UE 5LISM11

The Linguistics of Politeness

 Course Summary
This course explores how politeness is coded in language. What does it mean to be polite?
How can speakers express politeness and why? What effect does it have on the listener?

Three levels of analysis are taken into account. First, how is politeness expressed at the
word level? Students will learn how pronouns, adverbs, verbs, formulae, etc. can all be
used to encode politeness. Uses of the preterite and modal auxiliaries are also addressed.
Second, the course deals with how speakers can convey politeness at the sentence level.
Students will study more specifically interrogative clauses, adverbial clauses, and passive
forms. Third, focus is drawn to the discourse level with the help of two concepts: The
Cooperative Principle and Face theory.

No prior knowledge of politeness theory is required.

The course is based on several books, including:

- The Pragmatics of Politeness by Geoffrey Leech
- Politeness: Some Universals in Language Usage by Penelope Brown & Stephen
Levinson
- Logic and Conversation by Paul Grice.

Note
In this booklet, you will find:
- Examples (in italics) used in class to illustrate some theoretical issues
- Exercises to do at home or in class
- A glossary of useful grammatical terms you can have a look at in case you do not
understand some of the grammatical terms used in class. You will find it after the
Semester Outline, just before the Introduction.
- A mock exam
 Semester Outline
Introduction

1. (Im)Politeness at the Word Level

1.1 Words & Phrases
1.1.1 Identifying Morphemes, Words, Phrases and Clauses — Exercise 1
1.1.2 Parts of Speech — Exercise 2
1.1.3 Special Uses of Some Parts of Speech
1.1.4 Polite Words in The Importance of Being Earnest — Exercise 3
1.2 The Preterite
1.2.1 Identifying Preterite Uses — Exercise 4
1.2.2 Special Use of the Preterite — Exercise 5
1.2.3 The Preterite in The Mixture as Before— Exercise 6
1.3 Modal Auxiliaries
1.3.1 Modal Auxiliary Uses — Exercise 7
1.3.2 Modal Auxiliaries & the Present Tense — Exercise 8
1.3.3 Modal Auxiliaries & the Preterite — Exercise 9
1.3.4 Modal Auxiliaries in Miscellaneous Writings of the Late Dr. Maginn — Exercise
10
1.4 Impoliteness at the Word Level
1.4.1 Profanity — Exercise 11
1.4.2 Perception of Profanity — Exercise 12
1.4.3 Expletive Infixation — Exercise 13

2. (Im)Politeness at the Sentence Level

2.1 Questions — Exercises 14 and 15
2.2 Adverbial Clauses
2.2.1 Types of Adverbials — Exercise 16
2.2.2 Adverbial Clauses in Equal Rites — Exercise 17
2.3 Passive Voice
2.4 Impoliteness at the Sentence/Discourse Level
2.4.1 Grammar & Profanity — Exercises 18 and 19
2.5 Recap: Politeness & Impoliteness at the Word & Sentence Levels —
Exercise 20
3. (Im)Politeness at the Discourse Level
3.1 The Cooperative Principle
3.2 Face Theory — Exercise 21
3.2.1 Face Theory in Gifted Trust — Exercise 22
3.3 Impoliteness at the Discourse Level
3.3.1 Impoliteness in The Big Bang Theory & The G. Norton Show — Exercise 23
3.4 Recap: Politeness & Impoliteness at the Word, Sentence & Discourse
Levels
3.4.1 Politeness & Impoliteness in Fleabag — Exercise 24
3.4.2 Politeness & Impoliteness in Harry Potter and the Philosopher's Stone—
Exercise 25

***

At the end of this booklet, you will find a mock exam with answers to practice on your
own.
 A GLOSSARY OF USEFUL GRAMMATICAL TERMS
Adverb (adverbe) -- a word which modifies the meaning of a verb, an adjective, another
adverb, or a whole clause or sentence, and which typically expresses manner (e.g. he spoke
quietly), degree (e.g. she is very clever), or a circumstance such as place, direction, or time
(e.g. come here; they arrived yesterday).

Adverbial phrase / adverbial clause – (groupe adverbial / proposition

adverbiale/circonstancielle) – a phrase which acts as an adverb / a subordinate clause which
acts as an adverb.

Auxiliary (auxiliaire) -- An auxiliary is one of a small category of verbs which have a

grammatical rather than a lexical role; they are used in combination with other verbs, for
example to form particular tenses and constructions. For instance, may is an auxiliary
verb in It may rain in the afternoon, where it is used in combination with the main verb
rain. An auxiliary is sometimes referred to as an auxiliary verb.

Clause (proposition) -- A clause is a grammatical unit which typically contains a verb (or
verb phrase), and which may be a complete sentence in itself or may form part of a
sentence. For example, the sentence ‘I like folk music’ consists of one clause – because
there is only one verb - while the sentence ‘I like folk music but I’m not keen on jazz’
consists of two clauses (see the two verbs) linked by but.

Determiner (déterminant) -- A determiner is a word which precedes a noun and limits the
application of that noun, for example the in ‘the park’, some in ‘some cheese’ and both in
‘both boys’.

Intensifier (intensifieur) -- a word, phrase, or prefix which gives force or emphasis.

Intensifiers are often adverbs (e.g. very, extremely, utterly) or adjectives (e.g. complete in
He’s a complete fool).

Modifier (modifieur) -- A modifier is a word, phrase or clause which limits or qualifies

the meaning of another word, phrase, or clause. For example, in school
trip, school modifies trip; in just next to him, just modifies next to; in city of dreaming spires,
of dreaming spires modifies city. Modifiers may be described more specifically as
premodifiers or postmodifiers, depending on whether they come before or after the
modified word, phrase, or clause.

Morpheme (morphème) -- A morpheme is a unit of a language that cannot be further

divided.
Noun Phrase (groupe nominal) a phrase formed by a pronoun or a noun and all its
modifiers and determiners. A single noun can be a noun phrase as long as it has a
syntactic role (= function) in the sentence (e.g. subject, object, etc.). Ex: I found the owner of
the dog (three NPS here: the pronoun I, and the NPs the owner of the dog and the dog).

Prepositional Phrase (groupe prépositionnel) – a phrase which consists of a preposition (in,

at, on, etc.) and the complement (most commonly a noun phrase) which follows it. Ex: She
was taken ill during the film. Would you like to come with me please?

Pronoun (pronom) -- A pronoun is a word which functions like a noun and refers to
something or someone mentioned elsewhere in the discourse (for example, in ‘Michael
took the children with him’, the pronoun him refers back to the noun Michael) or
identifiable from context or usage (for example, if a person in a shop points to a pair of
shoes and says ‘I’d like those’, it is clear that the pronoun I refers to the speaker and the
pronoun those refers to the shoes).

Sentence (phrase) – a unit composed of one or more clauses.

Subordinate clause (proposition subordonnée) – It is a clause which cannot stand alone in

a sentence. Ex: I am glad that you came. If you see anything suspicious, report it to the police.
There are several types of subordinate clauses. You do not need to know them all but you
will probably hear about nominalized clauses (= clauses which have the same syntactic
role as a noun phrase and can then be rephrased by the latter), THAT-clauses (it was
strange that you should be here), and TO-infinitive clauses (I decided to stay at home).

Utterance (énoncé) -- an uninterrupted chain of spoken or written language; something

that someone says or writes. It need not be a sentence. Ex: Bullshit!

Verb phrase (groupe verbal) -- A verb phrase consists of a main verb alone, or a main verb
plus any modal and/or auxiliary verbs. Ex: She smiled. I don’t believe you.
 Introduction
Politeness is generally defined as behavior that is respectful and considerate of other
people so as not to offend them. To be polite is “to speak or behave in such a way as to
(appear to) give benefit or value not to yourself but to the other person (s), especially the
person(s) you are conversing with” (Leech). It is “a system of interpersonal relations
designed to facilitate interaction by minimizing the potential for conflict and
confrontation inherent in all human interchange” (R. Lakoff).

(1) Say that again.

(2) Could you say that again?

1. (Im)politeness at the word level

1.1. Words & Phrases

- A morpheme is a unit of a language that cannot be further divided.
- A word is a distinct meaningful element of speech composed of one or more
morphemes. All words belong to at least one part of speech (e.g. noun, determiner,
etc.).
- A phrase (“groupe” or “syntagme” in French) is a set of words revolving around
one of the parts of speech just mentioned. Ex: NP, PP, VP, etc.
- A clause (“proposition” in French) contains a noun phrase which is the subject
and a verb phrase. There are independent or subordinate clauses.
- A sentence is a unit composed of one or more clauses.
- An utterance may not necessarily be a sentence. Ex: oh dear!

1.1.1 Identifying Morphemes, Words. , Phrases and Clauses

Exercise 1

Starting with a (rather rude) command in (1) and (2), the speaker is getting more and
more polite from (3) onwards through the use of specific morphemes, words, phrases or
clauses. Identify these items. If they are words, what part of speech do they belong to? If
they are phrases, what type of phrase are they?

1. Dinner!
2. Make dinner!
3. Make dinner, please.
4. Can you make dinner, please?
5. Could you make dinner, please?
6. Could you maybe make dinner, please?
7. Could you maybe make dinner, if you have time, please?
8. I wonder if you could maybe make dinner, if you have time, please?
9. I was wondering if you could maybe make dinner, if you have time, please?
10. My dear, I was wondering if you could maybe make dinner, if you have time, please?

1.1.2 Parts of Speech

Exercise 2

Identify which words are used to convey politeness in these sentences. Which part of
speech do they belong to?

1. I hope you found your way in the building.

2. I cannot buy you any more toys, darling.
3. ‘[Can I borrow your pen?] Obviously, here it is.’
4. Excuse me, I need some help.
5. ‘I bought you a bagel. Oh thank you!’
6. Can you possibly give me a ride?
7. Congratulations on a job well done!
8. I believe this isn’t true.
9. I’m so sorry I didn’t see you there.
10. I wonder if I can come with you.

1.1.3 Special Uses of Some Parts of Speech

(3) a) Hey John. My friends and I are going for a drink soon. We will see you tomorrow.
b) Hey John. My friends and I are going for a drink soon. We could all go together.

(4) a. Is there a way I can come tonight?

b. Is there any way I can come tonight?
(5) a. Do you want some coffee?
b. Do you have any coffee?
(6) a. I’m sorry, I need to borrow your pen.
b. Excuse me, can I borrow your pen?
(7) I’m sorry about what I did.
(8) I’m sorry for your loss.
(9) ‘I’m thinking of Oh and what about the trip? Oh sorry, I wasn’t finished.
(10) Excuse me, what time is it?
(11) a. I want to buy this hat.
 b. I wish to buy this hat.
(12) I wish to know how you are.
(13) I suppose you can leave, yes.
(14) I wanted to ask how you are. I was hoping you were ok.
(15) a. May I speak with you after the class?
b. Professor, may I speak with you after the class?

1.1.4 Polite Words in‘The Importance of Being Earnest’

Exercise 3

Find 5 adjectives, 3 different vocatives (specifying their type), 2 adverbs and three
routinized formulae expressing politeness.

[Enter Lane.]

LANE: Lady Bracknell and Miss Fairfax.

[Algernon goes forward to meet them. Enter Lady Bracknell and Gwendolen.]

3 LADY BRACKNELL: Good afternoon, dear Algernon, I hope you are behaving very well.

ALGERNON: I’m feeling very well, Aunt Augusta.

LADY BRACKNELL: That’s not quite the same thing. In fact the two things rarely go together. [Sees
6 Jack and bows to him with icy coldness.]

ALGERNON: [To Gwendolen.] Dear me, you are smart!

GWENDOLEN: I am always smart! Am I not, Mr. Worthing?

9 JACK: You’re quite perfect, Miss Fairfax.

GWENDOLEN: Oh! I hope I am not that. It would leave no room for developments, and I intend to
develop in many directions. [Gwendolen and Jack sit down together in the corner.]

12 LADY BRACKNELL: I’m sorry if we are a little late, Algernon, but I was obliged to call on dear Lady
Harbury. I hadn’t been there since her poor husband’s death. I never saw a woman so altered; she
looks quite twenty years younger. And now I’ll have a cup of tea, and one of those nice cucumber
15 sandwiches you promised me.

ALGERNON: Certainly, Aunt Augusta. [Goes over to tea-table.]

LADY BRACKNELL: Won’t you come and sit here, Gwendolen?

18 GWENDOLEN: Thanks, mamma, I’m quite comfortable where I am.

 ALGERNON: [Picking up empty plate in horror.] Good heavens! Lane! Why are there no cucumber
sandwiches? I ordered them specially.

21 LANE: [Gravely.] There were no cucumbers in the market this morning, sir. I went down twice.

ALGERNON: No cucumbers!

LANE: No, sir. Not even for ready money.

24 ALGERNON: That will do, Lane, thank you.

LANE: Thank you, sir. [Goes out.]

O. Wilde. (1895). The Importance of Being Earnest.

1.2 The Preterite

(16) I was at home when she called.
(17) She said she was at home. (She said:‘ I am at home’).
(18) a. If I were rich…
b. Could you open the window?
(19) a. I wanted to ask how you were.
b. Could I ask a question please?
c. He could swim if he learned.
(20) May I ask a question ?
(21) She asked me if she could stay.
(22) I was trying to call her when she knocked.

1.2.1 Identifying Preterite Uses

Exercise 4

Say if it is the quotative or modal use of the preterite in the following sentences. If it is its
quotative use, transform the sentence into direct speech. If it is its modal use, explain if it
conveys only non-reality or non-reality and politeness.

1. Had you been home, you would have seen John.

2. I could just quit smoking, but I don’t want to.
3. Could you give me a hand with the groceries?
4. He said he couldn’t make it tonight.
5. Would you pass the salt?
6. Tiffany thought she wouldn’t listen to her mother.
 1.2.2 Special Use of the Preterite
Exercise 5

Compare these sentences. What difference is there between them?

1. a) I wonder if you want to come.

1. b) I wondered if you wanted to come.
1. c) I was wondering if you wanted to come.

2. a) I hope you will be there.

2. b) I hoped you would be there.
2. c) I was hoping you would be there.

1.2.3 The Preterite in The Mixture as Before

Exercise 6

Is it a quotative or a modal use of the preterite in the segments below? Justify. If it is its
modal use, explain if it conveys only non-reality or also politeness.

It is not often that you find a man who has boldly taken the course of his life into his own hands.
When you do, it is worth while having a good look at him.
3 That was why I was curious to meet Thomas Wilson. It was an interesting and a bold thing he had
done. Of course the end was not yet and until the experiment was concluded it was impossible to
call it successful. But from what I had heard it seemed he must be an odd sort of fellow and I
6 thought I should like to know him. I had been told he was reserved, but I had a notion that with
patience and tact I could persuade him to confide in me. I wanted to hear the facts from his own
lips. People exaggerate, they love to romanticize, and I was quite prepared to discover that his
9 story was not nearly so singular as I had been led to believe.
And this impression was confirmed when at last I made his acquaintance. It was on the Piazza in
Capri, where I was spending the month of August at a friend's villa, and a little before sunset,
12 when most of the inhabitants, native and foreign, gather together to chat with their friends in the
cool of the evening. There is a terrace that overlooks the Bay of Naples, and when the sun sinks
slowly into the sea the island of Ischia is silhouetted against a blaze of splendour. It is one of the
15 most lovely sights in the world. I was standing there with my friend and host watching it, when
suddenly he said:
“Look, there's Wilson.”
18 “Where?”
“The man sitting on the parapet, with his back to us. He's got a blue shirt on.”
I saw an undistinguished back and a small head of grey hair, short and rather thin.
21 “I wish he'd turn round,” I said.
“He will presently.”
“Ask him to come and have a drink with us at Norgano's.”
24 “All right.”
 The instant of overwhelming beauty had passed and the sun, like the top of an orange, was
dipping into a wine-red sea. We turned round and leaning our backs against the parapet looked
27 at the people who were sauntering to and fro. They were all talking their heads off and the cheerful
noise was exhilarating. Then the church bell, rather cracked, but with a fine resonant note, began
to ring. The Piazza at Capri, with its clock lower over the footpath that leads up from the harbour,
30 with the church up a flight of steps, is a perfect setting for an opera by Donizetti, and you felt that
the voluble crowd might at any moment break out into a rattling chorus. It was charming and
unreal.
33 I was so intent on the scene that I had not noticed Wilson get off the parapet and come towards
us. As he passed us my friend stopped him.
“Hullo, Wilson, I haven't seen you bathing the last few days.”
36 “I've been bathing on the other side for a change.”
My friend then introduced me. Wilson shook hands with me politely, but with indifference; a
great many strangers come to Capri for a few days, or a few weeks; and I had no doubt he was
39 constantly meeting people who came and went; and then my friend asked him to come along and
have a drink with us.
“I was just going back to supper,” he said. “Would you like to join?”
42 “Can't it wait?” I asked.
“I suppose it can,” he smiled.
W. Somerset Maugham. (1945). ‘The Lotus Eater’, The Mixture as Before.
[Portions of the text were slightly altered].

1.3 Modal Auxiliaries

(23) She can swim.
(24) I’ll speaker louder so that people may hear me.
(25) My son won’t listen to me.
(26) You can’t smoke in here.
(27) You may sit down.
(28) You must sit down.
(29) You shall not kill.
(30) Can you see the squirrel in the garden?
(31) She can swim.
(32) You can’t smoke in here.
(33) May I ask a question?
(34) I can smoke in my office.
(35) Can you close the window?
(36) She cannot swim.

1.3.1 Modal Auxiliary Uses

Exercise 7

What is the use of the underlined modal auxiliary: dynamic or deontic? Justify with a
paraphrase. Specify what is the meaning of the modal auxiliary (volition, permission,
ability, etc.).
1. John can’t speak Spanish.
2. You may not speak while you go through the corridor.
3. My car won’t start, the battery is dead.
4. Jenny, you must sit down now.
5. He’s so tall he can touch the ceiling.
6. You shall not pass!

1.3.2 Modal Auxiliaries & the Present Tense

Exercise 8

What is the use of the underlined modal auxiliary: dynamic or deontic? What is its
meaning? What type of clause is it? Is politeness conveyed? Use a gloss to explain the
sentence.
1. Can I tell you something?
2. May I ask a question?
3. You mustn’t talk behind his back.
4. a. Shall I open the window?
b. Shall we dance?
5. Will you marry me?
6. Can she run a marathon?

1.3.3 Modal Auxiliaries & the Preterite

Exercise 9

What is the use of the underlined modal auxiliary: dynamic or deontic? What is its
meaning? What is the use of the preterite? What is the sentence type? Is politeness
conveyed? Explain the meaning and/or effect produced by the whole.

1. Could I ask you a question?

2. Could she score if she was taller?
3. Could you open the door for me?
4. He asked if I could open the jar for him.
5. He told me I could sit down.
6. I asked if I could leave.
7. She asked if we should dance.
8. When I asked, Pete said he could remember her.
9. She wondered if he could even see her.
10. You should sit or you’ll get tired.
 1.3.4 Modal Auxiliaries in Miscellaneous Writings of the Late Dr.
Maginn’
Exercise 10

What is the use of the underlined modal auxiliary: epistemic, dynamic or deontic? What
is its meaning? What is the use of the preterite (if applicable)? Is politeness conveyed? Use
a gloss to explain the sentence.

I asked if Mr. Blackwood could be seen, and was introduced to his private office. I made
a rather formal bow, and I said, ‘You must be Mister Blackwood, I presume, sir.'
3 ‘Yes, sir, was the answer, ‘at your service.’
‘It would have been better, sir, said I, ‘if you had been at my service a week ago, you'd
have saved me a journey, but, as I'm here, I'm very glad entirely that you are at my service
6 at last.’
‘Pray, sir, may I ask, he said, what can I do to oblige you, or how have I displeased you?
Our establishment is very punctual in replying to all letters.’
9 ‘See, sir, listen to me now, I said, ‘there’s some rascal in Cork—you know Cork, don't
you? Well, there's some blackguard there making use of my name in your magazine, and
I must know who he is.’
12 ‘Oh! sir, said Blackwood, ‘I’m afraid I don’t have the right to disclose any such questions,
and those requests cannot be granted without delay, and consideration.
‘Consideration, indeed! I cried.
Maginn, W. & Mackenzie, R. S. (1857). Miscellaneous Writings of the Late Dr. Maginn.
[Portions of the text were slightly altered].

1.4 Impoliteness at the Word Level

(37) You bitch/you dick!
(38) Hey there bastard, how’ve you been?

1.4.1 Profanity
Exercise 11

Read the text below and answer the following questions:

1. What is profanity?
2. What is the difference between profane words and taboo words? Are all profane
words taboo words? Are all taboo words profane words?
3. What are the four types of profanity?
 4. Which categories can be speaker-oriented and which can be directed at the addressee?
5. Consider these 4 words: Jesus, bloody, moron, crap. Are these words taboo? Profane? If
profane, which category do they belong to? Are they speaker-oriented or addressee-
oriented?

***
Profane words uniquely allow you to express pain or cause it in others. They peerlessly
demonstrate frustration, anger, or emphasis. […] These words are versatile. Name a feeling, and
3 profanity can elicit it. Profanity can increase sexual arousal. It can increase your ability to
withstand pain (compare the analgesic effect of yelling fuck! when you hammer your thumb with
the effect of yelling duck!). When deployed appropriately, profanity can cause delight—countless
6 comedians stake their professional lives on the impact of “working blue.” 1 But when
miscalibrated, use of the very same words can make you seem crude, uneducated, or out of
control. In their darkest incarnation, profane words can be part of verbal abuse, they can denigrate
9 and disempower people, and they can be used in maledictions. And because these words have
such outsized impact, we ban them. We chastise or spank children for using them and fine or
arrest adults who use them around children. Because the words are just too powerful. […]
12 English profanity tends to be drawn from certain categories of words. The word profanity
originally referred to the first group. In Latin profanus literally means “outside the temple,”
denoting words or acts that desecrate the holy. For some people, the use of religious words in
15 secular ways constitutes blasphemy—a sin against religious doctrine—and this is the pathway
that makes those terms taboo. The names of religious figures, like Jesus Christ, Jehovah, or
Mohammad, are easy fodder.2 So are aspects of religious dogma. In English, we have a few of these,
18 like holy, hell, God, damn, and, of course, goddamn. […] The second place English profanity comes
from is language relating to sex and sexual acts. This includes the acts themselves (fuck, for
instance), sex organs involved in those acts (pussy and cock), people who perform those acts
21 (cocksucker and motherfucker), and artifacts and effluvia related to those acts (spooge, dildo, and so
on). So the second prong of our profanity principle is sex. Third is language involving other bodily
functions—things that come out of your body, the process of getting them out of your body, and
24 the parts of your body that they come out of. This includes robust cohorts of words describing
feces, urine, and vomit, among others, as well, of course, as the body parts associated with these
substances and the artifacts used in those body parts upkeep, like douchebag, and so on. And
27 finally there are the slurs. Among the most offensive words are terms like nigger, faggot, retard,
and the like. These words are offensive by dint of their derogatory reference to people based on
some group that they’re perceived as belonging to, defined in terms of sex, sexual orientation,
30 ethnicity, religion, and so on. New terms like this are developing all the time—relatively recent
additions to English include tard (from retard) and sperg (derived from Asperger’s syndrome). […]
Profane words are those particular words that some people in a culture believe are unacceptable
33 in specific settings. The taboo is about the words themselves, not necessarily what they denote.
The taboo against the word shit is about the word itself; the word is taboo regardless of whether
it’s used to describe feces or to express frustration. And we know that profanity is about the word

1 "Working blue" refers to the act of using swear words and discussing things that people do not discuss in

"polite society". A "blue comedian" or "blue comic" is a comedian who usually performs risqué routines
layered with curse words.
2 Easy fodder: In popular culture it has taken the meaning of being an easy target, easy prey.
36 rather than the content because in many situations it’s perfectly acceptable to talk about the same
content using different words. Parents will willingly talk to small children about their poo-poo or
to their doctor about their stool. But if they hear the word shit on the radio while the kids are
39 listening, you can bet they’ll be sending the station manager an angry letter. And actually, to refine
our definition of profanity just a bit further, it’s not really the words themselves that aren’t
acceptable but the words used with specific senses or meanings. Words like ass, cock, and bitch can
42 be passable when used to describe animals but are profane when describing people or body parts.

Bergen, B. K. (2016). What the F: What Swearing Reveals About Our Language, Our Brains, and
Ourselves.

1.4.2 Perception of Profanity

Exercise 12

Below are the results of a survey (cited in Bergen: 2016) that was conducted in 2010 by the
New Zealand Broadcasting Standards Authority, New Zealand’s broadcasting regulatory
body. It asked 1,500 adults to rate how acceptable or unacceptable they’d find dozens of
words and expressions should they appear on nighttime television. Observe the chart and
answer the following questions:

1. What is the general attitude expressed by New Zealanders regarding most of the
words on the list?
2. What can you say about the perception of whether fuck (off) is acceptable on television,
according to participants?
3. Look at the top and bottom words of the list? Are they speaker-oriented or addressee
oriented? What conclusions can you draw?
1.4.3 Expletive Infixation
Exercise 13

Watch 'Video A and complete the following tasks.

1. List the rules of expletive infixation in English.

2. Insert the expletive freaking within the following words: Philadelphia; Impatiently;
Dramatic; International.
 2. (Im)Politeness at the Sentence Level

2.1 Questions
(39) Could you open the window ?
(40) Is he the new director?
(41) I don’t know if this is true.
(42) Do you like chocolate?
(43) Won’t you have some tea?
(44) Couldn’t you come another day?
(45) [Can I go now?] Well, can I?
(46) Do you want pasta or pizza for dinner?
(47) You got home safely, then?
(48) Who is this guy?
(49) Where have you been?
(50) What did you say
(51) Why don’t you see a doctor?
(52) ‘I met someone. Who?’
(53) He left alone, didn’t he?
(54) He didn’t leave alone, did he?
(55) He left alone, did he?
(56) I wonder if she’ll come.
(57) I asked who his date was.
(58) Will she come?
(59) Who is his date?
(60) ‘Give them to Max.’ ‘Give them to Max?
(61) ‘Give them to Max’. Give them to whom?’
(62) I was stuck in the train! What was I supposed to do?
(63) Can you/could you/will you/would you…?.
(64) Open the window!
(65) Could you open the window?
(66) Can I borrow your pen?
(67) Can’t you come in the house for once and turn the TV off?
(68) Can you come in the house…?
(69) Won’t you have another drink?
(70) Will you have another drink ?
(71) Don’t you want some tea?
(72) Why don’t you see a doctor?
(73) Go and see a doctor
(74) Why can’t you come in and turn off the TV?
(75) Did you have to work so late?
(76) You shouldn’t work so late.
(77) Why would you say something like that?
 (78)You’re talking nonsense.
(79) Open the door, can you/could you/will you /would you?
(80) Stop complaining, will you?
(81) I was wondering if I could speak to you for a second.
(82) Could I speak to you for a second?
(83) Can I speak to you for a second?

Exercise 14

For each sentence, identify the type of question used.

1. Why can’t you see it my way for once?

2. ‘Lovely day, isn’t it?
3. You think you’re being funny, do you?
4. She wondered if he was ok.
5. Don’t you see you’re in my way?

Exercise 15

Identify the types of questions (underlined) in this text. Which ones convey politeness?
Explain why.

MRS. JUNO. Wasn't there a widow?

GREGORY. No. Widows are extraordinarily scarce in modern society. Husbands live longer than
3 they used to; and even when they do die, their widows have a string of names down for their next.

MRS. JUNO. Well, what about the young girls?

GREGORY. Oh, who cares for young girls? They're sympathetic. They're beginners. They don't
6 attract me. I'm afraid of them.

MRS. JUNO. That's the correct thing to say to a woman of my age. But it doesn't explain why you
seem to have put your scruples in your pocket when you met me.

9 GREGORY. Surely that's quite clear. I—

MRS. JUNO. No: please don't explain. I don't want to know. I take your word for it. Besides, it
doesn't matter now. Our voyage is over; and to-morrow I start for the north to my poor father's
12 place.

GREGORY [surprised]. Your poor father! I thought he was alive.

MRS. JUNO. So he is. What made you think he wasn't?

15 GREGORY. You said your POOR father.

 MRS. JUNO. Oh, that's a trick of mine. Rather a silly trick, I Suppose; but there's something
pathetic to me about men: I find myself calling them poor So-and-So when there's nothing
18 whatever the matter with them.

GREGORY [who has listened in growing alarm]. But—I—is?— wa—? Oh, Lord!

MRS. JUNO. What's the matter?

21 GREGORY. Nothing.

MRS. JUNO. Nothing! [Rising anxiously]. Nonsense: you're ill.

GREGORY. No. It was something about your late husband—

24 MRS. JUNO. My LATE husband! What do you mean? [clutching him, horror-stricken]. Don't tell
me he's dead.

GREGORY [rising, equally appalled]. Don't tell me he's alive.

27 MRS. JUNO. Oh, don't frighten me like this. Of course he's alive—unless you've heard anything.

GREGORY. The first day we met—on the boat—you spoke to me of your poor dear husband.

MRS. JUNO [releasing him, quite reassured]. Is that all?

30 GREGORY. Well, afterwards you called him poor Tops. Always poor Tops, Our poor dear Tops.
What could I think?

MRS. JUNO [sitting down again]. I wish you hadn't given me such a shock about him; for I haven't
33 been treating him at all well. Neither have you.

GREGORY [relapsing into his seat, overwhelmed]. And you mean to tell me you're not a widow!

MRS. JUNO. Gracious, no! I'm not in black.

36 GREGORY. Then I have been behaving like a blackguard. I have broken my promise to my
mother. I shall never have an easy conscience again.

MRS. JUNO. I'm sorry. I thought you knew.

39 GREGORY. You thought I was a libertine?

MRS. JUNO. No: of course I shouldn't have spoken to you if I had thought that. I thought you
liked me, but that you knew, and would be good.
42 GREGORY [stretching his hands towards her breast]. I thought the burden of being good had
fallen from my soul at last. I saw nothing there but a bosom to rest on the bosom of a lovely woman
of whom I could dream without guilt. What do I see now?

45 MRS. JUNO. Just what you saw before.

GREGORY [despairingly]. No, no.

MRS. JUNO. What else?

48 GREGORY. Trespassers Will Be Prosecuted: Trespassers Will Be Prosecuted.

MRS. JUNO. They won't if they hold their tongues. Don't be such a coward. My husband won't
eat you.

51 GREGORY. I'm not afraid of your husband. I'm afraid of my conscience.

MRS. JUNO [losing patience]. Well! I don't consider myself at all a badly behaved woman; for
nothing has passed between us that was not perfectly nice and friendly; but really! to hear a
54 grown-up man talking about promises to his mother!

GREGORY [interrupting her]. Yes, Yes: I know all about that. It's not romantic: it's not Don Juan:
it's not advanced; but we feel it all the same. It's far deeper in our blood and bones than all the
57 romantic stuff. My father got into a scandal once: that was why my mother made me promise
never to make love to a married woman. And now I've done it I can't feel honest. Don't pretend
to despise me or laugh at me. You feel it too. You said just now that your own conscience was
60 uneasy when you thought of your husband. What must it be when you think of my wife?

MRS. JUNO [rising aghast]. Your wife!!! You don't dare sit there and tell me coolly that you're a
married man!

63 GREGORY. I never led you to believe I was unmarried.

MRS. JUNO. Oh! You never gave me the faintest hint that you had a wife.

GREGORY. I did indeed. I discussed things with you that only married people really understand.

66 MRS. JUNO. Oh!!

GREGORY. I thought it the most delicate way of letting you know.

MRS. JUNO. Well, you ARE a daisy, I must say. I suppose that's vulgar; but really! really!! You
69 and your goodness! However, now we've found one another out there's only one thing to be done.
Will you please go?

GREGORY [rising slowly]. I OUGHT to go.

72 MRS. JUNO. Well, go.

GREGORY. Yes. Er—[he tries to go]. I—I somehow can't. [He sits down again helplessly]. My
conscience is active: my will is paralyzed. This is really dreadful. Would you mind ringing the
75 bell and asking them to throw me out? You ought to, you know.

MRS. JUNO. What! make a scandal in the face of the whole hotel! Certainly not. Don't be a fool.

Bernard Shaw, Overruled

2.2 Adverbial Clauses

(84) She took the taxi [when I was away]
(85) She took the taxi [then].
(86) [If you don’t mind], I’ll call a cab home now.
(87) Speak to me [when you are ready].
(88) Pass the salt [if you please]
(89) We’ll grab dinner [if she’s home.
(90) She was here [when he visited us].

2.2.1 Types of Adverbials

Exercise 16

For each sentence:

a. Identify the adverbial clause using brackets (e.g. She was here [when he visited us]).
b. Identify the meaning of the adverbial (hypothesis or time) and say if it expresses
politeness.

1. I’ll call you if I’m available.

2. If I were rich, I’d never work again.
3. I saw Lucy while I was walking down the street.
4. Be there at twelve if you can.
5. Come by my office if you have time.

2.2.2 Adverbial Clauses in ‘Equal Rites’

Exercise 17
 Identify the meaning of the underlined adverbials (hypothesis or time) and say if they
express politeness.

Finally a bearded head reappeared, rather reluctantly, as if the body it was attached to was being
pushed forward.
3 ‘Um,‘ it began, ‘look, mother—’
‘I’m not a mother, ’snapped Granny. ‘I’m certainly not your mother, if you ever had mothers,
which I doubt. If I was your mother I’d have run away before you were born. ’
6 ‘It’s only a figure of speech, ’said the head reproachfully.
‘It’s a damned insult is what it is!’
There was another whispered conversation.
9 ‘If I don’t get out, ’said Granny in ringing tones, ‘there will be Trouble. Do you see my hat, eh?
Do you see it?’(…)
Granny realized what it was that was bothering her about the head.
12 ‘Are you kneeling down? ’she said accusingly. ‘You’re not, are you! You’re dwarves!’
Whisper, whisper.
‘Well, what about it? ’asked the head defiantly. ‘Nothing wrong with that, is there? What have
15 you got against dwarves?’
‘Do you know how to repair broomsticks?’
‘Magic broomsticks?’(…)
18 ‘Weellll, ’he said. ‘I could get the apprentices in to look at this, I could.
It’s an education in itself. And you say it actually managed to get airborne?‘ ’It flew like a bird, ’
said Granny.
21 The dwarf lit a pipe. ‘I should very much like to see that bird, ’he said reflectively. ‘I should
imagine it’s quite something to watch, a bird like that. ’
‘Yes, but can you repair it? ’said Granny. ‘I’m in a hurry. ’The dwarf sat down, slowly and
24 deliberately.
‘As for repair, ’he said, ‘well, I don’t know about repair. Rebuild, maybe. Of course, it’s hard to get
the bristles these days even if you can find people to do the proper binding, and the spells need—
27 ’
‘I don’t want it rebuilt, I just want it to work properly, ’said Granny.
‘It’s an early model, you see, ’the dwarf plugged on. ‘Very tricky, those early models. You can’t
30 get the wood—’
He was picked up bodily until his eyes were level with Granny’s. Dwarves, being magical in
themselves as it were, are quite resistant to magic but her expression looked as though she was
33 trying to weld his eyeballs to the back of his skull.
‘Just repair it, ’she hissed, ‘when you have time.’
‘What, make a bodge job? ’said the dwarf, his pipe clattering to the floor.
36 ‘Yes, if you can.’
‘Patch it up, you mean? Betray my training by doing half a job? ’
‘Yes, ’said Granny. Her pupils were two little black holes.
39 ‘Oh, ’said the dwarf. ‘Right, then.’
Pratchett. (1987). Equal Rites.
[Portions of the text were slightly altered].
 2.3 Passive Voice
(91) He was seen (by her).
(92) She ate the cake.
(93) The cake was eaten (by her).
(94) When my favourite vase was broken, I was really upset.
(95) When you broke my favourite vase, I was really upset.
(96) Everyone in the family told me your son was a bit difficult.
(97) I was told your son was a bit difficult.
(98) This document is needed.
(99) You need to give me this document.

2.4 Impoliteness at the Sentence/Discourse Level

(100) Don’t walk away from me.
(101) Leave now.
(102) I want you to tell me.
(103) I demand compensation.
(104) You will listen to me now.
(105) You must sit down now.

2.4.1 Grammar & Profanity

Exercise 18

Read the text below and summarize the author’s argument concerning the word fucking
in the example given.

In every language there’s a logic to where words go. Nouns and verbs and prepositions
snap into place to form phrases and sentences. This is grammar. […] But as soon as you
3 add profanity to the mix, the rules start to change. Profanity, like the rest of language,
follows the largely unstated and usually unnoticed but thoroughly essential rules of
grammar floating around in your head. For example, a fluent English speaker might
6 complain, “There’s too much homework in this fucking class.” I know this is grammatical—
it’s a sentence that English speakers produce and understand fluently—because I
overheard and understood this very sentence when it was uttered by a real, live college
9 student.
This sentence complies thoroughly with the general grammatical rules that American
English speakers have in their heads. But squeeze this sentence a little, and you’ll find
12 that its grammar is a little strange. […]
We begin with There’s too much homework in this fucking class, as compared with There’s too
much homework in this stupid class. To intensify exactly how stupid the class is, you can
15 add really or very right before stupid to give you There’s too much homework in this very
stupid class. Admittedly, this sentence sounds a little clunky. But even if it won’t win you
a Pulitzer, it’s still English. You can generally add adverbs like very ahead of adjectives
18 like stupid without fear. Same with inspiring: this very inspiring class. But what happens
when you try it with fucking? You get There’s too much homework in this very fucking class. I
don’t know about you, but I just can’t interpret this as English at all. It doesn’t seem
21 grammatical—it doesn’t seem to me (or other native speakers I’ve asked) like a possible
sentence in the language. In short, a sentence with profanity doesn’t follow the same rules
as those without.
Bergen, B. K. (2016). What the F: What Swearing Reveals About Our Language, Our Brains,
and Ourselves.

Exercise 19

Observe the following sets of sentences. What effect does profanity have on grammar?

1.
1.a. You’re a doctor.
1.b. You’re a bitch.
1.c. *You doctor.
1.d. You bitch.

2.
2.a. I don’t give out handouts.
2.b. I don’t give a fuck.
2.c. I don’t give out handouts to them.
2.d. *I don’t give a fuck to them.

3.
3.a. Listen to me!
3.b. Fuck you!
3.c. You listen to me!
3.d. *You fuck you!

4.
4.a. He sells paper.
4.b. He knows jack-shit.
4.c. He doesn’t sell paper.
4.d. He doesn’t know jack-shit.
 2.5 Recap: Politeness & Impoliteness at the Word &
Sentence Levels
Exercise 20

Watch ‘Video B’. Then, with the help of the transcript below, identify all words conveying
politeness and all words conveying non-politeness. Describe what those words are as
precisely as possible. For now, focus on the purely linguistics aspects of politeness and
impoliteness.

FLIGHT ATTENDANT: Sir, sir, I'm sorry. This is for first-class passengers.

3 LARRY: I know, but I… I…

FLIGHT ATTENDANT: Your ticket's for 11C, sir.

6
LARRY: I know, but nobody's sitting there. Could you give me, like, a personal upgrade, and I can
upgrade you, and…
9
FLIGHT ATTENDANT: Sir!

12 LARRY: No? Okay.

WOMAN: Sir, can I ask you a really big favor? I have a medical condition where I have to… my
15 bladder's really overactive. I have a bladder condition, and I have to get up a lot. Is there any way
I could sit in the aisle and you would want to switch to the middle?

18 LARRY: I can't switch seats with you. I mean, I got the… I can't sit in the middle. It's claustro…
claustrophobic in there.

21 WOMAN: It's okay. I just have to ask because I'm up so often. I'm sorry.

LARRY: I'll die in the middle.

24
WOMAN: It's so painful, too. Just wanna see where the bathrooms are so I know, 'cause it's gonna
be a run.
27
LARRY: Okay, fine.

30 WOMAN: Really? You are such a gentleman. Thank you so much.

LARRY: You're welcome.

33
MAN: Heh-hey, my lucky day.
36 LARRY: Yeah, mine, too.

WOMAN: I'm just looking for the little thing.

39
MAN: Gotta buckle up.

42 LARRY: Jesus Christ.

MAN: Give it here.

45
LARRY: Oh, come on.

48 MAN: Can I grab one of your Kleenex, please?

WOMAN: Oh.
51
MAN: I just got… I think it's just allergies.

54 LARRY: Oh, man. No. No. No.

FLIGHT ATTENDANT: Sir, if I could just have you open your eyes so I can see your pupils. If you
57 could just try and relax a little bit. Long, deep breaths.

FLIGHT ATTENDANT OVER PA: Excuse me, everyone. One of our passengers has taken ill. If there's
60 a doctor onboard, can you please ring your call button?

FLIGHT ATTENDANT: Now, sir, are you currently…

63
LARRY: Hey, they're asking for a doctor.

66 MAN: Mm-mmm.

LARRY: Huh? You're not gonna heed the call?

69
MAN: Give it a minute. He's gonna be fine.

72 LARRY: How do you know? You don't even know what he has.

MAN: You ever been part of an emergency landing? Is that what you want, Larry? To spend the
75 night in Lubbock, Texas, at a Days Inn with a $15 voucher from Cinnabon? Think about it.

LARRY: Excuse me. I'd like to use the bathroom.

78
WOMAN: Okay… Here.

81 LARRY: Thank you. Yeah, don’t… don't move too much. Don't get up. Ow! Ah! Why don't you
move your foot, for God's sake?!
84 MAN: I'm so glad I ran into you on this flight. I'll call up Marty. We'll set up a game.

LARRY: Yeah, yeah, we'll play. Oh, you got up. By the way, that's the first time that you got up
87 the entire trip. That was a total bullshit story about the bladder.

WOMAN: I have a medical condition.

90 LARRY: Medical. You got a medical condition. She's got a medical condition. One day, you're…
you're gonna really have to go to the bathroom, and no one's gonna let you. I had to sit in the
middle the entire trip because of you!
Curb Your Enthusiasm. (2017). Season 9, episode 6 “The Accidental Text on Purpose.”

3. (Im)Politeness at the Discourse Level

3.1 The Cooperative Principle
(106) A: ‘I’m out of cash’.
B: ‘I can give you $20.’
(107) You’ve been a life saver!
(108) ‘What do you think of Harry? Nothing wrong with him.’
(109) This is delicious.
(110) Can I have a word with you please?
(111) Can I have a tiny sip please?
(112) Could I just have a little slice?
(113) Just hang on a sec.
(114) a bit, a little, a tad, a tiny bit, a teeny bit, a wee bit (Scots), a teeny-weeny bit
(115) It’s cold in here.
(116) How are you?
(117) Nice day, isn’t it?

3.2 Face Theory

(118) Oh, I’m out of money
(119) I’m so hungry.
(120) You might wanna call ahead of time.
(121) I’m sorry, I can’t see the screen.
(122) Can you move aside so that I can see the screen?
(123) Darling, you would be a life saver if you gave me some money.
(124) Could you give me some money?
(125) Could you possibly give me some money?
(126) Excuse me, could you speak up a little bit?
127) You couldn’t possibly give me some money, could you?
(128) Passport?
(129) Another cup, please!
(130) Tickets, please.
(131) Give me some money!
(132) You’ve been using my laptop!
(133) Enjoy your meal!
(134) Have a good day!
(135) Help yourself!
(136) Take care!

Exercise 21

For each sentence:

a. Identify the FTA.
b. Identify whose face is threatened: the speaker’s or the addressee’s.
c. Identify which face is threatened: positive face or negative face?
d. If the addressee’s negative face is threatened, which FTA strategy is used: off-record,
on-record negative politeness, on-record positive politeness, or bald on-record?

As a reminder, here is the FTA hierarchy:

 a) b) c) d)

I could really use some

company.

I can be a real nerd

sometimes.

I really don’t like your

attitude.

I can’t lift my suitcase,

it’s too heavy.

Can you be a love, and

get me a sandwich?

You bastard!

I’m sorry I have been a

bad friend lately.

Do sit down.

I wanted to thank you

for what you have
done.

I need this done by

tomorrow.
I have to tell you a
secret. I have done
something bad.

I can’t make it tonight,

but I could tomorrow
instead.

Hurry up!

You probably don’t

have time, but could
you help me with
something?

I completely disagree
with everything you
just said.

Would you mind

speaking louder,
please?

It would be great if
you could come
tonight.

Could you come over

for a second?

I promise I will make it

up to you.

It would be amazing if
you could be early.
 Sure, I will join you.

3.2.1 Face Theory in ‘Gifted Trust’

Exercise 22

Read the passage from Gifted Trust. Then, with the help of the transcripts below, answer
the following questions:

1. Who is speaking to whom? For what reason?

2. Who is threatening whose face? Which face is threatened, positive or negative?
3. With face theory in mind, comment on the following sentences (underlined):
3.a. How are you doing, sir?
3.b. Sir, I just wanted to ask you a few questions.
3.c. I'm sorry. I'm Max Belote.
3.d.I didn't mean to bother you, but…
3.e. Look, I only wanted a few minutes.
3.f. I apologize.

On the opposite side of the path were permanent structures, shelters of various fashion grouped
in twos and threes, each centered with fire rings. The air lingered of mulligan stew and though
3 the sun had not set, many had bedded down. Max noticed people wrapped in blankets in the
open, individuals separated from those in shelters and he assumed they were transients.
He saw someone sitting alone next to a small fire ahead of him and thought it odd, because all the
6 other campfires attracted greater numbers. He watched the man place a log and then pull a small
flask from his hip coat pocket.
This is the one, he thought as he walked forward. "How are you doing, sir?" Max asked. The man
9 returned the look, then dropped his head and increased his hold on the bottle. "Sir, I just wanted
to ask you a few questions."
"Whachu want?" The vagrant said, returning the bottle to the pocket of his jacket. "Who the hell
12 are you?"
As Max moved closer, he picked up an odor and paused before continuing. "I'm sorry. I'm Max
Belote. I didn't mean to bother you, but…"
15 "Whacha mean ya didn't mean to bother me? Ya're fuckin' bothering me, ain't cha?"
"I am sorry, sir. I know this is unusual, but I'm trying to get some information. I've seen you…
well not you exactly, but I've passed your camp on the train and I came here looking for someone
18 who could answer questions. I can make it worth your time." Max reached into his back pocket
for his billfold. Unsure what he wanted to ask, something told him the stranger had answers he
needed.
21 "Worf my time, huh? And ya think my time is worf wha? Wha makes ya thing chu can 'ford me?"
The man grinned, demonstrating his oral hygiene practices were limited.
 "Look, I only wanted a few minutes. If you're not interested in a couple of bucks, I'm sure
24 someone else could use the money," Max said. He wasn't ready to give up easily. He'd dealt with
tough sells in the past. It was a matter of finding a way to get this guy to accept his offer.
Studying him, he wondered if the offer of money so soon might have been a mistake. Maybe he
27 would have helped me for nothing, but I doubt it. I’ll play along and see where this goes.
"You ‘sume a lot," the man said reaching for his bottle. "Guess it should be expected. Nice shoes…
betcha drive a Packard, huh?"
30 "I'm sorry," Max said. "I saw you by the fire and I took for granted you might be down on your
luck. I apologize."
Allen, J. P. (2016). Gifted Trust.

3.3 Impoliteness at the Discourse Level

(137) ‘How was your trip?’ ‘Fine’.
(138) ‘‘What do you actually do? Uhm, I put traffic cones in the road. You DON’T! Well, what
an interesting person you turned out to be … ‘
(139) ‘I’m feeling down at the moment.’ ‘Ok. Have you seen my latest purchase?’
(140) I’m feeling down at the mo---.’ ‘Oh you must feel awful.’

3.3.1 Impoliteness in ‘The Big Bang Theory’ & ‘The G. Norton

Show’
Exercise 23

Watch‘ Video C’ and ‘Video D’. Then, with the help of the transcripts below, answer the
following questions:

Questions on The Big Bang Theory:

1. Why is Howard not cooperative with Sheldon?
2. Why did Howard decide to do that?
3. Whose face is threatened because of this? Which face is threatened?
4. Do Leonard and Raj threaten anyone’s face as well?

Question on The Graham Norton Show:

5. With face theory in mind, comment on the underlined lines pronounced by Miriam
Margolyes.

***

RAJ: Mmm, gentlemen, I put it to you, the worst tapioca pudding is better than the best pudding
of any other flavor.
 3
SHELDON: First off, that is axiomatically wrong, because the best pudding is chocolate. Secondly,
the organic structure of tapioca makes it a jiggling bowl of potential death. It is extracted from the
6 plant…

HOWARD: Hey, I’m thinking of growing a mustache.

9
LEONARD: Ah, no kidding! A Fu Man Chu? A handlebar pencil?

12 SHELDON: It is extracted from the plant…

HOWARD: I’m not sure yet. You know, George Clooney has one now!
15
RAJ: Really? I once saw him shopping at Ralph’s. He was buying tequila.

18 HOWARD: Oh, you’d think a guy like that would have some kind of booze lackey.

LEONARD: Alright this is cruel, we better let him finish before his head explodes.
21
HOWARD: Alright Sheldon, why is tapioca…

24 SHELDON: Tapioca is extracted from the root of the plant Manihot Esculenta. Due to a high
concentration of cyanide it is poisonous in its raw form and lethal if prepared improperly.

27 RAJ: Feel better now?

SHELDON: It is also indigenous to Brazil, as is the Cocoa Bean, from which we get chocolate, the
30 best pudding. And you promised you wouldn’t do that anymore!
The Big Bang Theory. (2008). Season 2, episode 13 “The Friendship Algorithm.”

***

GRAHAM NORTON: Miriam has a thing. She doesn’t like to know who she’s coming on with.
‘Cause, last time, you liked Will.i.am but you didn’t know who Will.i.am was, did you?
3
MIRIAM MARGOLYES: I actually didn’t. He’s charming. He’s the most delightful gentleman,
really. But unknown to me, that was the thing.
6
GRAHAM NORTON: Yes. So how’re you doing tonight?

9 MIRIAM MARGOLYES: Well…

DOMINIC COOPER: She has no idea.

12
 GRAHAM NORTON: You will have seen—Have you worked with Dominic, have you worked with
Dominic?
15
MIRIAM MARGOLYES: We haven’t, darling, have we?

18 DOMINIC COOPER: No we haven’t actually.

MIRIAM MARGOLYES: But I hope we will.

21
GRAHAM NORTON: Yes.

24 MIRIAM MARGOLYES: I think I’ve seen you in The History Boys.

DOMINIC COOPER: Yes.

27
MIRIAM MARGOLYES: I think I saw that.

30 DOMINIC COOPER: That’s good.

MIRIAM MARGOLYES: And I can’t remember you, but I thought you…

33
DOMINIC COOPER: Excellent.

36 GRAHAM NORTON: Have you seen Mamma Mia!? He was speaking of Mamma Mia!, did you see
that?

39 MIRIAM MARGOLYES: That was a dreadful film! Did you think that was a good film?

DOMINIC COOPER: You can’t possibly be saying that… Yes!

42
GRAHAM NORTON: It was fun Miriam! It was the film of Mamma Mia!

45 MIRIAM MARGOLYES: It was a very popular film with people.

GRAHAM NORTON: Yes! That’s all we can hope for Miriam, really. We dream of making things that
48 are popular with people. And… Wasn’t that the one, wasn’t that the one where the family came
to see you making it, Dominic? It was the first time your family came to see you.

51 DOMINIC COOPER: Yeah, that was the first time they saw me do any filming work. And the
particular point that they came in to see…

54 LILY ALLEN: Ah!

DOMINIC COOPER: Yes, that…that monstrosity…

57
 MIRIAM MARGOLYES: Is that you?

60 DOMINIC COOPER: That is! Do you not remember that bit? You’d stopped watching it by then. That
happens near the end.

63 […]
GRAHAM NORTON: And Lily Allen pop star, I mean… You will know Lily’s songs, I promise you
will.
66
MIRIAM MARGOLYES: Darling I’m seventy-two. I don’t know about songs and singing.

69 LILY ALLEN: That’s fine.

MIRIAM MARGOLYES: But I know you’re highly admired, I do know that.

72 GRAHAM NORTON: Yes she is, yes . Unlike Dominic, I guess? That was… Dominic! ‘You were in a
horrible film, I don’t remember the other one, but Lily, oh everyone loves you.’
The Graham Norton Show. (2014).

3.4 Recap: Politeness & Impoliteness at the Word,

Sentence & Discourse Levels

3.4.1 Politeness & Impoliteness in Fleabag

Exercise 24

Watch‘ Video E’. Then, with the help of the transcript below, analyze the following
sentences using everything that has been covered throughout the semester (comment on
the words used, the type of sentences and the discourse level).

[You probably noticed that the main character, Fleabag, talks to the camera. When she
does, she speaks directly to the viewer and other characters cannot hear her].

1. Oh darling.
2. You look well.
3. Thank you.
4. I’d love some wine.
5. Well, you look fantastic.
6. I can’t go to hell for that, can I Father?
7. —then you’ve got nothing to fucking worry about.
8. It’s an honor to be marrying you two. Thank you.
9. Can I get you another bottle?
10. Can I have a glass of sparkling water with a dash of lime, please?
 11. Fabulous!
12. Is there a reason that you’re not drinking?
13. Well you just seem a little—
14. That’s wonderful!
15. You know, I can’t remember the last time we went away.
16. I was… Oh sorry darling.
17. No, no you—
18. No-one’s asked me a question in forty-five min—
19. It’s going well, is it?
20. Can I get anyone any… ice?

***
Transcript

DAD: So, uh… It means a great deal to both of us that you… that we, the family… are all together
here… for a very special family… gang bang… Just, you know… being here… I know we’ve
3 had… Cause I have the feeling in… here… So I just want to say… very much. And that’s it.

GOD MOTHER: Oh darling.

6
CLAIRE: Congratulations Dad.

9 MARTIN: Congratulations!

PRIEST: Cheers! May these be the worst of our days!

12
FLEABAG (to camera): Don’t know who this guy is.

15 MARTIN: Happy for you old boy. Best decision a man can make.

FLEABAG (to camera): Ugh.

18
MARTIN: You look well.

21 FLEABAG: Thank you.

DAD: Right. Wine everyone?

24
PRIEST: I’d love some wine.

27 GOD MOTHER: You’ll adore it, I chose it.

CLAIRE: Not for us, thanks.

30
MARTIN: Off the sauce.
33 CLAIRE: Six months and counting.

PRIEST: Why… would you do that?

36
CLAIRE: We just enjoy each other more this way.

39 MARTIN: Just don’t want to miss a thing.

DAD: Well, you look fantastic.

42
CLAIRE: You both look gorgeous.
GOD MOTHER: Thank you!
45
CLAIRE: Is that fur?

48 GOD MOTHER: Yes, but it’s ok because it had a stroke.

CLAIRE: Oh, lovely.

51
GOD MOTHER: I can’t go to hell for that, can I Father?

54 PRIEST: No, no, as long as you confess—

FLEABAG (to camera): Oh God, he’s their Priest.

57
PRIEST: —then you’ve got nothing to fucking worry about.

60 FLEABAG (to camera): Their cool, sweary priest.

GOD MOTHER: Love the Catholics. You can get away with anything.
63
MARTIN: A lot of them did.

66 PRIEST: It’s an honor to be marrying you two. Thank you.

GOD MOTHER: I didn’t realize you were allowed out without your little doggy thing.
69
PRIEST: Oh sorry. Have I disappointed you?

72 GOD MOTHER: Of course not.

FLEABAG (to camera): Devastated.

75
NEEDY WAITRESS: Can I get you another bottle?

78 FLEABAG (to camera): Needy Waitress.

 GOD MOTHER: No it’s alright, we’ve already ordered wine.
81
NEEDY WAITRESS: Oh no. Really?

84 FLEABAG: I’ll have another tequila.

PRIEST: I’ll have a tequila!

87
NEEDY WAITRESS: Great! Thank you so much!

90 MARTIN: Can I have a glass of sparkling water with a dash of lime, please?

CLAIRE: Oh, yes, I’ll have the same.

93
MARTIN: Dream team.

96 GOD MOTHER: You know, the most fascinating thing about Father here is that his mother was
originally a lesbia—

99 GOD MOTHER: You do look tired.

CLAIRE: It’s not as exhausting as I thought it would be actually.

102
FLEABAG (to camera): She’s commuting from Finland.

105 MARTIN: She has narrowed down her packing to a 10 minute turn around.
GOD MOTHER: Fabulous!

108 MARTIN: It’s all about—

CLAIRE: Rolling it up rather than—

111
MARTIN: Folding it.

114 DAD: I’ve read about that. Sure you don’t want wine?

MARTIN/CLAIRE: No, thank you.

117
GOD MOTHER: It really is delicious. I admire you both so much.

120 MARTIN: It’s really turned us around hasn’t it, honey?

CLAIRE: So much more energy. You know, in Finland—

123
PRIEST: Is there a reason that you’re not drinking?
126 CLAIRE: He’s an alcoholic.

PRIEST: Oh fun! My parents are alcoholics!

129
CLAIRE: Oh, great. We thought it’d be easier if we do it together, and I don’t really like the taste.

132 MARTIN: And we are trying for a baby.

GOD MOTHER: Oh Claire. We thought you couldn’t have them.

135
CLAIRE: What? Why?

138 GOD MOTHER: Well you just seem a little—

MARTIN: Well they say a lifestyle change can help so here we go!
141
DAD: That is so exciting darling!

144 CLAIRE: Thanks Dad.

DAD: Good luck!

147
PRIEST: That’s wonderful!

150 FLEABAG (to camera): Something’s up.

GOD MOTHER: And now you have money for proper help! Ghastly without help I imagine. Tell
153 us about Finland!

CLAIRE: Oh well, it’s um, cold and beautiful and dark.

156
FLEABAG (to camera): I think she might be happy.

159 CLAIRE: It’s a lot of pressure, but I love it. I have this amazing new partner out there. He’s really
pushed the company forward with—

162 GOD MOTHER: You know, I can’t remember the last time we went away.

MARTIN: Weren’t you both in Japan recently?

165
PRIEST: Japan!? Wow!

168 GOD MOTHER: Oh yes! But that was just a little fortnight.

FLEABAG (to camera): Don’t ask her—

171
PRIEST: Why were you in Japan?
174 DAD: Well, she—

GOD MOTHER: I was… Oh sorry darling.

177
DAD: No, no you—

180 GOD MOTHER: Oh thank you. Well they flew us over with the Sexhibition.

DAD: It really made an impa—

183
GOD MOTHER: Sorry darling do you want to…

186 DAD: No no.

GOD MOTHER: No? Oh. You see you think of the Japanese as very prudish people.
189
DAD: Well not to generali—

192 GOD MOTHER: But actually they have a deep interest in sex in their culture. It’s just hidden in the
underbelly. It’s not allowed to come to the surface.

195 CLAIRE: Fair enough.

DAD: They really appreciated—

198
GOD MOTHER: The honesty of the Sexhibition. Whereas the—

201 DAD: The Americans! Oh well…

GOD MOTHER: The Americans! Just took me in their stride. The Japanese were deeply moved by
204 my work, weren’t they darling.

DAD: Yeah.
207
GOD MOTHER: It caused quite a cultural wave.

210 DAD: Ripple. Wave.

FLEABAG (to camera): No-one’s asked me a question in forty-five min—

213
PRIEST: So what do you do?

216 FLEABAG: I run a cafe.

PRIEST: Oh! Oh.

219
 DAD: It’s going well, is it?

222 FLEABAG: Yes. It is. It really is.

FLEABAG (to camera): It actually is.

225
FLEABAG: It is.

228 NEEDY WAITRESS: Can I get anyone any… ice?

Fleabag. (2019). Season 2, episode 1

3.4.2. Politeness & Impoliteness in Harry Potter and the

Philosopher's Stone
Exercise 25

Watch ‘Video F’. Then, with the help of the transcript below, identify and comment on the
extracts underlined. Describe what those words and sentences are as precisely as possible.
Then comment on the four segments in bold in the text.

HAGRID: What're you looking at? Blimey, is that the time? Sorry, Harry, I'm gonna have to leave
you. Dumbledore'll be wanting his—well, he'll be wanting to see me. Now, uh, your train leaves
3 in 10 minutes. Here's your ticket. Stick to it, Harry that's very important. Stick to your ticket.

HARRY: Platform 9¾? But, Hagrid, there must be a mistake. This says Platform 9¾. There's no
6 such thing… is there?

MAN: Sorry.
9
HARRY: Excuse me, excuse me.
GUARD: Right on your left, ma'am.
12
HARRY: Excuse me, sir. Can you tell me where I might find Platform 9¾?

15 GUARD: 9¾? Think you're being funny, do ya?

MRS. WEASLEY: It's the same year after year. Always packed with Muggles, of course.
18
HARRY: Muggles?

21 MRS. WEASLEY: Come on. Platform 9¾ this way! All right, Percy, you first. Fred, you next.
 GEORGE: He's not Fred, I am!
24
FRED: Honestly, woman, you call yourself our mother.

27 MRS. WEASLEY: Oh, I'm sorry, George.

FRED: I'm only joking. I am Fred.

30
HARRY: Excuse me! C-could you tell me how to-

33 MRS. WEASLEY: How to get on the platform? Yes, not to worry, dear. It's Ron's first time to
Hogwarts as well. Now, all you've got to do is walk straight at the wall between platforms 9 and
10. Best do it at a bit of a run if you're nervous.
36
GINNY: Good luck.

39 [Later on, the Hogwarts Express is travelling through the countryside. Harry is sitting alone in a
train compartment, and Ron appears in the doorway.]

42 RON: Excuse me, do you mind? Everywhere else is full.

HARRY: No, not at all.

45
RON: I'm Ron, by the way. Ron Weasley.

48 HARRY: I'm Harry. Harry Potter.

RON: So-so it's true? I mean, do you really have the… the…
51
HARRY: The what?

54 RON: Scar?

HARRY: Oh.
57
RON: Wicked.

60 WOMAN: Anything off the trolley, dears?

RON: No, thanks, I'm all set.

63
HARRY: We'll take the lot!

66 RON: Whoa!
Harry Potter and the Philosopher's Stone (directed by C. Columbus)
Mock Exam
 Here is a mock exam that you could have had as your devoir de fin de semestre. If you want
to practice on your own, do it in 55 minutes. Then check the answers at the end.

Reminder: you will be penalised for grammar and spelling mistakes, most of the time
up to-2 points but sometimes much more (mark divided by two, for instance), for terrible
grammar mistakes such as :
- *It express/convey/mean…(→ it expresseS/conveys/meanS)
- * the speaker face (instead of the speaker’s face)
- *He chosed (instead of he chose…)
- *She wants so sayS
- He didn’t paid
- And the like…

Remember to write full sentences!

Text
CECILY: [Rather shy and confidingly.] Dearest Gwendolen, there is no reason why I should
make a secret of it to you. Our little county newspaper is sure to chronicle the fact next
3 week. Mr. Ernest Worthing and I are engaged to be married.

GWENDOLEN: [Quite politely, rising.] My darling Cecily, I think there must be some slight
6 error. Mr. Ernest Worthing is engaged to me. The announcement will appear in the
Morning Post on Saturday at the latest.

9 CECILY: [Very politely, rising.] I am afraid you must be under some misconception. Ernest
proposed to me exactly ten minutes ago. [Shows diary.]

12 GWENDOLEN: [Examines diary through her lorgnettte carefully.] It is certainly very curious,
for he asked me to be his wife yesterday afternoon at 5.30. If you would care to verify
the incident, pray do so. [Produces diary of her own.] I never travel without my diary. One
15 should always have something sensational to read in the train. I am so sorry, dear Cecily,
if it is any disappointment to you, but I am afraid I have the prior claim.

18 CECILY: It would distress me more than I can tell you, dear Gwendolen, if it caused you
any mental or physical anguish, but I feel bound to point out that since Ernest proposed
to you he clearly has changed his mind.
21
 […] [Enter Merriman, followed by the footman. He carries a salver, table cloth, and plate stand.
Cecily is about to retort. The presence of the servants exercises a restraining influence, under which
24 both girls chafe.]

MERRIMAN: Shall I lay tea here as usual, Miss?

27
CECILY: [Sternly, in a calm voice.] Yes, as usual. [Merriman begins to clear table and lay cloth.
A long pause. Cecily and Gwendolen glare at each other.]
30
GWENDOLEN: Are there many interesting walks in the vicinity, Miss Cardew?

33 CECILY: Oh! yes! a great many. From the top of one of the hills quite close one can see five
counties.
GWENDOLEN: Five counties! I don’t think I should like that; I hate crowds.
36
CECILY: [Sweetly.] I suppose that is why you live in town? [Gwendolen bites her lip, and beats
her foot nervously with her parasol.]
39
GWENDOLEN: [Looking round.] Quite a well-kept garden this is, Miss Cardew.

42 CECILY: So glad you like it, Miss Fairfax.

GWENDOLEN: I had no idea there were any flowers in the country.

45
CECILY: Oh, flowers are as common here, Miss Fairfax, as people are in London.

48 GWENDOLEN: Personally I cannot understand how anybody manages to exist in the

country, if anybody who is anybody does. The country always bores me to death.

51 CECILY: Ah! This is what the newspapers call agricultural depression, is it not? I believe
the aristocracy are suffering very much from it just at present. It is almost an epidemic
amongst them, I have been told. May I offer you some tea, Miss Fairfax?
54
GWENDOLEN: [With elaborate politeness.] Thank you. [Aside.] Detestable girl! But I require
tea!
57
CECILY: [Sweetly.] Sugar?

60 GWENDOLEN: [Superciliously.] No, thank you. Sugar is not fashionable any more. [Cecily
looks angrily at her, takes up the tongs and puts four lumps of sugar into the cup.]
63 CECILY: [Severely.] Cake or bread and butter?

GWENDOLEN: [In a bored manner.] Bread and butter, please. Cake is rarely seen at the best
66 houses nowadays.

CECILY: [Cuts a very large slice of cake, and puts it on the tray.] Hand that to Miss Fairfax.
69
[Merriman does so, and goes out with footman. Gwendolen drinks the tea and makes a grimace.
Puts down cup at once, reaches out her hand to the bread and butter, looks at it, and finds it is
72 cake. Rises in indignation.]

GWENDOLEN: You have filled my tea with lumps of sugar, and though I asked most
75 distinctly for bread and butter, you have given me cake. I am known for the gentleness
of my disposition, and the extraordinary sweetness of my nature, but I warn you, Miss
Cardew, you may go too far.

Oscar Wilde, The Importance of Being Earnest

Questions
1. Comment on the words used to express politeness in the following extracts:
a. Dearest Gwendolen l.1
b. I feel bound to point out that since Ernest proposed to you he clearly has changed his mind
l.19-20
c. Quite a well-kept garden this is, Miss Cardew l.40
d. Thank you l.55

2. Comment on the use of the preterite in the following sentence. Does it convey
politeness? Why?
It would distress me more than I can tell you…l.18

3. Comment on the use of the modal auxiliary in the following sentence. Does it convey
politeness? Why?
May I offer you some tea, Miss Fairfax?

4. Comment on the use of the modal auxiliary and the preterite in the following
sentences. Do they convey politeness? Why?
If you would care to verify the incident, pray do so l.13-14
5. Identify the type of questions used, comment on their use. Do they convey politeness?
Why?
5.a. Shall I lay tea here as usual, Miss? l.26
5.b. Cake or bread and butter? l.63

6. Comment on the use of the following sentences with the notion of face in mind:
6.a. Cake is rarely seen at the best houses nowadays l.65-66
6.b. Hand that to Miss Fairfax l.68

7. Find a sentence where the speaker threatens their own negative face.
 Answers
1. Comment on the words used to express politeness in the following extracts:
a. Dearest Gwendolen
Politeness is conveyed by the adjective dearest, which is actually a superlative adjective,
denoting the high quality or degree of being dear. Dear is a vocative – it is a term of
address - more particularly a term of endearment.

b. Quite a well-kept garden this is, Miss Cardew.

This compliment is made thanks to a compound adjective, well-kept, modifying the noun
garden. Politeness is also expressed with the adverb – intensifier- quite which modifies the
noun phrase a well-kept garden. Finally, the honorific Miss is used to show deference to the
addressee.

c. Thank you.
It is originally the verb thank and the pronoun you but it has turned into a polite
pragmaticalized/routinized formula.

d. I feel bound to point out that since Ernest proposed to you he clearly has changed his mind.
The verb feel is a tentative verb in this context. It is used to mitigate what the speaker is
saying or thinking, which is a way to soften the statement and therefore to be polite.

2. Comment on the use of the preterite in the following sentence. Does it convey
politeness? Why?
It would distress me more than I can tell you…
This is a modal use of the preterite, expressing distance from reality. It is used to express
that the predication <it/distress me> is hypothetical. This is confirmed by the presence
of the adverbial of hypothesis if it caused you any mental or physical anguish. Modal uses of
the preterite can convey politeness, but this is not the case here; it is simply used to
express hypothesis.

3. Comment on the use of the modal auxiliary in the following sentence. Does it convey
politeness? Why?
May I offer you some tea, Miss Fairfax?
This is a deontic use of the modal auxiliary MAY. In this interrogative sentence, the
speaker politely asks the interlocutor for permission, as this gloss suggests: Do you allow
me to offer you some tea, Miss Fairfax? In a way – but this is not the meaning of MAY – the
speaker asks the hearer if s/he wants some tea – because s/he asks for permission to offer
him/her tea. So, the use of MAY in this context together with the indirect interpretation of
the sentence as an offer make the sentence polite.
4. Comment on the use of the modal auxiliary and the preterite in the following
sentence. Does it convey politeness? Why?

If you would care to verify the incident, pray do so.

The word would is composed of two morphemes: the modal auxiliary WILL and the
preterite (-ED). This is a dynamic use of the modal auxiliary WILL, expressing volition (the
addressee’s volition). The use of the preterite is modal: again, it expresses distance from
reality. Note that it appears in an adverbial clause of hypothesis. Since the combination
of the modal and the preterite express fictive volition on the part of the addressee to care
to verify the incident, it conveys politeness because the speaker is being tentative.

5. Identify the type of questions used, comment on their use, among other things. Do
they convey politeness? Why?
a. Shall I lay tea here as usual, Miss?
This is a yes/no – or closed- question. In this question, the use of modal auxiliary SHALL
is polite. Tthe speaker asks the interlocutor if it is necessary (SHALL) for him or her to lay
tea as usual. In this interrogative sentence, the speaker relies on the addressee’s volition,
as this gloss suggests: Do you want me to lay tea here as usual, Miss? This sentence is
therefore polite.

b. Cake or bread and butter?

This is a sort of yes/no question (= “Do you want cake? Do you want bread and butter
instead?”) but a limited question since the choice is limited to a set of two options. Though
this is an offer, this question is not especially polite as no marker of politeness is present.
A more polite version could have been: Would you like cake or bread and butter?

6. Comment on the use of the following sentences with the notion of face in mind:
a. Cake is rarely seen at the best houses nowadays.
This is a face-threatening act. Gwendolen is openly threatening Cecily’s positive face by
ridiculing3 her offering cake.

b. Hand that to Miss Fairfax.

This is an order uttered by Cecily to Merriman. Cecily therefore threatens Merriman’s
negative face. This face-threatening act is done without redressive action (no marker is
present to soften the order expressed by the imperative mood). This is therefore a bald
on-record FTA.

7. Find a sentence where the speaker threatens their own negative face.

3Do not forget to identify the speech act involved (requesting sthg, offering, sthg, thanking
somebody, accusing somebody, etc.)
In the sentence Thank you, Gwendolen threatens her own negative face because she
acknowledges Cecily did something for her. In other words, Cecily’s action forces
Gwendolen to recognize what she did for her.