Abstract
AbstractImpoliteness can be defined as the use of “communicative strategies” which are “designed to attack face, and thereby cause social conflict and disharmony” (Culpeper et al. 2003, 1564). The present study applies Jonathan Culpeper’s (2011a) model of “impoliteness” supplemented by the notions of jocular mockery, jocular abuse, and recipients’ responses (Bousfield 2008, 2010, Haugh and Bousfield 2012) to the Egyptian TV show Abla Fahita. Abla Fahita (Egyptian Arabic: أبلة فاهيتا [ʾabla fāhīta]) is a puppet character that has regularly appeared on Egyptian television since 2011. The show is hugely popular and has been phenomenally successful, being watched on average by millions, according to the Egyptian Centre for Research on Public Opinion. It should be noted, however, that, due to the conservative nature of Egyptian culture, Abla Fahita and other similar TV shows are considered to violate Egyptian politeness standards radically. Hence, such shows have been condemned as degrading and of low moral standards and have been accused of causing a deterioration in the standards of Egyptian public taste. Despite all denunciations, Abla Fahita still enjoys a huge audience and dominates broadcast ratings. Part of the show’s popularity can be ascribed to its characteristic impoliteness, particularly Abla Fahita’s off-beat expressions in mocking her guests and her use of sexual innuendo, which is seen as entertaining by many viewers. The study, which reveals thatAbla Fahitaemploys what can be called a humorous-impoliteness formula to entertain viewers, is an attempt to apply contemporary Impoliteness Theory across cultures, and to Colloquial Egyptian Arabic in particular.
Highlights
The concept of politeness first attracted the academic concern of linguists in the 1970s
The entertainment industry has a huge investment in making us laugh and considers “comedy” as a “giant” within television entertainment, “comedies” which contain offensive language (Zillmann and Bryant 1991, 261). All this suggests that impoliteness can somehow be entertaining and humorous. This overlap between humour and impolite discourse has not been missed by television producers who have developed a large number of media productions using this “humorous-impoliteness” formula in the name of “entertainment.” Surprisingly, media communication researchers have acknowledged that the use of entertaining impoliteness, which has been described by Culpeper (2011a, 233) as “exploitative,” is a “ubiquitous phenomenon” (Zillmann and Bryant 1994, 437)
The very fact Abla Fahita is a puppet constructs a jocular frame within which mockery and/or abuse are considered humorous by the celebrity guest, the audience at the Duplex, and the viewers at home since the whole situation is not to be taken “too seriously.”
Summary
The concept of politeness first attracted the academic concern of linguists in the 1970s (cf. Brown and Levinson 1978, 1987, Leech 1983). This overlap between humour and impolite discourse has not been missed by television producers who have developed a large number of media productions using this “humorous-impoliteness” formula in the name of “entertainment.” Surprisingly, media communication researchers have acknowledged that the use of entertaining impoliteness, which has been described by Culpeper (2011a, 233) as “exploitative,” is a “ubiquitous phenomenon” (Zillmann and Bryant 1994, 437) They have defined it as any activity designed to delight and, to a smaller degree, enlighten audiences through the exhibition of the fortune or misfortunes of others, and through the display of special skills (Zillmann and Bryant 1994, 438). Abla Fahita is about to become a global phenomenon with her very own Netflix series, which would be released in more than 20 languages and in 190 countries.
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