A Pragmatic Study Of Exaggeration In British And American Novels

Sister Carrie and The Great Gatsby are both classic novels in America, which have huge impact on American literature. Sister Carrie is the first novel written by Dreiser reveals the social situation in the early 20th century and has become one of a representatives of naturalism. The Great Gatsby, written by Fitzgerald in the 1920s, reveals the life in Roaring Twenties and exposes the broken American dream, and it is one of the representatives of Modernism. These two novels have great literary value and have been studied by lots of scholars. There are many previous studies about Sister Carrie and The Great Gatsby from the perspective of feminism. Since ecofeminism was noticed and popularized in literature study, some ecofeminist scholars have analyzed these two classics separately. Few studies, however, have done research into them together from the perspective of ecofeminism. This study focuses on making a comparison between the two American novels from the perspective of ecofeminism and aims at exploring the same ecofeminist implication implied in the two works from the comparative study of the two female protagonists and the ecological environments. From the analysis of the two female characters’ sufferings and the worsening environment caused by men, it proved that the tragedies of women and the ecological environment are caused by the traditional patriarchal system and the dualism fixed in civilization. It is expected that more people would change their traditional dualistic ideas of the opposition between men and women, culture, and nature and pay attention to their equality.

Conversation is verbal interaction that takes place in an order and organized and involves two or more parties in order to achieve certain objectives as a form of communication events. When the conversation does not meet the rules of the communication, failure is diagnosed. Conversation failure was effected due to a violation of the principles of politeness and cooperation. This study was conducted in SMP Maarif Tlogomulyo by analyzing teachers and students conversations in learning process. The results of this research were 1) students did a violate of the maxim of quantity, quality, relevancy, and the thimble way, 2) students did a violate of the principle of politeness in the interaction in the classroom. This was influenced by many factors, particularly the influence of the environment and level of education. Using local utterances was highly recommended to preserve the local culture, but more harmonious when it was used in a good and polite conversation. Keywords : violation of the principle of cooperation, principle of politeness, and verbal speech acts

In recent years, technological advancements have facilitated the increased penetration of American sitcoms into the lives of Chinese audiences, transforming them into a prominent form of recreational entertainment. Notably, upon its release, the sitcom "2 Broke Girls" garnered substantial attention both domestically and internationally, with its humorous dialogues exhibiting a potent comedic effect. Given the significant emphasis Westerners place on humor, an analysis of the humorous dialogues in American sitcoms provides a valuable lens through which to gain deeper insights into Western cultural nuances and infuse mundane existence with amusement. Furthermore, this paper adopts a qualitative research methodology to explore verbal humor from a pragmatic perspective. It employs Grice's Cooperative Principle and Leach's Politeness Principle as the theoretical framework. By analyzing the dialogues in "2 Broke Girls," this thesis delves into the mechanics underpinning the creation of speech humor. The findings reveal that the violation of the four maxims of Grice's Cooperative Principle, as well as the six maxims of Leach's Politeness Principle, serves as a primary means to elicit verbal humor in this sitcom. Consequently, the breach of these two principles emerges as the dominant strategy for achieving humorous effect in "2 Broke Girls."

As a great representative of the British realism literature in the 19th century, Charles Dickens’ Oliver Twist is set in foggy city London, but reflects the complex social reality in that time. Many domestic scholars studied and analyzed this novel from different perspectives, while most of them paid much attention to the literature translation and analysis of the characters’ image, few studied it from the perspective of pragmatic theories. In view of it, this paper selects plenty of dialogues from the novel and they are classified and analyzed on the basis of Grice’s Cooperative Principle and Leech’s Politeness Principle. After analyzing the characters’ conversational implicature, this paper aims to provide a linguistic reference for the appreciation of characters’ image and social significance of the novel. The paper consists of introduction, main body and conclusion three parts. Introduction part gives a simple introduction of the author Charles Dickens and the novel, then states the previous researches on the subject as well as the research angle, goal and method. The body (consists of two chapters) firstly gives a detailed introduction of the theoretical framework, then analyzes the selected dialogues on the basis of Cooperative Principle and Politeness Principle respectively. Conclusion part puts forward that people always express their ideas indirectly and implicitly in their speech communication to violate the Cooperative Principle, that is out of consideration of politeness to others, namely observing Politeness Principle.

The language has many functions, in ataranya as a means of self expression, communication tools, a tool of social control, and the interaction. The study of language tend to concentrate on its function as a tool for suffixed interaction cannot be released from the wearer, that is, the community. The school as a place of teaching language in fact is social language usage areas (societal domain) which has its own livery. This study examines the use of spoken language in the Association in the Group-anschool between students, teachers, and employees. The research focus is on a range of spoken language that has the meaning depends on context (contex depending).As for the linguistic aspects are examined is the manifestation of the principle of politeness, the principle of cooperation, interaction and conversation on the implikaturat school. This research uses qualitative design. The techniques used in data collection is the technique check out-Libat Ably (SLC), divariasi with the note field. The results of this study are: (1) Politeness can be manifested in the kind of acts representative said, expressive, komisif, and directive, (2) the principle of Politeness and the principle of cooperation can be manifested in implikatur conversation; (3) On the official topic of conversation with the situation, politeness is manifested with pematuhan on the principle of cooperation and the use of implikatur; (4) On the situation of the conversation with the topic is not official, the principle of cooperation (PK) take precedence over the principle of politeness (PS); (5) on the conversation between student-teacher, a distance of so-bad luck and social status is no longer a major consideration to convey a polite speech. Based on the research results presented recommendations to make politeness became one of material in language learning at school. Keywords: politeness principles, principles of cooperation, implikatur conversation

This qualitative descriptive research aimed to describe (1) the application of cooperative principle in speech Ir. Joko Widodo in 2019 Presidential Election debate video and (2) the application of the principle of politeness in the speech of Ir. Joko Widodo in 2019 Presidential Election debate video. The subject of this study was Ir. Joko Widodo, while the objects were the cooperative principle and the principle of politeness. This research used a data collection method in the form of documentation of the 2019 Presidential debate video with the technique of listening and note taking. The instrument used in this study was data card. The data analysis method was carried out in three stages, namely data reduction, data display, and conclusion. The results showed that cooperative principle had been applied in the speech of Ir. Joko Widodo in the 2019 Presidential Election debate video. In the statement there are four maxims contained in the cooperative principle, namely maxim of quantity, maxim of quality, maxim of relevance, and maxim of manner. In addition, the principle of politeness has also been applied in the speech of Ir. Joko Widodo on the 2019 Presidential Election debate video. In the speech there were six maxims contained in the principle of politeness, namely the maxim of wisdom, maxim of generosity, maxim of appreciation, maxim of humility, maxim of compatibility, and maxim of sympathy. Keywords: cooperative principle, principle of politeness, debate

The Chosen and the Beautiful

The current study deals with the term exaggeration from a pragmatic perspective through analyzing selected conversation existed in Iraqi conversations. Thus, the concept of exaggeration, or hyperbole, which is a popular oratorical strategy utilized to confirm feelings, heighten social connections or communicate comical aspect. Furthermore, align with speech act theory and Gricean's maxims, this study explores how exaggeration expression functions in Iraqi Arabic society. Moreover, the present study inspects the types of exaggeration, along with their pragmatic functions, and how they impact Iraqi sociocultural conventions. Likewise, data are gathered from factual conversations occurred in Iraqi society in their daily communication, analyzed through pragmatic perspectives.

For an author as intimately tied to the twentieth-century American literary canon as F. Scott Fitzgerald (1896–1940), it is remarkable how sweepingly general some assessments of his work have been: he is the Jazz Age writer extraordinaire, lauding and critiquing the era à la Nick Carraway; he is the Depression era burnout, longing for the lost whims of Babylon; he dies a Hollywood hack, paying off his debts while churning away at a series of stories and an unfinished novel that will excoriate the film industry, a lesser form of art in his mind. As with any general appraisal, returning to the author's work provides the palliative to such critical ennui and generalized assessments.David S. Brown, in Paradise Lost: A Life of F. Scott Fitzgerald, does not seek to remind us why The Great Gatsby (1925) is (one of) The Great American Novels, nor does he provide an apologia for F. Scott Fitzgerald, the working author, turning out pleasurable fare for the The Saturday Evening Post, about which he always remained conflicted. Instead, Brown tells us his biography will treat Fitzgerald as a “cultural historian” (1), as an author invested in the pressing issues of his day, not necessarily the pressing political issues (indeed, Brown discusses Fitzgerald's scant political commentary throughout), but rather the issues that a postwar generation found themselves facing in an era of unrestrained excess and abandonment. What Brown has provided most successfully is an approach to Fitzgerald that aligns him with other cultural historians, those of his time and those who came before. In addition to examples long noted by Fitzgerald scholars and fans—such as Thorstein Veblen, who had coined the term “conspicuous consumption” to characterize American capitalism at the dawn of the twentieth century and whose ideas are frequently explored by Fitzgerald—Brown also draws upon his historian's perspective to discuss Fitzgerald alongside such luminary thinkers as Frederick Jackson Turner, Oswald Spengler, and the Comte de Buffon. The last example almost seems to strain credulity and reads more as a historian enlightening a general audience about the naturalist's infamous dismissal of a supposedly inferior form of Nature found in North America, but Brown astutely steers the work back to Fitzgerald as he successfully ties Buffon's ideas into a novel analysis of Fitzgerald's anxieties over expatriation and the role of America on the world stage (231–35).As a biographer, Brown is not concerned with digging up fresh anecdotes of Fitzgerald bacchanalia; readers seeking chapter upon chapter of the Fitzgeralds dancing their way through hotel fountains will not find them. Nor will readers seeking hagiography leave satisfied; refusing to shy away from the more desultory moments in Fitzgerald's life, Brown notes Fitzgerald's callousness in some of his extramarital affairs and turns a somewhat sharp eye on Fitzgerald's epistolary relationship with his daughter Scottie. And while the Fitzgerald fan likely knows the broad strokes of his attempts to woo the Alabama belle Zelda Sayre, Brown moves through their courtship quite briefly, and she often disappears for long stretches of the text. Brown is sensitive and sparse, unsparing and unromantic, in his discussions of the author's turbulent life, and a biography that eschews the tawdry and gossipy components is a welcome addition to Fitzgeraldiana.Many of Brown's chapters are in fact extended readings of Fitzgerald's works, often alongside whatever cultural ideal Brown sees Fitzgerald as writing about; he aligns his readings of This Side of Paradise (1920) and some of Fitzgerald's early stories like “Bernice Bobs Her Hair” (1920) alongside a cultural history of flappers and post–World War I America (102–4); specifically, in a discussion of “A Diamond as Big as the Ritz” (1922), Brown notes how Fitzgerald writes a “powerful condemnation of greed” and a “direct rebuke to the speculative orgy that was already then coming to grip the 1920s” (104). Elsewhere, he provides nuanced readings, not only of the major novels (The Great Gatsby and Tender Is the Night [1934]), but also of the run of Basil and Josephine stories, as well as the Gwen stories; and, to this reviewer's mind, he offers a more incisive critique of Fitzgerald's play The Vegetable (1923) than one would think imaginable, as he aligns its themes with Fitzgerald's “primary concerns” as an artist (160).Overall, Brown's work is welcoming to both those whose association with Fitzgerald was merely dozing through a high school reading of Gatsby and those who have devoured the entirety of his canon. The historical context does much to complicate our too-simplistic understanding of the Roaring Twenties, a reductive view of the era that some critics have blamed Fitzgerald himself for bolstering. Instead, Brown provides a strong contextual examination of the man and his work without relying too heavily on the twice-told tales of debauchery with which we are familiar.If Brown's biography asks us to interrogate Fitzgerald as a historical artifact, a chronicler of a shifting epoch in American history, I'd Die for You: And Other Lost Stories asks that we reconsider Fitzgerald as a product of the economic environment of the 1920s and 1930s. That Fitzgerald wrote stories for money, stories that he was less than entirely satisfied with, is not news. But while Fitzgerald was keenly attuned to the literary marketplace, that does not mean that he churned out unpolished hackwork. Even the unpublished stories in I'd Die for You show him honing his craft and experimenting with ideas (such as the worlds of film and medicine) that would later come to play important roles in works such as Tender Is the Night and The Last Tycoon (1941).As an eminently capable editor and chronicler of Fitzgerald's craft, Anne Margaret Daniel has presented a version of Fitzgerald that has escaped popular consciousness. Through her meticulous footnotes and ample textual analysis in the headnotes for each of the volume's selections, Daniel presents a version of Fitzgerald that has been underrated: the painstaking craftsman. Daniel provides, in her introduction, succinct and enticing summaries of the stories, as well as an overview of Fitzgerald's life at the time of their composition. With the exception of the first story in the collection, a humorous tale about a profit-obsessed publisher titled “The I.O.U.,” the stories are from the 1930s and were written in the wake of the great hardships in Fitzgerald's final decade: his relationship with his now-institutionalized wife, his financial burdens, and his complicated thoughts regarding his work in Hollywood. In addition, Daniel has scrupulously annotated the stories, providing explanations of everything from obscure place names to popular songs now largely forgotten to the era's colorful slang. Most important, Daniel's notes are not obtrusive, and her commentary provides vital context for those unaware of the day-to-day details of Fitzgerald's life.While F. Scott Fitzgerald was certainly no stranger to darkness and despair in his works, from Nicole Diver's mental illness and abuse at the hands of her father, to Jay Gatsby's and Myrtle Wilson's sordid deaths, and Braddock T. Washington's desire permanently to imprison innocent men to preserve the secrets of his gaudy wealth, these stories will likely surprise—if not shock—both the casual Fitzgerald fan and the more seasoned veteran. Consider “Salute to Lucy and Elsie,” which at first seems a simple story of generational misunderstandings between a father and his son but quickly turns dark, when the father blackmails his son's best friend for being a corrosive influence on his son, as the friend had been engaged in a series of illicit relationships (indeed, the story is more sexually explicit than most of Fitzgerald's work). The resolution does not hinge upon a new understanding between father and son but instead reveals dismay, disappointment, and a sense of loss. And in the titular story, perhaps the collection's strongest, a mysterious individual named Carley Delannux leads several women astray through a carefully concealed series of lies. An actress who falls in love with him, Atlanta Downs, is hardly a starry-eyed naïf; instead, she is a complex and ambitious character who attempts to pierce Delannux's aloof and distant manner. Delannux is also an atypical Fitzgerald protagonist; while as much a dreamer as Gatsby or Amory Blaine, he is more haunted than the others, and he is nicknamed “Suicide Carley” because of the fates of past women with whom he has been involved. Having written this story after he himself had attempted suicide (and as Daniel notes, while he feared that his wife might attempt the same [89]), Fitzgerald faced stark pushback from editors over the dark content; his unwillingness to tone it down, particularly its bleak ending, led to the story not being published during his lifetime.Another set of stories stems from Fitzgerald's observations of his wife's hospitalizations and treatments. While Tender Is the Night is, of course, the most concentrated fiction on that subject, I'd Die for You contains several other attempts at hospital and doctor stories, replete with medical jargon. While the stories, which include “Nightmare,” “What to Do about It,” “The Women in the House,” and the wonderfully titled “Cyclone in Silent Land,” all incorporate some standard Fitzgerald romance fare, they also frequently depict the darkness surrounding his own relationship to the medical field. The story “Nightmare” depicts three brothers who were institutionalized after each went insane after the 1929 stock market crash, an ample metaphor for the author's depiction of the corrosive effects of wealth elsewhere in his works.A particular treat for readers is the rare opportunity to see Fitzgerald the screenwriter at work. The collection includes several movie treatments that ultimately frustrated and disappointed Fitzgerald because they did not sell and yet sapped his time from other projects. “Gracie at Sea,” a collaboration with George Burns, opens with the author proclaiming that the “general idea” of the story “is dependent upon the thesis that farce and comedy do not hold attention over half an hour” (59). The tale follows a lonely man named George finding himself thrust into an unusual family struggle, as a millionaire has decided that his older daughter must marry before his younger daughter can do so. Shenanigans ensue, and the story follows their struggles until it resolves into a happy ending. It is fully plotted and reads more like a short story than a film treatment, reminding us that film work never came easily to Fitzgerald, who always longed for lost time writing fiction. Another treatment, “Love is A Pain,” is a war story depicting a secret agent for an unnamed side of an unnamed war; it aligns with, as Daniel remarks, “Hollywood's allegedly ‘light-hearted’ war movies of 1938–1940 that refused to name Germany or Hitler as the enemy while making melodramatic love plots their focus” (277). And, because this is F. Scott Fitzgerald we are talking about, the careful reader will not be surprised to find out that Princeton plays a role. And for “Ballet Shoes (Ballet Slippers),” Fitzgerald seems to have drawn upon his wife's interest in ballet for a story about Russian immigrants. The project was for Olga Spessivtseva, whom Fitzgerald had met in North Africa, though like these other efforts, no film would result from it.The collection includes a few other hidden gems on topics not frequently covered in Fitzgerald's work. “The Pearl and the Fur” is an amusing sample of the Gwen stories, roughly based on his daughter Scottie, that Fitzgerald labored at in the 1930s without quite finding the success he had earlier with the Basil and Josephine stories. Its ending, revealing an epiphany-like moment for Gwen, is as heartfelt as the best of those stories and bears more than a passing resemblance to the structure of the tales in James Joyce's Dubliners (1914). Anyone who has even a passing interest or awareness of college sports and the scandals regarding amateurism and eligibility will find “Offside Play” an eerily prescient tale, one that reveals that the bribery and extortion one hears whispers of today was not foreign to college sports a century ago. Another example of unfamiliar Fitzgerald subject matter is his consideration of the Civil War stories in “Thumbs Up” and “Dentist Appointment,” two versions of the same story that would eventually be published as “The End of Hate” (1940). The tale stems from a family legend, Fitzgerald maintained, where an ancestor was strung up by his thumbs as a form of punishment during the Civil War (159–60). The gruesome scene occurs in both versions of the story, although the second halves are wildly different; in the first, the thumbless Confederate veteran Tib Dulany and the Yankee doctor who called for him to be tortured meet in France, where, unbelievably, they encounter the Empress Eugénie, the wife of Emperor Napoleon III, who resolves the pair's conflict. In “Dentist Appointment,” Tib travels west and encounters an Indian attack, resolved when the doctor performs a dental procedure on an Indian chief. While at first one might be tempted to write off these stories as scarcely believable, they are snapshots into Fitzgerald's tenacity as a writer, for he was determined to work and rework the story into a suitable state (ultimately, “The End of Hate” ends on an ever-so-slightly more believable moment as Tib encounters the doctor on the night of Lincoln's assassination). But the two stories are interesting today in that they remind us of Fitzgerald's lifelong fascination with the Civil War and the South even while they show us how doggedly he worked on his material.A question lingers over these stories, the question of why: Why didn't some of these stories get published? Why did others end up in more obscure venues than Fitzgerald's other fare? Thanks to Daniel's careful editing and inclusion of relevant letters from Fitzgerald to the likes of his agent Harold Ober and Saturday Evening Post editor Kenneth Littauer, we can see that the author strove to remain true to his artistic integrity. He refused to compromise on the stories, reminding us, or perhaps informing us, that he did not spend his twilight years as a misanthropic, greedy hack who was willing to sell poor stories that he could have published more easily. Instead, he held fast to convictions about his work, and if at times the pieces he was defending lacked the depth we find in his best stories and novels, so be it. These stories, by and large, read as publishable today, and they reveal an author hard at work, striving for artistic and, yes, financial success. And today, when Fitzgerald continues to infiltrate the public consciousness through film and television shows, these stories remind us of the lingering hold he has on our imaginations. One wonders what he would think of the fact that his vignette “Thank You for the Light” was published in the New Yorker in 2012, some seventy-six years after that magazine rejected it.

“So many Harvard interiors breathed the New England past—so many Harvard generations!” (284). This is what Elisa New, at one time fully an outsider, found upon immersion in the halls, archives, and classrooms—the intellectual relay stations—of Cambridge, Massachusetts. Now she and her distinguished emeritus colleague, Lawrence Buell, have written complementary works of literary-historical reclamation in which New England calls to us still: New’s is taut, contemplative, and ravishingly proselytizing; Buell’s broadly synthesizing, thought filled, and judicious. With New England beyond Criticism, New turns us inward to an Emersonian expanse of consciousness commanded by “America’s First Literature,” in which interiority is made possible and individuals brought into congregation by contemplation of the Word alone; in prodigiously amplifying close readings, New puts to rout the high-end profession’s longtime refusal to wax enthusiastic about, confess possession by, and realize instruction from the canon. With The Dream of the Great American Novel, Buell dilates memory not only backward but outward, inviting us aboard the big ships of the imagined democratic pluralist state. By exploring a century and a half of the idea among all such ideas of a literature about and for the United States, “nationness” (13), Buell uncovers the always already polyglot constitution and transnational circulation of our “Great American Novels” (18), the critiques therein of nationalist ideology, and the parodies of “GAN”-ification (1). Together, New and Buell reanimate and recirculate the Puritan origins and romantic trajectories of the US literary imagination: the uncanny sophistication of its self-reflection and the grandness of its nation-making, nation-contesting novels. To dig into these monographs is to be struck, time and again, at how wondrous canonical formations and their religio-aesthetic convictions are, especially those of New England. And it is to be struck, time and again, by the degree to which each of these scholar-enthusiasts—New explicitly, Buell implicitly—convey the ever-self-renewing, ever-self-deconstructing dialectic that is the Protestant pedagogy of American literature.My first “amen!” is to the commitments of New and Buell to the texts and legacies at hand. New inveighs against “the bias toward literary advance” and the “corrective” mandate that has characterized prestige criticism for at least a generation, calling instead for a return to the “breadth and brio, conviction and accessibility, lyricism and vision, and a readiness to meet readers beyond disciplinary boundaries” of our better forbears (8). New’s investigative procedures deliberately reenact “the Calvinist-Cartesian regime” (250) of her adopted materials, with a theological underpinning dating to Cotton Mather and an apocalyptic appetite dating to Michael Wigglesworth, and with Harriet Beecher Stowe, Emily Dickinson, Nathaniel Hawthorne, and Robert Frost relaying us from the Puritans to William and Henry James, W. E. B. Du Bois, Robert Lowell, and the latter-day Susan Howe and Marilynne Robinson. The thrill for New is to engage us in the meditative intensity of Puritan-descended, Puritanism-affirming textuality, discounting mediation at every turn except that of language. The thrill for most of her readers is to become a New Englander (again), if only for a winter’s eve, or as Marc Cohn once put it: “‘Tell me, are you a Christian, child?’ / . . . ‘Ma’am, I am tonight’” (“Walking in Memphis,” Atlantic, 1991).Professor Buell, by means of a plain style at once typologically Protestant and reemergently humanist, with a burning concern for the literary history of exceptionalist thought and a long-term involvement with many of its major artifacts, takes us through four GAN scenarios: (1) the conception of the idea by novelist John W. De Forest and its first realization in The Scarlet Letter (1850), the “reluctant master text” (71); (2) the salience, indeed, providence, of the obscurity-to-prominence plot, beginning with Benjamin Franklin and culminating in Philip Roth; (3) “the romance of the divide,” where “plots turn on issues of sectional and/or ethnoracial division” (7), from Mark Twain and Stowe to William Faulkner, Margaret Mitchell, and Ralph Ellison; and (4) the compendious master novels, from Moby-Dick (1851) to John Dos Passos’s U.S.A. (1938) to Thomas Pynchon’s Gravity’s Rainbow (1973), lighting upon most of the maximalist novels between (Gertrude Stein, Theodore Dreiser) and beyond (David Foster Wallace, William Vollmann). Like New, Buell works not to deflate his materials but to give them their due: layered, overflowing, and compulsively intertextual, as formidable as the whale itself. F. O. Matthiessen’s American Renaissance (1941) redux, anyone?My second “amen!” is to their commitment to the histories of intellectual and writerly engagement that culminate in their own work, though this is a more vexed and dialectical matter. New leverages, intensely and luminously, a New England legacy of reading New England, particularly Harvard-affiliated writers: indeed, she concretizes her descent line with an epilogue shout-out to Richard Poirier and a whole host of New England critics (thirty-nine of them, absenting the great O. W. Firkins). Buell leverages, capaciously and often counteractively, the compensatory US-based conversation about the great American novel, which he has discovered is “a complex, messy interaction” (9) between credentialed scholars and what is, in effect, the GAN industry: on-the-make writers, vested publishers, equally vested educators, readers at large, and journalist-bloggers. Inhabiting the interpretive branches of the literary movements they examine, both New and Buell generate an attractive and powerful, because overdetermined, form of aesthetic knowing, with its attendant advantages and risks.Here, then, I am tasked to ask: After self-commentary, then what? What might alternative traditions of accounting for the same canons (essential New England–ness, programmatic Americanness) tell us?In the endnotes to a single chapter, New nods to Leslie Fiedler, Ann Kibbey, Jenny Franchot, and a brilliant then-Jesuit maverick, Edward J. Ingebretsen—but these four pave Catholically informed roads not much taken. New catches the sexuality for Hawthorne at Blithedale in his Romance (1852), but her version of The Scarlet Letter skips by the felt sexual consecrations and injurious eros, choosing to underscore instead Dimmesdale’s Calvinist embrace of secret sin and public redress (no confessional), soft-pedaling Hester’s service ethos–cum–internal rebellion as a Pollyannaish high-school mentality and taking Chillingworth’s stalker vendetta out of the picture. What would others say? D. H. Lawrence, that bad-boy miner’s son and porno-modernist interloper, argues for the devil in blue-eyed Hawthorne’s gothic irony and knows it is a matter of race, too. William Carlos Williams, that Jersey doctor-poet-essayist and half Puerto Rican, was taken enough by Mather to quote passages verbatim yet never forgets the impress of either the Spanish conquistadors or the French Jesuits. And Fiedler himself, that trained medievalist and accomplished Dante scholar, not to mention a Jewish boy from Newark in Montana—who regarded Joseph of Nazareth as Christendom’s most innocuous cuckold and Chillingworth as America’s nastiest—would be flabbergasted: another dangerous American book made safe for Protestant sentiment, again.Intriguingly, Buell cites Fiedler’s insistence on the love plot (“a transmogrified” ménage à trois [82]), but he does so only to demonstrate, in turn, why The Scarlet Letter has proven to be the exception that proves the exceptionalist rule. Registering the near-forgotten influence of Rousseau’s Julie, or The New Héloise (1761), Buell decouples The Scarlet Letter from the New England discourse of national identity and conjoins it instead to a continental exposé of social repression: the nationalist promise fades away in the novel and with it the novel’s claim to original GAN-ishness. It’s a clever argument, since it allows him to acknowledge Hawthorne’s principal concerns with interdicted sex, vengeful intimacy, and violated sanctity—which are, of course, Fiedler’s as well—as the very things that disqualify the novel from actually founding GAN discourse. For what Buell recognizes is that the defining institutions that count in the attribution and making of a GAN—“democracy, individualism, capitalism, sectionalism, immigration, expansionism, signature landscapes, demographic mix”—have been, in the discourse’s self-accounting, scrubbed of church, and this despite the fact that religion is implicated at every institutional site so enumerated, as are sex and marriage (29). That the interplay of sex, violence, and sanctity is eliminated from the longtime and still-reigning formulation of GAN is of course strangely indicative not of the novels themselves (consider An American Tragedy [1925], The Great Gatsby [1926], and Absalom, Absalom! [1936]) but only, and pointedly, of the pronounced GAN-ian desire for a pure—Euro-free! Papist-resistant!—distinctiveness.Great literature invariably bursts its boundaries, and so do its best devotions. That’s the dialectic. If it once made sense to observe that the more we work to demystify the dominant form (New England Protestantism, GAN-ness), the less we know of the alternatives and the more hegemonic formulations limit our imagination, then these texts reverse the paradox. The more immersed the scholars are in the texts under their charge, including the canon (indeed, especially the canon), the more they reveal where the fractures, the edges, and the antitheses exactly lie: to the benefit of not only what they see but also what they don’t. As these marvelous studies demonstrate, what makes all of American literature most available to us is a recognition of its founding forms—for every work of American literature is at least half Protestant, bar none, at once a vessel for inspiration and a provocation to dissent—what we might call, after Van Wyck Brooks, that ol’ New England Don, our really usable past!

This book challenges the approaches to human interaction based on supposedly universal 'maxims of conversation' and 'principles of politeness,' which fly in the face of reality as experienced by millions of people crossing language boundaries (refugees, immigrants, etc.) and which cannot help in the practical tasks of cross-cultural communication and education. In contrast to such approaches, this book is both theoretical and practical: it shows that in different societies, norms of human interaction are different and reflect different cultural attitudes and values; and it offers a framework within which different cultural norms and different ways of speaking can be effectively explored, explained, and taught. The book discusses data from a wide range of languages and it shows that the meanings expressed in human interaction and the different 'cultural scripts' prevailing in different speech communities can be clearly and intelligibly described and compared by using a 'natural semantic metalanguage,' based on empirically established universal human concepts. As the book shows, this metalanguage can be used as a basis for teaching successful cross-cultural communication, including the teaching of languages in a cultural context.

From the perspective of pragmatics, this study takes the Cooperative Principle, Politeness Principle, and Speech Act Theory as the theoretical framework to analyze the interactive mechanism of these three theories in interview content from the renowned American talk show The Ellen DeGeneres Show. The research shows that: (1)The “violation” of the Cooperative Principle often forms a dynamic balance with the “maintenance” of the Politeness Principle, achieving both communicativeness and humor; (2)The Speech Act Theory serves as a linguistic form carrier for the application of the Politeness Principle, effectively mitigating face-threatening acts; (3)The interaction of the three-dimensional theories reveals the pragmatic triangular relationship of “information-relationship-intention” in entertainment interviews. This study aims to provide a reference for the pragmatic analysis of entertainment interview shows and supplements a pragmatic perspective of the integration of the three theories. It also offers practical insights for creators of interview-based variety shows to harmonize entertainment value and relational dynamics.

Comic sketch has become an essential part of the China Media Group Spring Festival Gala Evening stage every year. Its form is simple and the verbal has some kind of humor. Through the dialogue between the person, the comic sketch is loved by the audience. To make jokes, the actors in the comic sketches often violate the Cooperative Principle and Politeness Principle to realize the pragmatic functions of humor. Grice’s Cooperative Principle in daily communication, communicators should follow the principle of a particular task. Linguist Leech put forward the Politeness Principle. The principle is an addition to the Cooperative Principle and is further extended. This paper under the perspective of the Cooperative Principle and Politeness Principle in the comic sketch Huan bu huan of the 2022 China Media Group Spring Festival Gala Evening, some humorous dialogues are analyzed. Results showed that these dialogues for violating the rules produced between the lines to achieve the humorous effect. The purpose of this paper is to deepen people’s understanding of comic sketch language and to provide a reference for the audience to appreciate the unique artistic and aesthetic value of the comic sketch.

A good communication is reflected in the use of good and appropriate language. Politeness in a language is an important thing that needs to be considered in communication. However, often the problem of politeness in language becomes an obstacle for the younger generation in using Balinese. For that reason, a research on politeness in language related to the use of good and appropriate language in using Balinese is very important to do. Data of this research is written data of Balinese folklore. To obtain good research results, the data collection method applied in this study is the observation method with the help of notes. The data analysis used matching and distributional methods with intralingual and extralingual techniques. The data was analyzed referring to the view that living language (used orally and in writing) represents facts about nature, society and culture that exist in its environment so that in addition to being a social fact, language is also a record of natural facts as a sign of the relationship between humans and their natural environment. This study shows that the principle of politeness includes the principle of politeness and the principle of cooperation. Related to the two principles, the forms of compliance with the principle of politeness and the principle of cooperation, the forms of violations of the two principles, and the reasons why violations of the two principles of politeness can occur are studied.

The principle of conversation is an important part of communication, both the cooperation principle and the politeness principle. Cooperation principle is consideribly necessary to make the point of communication is delivered properly, so it doesn’t make any reinterpretation. On the other hand, politeness principle is important to keep social relation among the speakers. This research discusses the influence of the cooperation principle on violations that occur in the politeness principle. Data are utterances found in the movie Tenggelamnya Kapal Van der Wijck. This study is worthed to conduct due to in the Tenggelamnya Kapal Van der Wijck film, it is found many cause and effect relationships between the cooperation and politeness principle. The purpose of this research is to describe the relationship between the two principles. At the stage of providing data, the writer used the refer method. The data analysis phase is used by the equivalent method by utilizing the intralingual and extralingual equivalent methods. The results of data analysis are presented descriptively and assisted with the use of tables. The results of the study show that, between the two principles the conversation does not always support each other. However, an effort was found to fulfill a principle by violating other principles, in other words there was a correlation between the two principles. Based on the analysis carried out, it was found that there were several utterances that violated the politeness principle influenced by the cooperation principle that was fulfilled. The factor behind this is the tendency of the participants to say clearly and frankly even though they must override the politeness principle.