本文探討歌仔戲中閩南語指示句所呈現的禮貌與無禮現象。根據 Searle (1976)，言語行為分成五種，包含闡述句、指示句、承諾句、表態句、宣告句。本文僅分析指示句，而不分析其他四種類，以限縮研究範圍。論文語料來自於「許亞芬歌仔戲劇坊」其中的三齣戲。在這三齣戲當中，共有534個指示句，其中有412禮貌性的指示句和 122不禮貌的指示句。Blum-kulka 和 Olshtain 的CCSARP (1984) 做為描述534個指示句的理論基礎。利用這套理論可以讓研究者分析每個指示句的間接程度和其修飾語。Culpeper (2011) 的無禮理論做為區分禮貌和無禮的基礎。本文探討三個議題:。(1) 間接和禮貌是否有必然關係?直接和無禮是否有必然關係? (2) CCSARP 是否能完全描述歌仔戲閩南語中的所有指示句，包含有客套性的指示句和冒犯意味的指示句? (3) 在歌仔戲閩南語中，形成和察覺禮貌/無禮指示句的機制為何?
分析結果發現 (1) 在歌仔戲閩南語中，間接和禮貌、直接和無禮都沒有必然的關係。 此外，歌仔戲閩南語的指示句偏好直接加上許多修飾語。這代表在這個語言，禮貌和 「直接+修飾語」比較有關係，跟間接比較沒關係。(2) CCSARP 無法完全描述歌仔戲閩南語的指示句，因為禮貌和無禮利用CCSARP 描述有許多相似之處。例如: 在禮貌指示句使用的修飾語也會被用在無禮指示句。要區分禮貌和無禮，必須利用Culpeper (2011) 無禮為基礎的理論分析無禮指示句。(3) 歌仔戲閩南語禮貌/無禮指示句的體現取決於語境的計算。語境由多個因素組成，包含 (a) 對話者間的權力關係 、(b) 對話者間的心理距離、(c) 緊急程度、(d) 個人偏好。例如: 當權力低者向權力高者發號指示句時，他會使用「直接+修飾語」。又如: 在緊急狀況，譬如在危急中求救，說話者比較會使用沒有修飾語的指示句。(4) 此外，我們認為間接程度和禮貌程度不應該有必然關係，因為每一個程度間接策略和其他程度間接策略不同是在於他們會在不同場域下使用。

The thesis investigates the linguistic realizations of politeness and impoliteness in Taiwan Southern Min spoken in Taiwanese Opera (henceforth SMTO). According to Searle (1976), there are five kinds of speech act—representatives, directives, commissives, expressives, and declarations. How directives are realized politely or impolitely is the main concern in the thesis; the other four kinds are excluded to limit the scope of the study. The data are collected from three play-scripts of Taiwanese Opera. There are 534 directives in the three plays. We adopt Blum-kulka & Olshtain’s CCSARP (1984) to analyze the directives. The theoretical protocol allows the researcher to study the in/directness of each directive and the modifying expressions of the directive. The thesis addresses three issues. (1) Does indirectness give rise to politeness in SMTO as suggested in the literature? (2) Is CCSARP valid in representing the linguistic realizations of politeness together with impoliteness in SMTO? (3) What is the mechanism of formulating im/politeness in SMTO?
The results show that (1) indirectness and politeness do not have a positive relationship in SMTO. In addition, SMTO prefers directness with much modification in realizing a directive. It indicates that directness accompanied with modification is associated with politeness rather than indirectness. (2) CCSARP cannot properly represent politeness and impoliteness in SMTO in the sense that the representations of both domains have a lot in common. For example, modifying expressions used in politeness are also observed in impoliteness. Impoliteness should be distinguished from politeness by appealing to Culpeper’s aggression-based theory (2011). (3) The linguistic realizations of im/politeness in SMTO are determined by the calculation of context. The context is composed of multiple factors, such as the psychological distance between them, the degree of urgency, and so on. For example, directness with modification is used when an inferior makes a directive toward a superior. (4) Moreover, it is suggested that the degrees of indirectness should not be differentiated in terms of the degrees of politeness; instead, they are different in terms of the distinctive contexts where they are utilized.
In sum, the investigation of im/politeness in SMTO facilitates the understanding of how directives are realized in the language. It also compensates for the inadequacy of CCSARP in terms of representing impoliteness. Finally, it proves that indirectness is not necessarily synonymous with politeness.

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