Criticism
Grice’s theory is often disputed by arguing that cooperative conversation, as with most social behavior, is culturally determined, and therefore the Gricean Maxims and the Cooperative Principle cannot be universally applied due to intercultural differences. Keenan claims that the Malagasy, for example, follow a completely opposite Cooperative Principle in order to achieve conversational cooperation. In their culture, speakers are reluctant to share information and flout the Maxim of Quantity by evading direct questions and replying on incomplete answers because of the risk of losing face by committing oneself to the truth of the information, as well as the fact that having information is a form of prestige. However, Harnish points out that Grice only claims his maxims hold in conversations where his Cooperative Principle is in effect. The Malagasy speakers choose not to be cooperative, valuing the prestige of information ownership more highly. (It could also be said in this case that this is a less cooperative communication system, since less information is shared)
Another criticism is that the Gricean Maxims can easily be misinterpreted to be a guideline for etiquette, instructing speakers on how to be moral, polite conversationalists. However, the Gricean Maxims, despite their wording, are only meant to describe the commonly accepted traits of successful cooperative communication. Geoffrey Leech created the Politeness maxims: tact, generosity, approbation, modesty, agreement, and sympathy.
Read more about this topic: Cooperative Principle
Famous quotes containing the word criticism:
“Homoeopathy is insignificant as an art of healing, but of great value as criticism on the hygeia or medical practice of the time.”
—Ralph Waldo Emerson (1803–1882)
“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)
“The aim of all commentary on art now should be to make works of art—and, by analogy, our own experience—more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.”
—Susan Sontag (b. 1933)