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Penelope Brown and Stephen Levinson have proposed that power (P), distance (D), and the ranked extremity (R) of a face-threatening act are the universal determinants of politeness levels in dyadic discourse. This claim is tested here for Shakespeare's use of Early Modern English in Much Ado about Nothing, Measure for Measure, The Taming of the Shrew, and Twelfth Night. The comedies are used because: (1) dramatic texts provide the best information on colloquial speech of the period; (2) the psychological soliloquies in the comedies provide the access to inner life that is necessary for a proper test of politeness theory; and (3) the comedies represent the full range of society in a period of high relevance to politeness theory. The four plays are systematically searched for pairs of minimally contrasting dyads where the dimensions of contrast are power (P), distance (D), and intrinsic extremity (R). Whenever such a pair is found, there are two speeches to be scored for politeness and a prediction from theory as to which should be more polite. The results for P and for R are those predicted by theory, but the results for D are not. The two components of D, interactive closeness and affect, are not closely associated in the plays. Affect strongly influences politeness (increased liking increases politeness and decreased liking decreases politeness); interactive closeness has little or no effect on politeness. The uses of politeness for the delineation of character in the comedies are illustrated.
Seminar paper from the year 1999 in the subject English Language and Literature Studies - Linguistics, grade: 2,0, University of Cologne, course: Functions in English grammar, 29 entries in the bibliography, language: English, abstract: As well as being an important social and cultural phenomenon, politeness may also be regarded as a function of speech, i.e. a set of principles, rules or maxims governing a competent speaker's use of language. Although this is clearly manifested in the structure and actual use of utterances in a given conversation context, far mote than Saussure's langue and parole arc involved in that historical, sociological and psychological aspects have to be taken into account. Thus, in analysing politeness in a fictional text it is essential to establish the historical setting as well as to examine the social hierarchy and valid conventions; as far as psychology is concerned, a scrutiny of the characters is necessary. Moreover, the course their interaction takes is crucial: "Every choice A makes affects the force of B's options, and vice versa, so even politeness is determined jointly" (Clark 1996: 316). These methodological premises imply that, even though the emphasis in this paper is on linguistic results, external factors cannot be ignored without distorting the outcome. However, it seems legitimate to integrate these factors only to the degree to which they contribute to the linguistic enterprise undertaken here. As to the theories of politeness that are utilized, it must be noted that they all fall short of explaining the evidence satisfactorily, but they nevertheless allow for interesting inferences and are therefore useful heuristic tools. 1 ...]
Using the Devil with Courtesy analyses Renaissance forms of (im)politeness through Shakespeare. Adopting a historical pragmatic perspective drawing in particular on Brown and Levinson (1987), Jucker (2010) and Culpeper (2011), the book focuses specifically on Hamlet (c. 1601) and The Taming of the Shrew (c. 1594).
Seminar paper from the year 2011 in the subject English Language and Literature Studies - Linguistics, grade: 1,7, University of Münster (Englisches Seminar), language: English, abstract: Today, the concept of politeness is not associated with class consciousness or social discrimination anymore, but in the sixteenth century this term was commonly linked to deference and showing respect (Watts 34). Thus appropriate language behaviour was of utmost importance to Elizabethan society. People of that time were always anxious to please their interlocutors, especially with reference to forms of address. Those address formulae had to be chosen accurately as they were very meaningful: Not only did they give information concerning personal relationships (Bruti 44) and emotions towards each other, but also about social ranks and hence power relations between speaker (S) and hearer (H). In Early Modern English times forms of address reflected the social hierarchy (Nevalainen & Raumolin-Brunberg 547; Replogle 102). So every title was assigned to a certain social status. To avoid using titles in an inappropriate or even impolite way, a lot of courtesy and conduct manuals were published (Watts 36). In the following attention will be drawn on Shakespeare’s tragedy Othello (OTH) and the author’s use of address terms, particularly relating to salutations used by husband and wife and that between friends. Is Shakespeare’s choice of nominal address forms in accordance with Elizabethan conventions? By concentrating on the marital relationship between the characters Othello and Desdemona as well as on that between the two “friends” Othello and Iago, this term paper aims at answering this question. But before comparing Elizabethan conventions to Shakespeare’s dramatis personae, it is necessary to illuminate Brown and Levinson’s politeness concept that provides a basis for dealing with terms of address.
From the Middle Ages up to the present day, this book traces politeness in the history of the English language.
(Applause Books). "With the single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise so entirely as I despise Shakespeare when I measure my mind against his." - From SHAW ON SHAKESPEARE Celebrated playwright, critic and essayist George Bernard Shaw was more like the Elizabethan master that he would ever admit. Both men were intristic dramatists who shared a rich and abiding respect for the stage. Shakespeare was the produce of a tempestuous and enlightening era under the reign of his patron, Queen Elizabeth I; while G.B.S. reflected the racy and risque spirt of the late 19th century as the champion of modern drama by playwrights like Ibsen, and, later, himself. Culled from Shaw's reviews, prefaces, letters to actors and critics, and other writings, SHAW ON SHAKESPEARE offers a fascinating and unforgettable portrait of the 16th century playwright by his most outspoken critic. This is a witty and provocative classic that combines Shaw's prodigious critical acumen with a superlative prose style second to none (except, perhaps, Shakespeare!).