[摘要]由牛津大学哲学家格莱斯（Grice）提出的会话合作原则（Cooperative Principle）通常是人们研究英语会话的一项基本依据，其中包括数量（quantity），质量(quality)，关系(relation)，和方式(manner)四项准则，违背任一条准则都可能使会话无法进行。而当谈论的话题威胁到会话者的立场（face-threatening）时，就需要采取一些必要的会话策略。此外，为了制造和谐融洽的会话气氛，人们往往会采取一礼貌原则（politeness strategies），如赞赏，善意的玩笑等。本文作者通过分析英国BBC脱口秀中的对话，解析了英语会话合作原则和礼貌原则在现实应用中的重要性。
　　[关键词]格莱斯（Grice） 合作原则（Cooperative Principle） 礼貌原则（Politeness Strategies；） FTA （face- threatening act） Talk Show
　　
　　Introduction
　　The context of the sample text is a talk show originally on BBC One, which is an interview between the host Clive Anderson and the actor of James Bond, Pierce Brosnan. The host and guest are talking and sitting in front of many audiences; for that reason, the interaction is not only between the two, but also including the audience. In this essay, the politeness strategies used in such kinds of talk show will be mainly discussed, with the support of other relevant theories. In the literature review part, Grice’s Maxims (1975), Face Threatening Act (FTA), and positive politeness, negative politeness, and off record strategies by Brown and Levinson (1987) will be explored firstly. Secondly, according to the literature review, there will be an analysis of the sample text on politeness strategies used in live TV interviews. Finally, the importance of such kinds of analysis and issues that may be encountered will be discussed in the conclusion part.
　　Literature Review
　　As I mentioned above, my focus is on the politeness strategies, and so the technical terms will be explained in this part. First of all, it is basically a conversation, thus Grice’s maxims need to be followed by the participants. Secondly, the meaning of face threatening act (FTA) will be explored. Thirdly and the most significantly, Levinson and Brown’s politeness strategies will be discussed in detail, comparing and contrasting with other works and theories.
　　1.Grice’s Maxims (1975)
　　The maxim of Quality
　　Try to make your contribution one that is true, specifically:
　　(i)Do not say what you believe to be false
　　(ii)Do not say that for which you lack adequate evidence
　　The maxim of Quantity
　　(i)Make your contribution as informative as is required for the current
　　(ii)purposes of the exchange
　　(iii)Do not make your contribution more informative than is required
　　The maxim of Relevance
　　(i)Make your contributions relevant
　　The maxim of Manner
　　Be perspicuous, and specifically:
　　(i)Avoid obscurity
　　(ii)Avoid ambiguity
　　(iii)Be brief
　　(iv)Be orderly
　　 (Grice in Levinson 1983:101-102)
　　In order to be co-operative, the participants need to speak truthfully, relevantly and clearly, providing enough information. Grice regards these four maxims as guidelines which will lead to the effective and efficient use of language in conversation to further co-operative ends. (Levinson 1983)Pridham (2001) also suggests that speaker and hearer can co-operate by following the Maxims, as the hearer can deduce not only literal meaning, but the pragmatic meaning, which is, what the speaker is doing and intending with words. As the basic virtues that support a conversation have been explained, in order to understand politeness strategies, first of all, the concept of FTA needs to be explored.
　　2.Face and FTA
　　Goffman (1967) claims that every person lives in the world of social encounters involving him or her either in face-to-face or mediated contact with other people. For that reason, with the purpose of discussing FTA, the definitions of “face” need to be discussed first. In pragmatics, face is one’s public self-image, which is the emotional and social sense of self that people expect others to recognise. The notion of ‘face’ is from the English folk term, which ties face up with concepts of being embarrassed or humiliated,or‘losing face’. That is,‘face’is something that can be lost, maintained, or enhanced and must be continually attended to in interaction. (Brown and Levinson 1987) Similarly, according to Goffman (1987), “face” is defined as positive social value a person effectively claims for himself by the line others presuppose he has engaged during a particular contact. Thus Pridham (2001) says that in order to enter into social relationships, all people must acknowledge the face of others. Also, as Laver and Trudgill (1979) observes that the listener is like a detective to some extent, as he or she has to identify the “state of the speaker” and “a profile of his identity”. In other words, the speaker is trying to communicate about him or herself on a particular occasion.
　　People’s face can be challenged in two ways, according to Pridham (2001); they refer to: “either by telling them what to do”, which shows the speaker’s rights over hearer, or “by showing you disagree with or do not appreciate their values and beliefs”. According to Yule (1996), politeness is a way of showing awareness of another person’s face. Whenever people say something that lessens the possible threat to another’s face, it is called ‘face-saving act’. (ibid) So Peccei (1999) says that politeness can be shown by minimizing the cost to others, but maximizing the benefit to others. Lakoff (1973) claims there are three maxims of politeness in general; they refer to “don’t impose”, “give options”, and “make receiver feel good”. However, comparing with Lakoff’s examination, Brown and Levinson (1987) suggest that the possible strategies for doing FTAs are generally two kinds, which are “on record” and “off record”. As for the catalogue of “on record” there are “without redressive action”, as well as “with redressive action” that includes “positive politeness” and “negative politeness”. (1987: 69) In this essay, some positive politeness strategies by Brown and Levinson will be mainly discussed, as well as a little discussion about negative politeness strategies and off record.
　　3.Positive Politeness Strategies
　　According to Holmes (1992), positive politeness, which is solidarity oriented, emphasises shared attitudes and values; while Wardhaugh (1998) says that positive politeness leads to moves to solidarity through offers of friendship, use of compliments, and informal languages like slang. Brown and Levinson (1987) consider positive politeness redress directed to the addressee’s positive face, which is, the constant desire that his or her wants should be regarded as desirable. The strategies of positive politeness involve three broad mechanisms.
　　3.1Claim common grand
　　The first type relate speaker (S) claiming‘common ground’with hearer (H), by indicating that they share specific goals and values. Their ways of making this are these: S may express that some want of H’s is admirable or appealing to S as well; or he or she may emphasise both of S and H belonging to the same group of people who share same wants; finally, S can claim a common point of view without emphasising in-group membership. (Brown and Levinson 1987) Although there are eight strategies discussed by Brown and Levinson in this type, I will only discuss and explore seven of them.
　　Strategy 1: Notice, attend to H (his interests, wants, needs, goods)- This strategy suggests that S should notice H’s conditions, such as noticeable changes that H may want S to be commented on; also, the ‘notice output’ can happen when the H’s makes an FTA on himself, S should notice it and express that he is not embarrassed by it. (Brown and Levinson 1987)
　　Strategy 2: Exaggerate (interest, approval sympathy with H) - This is often done with the exaggerated intonation, stress, as well as intensifying modifiers. In English, “for sure”,“really”,“exactly”, “absolutely” can be included in this strategy. (ibid)
　　Strategy 3: Intensify interest to H- This is a way for S to get H to be involved in a vivid story telling, by pulling H into the middle of the events being discussed, or switching back and forth between past and present tenses, or by use of a tag question or expressions like “isn’t it” and “you know”.(ibid)
　　Strategy 4: Use in-group identity markers- This strategy is related to in-group address forms, speaking in certain dialects, using slang, and applying ellipsis and so on, which shows the kind of close relationship between the participants. (ibid)
　　Strategy 5: Seek agreement- The first way of seeking agreement is to choose a safe topic that the H may not disagree with. Besides, another aspect involves looking for some topics on which it is possible to agree and sticking to them. The next way is to use repetition on what the S or H has just said. (ibid)
　　Strategy 6: Avoid disagreement- To achieve this strategy, the S and H could use token agreement, pseudo agreement, and white lies. Token agreement, is made by the speakers in order to hide disagreement, appearing to agree by using the utterance with “yes, but…,” instead of “no.”
　　Strategy 7: Joke- Since jokes are based on shared knowledge and values, by using jokes, shared background can be stressed. (Brown and Levinson 1987)
　　3.2Convey that S and H are cooperation
　　The second major class of positive-politeness strategies is that one derives from the want to convey that S and H are cooperatively involved in the relevant activity. The cooperation may be emphasised by S’s indicating his presupposing knowledge of and sensitivity to H’s wants. It might be done by claiming some kind of reflexivity between S’s and H’s wants. Besides, S may convey his cooperation with H by showing that they are somehow locked into a state of mutual helping. For this type, there are six strategies examined by Brown and Levinson (1987), but they will not be explained in details here; as in this essay, the text is TV talk show, these strategies may not be that useful for the participants.
　　3.3Fulfil H’s wants (for some X)
　　The last strategy related to positive politeness by Brown and Levinson (1987) is “give gifts to H (goods, sympathy, understanding, cooperation)”. In this step, S may satisfy H’s positive- face wants by actually satisfying some of H’s wants, which is, the wants to be liked, admired, cared about, understood, and listened to, and so on. (ibid)
　　4.Negative Politeness
　　Holmes (1992) states that negative politeness pays people respect and avoids interfering on them; for example, using title and people’s last names to address them may show S’s respect to H. Thus Wardhaugh (1983) claims that negative politeness may lead to deference, apologising, indirectness, and formality in language use. According to Brown and Levinson (1987), negative politeness, which is the heart of respect behaviour, is redressive action addressed to the addressee’s negative face; that is, his want to have his freedom of action. The strategies of negative politeness involve five broad mechanisms, ten strategies in total, classified by Brown and Levinson (1987).
　　4.1Hedge
　　A hedge is defined as a particle, word, or phrase that modifies the degree of membership of a predicate or noun phrase in a set, such as“sort of”,“rather”,“quite”, “really”, and“sincerely”and so on. (ibid) A set of hedges is oriented to Grice’s cooperative dimensions: telling the truth, providing enough information, being relevant to the topic, and being clear. Those hedges can be Quality hedges like“I think”,“to the best of my recollection”,“as you know”,or Quantity hedges like “more or less”,“or so”,“to some extent.” (ibid)
　　5.Off Record
　　Off record is an indirect way of doing FTA, by violating Grice’s Maxims. For example, being ironic is one strategy, which violates quality maxim of being not truthful. S can indirectly convey his intended meaning, if there are clues that his intended meaning is being conveyed indirectly.
　　Analysis of the talk show
　　As all the technical terms have been explained and discussed according to the references, I will analyse the politeness strategies used in the text with detailed examples in this part. However, this is a special genre, not only involving the two speakers, but also all the audiences to whom the interview is lively presented. For that reason, the interviewer and interviewee may choose certain politeness strategies in order to get all the audience involved, as well as not make each other losing face in front of the public.
　　First of all, I will discuss the four principles of Grice’s Maxims (1975) in the sample text.I will take the part from line 52 to line 66 (Appendix) in the sample text to analyse. The host Clive Anderson wants Pierce Brosnan to talk about his past experience back to “1986”. Then Brosnan follows the Quality maxim to tell his own story based on fact’ while he provides enough information that the listeners expect; meanwhile, he is directly continuing Anderson’s topic, which is relevant to their topic; and the personal experience is told clearly in sequence. Apart from Grice’s Maxims, the politeness strategies applied by the two speakers need to be taken into consideration.
　　According to Penz (1996), the role of guests and experts in talk shows is to present their stories or opinions which are usually elicited through questions from hosts and audiences. As some of the questions are face threatening, in order not to embarrass the guests, the host may use some positive politeness strategies to carry out some sensitive topics. For instance, the host may indicate his shared goals and values, by using the strategies of claiming common ground. From line 11 to line 52, the expression of “you were born to be Bond” appears several times in Anderson’s words. Through these repetitions, the speaker Anderson may intend to compliment Brosnan’s good looks; he may also want to show his interest in the role Brosnan plays. Besides, Anderson raises the topic about Brosnan’s late wife in line 115, which Brosnan maybe likes to talk about. In that case, I think he applies the strategies of seeking agreement by choosing safe topics, as well as of attend to H’s interests. In addition, while the conversation continues, Anderson also shows his well knowledge of the role and Brosnan’s background, which with the purpose of showing in-group knowledge not only with the interviewee, but also to the audiences.
　　As for the other participant, in line 14, Brosnan says “Well, if you believe everything you read in the papers, yes”, here he applies the positive politeness strategy of “avoiding disagreement” by showing token agreement. Brosnan perhaps disagrees with Anderson’s comment of “you always look like James Bond”, because he says “really? I wish somebody had said that to me way back when I was a younger actor” in line 27 to show his uncertainty of what the host has said. In addition, the positive politeness strategy of “Intensify interest to H” is used quite a few times by both of the speakers. For example, line 23 to 25, Anderson uses the tag question of “you know” twice to get the hearer involved in; while Brosnan also applies “you know” several times, such as in line 87. However, between line 54 and line 66, when Brosnan is talking about what happened in 1986, the way he expresses lacks of the strategy of “intensifying interest to H”. This may be because of his need to present his story to the whole audience, but not only the host. Also, the host has shown his interest and interaction through those back channels “yeah”.
　　Joke is the next strategy that both of the speakers apply during the interview. For example, in line 29 to 31, Anderson says “Did you look sort of hideous and distorted are you a TRIBUTE TO PLASTIC SURGERY”, which is a joke to Brosnan to enhance his opinion that the actor was born good looking if he did not do any operations on his face. Also, in line 50, Anderson says “Well, you’re James Bond. You can probably have her”, which is also a joke to show his respect to the character, and also to try to reduce the distance between each other, or maybe also to entertain the audience. Thus Ross (1998) suggests that the sense of humour is very influential for establishing friendships and including others.
　　The aspect of negative politeness strategy they apply is the use of hedge expressions. Throughout the whole text, there are many “sort of” used by both of the speakers, the host in particular. For instance, in line 89 to 91, just in this single turn, Anderson uses “sort of” five times and “kind of” twice. This may be because he is commenting on the appearance of other actors, as well as the guest’s looks, which might be quite face-threatening if he applies improper words. By using “sort of”, the FTA can be reduced.
　　Moreover, off record strategy is also applied in the interview, in terms of being ironic. For example, in line 43, Brosnan’s reaction to the topic about his nationality which is different from the expecting nationality of the character, he says “what a wonderful irony that is”, which is not really “wonderful”. In that case, he tries to be polite and intends not to disagree with the host directly, although this strategy violates the Quality maxim (Grice 1975).
　　Conclusion
　　Media is used by people for many purposes: for entertainment, for information, and for education and so on. (Thomas 1999) As it is shown in public, sometimes, it will be face threatening for the speakers, especially for the interviewee who may have to tell a private personal story to people that he is not familiar with. Also, because the mass media provide the means of access to information and represent a potentially powerful force in the society, how the participants speak is important to be taken into consideration. By analysing the politeness strategies in TV interviews, I have learnt that how significant politeness is in real time communication, as well as what the procedures are for applying those politeness strategies. Also in the process of analysis, I gradually get to learn about in what situation or context certain politeness strategies can be applied; and how different strategies are based on different communicating purposes, which will be helpful in ELT context.
　　Bibliography:
　　Brown, P. and Levinson, S. C. 1987 Politeness: Some Universals in Language Usage. Cambridge: Cambridge University Press.
　　Goffman, E. 1967 Interaction Ritual: Essays on Face-to-Face Behaviour. New York: Anchor and Doubleday.
　　Grice, H. P. 1975 ‘Logic and Conversation’ in Cole, P. and Morgan, J. (eds) Syntax and Semantics, vol. 3 Speech Acts.(pp. 41-58) New York: Academic Press
　　Holmes, J 1992 An Introduction to Sociolinguistics. London and New York: Longman
　　Laver, J. and Trudgill, P. 1979“Phonetic and Linguistic Markers in Speech” in Scherer and Giles (1979) Social Markers in Speech. Cambridge: Cambridge University Press.
　　Lakoff, R. 1973 ‘The logic of politeness: minding your p’s and q’s’ papers from the Ninth Regional Meeting. Chicago Linguistics Society pp. 292-305.
　　Peccei, J. S. 1999 Pragmatics. London and New York: Routledge.
　　Penz, H. 1996 Language and Control in American TV Talk Shows: An Analysis of Linguistic Strategies. Germany: Gunter Narr Verlag Tubingen.
　　Pridham, F. 2001 The Language of Conversation. London and New York: Routledge.
　　Ross, A 1998 The Language of Humour London and New York: Routledge.
　　Thomas, L. et al. 1999 Language, Society and Power: An Introduction. London and New York: Routledge.
　　Wardhaugh,R.1998 An Introduction to Sociolinguistics Third Edition. Oxford: Blackwell.
　　Yule, G.1996 The Study of Language second edition. Cambridge: Cambridge: University Press.
　　Appendix- Pierce Brosnan Interview ’99 Part 1
　　(http://www.youtube.com/watch?v=YGOpwMNRL78&feature=related)
　　001 Clive Anderson:Please welcome Pierce Brosnan
　　002 ((applause and cheers from the audience))
　　003 Clive Anderson:hahaha
　　004 Pierce Brosnan:((walking out from the background and beckoning to the audience))
　　005 Thank you
　　006 Clive Anderson:Hello
　　007 Pierce Brosnan:Nice to meet you
　　008 Clive Anderson:and you
　　009 Pierce Brosnan:thank you ,thank you, thank you ,hahaha
　　010 Clive Anderson:[hahaha] ((applause from the audience))
　　011 Oh, dear, anyway, so, Mr. Bond, we meet last
　　012 Pierce Brosnan:We do
　　013 Clive Anderson:So, you were born to be Bond, weren’t you
　　014 Pierce Brosnan:Well, if you believe everything you read in the papers, yes. It
　　015 seems that case.it’s a kind of destiny, Call it what you will.
　　016 Clive Anderson:[yeah]
　　017 Pierce Brosnan:but: it’s been in my life, and out of my life, and now it’s certainly
　　018 in my life ((Pierce is drinking water))
　　019 Clive Anderson:[yeah] What I mean, you look like James Bond it- I- I
　　020 Know-I know that it’s a silly thing to say that that cause you
　　021 ((laughing and applauses of the audience))
　　022 Pierce Brosnan:[hahaha]
　　023 Clive Anderson: But you always look like James Bond, that’s sort of, you know,
　　024 Chiseled looks er-erm,you know. Fine figure of a man, all that
　　025 sort of thing
　　026 Pierce Brosnan:[emm]hh [we
　　027 Really? I wish somebody had said that to me way back when I
　　028 was a younger actor=
　　029 Clive Anderson: well, weren’t you good looking then? Did you look sort of hideous
　　030 and distorted are you a TRIBUTE TO PLASTIC
　　031 SURGERY then?
　　032 Pierce Brosnan: [hahaha]
　　033 No, quite, no no no no. This is- this is it everything you see is
　　034 real here, God, no knives for me thank you very much no
　　035 Clive Anderson: [right] [hahaha]
　　036 and the other great thing that you being Bond is of course, James
　　037 Bond is the quintessential English man
　　038 Pierce Brosnan: .hh
　　039 Clive Anderson:but almost never is played by an English man
　　040 Pierce Brosnan: hh wh-
　　041 Clive Anderson:seems to me you’ve got to be Scottish, Welsh, Australian
　　042 and- and you are Irish.
　　043 Pierce Brosnan: [in my case]-an Irish man. Yes, what a-what a
　　044 wonderful irony that is, erm, .hh, anyway- erm (0.5) you’re-
　　045 you are stuck with me with whether you like it or not
　　046 Clive Anderson: [yeah]
　　047 Pierce Brosnan:you’ve got me here er. (1.5) I like that woman
　　048 Clive Anderson:[yeah] [hee hee hahaha]
　　049 Pierce Brosnan:erm (1.0)
　　050 Clive Anderson: Well You’re James Bond. You can probably have her.But…
　　051 Pierce Brosnan hahahaha heeheehe oh, no no
　　052 Clive Anderson:I think you were born to be Bond, cause you were going to be
　　053 Bond way back in 1986.
　　054 Pierce Brosnan:in 86, yeah, well I had a … err I went off to America,there
　　055 And- I got a TV series called Remmington Steel and then after
　　056 That kind of closed- down, or they- they drew a line through it
　　057 and said we don’t want to know this any more; they offered me
　　058 James Bond
　　059 Clive Anderson: [yeah]
　　060 Pierce Brosnan:But- I had in my contract a little clause, which a they
　　061 Had sixty days to resell the show.Basically the late
　　062 Clive Anderson: [yeah]
　　063 Pierce Brosnan: Cubby Brocolli said look you can have him for 6 episodes but no
　　064 more than 6 episodes and then he is mine, and on the sixtieth day,
　　065 they - being the network - said we’d like the option of 22 and
　　066 So, it all folded, and
　　067 Clive Anderson: [right]
　　068 Pierce Brosnan:another gentleman took over
　　069 Clive Anderson:Timothy Dalton.Let’s name names. But-
　　070 Pierce Brosnan: [there you go!] [emm] haha(.) there
　　071 you go. I m stuck there
　　072 Clive Anderson: [yeah but-]
　　073 Heehee [ now stepping into] the role of James Bond’s, which has
　　074 got such a strong image that you have to follow in the tradition of
　　075 George Lazenby and Timothy Dalton. So was that- was that
　　076 Pierce Brosnan: [haha]
　　077 Clive Anderson:and- and- and, all there was Sean Connery.Obviously, yes,
　　078 Pierce Brosnan:[a couple of few more Clive [Yes
　　079 Yes.There was many fine men who stood there before me,so you
　　080 Clive Anderson: [yeah ]
　　081 Pierce Brosnan:kind of basically when you get it you have to respect the role,
　　082 And, especially if you’ve grown up on them and ,I had the first one, I
　　083 saw was-
　　084 Clive Anderson [yeah]
　　085 Pierce Brosnan:I was a boy of ten years of age, over from Ireland, and saw
　　086 Clive Anderson [yeah]
　　087 Pierce Brosnan:Sean Connery, and he- you know, he for me is James Bond ya
　　088 know
　　089 Clive Anderson:Cause Sean always had that, sort of, sort of slightly,sort of
　　090 sneery kind of smile and Roger Moore his eyebrow erm. yours was
　　091 More sort of a- sort of a Paddy Ashdown kind of squint, isn’t it
　　092 Pierce Brosnan: [HAHAHA]
　　093 Clive Anderson: [hehehehe]
　　094 Pierce Brosnan:er ((acting by narrowing his eyes))
　　095 Clive Anderson: Okay, but now, when you- when you are ten year old boy over
　　096 Pierce Brosnan: [hahaha]
　　097 Clive Anderson: from Ireland, and you see Sean Connery, did you- were you
　　098 Pierce Brosnan: [yeah]
　　099 Clive Anderson:looking at him and thinking that’ll be me one day; I’m gonna be
　　0100 doing that; or, when did this dream of becoming a film star
　　0101 sort of kick in
　　0102 Pierce Brosnan: [no]
　　0103 Clive Anderson:kick in? (1.0)
　　0104 Pierce Brosnan:Well, I didn’t want to be Bond it, but I- I think the seed of wanting
　　0105 to be in movies kicked in there back in 64, er- I had never dreams
　　0106 to be
　　0107 Clive Anderson: [yeah]
　　100 Pierce Brosnan:an actor, but the- the movies were captivating for me, but-no I
　　101 Clive Anderson: [yeah]
　　102 Pierce Brosnan:left school and I became a commercial artist; I was good at art
　　103 and-and one day I was hanging my coat up. I was talking to
　　104 a fellow colleague, and he belonged to a theatre club, and I
　　105 went along on a particular night (2.0) and became an actor, more
　　106 or less
　　107 Clive Anderson:[emm] [yeah] [so why did
　　108 you go to America? what was the- what was the theory there?
　　109 Pierce Brosnan: (.hh) [HEHEHE] well, I did- I- I got cast in a mini series called
　　110 The Manions of America which was about the Irish potato famine,
　　111 and
　　112 Clive Anderson: [yeah]
　　113 Pierce Brosnan: when that came on in America, my late wife and I decided to
　　114 go to America
　　115 Clive Anderson:well- what I’ve read you said is- is that she kind of persuaded you ,
　　116 she said this, you know, this you can do it. Let’s- let’s go
　　117 there
　　118 Pierce Brosnan:[we..] n [ye::s]
　　119 Cassie was the one. I think if she’d listened to me we would still
　　120 Be in a kind of little flat in Fulham now. Probably, and having a
　　121 good time.
　　122 Clive Anderson: [yeah]
　　123 Pierce Brosnan:But- she was the one who had the- the foresight to say: no, we
　　124 should go to America. So we got two grand from the bank
　　125 Manager, basically on the central heating; we got a loan of two
　　126 Clive Anderson: [yeah]
　　127 Pierce Brosnan:grand
　　128 Clive Anderson:[against the central heating?
　　129 Pierce Brosnan:yeah
　　130 Clive Anderson:so you hadn’t paid it back the- the bank would’ve come along.to
　　131 Pierce Brosnan: [we-we-but-
　　132 Clive Anderson:rip your radiators off
　　133 Pierce Brosnan:there- there were some deal going on the paper at that time where
　　134 you could- you could get second mortgage on the central heating.
　　135 Clive Anderson:heehee
　　136 Pierce Brosnan: Go figure anyway that’s how we got to America
　　137 Clive Anderson: [yeah]
　　138 Pierce Brosnan:and I went there for two weeks, and they were looking for this
　　139 Clive Anderson: [yeah]
　　140 Pierce Brosnan: character Remington Steel, and I said yes please I would like
　　141 Clive Anderson: [yeah] alright. and
　　142 the sad thing as I’ve just said is you-you’ve just say, your wife
　　143 didn’t live to see you as James Bond, was a=
　　144 Pierce Brosnan:=sadly she didn’t. She would have relished every moment of these
　　145 days. But, such is life, and, you know, she put up a mighty
　　146 Clive Anderson: [yeah]
　　147 Pierce Brosnan:fight against ovarian cancer, and, you know I’ve wonderful
　　148 children from that marriage
　　149 Clive Anderson: yes. but anyway, as-as I was saying earlier on 1986 you
　　150 were offered it
　　151 Pierce Brosnan: [emm]
　　152 Clive Anderson: you couldn’t- couldn’t do it then cause of your contract you had to
　　153 wait another were- ten years or nine on
　　154 Pierce Brosnan:ten years, yes
　　155 Clive Anderson:do you think it made you better actor? Or more informed actor? Or
　　156 were you- you just past it, by the time you got to the castors
　　157 Pierce Brosnan: [HAHAHA] I past it. God
　　158 Merciful, merciful, erm-erm- I think it- I think it gave me a certain
　　159 Confidence to stand there and just, and- and just play the role, yes
　　160 Clive Anderson: [more experienced] [yeah]
　　161 It’s the Bond family motto‘The world is not enough’ isn’t it?
　　162 Pierce Brosnan:I believe so. yes
　　163 Clive Anderson:[I think it’s in Latin really ‘Non Sufficit Orbits’
　　164 Pierce Brosnan:it’s a tough one to go and see on Friday night, isn’t it.
　　（作者单位：英国华威大学）