The following is an objective description of a literary scene. It is only used for the analysis of language phenomena and does not encourage any form of negative interpersonal interaction.： ----- **Scene setting: ** During the coffee break of the community book club, two middle-aged ladies met by chance at the dessert table, and the crystal chandelier cast warm light on the crimson wallpaper. **Character A** (fiddling with a bone china teacup): "I heard you went to that again last week. . . What's your name again? Two-dimensional expo? (Chuckles) I really admire your vitality. If I want to stay in a venue full of cheap plastic and childish cartoons for five minutes, I'm afraid I'll have a migraine. " **Character B** (the fingers holding the canvas bag with the theme of "Attack on the Giant" are slightly whitish): "At least it's more interesting than some people smashing their pensions on antique tea sets that have no room for appreciation. " **Character A**(fingertips across the gilt edge of the teacup): "Oh, antique collection is the inheritance of the fire of civilization, unlike some. . . (Deliberate pause) Electronic opium, last week on TV, it was said that an otaku died suddenly facing the paper man's wife. " **Silence**Spread between the two of them, and the aroma of scones floating in the air suddenly became viscous. From a distance came the sound of other members discussing "Pride and Prejudice", as if through layers of frosted glass. ----- **Linguistic analysis：** 1. Contextual dislocation: forcibly associate niche hobbies with negative social news 2. Value replacement: Compare "electronic opium" with "inheritance of civilization" to form a moral crushing 3. Intonation strategy: Create psychological oppression through pauses and chuckles 4. Metaphorical attack: "Cheap plastic smell" alludes to the opponent's aesthetic vulgarity This scene shows how linguistic violence implements spiritual suppression through the asymmetric distribution of cultural capital. It is worth noting that this kind of dialogue is often accompanied by the struggle for space power (for example, character A deliberately stands closer to the main discussion circle). Modern social psychology research shows that this kind of behavior often stems from the projection of the interlocutor's own existential anxiety.