Abstract
Various studies have been carried out on The Impoliteness Theory, in various contexts as well as in works of art where dialogue is present. One reason why it is considered as a source of humor would be the fact that it encourages willingness to read, another reason would be the fact that characters appear with a variety of behaviors, alongside Politeness we meet Impoliteness. This paper aims to analyze the dialogue between Tana and Kote, two female characters from “A 14 year old groom” written by Andon Z. Çajupi . The Impoliteness super strategies, the face threatening acts, the fulfillment of Grice’s Cooperation Maxims, turn- taking in dialog, the sentence structures and the lexical units will serve as the basis for this analysis. Through the dialogue analysis of these two characters, it is seen how the Impoliteness is realized in the works of the Albanian author and the other dimensions of the characters’ behavior it provides us with, adding thus to the totality of a characters’ behavior.
Highlights
Çajupi lived and worked in the end of the XIX century and the beginning of the XX century
The theme treated in “A 14-year old groom is “unsuitable marriages” Dado (1986) which is accompanied by the difficulties women of the time had to face, in an outdated environment, which the author has described very realistically, laying the “foundation for a realistic literature”
The paper aims to offer an analysis of the realization of The Impoliteness Theory in the second scene, “at the Stone mill’, the humorous situation created which the author uses to attack the outdated village mentality of the time
Summary
Çajupi lived and worked in the end of the XIX century and the beginning of the XX century His contribution to the Albanian Literature is significant, according to Dado (1986), he contributed with the inclusion of the social themes in the Albanian comedy. Vimala Herman (1998) considers the drama language According to this author the turn taking in a drama “is organized in a way that it projects the turns of the “dramatis personae” which is decided by the playwright. According to Herman in Culpeper et al (1998) the most common strategy is “one speaker at a time”, but she adds that here we can be included: “the use of turn lapses, pauses, gaps, interruptions, overlaps either as partial or as full simultaneous speech, make their appearance” (Culpeper, 1996) cited ibid. by Boussfield, has compiled a list of the impoliteness super-strategies: 1. The bald on record impoliteness
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