本篇論文旨在研究漢語言談之中的非禮貌現象 (impoliteness phenomenon)。文中語料來源為二：主要語料是來自電視節目康熙來了的訪談語料；其二是來自作者平日從日常生活中聽見並記錄下來的語料 (其中涵蓋了新聞、日常會話以及日記反饋之語料) 用作加強說明舉證用。本研究透過言談分析的研究方法分析所得語料1558筆，透過對語料之中的語意、語用以及會話結構之分析，本研究結果顯示: （一) 漢語的非禮貌(衝突性言談)機制通常作用於語意、語用和會話機制的交會處，也就是說，非禮貌性言談的攻擊者通常靠著語意、語用和會話機制的互動達成非禮貌性言談的攻擊行為，因此，本研究結果認為漢語的非禮貌性言談是由篇章層次所管束的；（二) 經由使用頻率所形成之習語常常被使用在漢語中的非禮貌現象之中，而本研究發現漢語中大量的習語本身在構詞、句法的層次上就具有負面之語意，此類的習語中所帶著的非禮貌語意並非透過習俗化(conventionalization)而得來，唯其特殊之附加語意是透過習俗化而得來；（三) 透過對電視節目語料之分析，本研究發現了於此節目中存在一種言談風格設計的機制稱為「非禮貌設計」，「非禮貌設計」是以生活中的自我表演(self-presentation theory) 或印象管理(impression management)學說作為經，並以觀眾設計理論 (audience design)為緯，加佐反預期心理機制(counter-expectation mechanism)的作用，使非禮貌性的言談轉化成幽默言談；（四)非禮貌設計可以透過心理學及動物演化學的學說來佐證，間接說明現代人類的憤怒機制多半是功能性取向，此性質正合理的說明了非禮貌設計的作用機制。

Over the past decades, the field of im/politeness has seen several major changes in terms of its research direction as well as its underlying methodological basis. For one thing, complementing the insufficiency of more classic theoretical constructs (for example, Lakoff, 1973; Brown and Levinson, 1988; Leech, 1986), researches in the field tend to adopt a more discursive approach (Mills, 2011) in dealing with their analysis of data mainly because in the longer stretches of discourse, it is more likely to detect how people manage their relation work (Watts, 2003). Additionally, challenging the myriad studies based on the notion of speech act theory in the field, several frequency-based im/ politeness studies (Terkuorafi, 2005; 2012) incorporated notions such as construction grammar and cognitive lexical semantics have emerged. However, while a myriad of im/politeness studies abound in the field, it seems that a few inadequacies still exist in the field; that is, while studies concerning Chinese politeness abound in the field, there seems to be a lack of systematic discussion on the topic of impoliteness in Mandarin, and most politeness researchers agree the fact that the whole picture of politeness concept can hardly be complete unless the notion of impoliteness is incorporated (Pan, 2001). Hence, the present study endeavors to bridge this gap by investigating the impoliteness phenomenon in Mandarin Chinese in a systematic fashion.
Drawing from discourse analysis techniques, the present study analyzes TV variety show in Taiwan and some miscellaneous oral spoken data collected from 2012 to 2015. Three levels of analysis, namely semantic, pragmatic, and sequential levels, were conducted, to see how speakers of Mandarin Chinese generate impoliteness language. The main results of the present study is as the following. First, Chinese impoliteness tends to reside at the intersection among semantic, pragmatics, and discoursal mechanism, and it is discourse-governed. Second, Chinese impoliteness expressions tend to be conventional and idiomatic to a certain degree. However, for certain inherently impolite expressions, it is the conventional usage and the additional meaning, instead of the impoliteness sense, that are injected in the mcGCI layer (cf. Terkuorafi, 2015). Thirdly, from the TV show data, we found a stylistic impoliteness mechanism, termed as impoliteness design that cooperates with the counter-expectation mechanism to allow a transformation from the impoliteness script into the humor script. Finally, impoliteness design can be explicated through the wider field of instinct evolutional psychology. That is, impoliteness in the modern world, more often than not, is functional (or in Culpeper’s term instrumental, 2008), for human beings in the civilized society need not fight for territory or food in a barbaric way. Therefore, the design for impoliteness (impoliteness design), more often than not, in the modern human social sphere tends to occur on a daily basis to achieve one’s instrumental need.

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