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YOU DIPPY TWAT

You Dippy Twat The Politeness of Teasing in Adolescents in the UK and America

Abstract Teasing amongst adolescents is a phenomenon present in both the United Kingdom and the United States. Teasing is used flatter positive face especially among members of the same friend group. The show Skins in both America and the United Kingdom shares a plot and a focus on a group of teenaged friends which makes it likely to be an environment rife with teases. The number of and response to teases are recorded in each season and compared season by season and episode by episode. The American season had more teases per its season by about 20%. Even in episodes where the lines between the two seasons were shared almost verbatim the US had more teases, sometimes the very same lines that are used in earnest in the original are turned into teases in the American version. This could indicate American social taboos that are not present in Britain. In both seasons teases decline as the season progresses and trends into more serious topics, but the decline of the UK series begins with a much sharper drop off and the American season eases its viewers into the subject matter more slowly. This coupled with the disparity between the visual graphicness of the show and the response to it between the two nations may indicate that adolescents in the UK are perceived as being more adult than child and the opposite is true in America. On the other hand it may just indicate that American society is more prudish as a whole.

YOU DIPPY TWAT Introduction and Review of Literature In the past teasing has been a subject of some controversy. People denounced it as mean or bullying, detrimental to the youth of the nation. They were unable to see how apparent insults could be positive. Since then teasing has been studied in many different disciplines, from psychology to anthropology to sociolinguistics, and has been found to be a positive and necessary social factor in the lives of most people but especially adolescents. Adolescence is one of the most important changes that

one can go through and it is not only the body that changes, the modalities of social interaction change as well. Teasing is also used in dialogue as a vehicle for humor. If it weren't funny it would just be mean and that would not help to flatter any face of politeness. Clancy(2005) and Pexman and Zvaigzne (2004) were both studies about the use of teasing to flatter the positive face of politeness. They focused especially on the use of teasing to flatter positive face in close groups like family or friends. Clancy's study was an observational one focusing on a single family in Ireland and the Pexman study was a survey that gave situations where teasing was used and had subjects rate them on things like how close the people in the situation were.The idea is that in close groups teasing can illustrate that someone is perceived as a part of the group almost like using in group terms. People tease more with the people that they are closest to because they know that the bond is a strong one and is less likely to be broken by a tease accidentally perceived as an insult than a more distant relationship like an acquaintance as opposed to a friend. These themes are also found throughout the rest of the research because they give a context and reason for how other factors relate to teasing. In the current studies of teasing many focus on teasing as it relates to gender. Aronson et. al. (2007) for instance did a study focusing on what it was perceived as okay to tease members of each gender about among college students. They found that overall men were seen as having more acceptable teasing topics than women and men found teasing as a practice more acceptable than women did. Beck et. al.(2007) and Lampert(2006) both noted that cross gendered teasing was used primarily for the

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purpose of flirting and same gendered teasing between males was the most prevalent. However, with this clustering around gender there is a lot of room left open for the analysis of teasing in other contexts. There is also a difference in the perception of teasing across age groups. According to Littleton Sherer and Clark (2009) in their study Changes in teasing patterns from early adolescence to adolescence a significant change in the perception of teasing occurs around puberty. In this study they surveyed middle school children and high school aged children asking questions about who teased who and how being teased made a person feel. For the prepubescent children the response was overwhelmingly negative. They perceived teasing as something done by enemies not friends and with malicious intent. Around 12 and 13 when the students were undergoing puberty they began to see a shift in responses with more reporting that teasing could be done between friends and elicit a good feeling but there was still a good amount of teasing that they thought was negative. By the time the students had reached a high school age however the shift was pretty much complete with adolescents reporting that they would tease within their group of friends to establish rapport and would tease with members of the opposite sex as a type of flirting. The main idea that can be derived from this article is that age plays a big role in how teasing is perceived and practiced. This is part of the reason that the focus of my research is on high school students. Another paper focused on British Bangladeshi girls and the ways that they used teasing amongst themselves(Pichler 2006). Although it wasn't the focus of the paper I was interested to find out that the author had done preliminary work to look for which adolescent girls used teasing the most. They found that teasing was used more often among girls from families with lower income than girls from high income families. They often found that teasing was used significantly more among Bangladeshi girls. These point to the idea that one's background and culture can have a pretty large impact on how you view teasing as well as how you practice it. One of the most important studies for the the base of this study was No Aggression Only

YOU DIPPY TWAT Teasing by Dynel(2008) which says that there can be no such thing as a mean tease. Dynel defines teasing as being an act between two people used to establish rapport with no malicious intent. What people had previously termed as mean teasing or negative teasing she says is putdown humor. Putdown humor is meant to be hurtful or upset the target and does not necessarily have to be said to the person's

face. So saying mean things about someone behind their back (even if it's something funny) is not a tease but putdown humor instead. This helped give a good definition for what is a tease and what isn't and was a ruler of sorts in the creation of corpora. Thesis Teasing is used and accepted more or less equally in adolescents both in the United Kingdom and the United States. Methods The main point of this study is observing teasing among adolescent friends as it is portrayed in the television show Skins. The choice to use a TV show was made because it is a simple and cost effective way of observing speech acts, especially when one wishes to compare two different countries. Although the show is scripted it is a good indicator for how teasing is actually used because the writers are striving for accuracy in portraying how the characters, teenage friends, would act. If the characters did not ring true in some way to the target audience the show would likely not be successful. Added to that, personal experiences in being a teenager and teasing lend credence to the claim that this speech is at least mildly representative of the way teenagers talk in real life. That being said there is also a chance that the writers played the teasing up or down in the show to achieve the feeling they were looking for. Far from being a set back this is another benefit of using a television show. Because the way in which teasing is used is not the only topic being researched, but also at how it is accepted within the society. If one society tries to play teasing up or down it could be an indicator as to how it is viewed or accepted within the society. It might also be used to indicate how the society feels about a different subject, answering questions like, is

YOU DIPPY TWAT it okay to tease about or too serious? The show Skins was specifically chosen for several reasons. Firstly it is one of a small group of shows that has both a British and an American version and those are the countries whose cultures are to

be compared. Secondly the British and American versions are very similar with the same basic characters and plot lines which helps to control for other variables that might affect the data. Thirdly the show focuses on a group of about 7 close friends who are all attending the same high school and are in the same grade. This means that they all fall nicely into the adolescent age group that is the focus and are also all in-group members likely to use positive face flattering techniques like teasing. Corpora of teases and the responses to them are being drawn from episodes in the first season of the UK version of Skins and the only season of the American version because they are roughly equivalent. Only teases between adolescents are noted because that is the age group of interest in this study, teases coming from adults like parents or teachers are irrelevant. Because of time constraints every episode in each season will not be watched; instead, an episode of each season are viewed in order (watching the same number of episodes in each version) until the corpora are sufficiently large that patterns might be gleaned from them. Due to time constraints the corpora are small which is a weakness to this study. The total number of teases in each corpus are compared to each other as well as the number of teases from episode to episode. Also the responses to teases in each version are categorized and compared. To determine whether something is a tease or not more obvious verbal cues such as sarcasm or irony, as well as the perceived intent of the speaker are being used. Relying on Dynel's theory that teases are good intentioned and between two people, if the speaker seems to have the intent of actually hurting the target's feelings. There are a few exceptional cases of teasing that are counted although either not addressed by Dynel or seeming to conflict with her. These cases are teasing a person via someone else and teasing a group or as a group. In both cases the issued is that Dynel defines a tease as occurring

YOU DIPPY TWAT between only two people. The first, teasing via someone, means that the teaser talks to a third party in

front of the target, intending for the target to hear, with a teasing tone and a remark about him or her. The second case is teasing involving groups. This seems to fly directly in the face of Dynel but in this case the group is so closely knit that they act as an individual in some cases. Originally it was planned to have a second opinion to help determine whether certain instances were teases or not but because this proved to be impractical. It was decided instead that if there was a question as to whether or not a speech act is a tease it would not be counted in my data. A possible source of error or misconstrued results could be the fact that the research and categorization of teases and responses are all being done by one person. The format for recording teases is as follows: Speaker/Target + OptionalMultipleSpeakers via OpitionalThirdParty Text of the insult (questionable word/not sure what was said) [comments if relevant] R: Response Code If part of the data is unintelligible or there is doubt about whether the transcription was correct is put into parentheses. If comments are necessary they will be placed in square brackets and the responses will be coded with one of six responses. Those codes are: :) = smile, laugh, or positive verbal feedback TB = tease background I = ignore the tease (it is important to note that they are not ignoring the speaker only the tease in this case. Because teases are so common and often times woven into other speech there are times when the target will ignore the fact that they have been teased.) :( = frown or other visible sign of upset or exasperated verbal response U = upset, angry or hurt verbal response AM = Answering Machine Results

YOU DIPPY TWAT Table 1 United Kingdom 61 United States 78

Table 2 Episode Number 1 2 3 4 United Kingdom 30 12 12 7 49.18% 19.67% 19.67% 11.48% United States 28 24 18 8 35.90% 30.77% 23.08% 10.26%

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Teases per Episode

Graph 1

30

25

20

Teases

UK US 15

10

0 1 2 3 4

Episode

Table 3 Episode Focus United Kingdom United States

YOU DIPPY TWAT Tony Cassie/Cadie Chris Jal Tea 30 12 7 12 n/a 49.18% 19.67% 11.48% 19.67% 24 28 8 18 n/a 30.77% 35.90% 10.26% 23.08%

Table 4 Response :) TB I :( U AM United Kingdom 12 13 17 11 6 2 19.67% 21.31% 27.87% 18.03% 9.83% 3.28% United States 17 12 32 10 5 2 21.79% 15.38% 41.03% 12.82% 6.41% 2.56%

Graph 2
Responses by Country
35 30

Amount per Season

25 20 15 10 5 0 :) TB I :( U AM UK US

Response

Table 5 Gender F/F United Kingdom 4 6.56% United States 5 6.41%

YOU DIPPY TWAT F/M M/M M/F M/N 6 35 14 2 9.84% 57.38% 22.95% 3.28%
Teases and Gender
40 35 30 25 20 15 10 5 0 F/F F/M M/M M/F M/N

9 14 30 29 0 9.84% 57.38% 22.95% 3.28%

Graph 3

Teases

UK US

Gender Breakdown

Discussion As can be seen in Table 1 teasing was more prevalent in the American show skins than it was in the United Kingdom version. There is a 21.97% difference in teasing between the two shows. In table two it can be seen that both countries showed a trend of fewer teases as the seasons progressed. One reason for this could be that the producers wanted to bring viewers in initially with a funny more light episode. Teasing is also a marker of friendship and intimacy so using a lot early on can help by establishing the close relationships between the characters to the viewers in a more subtle manner. As the season progresses viewers already know the dynamics of the on screen relationships so teasing is needed only to remind viewers of the nature of the relationship and not to establish it. After the first few episodes that use humor as a hook those watching are interested in the characters and their stories, this frees writers to stray away from teasing into more dramatic issues and more serious dialogue. Graph 1 gives

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insight into the pattern of change in teases as the season progresses. While the United Kingdom version begins slightly higher it has a quick drop and then a slower decline in teases per episode, the American version has a smoother slower decline. This could be because the British writers felt comfortable that their viewers could handle the more serious subject matter early on while the Americans wanted to ease their viewers into it. That Britain views adolescents as closer to adulthood than childhood is apparent in other aspects of the show as well. In one of the first scenes of the UK show there is uncensored nudity, Tony looks out his window at the house across the street and sees his adult female neighbor naked drying off after a shower and her breasts are visible. Later he sees her outside and she flirts with him, it is implied that this has been going on for some time. On the other hand the American series showed clothed female masturbation with no shots below the waist and teenage girls in their underwear a few times and it caused a maelstrom of scandal. People reacted very poorly to the show, some even calling it child pornography. The show eventually was rated TV MA and sponsors even pulled their advertisements. It could follow that because the UK views their target audience as more mature they jump into darker material more readily while the American version tries to gently ease viewers into it. However the sample size of just four episodes from a 9 or 10 episode season means that these trends may be superficial and not hold true for the entire series. The format of the show is such that each episode has the name of a character for a title and the episode is focused on that individual. While the overall plot of the series in each country is similar changes were made in the American version in the characters, the contents of the episodes, and in the episode order. Each character in the original has a corollary in the American version (Appendix A) but sometimes names or other details about them have been changed. The two most changed are Maxie/Tea and Cassie/Cadie. In the British version Maxie is a gay boy who is best friends with Anwar and is less prevalent overall than his American counterpart Tea. Tea is a lesbian whose father is in some way involved with the mob. The writers also gave Tea and Tony an odd relationship that is not present in the

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original, they have one sexual encounter while Tony is still dating Michelle and Tony becomes obsessed with her. The reason for this change is unclear. Perhaps the writers felt that gay males were overused in television as opposed to gay females. On the other hand it may be indicative of an American taboo in which gay male romance is considered more taboo and lesbianism is considered to be sexy (as long as both parties are pretty and relatively feminine). The Cassie/Cadie difference is a more subtle one. In both series the character is the outlier of the group. She is anorexic and takes a lot of pills in both and has parents who she feels alienated by. In each series it is revealed that she has recently been released from the psych ward and she is hardly ever teased, most likely in light of her evident mental deficiency. However Cadie is a character whose addiction to pills is played up whereas Cassie is defined much more by her eating disorder and pills are of secondary importance to her. The characters also differ in that Cassie is still shown as being a friend and a part of the group and while Cadie is technically a member of the group she is mostly being used for her ability to get drugs. The episodes range in similarity from near identical to almost completely different. The Tony and Chris episodes are so similar that in some scenes they are practically line for line. The Cassie/Cadie episodes on the other hand are similar mostly in the portrayal of the character's relative isolation from the group and her family and her crush on the Sid/Sam character. In Table 3 the difference in teasing between the two countries in the correlating episodes is shown. In both the United Kingdom and the United States a substantial percentage of the teasing takes place in the Tony episode, almost half of the teases in the UK and over a third in the US. This makes sense because in both versions it was the pilot and Tony's character is a confident and sometimes manipulative male lead who uses teases frequently. In each season there is a drop in teases in the Cassie/Cadie episode which makes sense because she is teased less than her normal counterparts due to her vulnerable mental state and near outsider position in the friend group. That being said, while the Cadie episode has the least teases in her season the Cassie episode is tied for second in the UK season. There could be several reasons for this difference. One might simply be the differences between

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the two episodes, in the UK Cassie is around her friends more so there are more opportunities for teasing whereas more of the Cadie episode centers around her therapy or her bad relationship with her parents. The largest disparity shown by Table 3 is the difference between the Chris episodes from each country. This is one of the more interesting differences because the Chris episodes were incredibly similar. For much of the episode the lines are almost identical and the plot is more or less identical. However, although the lines were in many cases practically identical the intonation was not. For example in the UK version Tony says these two lines to Chris, It isn't blue or anything and It looks bigger to me. Probably did it some good,. In section 5 of Appendix B one can see that Tony says It's not blue or anything right? and Lookin' at it I actually think it might be a little bigger it might have done you some good, to Chris. These lines are practically the same and yet only the American version was teasing. The context for these quotes is that Chris wakes up one morning to find that his mom is gone and she has left him roughly 1000 dollars to take care of himself. He spends it all on a pills and alcohol and throws a party at his house during which he takes quite a few Viagra. In the morning he looks into his mom's room and realizes that all of her things are gone and she may have left him for good. That is when Tony and Anwar/Abbud walk into the room and start talking to him Tony delivers the aforementioned lines. In the original they are delivered sincerely, the first conveying genuine concern and the second in an attempt to cheer up a friend. In the American version they are delivered in a very joking teasing tone. This could be indicative of homophobia in American society, they must be teasing because complimenting another man's genitals in seriousness is a taboo in American society that is perhaps less prevalent in Europe. Another reason might be that the American writers thought the episode would be too depressing and thus off-putting to viewers and so they tried to make the episode less serious by making it more teasing. Because only the first 4 episodes of each season were watched and the episodes didn't correspond perfectly there are no correlating episodes for Jal and Tea in the table. Table 4 and Graph 2 characterize the responses to teases in each country. Interestingly the trends

YOU DIPPY TWAT of responses seem to be fairly similar with the exception of the ignore response. We might divide the responses into a spectrum of positive, negative, and neutral. A smile/laugh and a Tease Back are both

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equally positive responses. In each case the recipient of the tease is showing that they recognize the tease as a joke and either reassure the speaker with a gesture that signals happiness or return the tease and carry on the back and forth game that has been initiated. The AM response is truly neutral because there is no actual response given. The ignore the tease response is neutral, but perhaps leans towards positive. By not acknowledging the tease the recipient signals that they were not offended by it. It also flatters positive face by not calling attention to the fact that the speaker is using an in-group manner of speaking: to bring attention to the fact that they were using in-group speech could possibly indicate that it would be unusual for them to do so which would threaten ones in-groupness or positive face. The nonverbal upset or exasperated response is a negative response but it is closer to neutral on the spectrum than a legitimately upset response. The former recognizes that they are being teased but perhaps it hits a little bit too close to home, the latter takes offense to a perceived insult and threatens the face of the speaker by calling them out for being mean. The upset response is also the most threatening response for the target of the tease to make; if they become genuinely upset at was intended to be a tease they could be perceived as oversensitive or become the target of fewer teases which lessens the flattery of their positive face. These are likely reasons that the upset response is the second least used in both series, next to answering machine. The trend for both countries seems to be that positive responses are used slightly more frequently than the negative ones and there is a spike at the ignoring response, albeit a much larger one for the American series. It is interesting to note that although there is a higher volume of teases in the American season the responses rather than being evenly spaced out have clustered around the ignore response. Perhaps this is because the neutrality of the response allows the writers to work more humor into the dialogue without affecting the story or the perception of the character's too much. For instance if a girl is teased by a boy and then laughs one might infer that she likes him or is flirting, on the other hand

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if she frowns or takes offense it might mean that she doesn't like him or isn't that close to him. However if a boy teases a girl and she carries on the conversation without acknowledging it you would get the impression that they are friends or have a familiar relationship without it being construed in a positive or negative light. This neutral response enables the writers to use more teases in the dialogue without the risk of skewing the viewers perceptions of the on screen relationships. This supports the earlier theory that the American writers used teasing as a way to soften some darker topics and ease viewers into the serious subjects of the original show more slowly. Finally, because much of the available literature deals with the topic of teasing and gender, table 5 and graph 3 illustrate how teasing breaks down in terms of gender between the two series. The UK season exhibits the pattern that was shown in most studies. Male on male teasing is the most likely, followed by male on female, female on male, and then female on female. The male on neuter bar was an exception, it occurred in the first episode of the season when Chris teases the group as a whole. On the other hand in the American series although male initiated teasing is still more prevalent male on male and male on female teasing are almost equal. Also there is twice the level of female on male teasing that there is in the UK series. This could be indicative of more flirting in the American series because cross gender teasing is often used as a mechanism for flirting. The data could also be skewed by Tea. Although she is a female, Tea is teased by the boys and teases back more than the other girls. This is possibly because her character is a lesbian. The traditionally male trait of liking women coupled with the fact that she is not really a potential love interest for the boys nudges her into being one of the guys and thus open game for teasing. The apparent differences between the cultures of Britain and the United States when it comes to teasing are not in how teases are perceived but in how they are used in conjunction with the priorities, ideals, and cultural expectations of their respective societies. However there are still many questions that have been left unanswered. It is widely accepted that teasing is a mechanism for flattering positive face

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and helping to strengthen relationships but how does its use reflect the values of the culture that uses it? Is teasing an equally important part of adolescence across all cultures? What can we learn about a society from it's television programs, especially in terms of the target audience and the language used within them? Hopefully future research can provide some answers to these and others.

Appendix A Characters United Kingdom Tony Sid Michelle Jal Maxie Cassie Chris Anwar Effie* Kenneth* *Not a main character, but present in corpora Appendix B 1. United Kingdom Skins Episode 1Tony Tony/Sid Wake up Sid you twat. R: AM Tony/Sid You're a lazy turd Sid. We have plans remember? Concerning your cock? Bring (them) R: AM Tony/Michelle Hello nips R: :( Tony/Michelle I've seen a few nipples and believe me yours are fucking hilarious R: :( Tony/Chris Ah bucktooth. Give her a big hello from me yeah. R: TB United States Tony Sam Michelle Daisy Tea Cadie Chris Abbud Eura* -------------------------------------------------------------

YOU DIPPY TWAT Tony/Michelle Later Nips R:U Tony/Sid Yours you anus R: I Anwar/Tony Cheers Tone, my uncle wants to stone me to death now R: :) Tony/Anwar Anwar you dippy twat R: I

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Tony/Sid Tonight Sidney my cherry baby you present Mr. Happy with the keys to the fairy city R: :) Tony/Sid You're always crap. You don't exercise, rubbish food and too much caffeine R: TB Sid/Tony Fuck off R: Ignore Sid/Tony (Will we get me later) or should I just start filming and take it back for private time R: I Anwar/Tony So what have you been doing in Poshville Towers eh? R: TB Tony/Anwar Broadening my horizons R: :) Chris/Tony Those girls do not do fickety fick with town scum like you. It doesn't matter what you can do with your muscles. R: TB Tony/Chris Maybe for you Chris R: :( Chris/Group I don't watch television. You braindeads. Can you not think of anything better to entertain yourself with? R: TB Jal/Chris Like what? R:TB Chris/Jal Like pills. R:TB Jal/Chris Is that it? R: TB Chris/Jal No, like shaggin'R: :) Tony/Chris Thats cultured[sarcastic] R:TB Chris/Tony Yeah it is R: :) Jal/Chris You're full of shit Chris. Nobody's gonna shag you with a cock that tiny R: :(

YOU DIPPY TWAT Anwar/Chris You shouldn't have got it out Chris R::( Anwar/Chris You weren't even playing you wanker! R:TB Chris/Group Jus cuz you lot are such a bunch of pussies R: :) Tony/Sid Didn't you get my messages you tit? R:I Tony/Sid We could at least have a couple of spliffs before you're taken out and debollocked R:U 2. UK Episode 2 Cassie Chris/Sid Mu:ah haha R: I Chris/Sid [Girl Voice]Kiss me you fool R: I Kenneth/Sid [Unintelligible] R: :( Chris+Anwar+Maxie/Kenneth [Imitating Rap Noises] R: U Tony/Cassie How was dippy world? R: I Tony/Sid The essence of women, well one at least R: I Tony/Sid So who's the lucky lady? R:I Tony/Sid Yea mate but that a complete fucking operator error because you stink R:I Cassie/Tony Wow Tony it looks like you pissed yourself R: U Kenneth/Tony [Unintelligible] R: U Chris/Tony+Sid You wankers. That was well (?) man. I bet somebody gonna have to apologize cause Kenneth is crying now. R: I Tony/Sid Also, I didn't buy the drugs, you did. R: U 3. UK Episode 3 Jal Jal/Sid You rea:lly know how to talk to a girl Sid[sarcastic] R: :) Jal/Sid There's more to life than sex eh? R: TB Sid/Jal You and me both R: :(

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YOU DIPPY TWAT Michelle/Jal You don't exactly put out do ya girl? R: :( Michelle/Jal I'm looking good. That's what I do. R: TB Jal/Michelle Isn't all you do. R: TB

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Michelle/Jal Yeah it is. You play clarinet and I look shaggable. That's talent girl pure talent. R: :) Anwar/Jal Jal...Is that you in there? R: I Anwar/Jal I'm respection...Believe me...I'm respectin. R: :( Chris/Jal I wanna touch. See I will die if I don't touch. R: I Sid/Michelle We could be lke a Welsh brother and sister. You know, locked up in the house with the sheep. R: :) Sid/Jal Donald's not your brother right? Just checkin'. R: :)

4.UK Episode 4 Chris Tony/Chris Cheer up you fucker R: :) Anwar/Chris This is like speed dating for druggies. R: I Anwar/Chris I see you invited your psychology teacher to aid this interaction. R: :) Tony/Michelle You know what I like about your body? One boob's bigger than the other. R: :( Tony/Chris Pull yourself together man. Christ you [unintelligible] a mom you big baby R:I Tony/Jal Could be concealed and visible. I mean just ask Jal. R: :( Tony/Sid You better not be going for a wank R: I Appendix C 1.United States Skins Episode 1 Tony Tony/Stanley You are a lazy little Jerkoff Stanley. We have plans remember? Concerning your

YOU DIPPY TWAT penis R:AM Daisy/Tony You remember walking don't you Tony? You just take your own little foot- R:I Tony/Michelle Hey Nips R::( Tony/Michelle I've seen nipples Nips. Gosh golly yours are hilarious R: :( Tony/Chris Oh yeah! Overbite! Give her a big hello for me R: I Tony/Michelle Later Nips R: U Abbud/Tony Thanks a lot Tony. My uncle wants to stone me to death now R:TB Tony/Abbud You're uncle's cool man R: :) Tony/Abbud Abbud you doofoid sexual invalid R: I Tony/Tea I could use some positive affirmation myself R:TB Tea/Tony Dream on stud R:TB Tony/Tea You ever told those sweet girls you worship at the coochie shrine? R:TB Tea/Tony Where would be the fun in that Tony? R: :) Tony/Stanley Yours Dick! Who else? R: I Tea/Tony Tony if you can get that kids cherry popped I will accidentally lose control of my breasts during next weeks half time show R: :) Tony/Stanley Showered yet? Exercised? Masturbated? R:TB Stanley/Tony One of those R:TB Tony/Stanley You finally get dehymenated. You finally get the VIP tour of Neverland. You FINALLY- R: :(

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Stanley/Tony Am I getting laid or should I just start filming this so I can whack off to it later R: I Stanley/Cadie Well maybe bump, bump your brains out R: I Cadie/ Stanley Thats because I'm crazy. Didn't they tell you? R: :(

YOU DIPPY TWAT Stanley/Tony No it's like a parallel freakin' dimension here Tony R: I Tony/Stanley Purchase the narcotics and get your pussy butt here we have customers R:I Tony/Stanley Stanley you lazy little cockle answer your phone R: AM Tony/Stanley Didn't you get my messages you dildo? R:I

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Michelle/Stanley via Tony She's got self regulation issues. That's why she's great for Stan. R::( Tony/Stanley Guess we could have a couple jays before you get deballed R: U Abbud/Tony I reckon we should have stayed at lezzorama R: :) 2.US Episode 2 Tea Chris/Stanley Hey Stan can I buy some wee:d? R: U Abbud/Stanley Can I buy some? R: U Daisy/Tea Openminded? R: TB Tea/Daisy Very, Lots of lickin. R: TB Daisy/Tea Did you have breakfast or did you eat enough last night? R: TB Tea/ Daisy You know I did.[Shoulder bump] R: :) Abbud/Tea via Daisy Oh my god! Tea's in Casa Nosa (blind date) R: :) Abbud/Tea [Godfather Voice] I come to you ask you this favor to accept this daughter. R: :) Abbud/Tea [Godfather Voice] For the... For the respect of the family. For the family. R: :) Tea/Sam What is that crap on your face? R: I Tea/Sam Not a good look for you at all. R: I Chris/Sam via Tony He's getting wiped R:I Tony/Sam via Chris That's all right, he's used to it R: I Tony/Tea After the fifth quarter you may have to make like Janet Jackson R: I Tony/Tea via Michelle Tea here was just keeping us abreast of some new developments in her life. R: I

YOU DIPPY TWAT Abbud + Tony/ Tea A What's for lunch Tone? T Think its chicken breast. R: I Abbud + Tony/ Tea T It's a great word isn't it? A Can't get enough. Breasties are the besties. R: :) Tony/ Tea We work for the mo:b R: :( Tony/ Tea Stay in your bra kid. R: I Tony/Tea She's my excuse, in case your a dog R: :) Tony/Tea Maybe it just needs tightening. R: :) Tony/Tea So this is it huh? The snap shack? Wow you lesbians got style[S] R: TB Tea/Tony Shut up R: I Michelle/Tea I like that in a woman. R: I 3.US Episode 3 Chris Tony/Chris Cheerup idiot R: I Tea/Abbud Buddha boy I don't dance with dudes R: :( Abbud/Stanley Thought you were boning her, did you forget? R:I Abbud/Chris I see that you invited your social sciences teacher to aid this interaction R:I Tony/Chris It's not blue or anything right? R: :) Tony/Chris Lookin at it I actually think it might be a little bigger it might have doen you some good. R: :) Michelle/Abbud Is there a female anything you haven't wanted to bang? R: TB Abbud/Michelle There was this one girl once but it turns out she was duck R: I Tony/Chris You're kind of a big deal dude. Everybody's talkin' about some naked dude runnin through the halls with a tiny little - R: I Tony/Tea Suits you don't it Muffy? R: I

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YOU DIPPY TWAT Tony/Daisy A nipple can be concealed and visible right Daisy? R: :) Tony/Stanley Whoa Stanley buddy thats loan/lease only. R: I Tea/ Abbud You're pretty stupid R: I Tony/Stanley You better not be going to jerk off R: I Abbud/Tea I purchased tickets to that game brought my brothers promised them Janet Jackson, we got nada. In my culture thats a loss of face you know R: :( Abbud/Tea Show me: the money: R: :) Tea/Abbud You jizz your pants brown-eyed boy? R: I Abbud/Tea Uh...almost...[faking orgasm] R: :) 4. US Episode 4 Cadie Tony/Cadie That's a lot of drugs there Cadie. You got everything? R: I Tony/Michelle via Cadie I think 'chelle here could really use a boost chemically. R: TB Michelle/Tony Don't be such a dick. R: I Tony/Michelle Here you go nips R: I Tony/Abbud Did you just fart in there? R: U Abbud/Tea Hey sir R: :( Abbud/Tea You're getting totally gender coercive Tea. I love it! R: :) Chris/Eura Hey totally weird Tony's sister R: :(

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References

YOU DIPPY TWAT Aronson et al. (2007). Norms for teasing among college students.Communication Research Reports,24(2), 169-176. Retrieved from http://web.ebscohost.com/ehost/pdfviewer/pdfviewer? sid=e2faa0d4-dc75-410a-acda-341b3eb585b4@sessionmgr104&vid=2&hid=125

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Beck et al. (2007). Teasing among college men and women. Communication Studies, 58(2), 157-172. Retrieved from http://zw2sn2ud9v.scholar.serialssolutions.com/? sid=google&auinit=S&aulast=Beck&atitle=Teasing among college men and women&id=doi:10.1080/10510970701341105&title=Communication studies&volume=58&issue=2&date=2007&spage=157&issn=1051-0974

Clancy, B. (2005). You're fat you'll eat them all: politeness strategies in family discourse. In A. Barron & K. Shneider (Eds.), Trends in Linguistics: The Pragmatics of Irish English (pp. 177-199). Berlin: Mouton de Gruyter. Retrieved from http://books.google.com/books?id=6nyZTzqOZNUC&lpg=PA177&ots=zoELyelRI&dq=politeness%20positive%20face%20insult&lr&pg=PA199#v=onepage&q&f=false

Dynel, M. (2008). No aggression, only teasing: the pragmatics of teasing and banter. Lodz Papers in Pragmatics, 4(2), 241-261. Retrieved from http://zw2sn2ud9v.scholar.serialssolutions.com/? sid=google&auinit=M&aulast=Dynel&atitle=No Aggression, Only Teasing: The Pragmatics of Teasing and Banter&id=doi:10.2478/v10016-008-0001-7&title=Lodz papers in pragmatics&volume=4&issue=2&date=2008&spage=241

Lampert, M. D., & Ervin-Tripp, S. M. (2006). Risky laughter: teasing and self-directed joking among male and female friends. Journal of Pragmatics, 38, 51-73. Retrieved from http://ist-

YOU DIPPY TWAT socrates.berkeley.edu/~ervintrp/pdf/laughter.pdf

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Littleton Sherer, S., & Clark, R. A. (2009). Changes in teasing patterns from early adolescence to adolescence. Communication Research Reports, 26(3), 175-187. Retrieved from http://zw2sn2ud9v.scholar.serialssolutions.com/?sid=google&auinit=SL&aulast=Sherer&atitle=Changes in Teasing Patterns From Early Adolescence to Adolescence&id=doi:10.1080/08824090903074373&title=Communication research reports&volume=26&issue=3&date=2009&spage=175&issn=0882-4096

Pexman, P. M., & Zvaigzne, M. T. (2004). Does irony go better with friends. Metaphor and Symbol,19(2), 143-163. Retrieved from http://web.ebscohost.com/ehost/pdfviewer/pdfviewer?sid=972c699c-fb32-44138887-6ec03278e714@sessionmgr114&vid=1&hid=125

Pichler, P. (2006). Multifunctional teasing as a resource for identity construction in the talk of british bangladeshi girls. Journal of Sociolinguistics, 10(2), 225-249. Retrieved from http://zw2sn2ud9v.scholar.serialssolutions.com/? sid=google&auinit=P&aulast=Pichler&atitle=Multifunctional teasing as a resource for identity construction in the talk of British Bangladeshi girls1&id=doi:10.1111/j.13606441.2006.00326.&xtitle=Journal of sociolinguistics&volume=10&issue=2&date=2006&spage=225&issn=1360-6441

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