Although conversations in television shows are supposed to mimic and represent everyday natural speech, they are written for a specific purpose. The aim of this paper is to find out what maxims are flouted the most in the television series Firefly and analyse what the effects of these flouts are. Presented here is an analysis of how scripted conversation in the aforementioned television show is constructed. By applying Grice's cooperative principle and his theories on flouting and implicatures, certain patterns emerge that show recurring uses of flouts for specific effects. The results are based on a study of three episodes of the television series Firefly. The results show that the maxim of quality is flouted the most and that the distribution of flouts between characters is somewhat uneven. This suggests that the use of flouts has to do with the personalities of the different characters.

This study investigates the creation of humor in the dialog of the television sit-com Seinfeld to gain a deeper understanding of humor techniques in a long format. By analyzing six episodes of the series, it is seen that the Incongruity Theory of Humor, violations of Grice’s maxims of the Cooperative Principle, and perspective clashes (such as miscommunications) are essential to the humor throughout each episode.

<p>When we converse we constantly fail to observe the rules of conversation in order to simplify and make dialogues more effective. The scriptwriters who work with TV shows use non-observances of maxims in order to evoke different feelings from their viewers. The aim of this paper was to investigate how frequently non-observances of maxims occurred in the TV shows Desperate Housewives and That 70’s Show. I examined where and why they were used as well as how often flouting was used compared to violations. The base of the study was a drama and a comedy show.</p><p>Research has shown that the maxim of relevance is most frequently used to create different comical or dramatic situations. The scriptwriters have their characters ignore what is relevant to the situations in order to make them come off as flustered, odd and stupid in humorous situations and as mysterious, cowardly, respectful or bold in dramatic situations. Also research shows that flouting occurs more frequently than violations when it comes to breaking maxims. Violations occur most often with the maxim of quality when the characters lie to mislead in order to direct blame away from him/herself. In Conclusion, this investigation has shown that non-observances of maxims are important for scriptwriters in order to create humorous and dramatic situations in verbal interaction.</p>

When we converse we constantly fail to observe the rules of conversation in order to simplify and make dialogues more effective. The scriptwriters who work with TV shows use non-observances of maxims in order to evoke different feelings from their viewers. The aim of this paper was to investigate how frequently non-observances of maxims occurred in the TV shows Desperate Housewives and That 70’s Show. I examined where and why they were used as well as how often flouting was used compared to violations. The base of the study was a drama and a comedy show. Research has shown that the maxim of relevance is most frequently used to create different comical or dramatic situations. The scriptwriters have their characters ignore what is relevant to the situations in order to make them come off as flustered, odd and stupid in humorous situations and as mysterious, cowardly, respectful or bold in dramatic situations. Also research shows that flouting occurs more frequently than violations when it comes to breaking maxims. Violations occur most often with the maxim of quality when the characters lie to mislead in order to direct blame away from him/herself. In Conclusion, this investigation has shown that non-observances of maxims are important for scriptwriters in order to create humorous and dramatic situations in verbal interaction.

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This work deals with irony in popular television genre, entertaining talk show. The first partdefines the basic concepts which we work with (public communication, cooperative principle, politeness, irony). In the second part there is characterized the media dialogue, specifically talk show. The third part deals with particular public television's talk show - Všechnopárty. This thesis examines, on selected examples, how irony works in the show, how it manifests itself and how it is used by participants in talk show. The main finding is that irony in Všechnopárty is used as a communication game, mostly as a specific variant of irony called teasing (banter). It is a communication acting describable as pretended threatening of face of communication partner or of your own face, resp. communication which intentionally and transparently for the viewer violates Leech's courtesy maxima (most often tactfulness and modesty maxima).Teasing irony in Všechnopárty is used as a fun element increasing attractiveness of the show for spectators and participants of the talk show are usually knowingly involved in it. KEYWORDS communications, media dialogue, talk show, cooperative principle, politeness, irony, teasing

<p>Chatroom conversations often elicit an initial impression of chaos. This is probably chiefly due to disrupted adjacency sequences, but also a result of the language being rich in non-standard linguistic forms and grammar. This study explores chatroom conversations with reference to Grice’s (1975) cooperative principle and the maxims that accompany it, and compares them to real life conversations. The aim is to see whether they differ from real life conversations to the extent expected, and whether these differences give rise to any compensational strategies to ensure successful communication. The results reveal a slightly higher amount of maxim undermining in the chat room than in the real life conversations, but not as high as expected. Accordingly, few compensational strategies need be adopted. It is suggested that the main explanation for these findings is that chatroom users have adapted their conversation patterns to the medium.</p>

Chatroom conversations often elicit an initial impression of chaos. This is probably chiefly due to disrupted adjacency sequences, but also a result of the language being rich in non-standard linguistic forms and grammar. This study explores chatroom conversations with reference to Grice’s (1975) cooperative principle and the maxims that accompany it, and compares them to real life conversations. The aim is to see whether they differ from real life conversations to the extent expected, and whether these differences give rise to any compensational strategies to ensure successful communication. The results reveal a slightly higher amount of maxim undermining in the chat room than in the real life conversations, but not as high as expected. Accordingly, few compensational strategies need be adopted. It is suggested that the main explanation for these findings is that chatroom users have adapted their conversation patterns to the medium.

Road signs form a non-verbal semiotic system – by many encountered on a daily basis – that dictates the actions of the users of the road, in order to create a safe and efficient traffic environment. It is clear that road signs are not just ‘saying’ things but ‘doing’ something. This study examines the commanding and performative aspects of a set of Swedish road signs. The first part of the analysis is a detailed investigation of (the ‘grammar’ of) the warning sign, drawing on a theoretical framework of semiotics and Grice’s cooperative principle. The second part investigates the speech act status of warning signs, priority signs and prohibitory signs, by applying Searle’s taxonomy of illocutionary acts. Results show that the warning triangle is not arbitrary but iconically motivated, both in color and in form, and that the silhouettes vary on a number of parameters, including the perspective of their mapping, the degree of iconicity and the degree of ‘danger reality’. Warning signs, just like verbal warnings, are best categorized as directives, whereas priority and prohibitory signs, unlike verbal prohibitions, emerge as declarations. Ultimately, this raises questions regarding the limits of and the ‘translatability’ between verbal and non-verbal language.

This paper studies the use of violations of conversation principles in the written dialogue of Tyrion Lannister in Game of Thrones. The aim is to establish if and how these violations aid in making him seem clever. The character's dialogues are matched against three theoretical principles: Politeness Theory, The Cooperative Principle and Turn-taking Principles. The findings suggest that by breaking basic principles of conversation, Tyrion provides entertaining dialogue and manages to create unexpected solutions to different threatening situations. Results show an even distribution of strategic violations, among the three theoretical approaches, which could suggest that the dialogue is consciously written to help make the audience feel impressed by the character's features. Tyrion's violations of conversation principles is a contribution in what makes him seem witty. This ability in the character seems to be closely linked to a lack of fear for any negative social consequences. The character's ability to act free from rules of social behavior could be considered one of the reasons behind his popularity among fans of the show.