Discourse Analysis of Oliver Twist from the Perspective of Pragmatics

2017 ◽  
Vol 7 (8) ◽  
pp. 626
Author(s):  
Min Lian
Keyword(s):  
Charles Dickens ◽  
The Body ◽  
Speech Communication ◽  
Main Body ◽  
The Novel ◽  
Conversational Implicature ◽  
Social Significance ◽  
Cooperative Principle ◽  
The Subject ◽  
The 19Th Century

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.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

scholarly journals Plotting Sensation Stories: Affect and Intuition in Short Sensation Fiction

2000 ◽  
pp. 41-58
Author(s):  
Brittany Roberts
Keyword(s):  
Charles Dickens ◽  
Short Story ◽  
Real Life ◽  
The Body ◽  
British Society ◽  
The Novel ◽  
Sensation Fiction ◽  
Commodity Culture ◽  
Mistaken Identity ◽  
Difficult Time

The British short story is still an understudied form in Victorian studies, and particularly so in studies of sensation fiction. Despite rich and growing scholarship on sensation fiction and its relationship with literary markets and commodity culture, scholars have a had a difficult time shaking off its enduring brand “the novel with a secret,” which has problematically discounted an incredible body of periodical fiction that falls “short” of our expectations about what this kind of fiction looks like. Short periodical works, however, are crucial if we are to understand the nexus of consumerism, mass marketing, social anxiety, and literary production that first peaked in the 1860s, things which have largely come to organise our understanding of what was so sensational about this historical moment in time. This essay compares short and long works from Wilkie Collins, Charles Dickens, Ellen Wood, and J.S. Le Fanu to explore how short stories could take up common themes and features of sensation novels (mistaken identity, unchecked passion, family secrets, shocking revelations, etc.) while also considering how formal considerations of length encouraged greater reliance on impressions and feelings to resolve conflicts in the text. These sensation stories so often suggest that deviance is best discerned through the body rather than the mind, and they create a path to pleasurable revelation where trusting one’s gut offers the most effective form of policing. These supposedly “unimportant” periodical works – sensational not only in the way they glutted periodicals with their sheer volume – could in turn promote suspicion and distrust in readers that were capable of damaging real-life bonds and relationships. Although short fiction could provoke anxieties about shifting roles and hierarchies in an increasingly fast-paced, automated British society, the tremendous visibility of the novel effectively shielded them from comparable criticism.

scholarly journals “EVANGELICAL TEXT” OF THE NOVEL “CRIME AND PUNISHMENT” IN VIETNAMESE TRANSLATION

2020 ◽  
pp. 148-152
Author(s):  
Nguyen Thi Hoan ◽  
Galina G. Yermilova
Keyword(s):  
New Testament ◽  
The Novel ◽  
Russian Orthodoxy ◽  
Fyodor Dostoevsky ◽  
Crime And Punishment ◽  
The Bible ◽  
The New Testament ◽  
The Subject ◽  
The 19Th Century ◽  
First Time

The article for the first time explores the translation of the ‟evangelical text” of Fyodor Dostoevsky’s novel ‟Crime and Punishment” into Vietnamese. The ‟evangelical text” refers to the New Testament quotations, for the first time both in the writer’s work and in the Russian literature of the 19th century as a whole, widely used by Fyodor Dostoevsky. Threeauthoritative translations by Trương Định Cư (1972), Lý Quốc Sinh (1973), Cao Xuân Hạo (1982-1983) are involved. The translation of the Bible into Vietnamese used by translators and involved in the liturgical practice of the Vietnamese Orthodox Church, has been revealed. On the basis of a continuous text sample of the «evangelical text» three translations were compared with the original and reverse translations, followed by an analytical commentary. The subject of the article is a monologue of «drunken» Semyon Marmeladov in the tavern (p. 1, ch. 2), saturated with New Testament quotations, and an evangelical scene about raised Lazarus (p. 4, ch. 4). It is concluded that when translating the «evangelical text» of the novel, the Vietnamese translators experienced serious difficulties due to ignorance of Russian Orthodoxy, which is still perceived in Vietnam to this day as a kind of exotic. Some specific refinements to existing translations are proposed.

scholarly journals Nudity, Sexuality, Photography. Visual Redefinition of the Body

2018 ◽  
Vol 14 (2) ◽  
pp. 96-114
Author(s):  
Tomasz Ferenc
Keyword(s):  
19Th Century ◽  
Sex Workers ◽  
Modern Society ◽  
The Body ◽  
Social Effect ◽  
Sexual Discourse ◽  
Visual Imagination ◽  
The Subject ◽  
Naked Body ◽  
The 19Th Century

The article examines the relations between photography, body, nudity, and sexuality. It presents changing relations of photography with a naked or semi-naked body and different forms and recording conventions. From the mid-19th century the naked body became the subject of scientifically grounded photographic explorations, an allegorical motif referring to painting traditions, an object of interest and excitement for the newly-developed “touristic” perspective. These three main ways in which photographs depicting nudity were being taken at that time shaped three visual modes: artistic-documentary, ethnographic-travelling, and scientific-medical. It has deep cultural consequences, including those in the ways of shaping the notions of the corporeal and the sexual. Collaterally, one more, probably prevalent in numbers, kind of photographical images arose: pornographic. In the middle of the 19th century, the repertoire of pornographic pictures was already very wide, and soon it become one of the photographic pillars of visual imagination of the modern society, appealing to private and professional use of photography, popular culture, advertisement, art. The number of erotic and pornographic pictures rose hand over fist with the development of digital photography. Access to pornographic data is easy, fast, and cheap, thanks to the Internet, as it never was before. Photography has fuelled pornography, laying foundations for a massive and lucrative business, employing a huge group of professional sex workers. How all those processes affected our imagination and real practices, what does the staggering number of erotic photography denote? One possible answer comes from Michel Foucault who suggests that our civilization does not have any ars erotica, but only scientia sexualis. Creating sexual discourse became an obsession of our civilization, and its main pleasure is the pleasure of analysis and a constant production of truth about sex. Maybe today the main pleasure is about watching technically registered images, and perhaps that is why we may consider visual redefinition of the body as the main social effect of the invention of the photography.

scholarly journals Interrogating Strategies of Justice and Racial Politics: A Post-colonial Reading of Abir Mukherjee’s A Rising Man

2021 ◽  
Vol 13 (2) ◽  
Author(s):  
Febin Vijay ◽  
Priyanka Tripathi
Keyword(s):  
Present Article ◽  
Racial Politics ◽  
Crime Fiction ◽  
The Body ◽  
Subject Position ◽  
The Novel ◽  
Historical Account ◽  
Post Colonial ◽  
The Subject ◽  
Colonial Text

The present article begins with a brief historical account of the exclusionary politics of Western crime fiction, with most of the works representing the East as ‘exotic other’ while assuming the subject position themselves. A post-colonial analysis of Abir Mukherjee’s A Rising Man (2016) is conducted to study how the novel deals with questions of justice and racial politics, and further encompasses a brief inquiry into it can be positioned as an anti-colonial text which advocates a move towards decolonization. The text can be seen as representing the body of work by writers who give voice to the oppressed within colonial contexts and vehemently refuse the idea of being inferior.

The Flouting of Conversational Implicature in the Headlines and Taglines

Lexicon ◽  
2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Aninda Dampit Laila Kartika
Keyword(s):  
The Body ◽  
Conversational Implicature ◽  
Cooperative Principle ◽  
Maxim Of Quality

This research attempts to describe the kinds of flouting of Grice‟s Cooperative Principle maxims and explain the type of maxim mostly and least flouted in the headlines and taglines which are found in two magazines, Travel+Leisure and Wine Enthusiast. It is also aimed to see whether the headlines and taglines are able to describe the products or services. This study is presented within the framework of pragmatics. The result shows from 60 data found, 14 of the headlines and taglines in the Travel+Leisureand 16 in Wine Enthusiast magazine are mostly identified flouting the combination of maxims; maxim of Quantity and Quality. In addition, the maxim of Quality and the maxim of Manner are least flouted by the headlines and taglines in both magazines. The result also shows that the headlines and taglines are unable to fully describe the products or services unless the body copy is also provided.

Fashion and Fiction in the 19th Century

2017 ◽  
Author(s):  
Clair Hughes
Keyword(s):  
19Th Century ◽  
French Revolution ◽  
Charles Dickens ◽  
Henry James ◽  
Honore De Balzac ◽  
The Novel ◽  
Realist Novel ◽  
Clear Sign ◽  
The 19Th Century

In the new middle-class world of 19th-century Europe and America, whose development parallels that of the realist novel, dress was a clear sign of order and hierarchy—key subjects of the genre’s concerns. In the shift from a traditional aristocratic order to that of the bourgeoisie, dress was of anxious concern to those who lived through this change. It was a minefield, and failure to navigate its codes courted disaster: Dress could conceal and flatter, but also betray, deceive, and seduce—all of which provided the novelist with powerful material. The quest for social and economic success was central to the novelistic plot, though this took one trajectory for men and another for women—whose goal was matrimony. The French Revolution, Honoré de Balzac explained, banished hierarchies, and in dress left only nuances, which became increasingly important to the novel: details were foregrounded, while outfits as a whole were understood. In mid-19th century England, Charles Dickens, considered the quintessential realist, in fact used dress sporadically for comic effect or quirks to identify a character; the role of dress in William Thackeray’s novels, on the other hand, were more structured, often symbolic. By late in the century, men were less interesting in dark suits. As women were now more visible in work and in public spaces, their clothes became of concern to the novelist. Male dress was about hierarchy and status, female dress about cost, taste, and, above all, morality. Husband–hunting heroines advisedly wore white, but novelists grew less judgmental of the pleasures of dress. In allegedly classless America, women enjoyed greater social freedoms than in Europe, producing more nuanced approaches to fictional dress. For Henry James, dress was a “brick” in his House of Fiction; sparingly deployed but crucial. Stereotypes were questioned, as was “proper” dress. Throughout the 19th-century novel, clothes and money interacted in relation to family and inheritance. Fin de siècle America was both immensely wealthy and class-conscious, and Edith Wharton, though a member of New York’s elite, confronted her consumerist society with what its frivolity could destroy.

scholarly journals Od hagiografskog obrasca do političkog elaborata - škrinja Sv. Šimuna, zadarska arca d’oro

Ars Adriatica ◽  
2014 ◽  
pp. 125
Author(s):  
Nikola Jakšić
Keyword(s):  
Local Level ◽  
The Body ◽  
Main Body ◽  
Visual Interpretation ◽  
The Subject ◽  
Left And Right ◽  
Representative Work ◽  
The Temple ◽  
The Church ◽  
Selection Of

The casket of St Simeon the God-Receiver is the most representative work in the applied arts of the Croatian Trecento and, at the same time, one which displays great iconographic complexity. Although it was the subject of two monographs and a large number of individual articles, a whole set of questions remains open and awaits plausible interpretations. Particularly great problems are connected to the interpretation of a number of scenes which were understood differently by different scholars. At the same time, it can be noted that the discussion about the casket’s complex iconographic programme lacks a study which would address it as a unique a coherent whole in which every single scene is viewed as its irreplaceable constituent part. This article aims to demonstrate that the casket’s iconographic programme, especially that of the eight panels on its main body, was selected and arranged according to a carefully developed programme the creators of which were five noblemen of Zadar to whom Queen Elizabeth, the wife of the powerful King Louis I the Great of Hungary (1342-1382), entrusted not only the silver for the making of the casket but other important details connected to the commission such as the choice of the artist and, even more importantly, the selection of the scenes through which the casket communicated with its spectators. There is no doubt that the queen had her own demands with regard to what was depicted as can be seen in the opulent dedicatory inscription which records that she was the patron of the casket but also in the donation scene where she appears together with her daughters. It can also be said with certainty that she gave instructions for the somewhat unusual panel which depicts her standing by the catafalque of her father, Ban Stephen of Bosnia (+1354) who is being sent off to the next world by St Simeon the Righteous. It should mentioned that Ban Stephen was considered a heretic – a Bogomil – which means that being a Catholic queen, his daughter attempted to rectify the past with this panel. All these scenes are at the back of the casket. The queen undoubtedly also had a say in the selection of scenes which were depicted on the front. Those relate to the life of St Simeon which, considering that we know of only one event in his life, was done in a very skilful way: the central panel shows the saint receiving the Christ Child in the scene of the Presentation in the Temple while the panels to its left and right depict the translation of the saint’s relics which have not been identified as such in the scholarly literature. The translation consists of three scenes which are always present in the cases of translation: the finding of the body (inventio corporis), the transport of the body to a new place (translatio corporis) and, finally, the placing of the body to a new site where it would remain in the future (colocatio corporis). These three scenes were interpreted by the noblemen of Zadar in an idiosyncratic way in order to affirm the medieval Zadar and its nobility on the casket itself. The scene of the inventio corporis depicts the rectors of Zadar intervening at the last moment before a group of monks from the outskirts of town get hold of the body and place it in their monastery. In the scene of the colocatio corporis, the body of St Simeon is being carried into the Church of St Mary Major in the presence of King Louis and the grateful citizens who are led by the Bishop Nicholas Matafar. This scene depicts the return of the saint’s body from Venice where, according to the author of this article, it had been taken during the local uprising against the Venetian rule (1346-1358). At the same time, the visual message of the two scenes which flank the central one was to show that the exclusive ownership of the relics belonged to the citizens of Zadar. The conflict with the monks which erupted on a local level is being resolved by the local authorities, that is, the rectors of Zadar. When the problem becomes ‘bilateral’, that is, when it involves Venice, the dispute is settled (to the benefit of the citizens of Zadar) by their sovereign, the king of Hungary and Croatia.The visual interpretation of the translation depicted on the casket relies greatly on the scenes from the cycle of the translation of the body of St Mark from the façade of St Mark’s basilica at Venice (the discovery and exhumation of the body, the transport of the body on a ship, the placing of the body in a new shrine). The author of the article, therefore, frequently compares the scenes on the Zadar casket to those from Venice.

scholarly journals SEMIOTICS OF GESTURE: PERFORMATIVE CONCEPTUALISM

2021 ◽  
Vol 2 (49) ◽  
Author(s):  
Yuliia Meliakova ◽  
Inna Kovalenko
Keyword(s):  
Dynamic Models ◽  
Modern Human ◽  
The Body ◽  
Main Body ◽  
Social Significance ◽  
Cultural Space ◽  
Self Presentation ◽  
Modern Culture ◽  
The World ◽  
The One

Problem setting. This article poses the problem of understanding and applying performance as a conceptual model of the functioning of an individual in a modern multi-layered reality. The study presents an analysis of popular actionist practices and the further development of the pure action ontology. The performance serves as an approbation of the dynamism technique and the principle of action in social, digital and artistic actions. Recent research and publications analysis. The assertion of the principle of dynamism and activity in the modern cultural space explains the popularity of performative topics in a parallel scientific and philosophical discourse. At the same time, the bulk of works on performance relates to the field of theory and methodology of art. These are the works of such authors: G. Elshevskaya, E. Krylova, E. Andreeva, J. Kostincova, D. Filippova, Andrey and Yaroslava Artemenko, H. Petrovsky, S. Levitt, H. Downey and J. Sherry, A. Eckersley and C. Duff. G  Reingold, M. Cuellar-Moreno and J. Antonio Cubas-Delgado, A. Loskutov, O. Novoselova and E. Kurbanova and others have studied dynamic models of bodily expressiveness in social practices, including in the information space of culture and communication. In turn, the American philosophers J. Butler, J  Dean and G. Standing develop the concept of performance in relation to political actionism. They view the gatherings of social rights agents as a performative practice of their relationship to power. Paper objective. The aim of the study is to review and theoretically analyze modern creative practices of the subject's bodily expression in the field of art, politics, law and digital communication, as well as to further substantiate the methodological role of the performative concept in modern culture. Paper main body. Today's popular installations, happenings, flash mobs and challenge explicates the very essence of modern human existence in the world. Art zones and other creative social spaces (workshops) use direct body language in their functioning and, at the same time, are highly attractive and effective in today's youth environment. Silent actions demonstrate the limited possibilities for a person to manifest themselves, despite the large number of rights, freedoms and technical means to improve life. Defective self-presentation expresses the one-sided and limited nature of the subject's existence in the social, legal, political and cultural space today. The natural change of technological structures, cultural eras and political models in the world irreversibly modifies a person, his environment and the possibilities of self-realization in it. The creative space of action allows to express the conceptual ontological principle of modernity – the break between the physical and the semantic, the act and the commentary, the action and the word, the body and corporeality. In a stratified reality, a person cannot maintain integrity. His verbal-symbolic being is separated from the physical (body); they express themselves and communicate autonomously and independently. Desocialization and the dominance of virtuality led to the dismemberment and impoverishment of many human functions, in particular the localization of his speech and actions. Therefore, performance is becoming an irreplaceable alternative way of self-realization of the silent body. While language remains a way of being a person as an agent of the information environment. Conclusions of the research. Thus, the study refers to the art experience of bodily subjects as a manifestation of their anthropological authenticity, social significance, legal usefulness, epistemological activity and political will.

Pelanggaran Prinsip Kerja Sama dan Implikaturnyadalam Novel Aulad Haratina Episode Rifaat Karya Najib Mahfudz (Kajian Pragmatik)

2018 ◽  
Vol 1 (1) ◽  
pp. 38-53
Author(s):  
Siti Syarah Kamilah Arifin ◽  
Yadi Mardiansyah ◽  
Ajang Jamjam
Keyword(s):  
Real Life ◽  
Literary Work ◽  
The Novel ◽  
Conversational Implicature ◽  
Pragmatic Approach ◽  
Cooperative Principle ◽  
Conversational Implicatures ◽  
Methods And Techniques ◽  
Maxim Of Quality ◽  
Descriptive Method

Abstract: The process of communication, not only happening in real life, but in the literary work of which one of them in the form of a novel also have conversations between characters who are one with another. Such a process of communication takes place in Aulad Haratina's novel episode of Rifa'at by Najib Mahfudz. In the novel, there are a number of speeches that violate the principle of cooperation. The violation indicates a conversational implicature. The purpose of this research is to know the form of violation of cooperative principle contained in the novel Aulad Haratina episode of Rifa'at by Najib Mahfudz and to know the implicatur which happened due to violation of the principle of cooperation. The method used in this research is analytical descriptive method. The technique used in data collection is the technique of referring, and the method used to analyze the data using the method of extralingual padan, that is connecting the problem of language with things that are outside the language. The approach used in this research is pragmatic approach. Using these methods and techniques, the results of the research revealed that in Aulad Haratina's novel episode Rifa'at there is a violation of the principle of cooperation that includes violations of the maxim of quantity, maxim of quality, the maxim of relevance, and the maxim of the way or execution. These violations create conversational implicatures that include: Interrupted, Calming, Informing, Feeling Disappointed, Affirming, Reassuring, Respecting, Rejecting, Evading, Asking for Compassion, Feeling Good, Reminding, Humiliating, Defending, Pleading, Irritating, Asking for Advice, Praising, Taunting, Blaming, Not Caring, Anger, Complaining, Threatening.ملخص البحث: لا يقع التواصل في الحياة الحقيقة فحسب، بل في الإنتاج الأدبي كذلك، منها القصة. وهو يقع التواصل في المحادثة بين طبيعة الرواية. وقع هذا التواصل في قصة أولاد حرتنا حلقة رفاعة لنجيب محفوظ. وجد الكلام المخالف للمبدأ التعاوني. كان انتهاك يدل على وجود تضمين الكلام.أغراض هذا البحث هى معرفة انتهاك قواعد المبدأ التعاوني في قصة أولاد حرتنا حلقة رفاعة لنجيب محفوظ و معرفة التضمين الذي يظهر بسبب انتهاك قواعد المبدأ التعاوني في قصة أولاد حرتنا حلقة رفاعة لنجيب محفوظ.المنهج المستخدم في هذا البحث هو المنهج الوصفي التحليلي. و الطريقة المستخدمة في جمع البيانات هى منهج الملاحظة و التسجيل (Simak Catat) و في تحليل البيانات، مستخدمة منهج مباراة اللغات إضافية هى من خلال ربط مشاكل اللغة مع الأشياء التي خارج اللغة. و المدخل المستخدم في هذا البحث هو الدراسة التداولية. باستخدام المنهج و الطريقة السابقة، وجدت نتيجة البحث كما يلي، هو ان في قصة أولاد حرتنا حلقة رفاعة وجد انتهاك  قواعد المبدأ التعاوني مثل انتهاك في قاعدة الكم و النوع و الملائمة و الطريقة. و ظهر تضمين الكلام من ذلك الانتهاك، مثل المشوش و التهديئ و الاخبار و خيبة الأمل و التصريح و التصديق و الاحترام و الرفض و الابتعاد و طلب الرحمة و التذكير والاعتقاد و الاحتقار و دفاع النفس و الطلب و الغضب والاقتراح و المدح و التغريب و التغليط و الإهمال و الغضب و  التأوه و التهديد.Abstrak: Proses komunikasi, tidak hanya terjadi dalam kehidupan nyata, tetapi dalam karya sastra yang salah satunya berbentuk novel juga melakukan percakapan antar tokoh yang satu dengan yang lain. Proses komunikasi seperti itu terjadi dalam novel Aulad Haratina episode Rifa’at karya Najib Mahfudz. Dalam novel tersebut, terdapat sejumlah tuturan yang melanggar prinsip kerja sama. Pelanggaran tersebut menunjukkan adanya implikatur percakapan. Tujuan dalam penelitian ini adalah untuk mengetahui bentuk pelanggaran prinsip kerja sama yang terdapat dalam novel Aulad Haratina episode Rifa’at karya Najib Mahfudz dan mengetahui implikatur yang terjadi akibat pelanggaran prinsip kerja sama tersebut. Metode yang digunakan dalam penelitian ini adalah metode deskriptif analitik. Teknik yang digunakan dalam pengumpulan data ialah teknik simak catat, dan metode yang dilakukan untuk menganalisis data menggunakan metode padan ekstralingual, yaitu menghubungkan masalah bahasa dengan hal yang berada di luar bahasa. Pendekatan yang digunakan dalam penelitian ini ialah pendekatan pragmatik. Dengan menggunakan metode dan teknik tersebut, hasil penelitian yang terungkap adalah bahwa dalam novel Aulad Haratina episode Rifa’at terdapat pelanggaran prinsip kerja sama yang meliputi pelanggaran terhadap maksim kuantitas, maksim kualita, maksim relevansi, dan maksim cara atau pelaksanaan. Pelanggaran-pelanggaran tersebut memunculkan implikatur percakapan yang meliputi: Terganggu, Menenangkan, Memberitahukan, Merasa Kecewa, Menegaskan, Meyakinkan, Menghormati, Menolak, Menghindar, Meminta Belas Kasih, Merasa Senang, Mengingatkan, Menghina, Membela Diri, Memohon, Kesal, Meminta Saran, Memuji, Mengejek, Menyalahkan, Tidak Peduli, Marah, Mengeluh, Mengancam.

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