.00153.dru","DOIUrl":null,"url":null,"abstract":"\nThe paper addresses the problem of (im)politeness in light of mismatches between what we/others say and what we/others mean in a multi-dialogic search for meaning where humans integrate all their competence-in-performance and co-construct situated relationships in a more or less sustainable way. We examine how these processes occur by analyzing (im)politeness mismatches in telecinematic satire using dialogic speech act typology and methods of the Mixed Game Model to describe and explain the communicative meta-meaning of (im)politeness. We demonstrate that in satire the dialogic semantics of (im)politeness is polyvalent, interactant-relative, temporally variable, scalar and self-reflexive because it is part of integrational language-in-use engagement with the world through which humans construct multiple relational domains and relationships in them.","PeriodicalId":42318,"journal":{"name":"Language and Dialogue","volume":" ","pages":""},"PeriodicalIF":0.8000,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"(Im)politeness mismatches in the multi-dialogic pragmatics of telecinematic satire\",\"authors\":\"A. Druzhinin, T. Scholte, T. Fomina\",\"doi\":\"10.1075/ld.00153.dru\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\nThe paper addresses the problem of (im)politeness in light of mismatches between what we/others say and what we/others mean in a multi-dialogic search for meaning where humans integrate all their competence-in-performance and co-construct situated relationships in a more or less sustainable way. We examine how these processes occur by analyzing (im)politeness mismatches in telecinematic satire using dialogic speech act typology and methods of the Mixed Game Model to describe and explain the communicative meta-meaning of (im)politeness. We demonstrate that in satire the dialogic semantics of (im)politeness is polyvalent, interactant-relative, temporally variable, scalar and self-reflexive because it is part of integrational language-in-use engagement with the world through which humans construct multiple relational domains and relationships in them.\",\"PeriodicalId\":42318,\"journal\":{\"name\":\"Language and Dialogue\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.8000,\"publicationDate\":\"2023-08-10\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Language and Dialogue\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1075/ld.00153.dru\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LANGUAGE & LINGUISTICS\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Language and Dialogue","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1075/ld.00153.dru","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LANGUAGE & LINGUISTICS","Score":null,"Total":0}
(Im)politeness mismatches in the multi-dialogic pragmatics of telecinematic satire
The paper addresses the problem of (im)politeness in light of mismatches between what we/others say and what we/others mean in a multi-dialogic search for meaning where humans integrate all their competence-in-performance and co-construct situated relationships in a more or less sustainable way. We examine how these processes occur by analyzing (im)politeness mismatches in telecinematic satire using dialogic speech act typology and methods of the Mixed Game Model to describe and explain the communicative meta-meaning of (im)politeness. We demonstrate that in satire the dialogic semantics of (im)politeness is polyvalent, interactant-relative, temporally variable, scalar and self-reflexive because it is part of integrational language-in-use engagement with the world through which humans construct multiple relational domains and relationships in them.
期刊介绍:
In our post-Cartesian times human abilities are regarded as integrated and interacting abilities. Speaking, thinking, perceiving, having emotions need to be studied in interaction. Integration and interaction take place in dialogue. Scholars are called upon to go beyond reductive methods of abstraction and division and to take up the challenge of coming to terms with the complex whole. The conclusions drawn from reasoning about human behaviour in the humanities and social sciences have finally been proven by experiments in the natural sciences, especially neurology and sociobiology. What happens in the black box, can now, at least in part, be made visible. The journal intends to be an explicitly interdisciplinary journal reaching out to any discipline dealing with human abilities on the basis of consilience or the unity of knowledge. It is the challenge of post-Cartesian science to tackle the issue of how body, mind and language are interconnected and dialogically put to action. The journal invites papers which deal with ‘language and dialogue’ as an integrated whole in different languages and cultures and in different areas: everyday, institutional and literary, in theory and in practice, in business, in court, in the media, in politics and academia. In particular the humanities and social sciences are addressed: linguistics, literary studies, pragmatics, dialogue analysis, communication and cultural studies, applied linguistics, business studies, media studies, studies of language and the law, philosophy, psychology, cognitive sciences, sociology, anthropology and others. The journal Language and Dialogue is a peer reviewed journal and associated with the book series Dialogue Studies, edited by Edda Weigand.