Terminology

Question 1

Goffman - face work theory (1955)

Answer 1

-power gained to humiliate or support
-power dynamics in a conversation
-face-threatening act, denting their face
-enhancing their positive face- maintaining the status
-protect negative face- avoid confrontation

Question 2

hegemonic masculinity (femininity)

Answer 2

prevalent societal views about what it is to be a male/female i.e behaviours appearance

Question 3

Giles - accommodation theory

Answer 3

adjust our speech to accommodate or suit other people in conversation. either to become more similar (convergence) to reduce the social distance or dissimilar (divergence) in order to create social distance. e.g. imitating features, lexical choice, accent, syntactic structures, prosodic delivery.

Question 4

downward convergence

Answer 4

adopt a language style of someone who has perceived lower social status

Question 5

upward convergence

Answer 5

adopt a language style of someone who has a perceived higher social status, possibly as they aspire to be in that class

Question 6

mutual convergence

Answer 6

both speakers converge, meet in the middle

Question 7

Beattie(1983)

Answer 7

types of turn-taking or speaker-switch
-smooth speaker switch, simple interruption, overlap, butting-in interruption

Question 8

smooth speaker switch

Answer 8

exchange turns, simultaneous speech, first speakers utterance is complete

Question 9

simple interruption

Answer 9

exchange turns, simultaneous speech, first speakers turn’s complete

Question 10

overlap

Answer 10

exchange turns, simultaneous speech, first speakers turn is incomplete, reaches completion

Question 11

butting-in interruption

Answer 11

no exchange of turns, simultaneous speech

Question 12

Grice’s maxims

Answer 12

the key to successful and cooperative communication relies on at least one of its four components. Describing the assumptions listeners normally make about the way a speaker will talk. Quality, Quantity, Relation, Manner

Question 13

Maxim of quality

Answer 13

truth, don’t say what you believe to be false

Question 14

maxim of quantity

Answer 14

information, contribution informative, but not too much

Question 15

maxim of relation

Answer 15

relevance

Question 16

maxim of manner

Answer 16

clarity, brief, orderly, ambiguity.

Question 17

Austin speech acts
a) loctutionary act
b) illocutionary act
c) perlocutionary act

Answer 17

a) performance of utterance, what is being said
b) pragmatic intended meaning of utterance
c) effect of utterance on the reader

Question 18

types of locutionary act
a) assertive
b) directive
c) comissive
d) expressives
e) declarations

Answer 18

a) speech acts that commit a speaker to the truth of what they’re saying
b) causes hearers to take a particular action
c) commit the speaker to do a future actions
d) express speakers attitudes and emotions
e) change the reality of the situation

Question 19

symbol

Answer 19

represents or stands for something else - often abstract

Question 20

Brown and Levinson- Politeness theory

Answer 20

-in everyday conversations, there are ways to go about getting what you want
-focus on politeness strategies developed in order to save the hearers ‘face’
-you try to avoid someone feeling uncomfortable, developed in response to face threatening acts.
-bald-on record, positive politeness, negative politeness, off-record.

Question 21

bald-on record

Answer 21

no effort by you to reduce the impact of face-threatening acts, shock the person, embarrass or make them feel uncomfortable. commonly found in comfortable environments. emergency, request, alerting.

Question 22

positive politness

Answer 22

friend groups and social situations you know them fairly well. minimise distance between them by expressing friendliness and solid interest, hearers need to be respected, attend to hear.

Question 23

negative politeness

Answer 23

assume you may be imposing on hearer, intruding on their space. assume that there might be some social distance or awkwardness of situation.

Question 24

off-record

Answer 24

remove yourself from any imposition. vague, hinting, sarcasm (indirect)

Question 25

social deixis

Answer 25

category for words and expressions that encode a speakers attitude towards another person e.g. "sister Blanche", "Devil"

Question 26

diminutive

Answer 26

informal form of word, often characterised by the addition of a suffix. e.g. "Becky" (Rebecca), "Ann".

Question 27

honorific

Answer 27

word, title or grammatical form that signals social deference such as "Dame"

Question 28

asymmetry

Answer 28

a power imbalance between speakers shown by the way they address each other

Question 29

definition of tragedy

Answer 29

Tragedy is a serious story with a sad ending. Refers primarily to tragic drama. Serious misfortune. Tragic protagonist or hero. But logically connected to the protagonist. Highlights human vulnerability. Suffering chaos and death. Human actions and fate of the gods

Question 30

Aristotles definition of tragedy

Answer 30

A form of drama exciting the emotions of pity and fear, an event causing great suffering, destruction, and distress, such as a serious accident, crime, or natural catastrophe.a play dealing with tragic events and having an unhappy ending, especially one concerning the downfall of the main character

Question 31

domestic tragedy

Answer 31

Less ambitious/smaller scale. Focuses on the family. Undermines our confidence in any order. This shows that domesticity can be corrupt and diseased. Rational social order is no longer maintained. Focuses on the anti-hero

Question 32

epic tragedy

Answer 32

Ambitious/ large scale Stresses the nobility of tragic hero.Raises fundamental questions about life.Shows the full horror of life. Conventional social bonds are broken. Focuses on the hero

Question 33

definition of a tragic hero

Answer 33

A man who doesn’t become a hero until he can see the root of his downfall-Aristotle. Nobility or wisdom(by virtue of birth). Hamartia (flaw or error in judgment). Either a mistake in the character's actions or in his personality that leads to a downfall. A reversal of fortune (peripeteia) is brought about because of the hero's Hamartia. The discovery or recognition that the reversal was brought about by the hero's actions (anagnorisis). The audience must feel dramatic irony for the character.

Question 34

hubris

Answer 34

A personality quality of extreme or excessive pride or dangerous overconfidence e.g. Relates to a quality we see in Blanche. she has confidence that she can get men at the start of the play.

Question 35

Catharsis

Answer 35

Is The process of releasing and providing relief from strong or repressed emotions. e.g. Stanley’s outbursts are his way of coping. Blanche monologues when she is releasing tension/emotion. The audience goes through this as we watch balance unravel the truth.

Question 36

Anagnorisis

Answer 36

Is the point in a play, novel, etc., in which a principal character recognises or discovers another character's true identity or the true nature of their circumstances e.g. When we discover the truth about Blanche, the secrets she was keeping.

Question 37

Hamartia

Answer 37

Is Either a mistake in the character's actions or in his personality that leads to a downfall. e.g. When Blanche starts to reveal herself to the audience, and her want for men. Reversal of fortunes begins.

Question 38

Peripeteia

Answer 38

A reversal of fortune brought about because of the heroes hamartia e.g. Stanley assaulting Blanche

Question 39

Pathos

Answer 39

A quality that evokes pity or sadness e.g. Possibly a feeling of sadness towards Blanche at the end of the play.

Question 40

idiolect

Answer 40

the speech habits of a particular person

Question 41

body language- korte (1997) a)kinesics b)haptics c)proxemics

Answer 41

a) Gestures, postures, eye and facial movements, other body movements due to feelings and emotions: e.g. trembling. b)Touching another person: e.g. holding, shaking, kissing. c)Movement in relation to another character’s personal space: e.g. moving closer to, further away from.