Rationale
“Music gives you happiness and sadness
But it also, also heals your soul”
(From the song “Let the music heal your soul”)
Music is a very colorful thread woven into the entire fabric of our life Singing songs with melodic rhythm is a subtle way for people to share their happiness and sadness
Music lyrics and rhymes are integral to English teaching curricula worldwide, particularly in countries like Taiwan, where they serve multiple educational purposes in elementary education (Teng, 2013) Renowned English textbooks such as Headway, New English File, and Solutions, commonly used in Vietnam, incorporate songs into their exercises Additionally, the ESL Podcast features music at the beginning and end of each audio segment, enhancing the learning experience; for example, instead of a straightforward introduction to the vowel /i:/, a relevant piece of music is played to engage learners.
We are three Shall have some tea She will come
We see a bee We’ll say buzz off Don’t bother me (two – three – four – five – six – seven – eight)
(Chorus) Fiddle de fiddle de Fiddle dee dee Fiddle de fiddle de Fiddle dee dee
According to Harvard psychologist Gardner (1983), music intelligence is as crucial as logical-mathematical, linguistic, spatial, bodily-kinesthetic, interpersonal, and intrapersonal intelligences In Vietnam, the impact of music on improving listening skills has been explored at Phuong Dong University, with studies by Nguyen Thi Thanh Huyen (2006) and Nguyen Thi Quyet (2005) providing learners with insights into the structures and meanings of English and Vietnamese nursery rhymes.
Songs about mothers captivate listeners by providing both entertainment and valuable lessons in language and moral values Despite their significance, there has been limited research on the representation of mothers from a linguistic perspective These factors inspire the exploration of the "Mother image in English."
This thesis explores the structure and meaning of the mother image in Vietnamese songs through the lens of the transitivity system in Systemic Functional Linguistics By examining both similarities and differences in the representation of mothers in English and Vietnamese contexts, the study aims to enhance understanding of cultural nuances Ultimately, this research seeks to contribute valuable insights into the portrayal of maternal figures across these two languages.
Aims and research questions
Aims
- Describe and analyze mother image in songs from systemic functional linguistics perspective
- Identify similarities and differences in linguistic means to depict mother image in English and Vietnamese songs
- Offer some suggestions for teaching and learning English through songs.
Research questions
In order to achieve these aims and objectives of the study, the following
1 How are mothers depicted in English and Vietnamese songs from the perspective of systemic functional linguistics?
2 What are the linguistic means to express such meanings?
Scope and significance of the study
Scope
This M.A thesis focuses on a manageable analysis of the mother image in English and Vietnamese songs, specifically examining it through the lens of the transitivity system Additionally, the research highlights various figures of meaning and stylistic devices used to depict the mother image effectively.
Significance
This study explores the representational meaning of the mother image in English and Vietnamese through the lens of systemic functional linguistics (SFL), offering insights into the linguistic features of this concept in both languages Additionally, it serves as a valuable resource for foreign language learners, enhancing their understanding of language and music The findings highlight cultural similarities and differences between English-speaking countries and Vietnam, contributing to a broader understanding of English as an international language.
Methodology and procedures
Methodology
This study aims to explore the concept of mother image through the lens of Systemic Functional Linguistics (SFL) It highlights the similarities and differences in the portrayal of mother figures in English and Vietnamese songs The research employs descriptive and comparative analysis as its primary methodology.
The descriptive method focuses on analyzing the portrayal of mothers through the transitivity system, ultimately synthesizing the findings to identify the similarities and differences in mother imagery across two languages.
In fulfilling the focuses of the study, the comparative method is applied to present prominent features of mother images in English and Vietnamese.
Procedures: data collection and analysis
This study explores the representation of mother imagery in English and Vietnamese songs by analyzing a collection of one hundred songs—fifty in each language We selected one thousand clauses, with five hundred from each language, and employed Halliday's transitivity system to categorize them into six process types: material, mental, relational, behavioral, verbal, and existential The analysis focuses on the processes, participants, and circumstances to reveal the activities and emotions associated with mothers in the songs Utilizing Burton's three-step method, we isolated the processes, identified the participants involved, and categorized the types of processes, ultimately presenting the findings as percentages to illustrate the prevalence of each process type.
From these results, similarities and differences of mother images in English and Vietnamese songs are presented.
LITERATURE REVIEW
SYSTEMIC FUNCTIONAL LINGUISTICS
1.1.1 Development of Systemic Functional Linguistics
Systemic Functional Linguistics (SFL), developed by Michael Halliday in the 1960s, presents a novel approach to grammar that emphasizes the role of language in various social contexts This model highlights three key aspects: the functioning of text beyond individual sentences, the structural differences in texts, and the adaptability of language to fulfill users' purposes SFL adopts a descriptive methodology, concentrating on groups of words that collaboratively create meaning.
Functional grammar, as introduced by Halliday (1994), emphasizes a functional rather than formal conceptual framework It identifies functions in three distinct ways: the interpretation of texts, the linguistic system, and the elements of linguistic structures In terms of text interpretation, functional grammar focuses on how language is utilized, highlighting that each text emerges from a unique contextual usage Additionally, it posits that the essential components of meaning in language are functional components, with all languages encompassing two primary types of meanings.
In the study of functional grammar, three metafunctions are identified: the "ideational," which pertains to understanding the environment; the "interpersonal," which involves interactions with others; and the "textual," a combination of the first two These components highlight the role of each linguistic unit—such as clauses and phrases—as functional elements within the broader linguistic system, emphasizing that every part is interpreted in relation to the whole (Halliday, 1994).
Following the pioneering model initiated by Halliday, some of other linguists developed and gave informal explanation of functional grammar Thompson
Functional grammar, as described in 1996, encompasses three key metafunctions of language Firstly, language serves to convey our experiences of the world and our mental states, enabling us to describe events, states, and the entities involved Secondly, it facilitates interaction with others, allowing us to establish relationships, influence behavior, express personal viewpoints, and elicit or alter the perspectives of others Lastly, language helps us organize our messages, providing clarity on how they relate to surrounding messages and the broader context of our communication.
Functional grammar, as defined by Martin, Matthiessen, and Painter (1997), focuses on the practical use of grammar in communication In contrast, formal grammar examines how genetic factors influence grammatical structure, thereby limiting the expressions available to individuals.
Functional grammar, rooted in cultural and social contexts, serves as a powerful tool for enhancing language use in both writing and speaking By employing functional grammar, individuals can significantly improve their reading skills, fostering better cognitive understanding and critical analysis of texts.
1.1.2 Difference between traditional grammar and systemic functional grammar
Functional grammar represents a new approach to understanding language, distinct from traditional grammar, which primarily emphasizes written language and prescriptive rules In contrast, functional grammar encompasses both spoken and written forms, focusing on the practical functions of language in diverse contexts It equips us with the tools to analyze how language operates in real-life situations and to comprehend the underlying reasons for a text's structure and meaning.
Traditional grammar is prescriptive, dictating what speakers can or cannot say and outlining numerous rules for correcting grammatical errors In contrast, functional linguistics empowers speakers by acknowledging their right to choose how they communicate and making them aware of their linguistic options While traditional grammar focuses on the functions of words within sentences, functional grammar examines how language operates within a text as part of a broader system to convey meaning In this context, traditional grammar views the sentence as the fundamental unit, whereas functional grammar prioritizes the clause Systemic functional linguistics offers a more profound and comprehensive understanding of language, viewing it as a resource for meaning-making, with grammar serving as a tool for constructing meaning through wording This comprehensive approach is why it is referred to as Systemic Functional Linguistics or Grammar.
APPLICATION OF TRANSITIVITY SYSTEM IN LITERARY
Halliday identifies three lines of meaning within a clause: textual meaning, interpersonal meaning, and ideational meaning These correspond to three metafunctions of a clause: textual, interpersonal, and ideational metafunctions, which can be effectively illustrated in a structured table.
Metafunctions My mother gave a book to me
Interpersonal Subject Predicate Complements Adjunct
Experiential Actor Process Goal Recipient
Table 1: Three lines of meaning in a clause
The ideational meaning, or experiential meaning, conveys our experiences and represents actions or events in language It focuses on the content of communication, allowing us to discuss what someone is doing Interpersonal meaning plays a crucial role in establishing and maintaining social relationships, enabling individuals to express their uniqueness and interact with others Meanwhile, textual meaning pertains to how a text is organized and connects its elements to the situational context, deriving from the clause as a message According to Halliday, these three types of meanings are essential for fulfilling various functions in social life, highlighting their significance in effective communication.
In our research, we focus on the transitivity system, a crucial grammatical choice that significantly contributes to constructing experiential meaning This process type serves as the framework for our analysis, as it yields the most valuable data regarding the text's structure and meaning.
In recent years, there has been a growing trend in employing the transitivity system for the analysis of literary texts, exemplified by studies like "Using Transitivity as a Framework in a Stylistic Analysis of Virginia Woolf’s Old Mrs Grey." This approach enhances the understanding of narrative techniques and character interactions within literature.
(Bonifacio, 2011), “Transitivity analysis: representation of love in wilde’s the nightingale and the rose” (Asad, Roshan, Sobia & Rabia, 2014) and
“Transitivity Analysis of A rose for Emily” (Zijiao, 2013)
Transitivity analysis plays a crucial role in understanding the language used by speakers and writers by examining sentence structures, processes, and participant involvement Researchers utilize this analysis to uncover how language structures convey specific meanings and ideologies that may not be immediately apparent to readers Essentially, functional analysis, particularly through transitivity, seeks to identify the relationship between meanings and wordings, shedding light on the organization of linguistic features within a text.
Transitivity theory categorizes various processes into six distinct types: material, mental, relational, behavioral, verbal, and existential These classifications help in understanding the different ways actions and states are represented in language.
Process type Category meaning Participants
Token, value Carrier, attribute Identified, identifier
Table 2: Process types, their meanings and characteristic participants
The next part will be illustration in great details of each process adopted from the book “An introduction to Functional Grammar” (Halliday, 2004) and
“Ngữ pháp kinh nghiệm của cú tiếng Việt: Mô tả theo quan điểm chức năng hệ thống” (Hoàng Văn Vân, 2005)
1.2.1 Material processes: the process of doing
Material processes refer to actions where an entity performs a task, often affecting another entity These processes involve two key participants: the actor, who initiates the action, and the goal, which is the recipient of that action.
The lion Caught the tourist
Từng đôi Chim bay đi
Table 3: Material process type (Halliday, 2004 & Hoàng Văn
1.2.2 Mental processes: process of sensing
Cognition (thinking, knowing, understanding, etc.)
In mental processes, two key participants are involved: the senser, which is the conscious being experiencing sensations, thoughts, or perceptions, and the phenomenon, which refers to what is being sensed—whether it is felt, thought, or seen.
Người già muốn sự thoải mái
Table 4: Mental process type (Halliday, 2004 & Hoàng Văn Vân, 2005)
1.2.3 Relational processes: the processes of being
There are three types of relational process in the clause, namely,
Each of these comes into modes:
Attributive (“a” is an attribute of “x”)
Identifying (“a” is the identity of “x”) type mode (i) Attributive (ii) Identifying
(1) intensive Sarah is wise Tome is the leader; the leader is Tom
(2) circumstantial The fair is on a Tuesday Tomorrow is the 10 th
(3) possessive Peter has a piano The piano is Peter‟s
Table 5: The principal types of relational process (Halliday, 2004)
The distinction between material and mental processes in behavior is often unclear, as these processes represent the outward expression of internal consciousness and physiological states.
The child wept copious tears
Thằng ấy bị con Hoa nó lườm
Table 6: Behavioral process type (Halliday, 2004 & Hoàng Văn Vân,
The verbal process serves as a bridge between mental and relational processes, involving key participants: the sayer (the speaker), the receiver (the listener), and the verbiage (the content of the verbalization) Additionally, there exists a specific type of verbal process where the sayer directly influences another participant through actions such as insulting, praising, slandering, abusing, or flattering.
Pussy-cat said naught but
Anh hỏi em "bao giờ trở lại"
Sayer Process: Receiver Circumstance: time
Table 7: Verbal process type (Halliday, 2004 & Hoàng Văn Vân,
Between the relation process and the material process is existential process, by which a certain phenomenon is recognized/ seen to “be”- to exist, or to happen For example:
On the branch There was a nest
Trên giời có đám mây xanh
Circumstance: location Process: existential Existent
Table 8: Existential process type (Halliday, 2004 & Hoàng Văn Vân,
In addition to the primary participant in the clause, there are two other key roles: the Beneficiary and the Range The Beneficiary refers to the individual or entity that receives the benefits of the actions described, and this role is present in both material and verbal processes.
Material a The recipient, is one that goods are given to b The client, is one that services is done to
Fred bought a present for his wife
Verbal The one who is being addressed
One the other hand, range is the element that specifies the range and scope of the process A range may occur in material, and verbal processes
Material a Expresses the domain over which the pre process take place b Expresses the processes itself
Ray climbed the mountain Fred played the piano
Verbal The element expressing the class, quality, or quantity what is said
He walks for seven miles She stayed for two hours
We work in the kitchen
My mother went by bus
I went through my head like an earthquake
For want of a nail the shoe was lost For the sake of peace I‟m writing on behalf of Aunt
Fred came with Tom Fred came instead of Tom
6 Matter I worry about her health
7 Role I‟m speaking as your employer
DEFINITION OF “IMAGE”
Reliable dictionaries like the Oxford Advanced Learner's Dictionary and the McMillan English Dictionary define "image" as a representation of how someone or something appears This paper delves beyond the literal interpretation of "image" to examine its figurative meaning, focusing on how it reflects a person's character Specifically, we will explore the qualities and virtues of mothers as depicted in English and Vietnamese songs.
DATA ANALYSIS - TRANSITIVITY PATTERNS IN
TRANSITIVITY PATTERNS IN ENGLISH SONGS
Table 12: Transitivity patterns in English songs
The analysis reveals that material processes are the most significant among various process types in English songs, comprising 36.8% of the total analyzed processes Following closely are relational processes, which account for 32.8% of the clauses Mental clauses represent 14.6%, translating to 73 out of 500 clauses, while verbal processes make up 8.8% with 44 clauses Lastly, behavioral and existential processes have the smallest shares, at 5.8% (29 clauses) and 1.2%, respectively.
Data analysis reveals that material processes are the most frequently utilized, with many of these actions closely linked to the daily tasks of mothers Verbs reflecting these activities highlight the significant role mothers play in their regular routines.
“work”, “give”, “make” or “do” are employed with the high frequency For example, the verb “work” appears in a wide range of songs:
“You work late night just to keep on the lights”
(From the song “Hey Mama”)
“Worked three jobs all through the weekdays”
(From the song “I love my mama”)
“You worked two jobs to keep a roof up over our heads”
(From the song “Turn to you”)
“just working with the scraps you were given”
(From the song “Dear mama”) Another example is the verb “give”
“You would give anything in this world”
(From the song “Hey mama”)
“She gave me peace and love”
Mothers engage in a variety of daily actions that reflect their essential roles in raising children and caring for infants These verbs illustrate the routine tasks and responsibilities that define motherhood, highlighting the dedication and effort involved in nurturing and supporting their families.
“How mama used to clean somebody else’s house”
“While scrubbing on the floor on her bended knees”
(From the song “I’ll always love my mama”)
“Brush your teeth Wash your face”
Mothers often express their love and desires for their children through various mental processes, showcasing their deep emotional connection This is evident in the actions and words they choose, reflecting their perceptions and nurturing instincts.
“love”, “remember”, “want”, “hope”, or “believe”:
(From the song “The mom song”)
“She doesn’t want you to cry”
(From the song “That’s my mama”)
In some cases, we also find out such verbs used to reveal the children‟s love
In the song "Thanks to You," relational processes prominently feature attributive clauses, with over half of the 164 clauses identified as attributive This highlights the significance of descriptive language in conveying meaning within the lyrics.
“Your love is like a river peaceful and deep You soul is like a secret that I never could keep”
(From the song “A little more time on you”) Another example can be illustrated:
“M is for the moan and the miserable groan”
(From the song “Treat your mother right”)
“You’ve been the meaning of my life”
(From the song “Thanks to you”)
Sometimes, verbal processes are the prayers of mothers for their children:
“I pray for angels by your side”
(From the song “A mother’s prayer”) However, at the other time, they are simply the advice, teaching or even soothing mothers want to convey to their children:
“Told me when I was young
“Son, your life’s an open book”
(From the song “Mama said”)
Most behavourial are used to manifest states of consciousness such as:
In the analysis of the song "I Know My Mother Weeps for Me," it is noted that existential processes constitute only 1.2% of the content Due to their lack of representational function within systemic functional grammar, this study will not address the significance of these processes.
The analysis of English songs through the lens of the transitivity system highlights the pervasive mother image represented in various life aspects Predominantly, material processes dominate the clauses, followed by relational processes, which hold the second highest frequency Subsequently, mental, verbal, behavioral, and existential processes are observed in descending order.
TRANSITIVITY PATTERNS IN VIETNAMESE SONGS
Table 13: Transitivity patterns in Vietnamese songs
Vietnamese women, especially mothers, are characterized by a rich array of relational qualities, accounting for 35.8% of the total clauses This highlights their significant role and influence, with a diverse selection of adjectives used to vividly portray the multifaceted image of motherhood in Vietnamese culture.
“Sớm chiều nặng đôi vai gầy”
(From the song “Nhớ mẹ quê”)
“Lòng mẹ bao la như biển Thái Bình Tình mẹ tha thiết như dòng suối hiền ngọt ngào”
In the song "Lòng mẹ," material processes constitute 29.2% of the total clauses, reflecting the daily activities of mothers A diverse range of verbs, including "nurture," "care," and "cook," are utilized to illustrate the multifaceted roles mothers play in their families.
“Bàn tay mẹ bế chúng con Bàn tay mẹ chăm chúng con”
(From the song “Bàn tay mẹ”)
“Nuôi con nên người từ dòng sữa mẹ”
(From the song “Mẹ như tia nắng”)
In addition to two types of processes above, mental processes stay at the third rank Most of mental processes in Vietnamese songs are the processes of
“feeling” and “thinking” with prominent verbs such as “yêu”, “thương”, “lo” or “ước”, “trông”, “mong”
“ Thương con thao thức bao đêm trường”
“Mẹ trông con trong niềm hi vọng bao la”
(From the song “Lời ru của mẹ”) Through the investigation, the number of behavioral processes reaches 9% Behavioural processes are used to express physiological behavior They often describe mothers‟ state
“Hai lần khóc thầm lặng lẽ”
(From the song “Đất nước”)
“Mẹ về đứng dưới mưa”
(From the song “Huyền thoại mẹ”)
“Đêm năm canh chày mẹ thức đủ vì con”
(From the song “Tiếng ru thần tiên của mẹ”)
In the investigation into the investigation of verbal processes (4.6%), the most frequently used verb is “ru” “Ru” is a special kind of music to sooth the baby to sleep
“Mẹ ru ta câu hát ngọt ngào”
(From the song “Lời ru của mẹ”)
“Mẹ ngồi ru con đong đưa võng buồn”
(From the song “Ca dao mẹ”)
“Mẹ ru con ngân tiếng tình tang”
(From the song “Lời ru của mẹ”) The least frequency is existential processes with 2.6%
Transitivity patterns have been explored to elucidate the maternal imagery in Vietnamese songs Relational processes are the most significant, followed by material processes in second place Mental processes rank third, highlighting the diverse ways emotions and relationships are expressed in this musical genre.
CHAPTER III: DISCUSSION - A COMPARISON BETWEEN MOTHER IMAGES IN ENGLISH SONGS AND IN VIETNAMESE
This chapter employs a comparative method to explore the similarities and differences in mother images found in English and Vietnamese songs, analyzed through the lens of systemic functional linguistics An examination of one hundred songs reveals that mothers are portrayed in both wartime and peacetime contexts in both cultures This commonality facilitates a division of comparison into two distinct categories: mother images in wartime and mother images in peacetime.
SIMILARITIES
War is an unforgiving reality that can claim a soldier's life at any moment, exposing them to the constant threats of bombs and gunfire For mothers worldwide, saying goodbye to their children on the eve of military service is an incredibly painful experience, often expressed through tears This emotional turmoil highlights the profound impact of separation on families, underscoring the sacrifices made in the name of duty.
“weep” (in English) and “khóc” (in Vietnamese)
“My mother weeps for me When all the world is hushed in sleep”
In the song “I Know My Mother Weeps for Me,” the emotional depth of a soldier's mother is conveyed through the behavioral verb "weep," highlighting her sorrow and concern The imagery of night, a time typically associated with rest, contrasts with the mother's solitude as she weeps quietly, indicating her attempt to conceal her pain The phrase "in sleep" suggests a nighttime setting, enhancing the sense of loneliness that envelops her Unlike more intense expressions of grief, the choice of "weep" reflects her subdued emotional state, emphasizing that only the return of her child can alleviate her profound sense of loss.
Similarly, the readers witness teardrops of Vietnamese mother:
“Hai lần khóc thầm lặng lẽ”
(From the song “Đất nước)
The author highlights the recurring pain experienced by mothers, emphasizing it through the phrase "hai lần" to signify multiple instances of suffering The expression "thầm lặng lẽ" underscores their silent patience and sacrifice When mothers bid farewell to their children, they struggle to hold back tears, having already cried so much during the waiting period that their eyes have run dry This portrayal of silent weeping allows readers to empathize with the deep emotional turmoil mothers endure, a theme often reflected in Vietnamese songs that celebrate such maternal figures.
“Nước mắt mẹ không còn
In the song "Người mẹ của tôi," the existential process is highlighted through the verb "không còn," emphasizing the deep sorrow represented by "nước mắt." The phrase "vì khóc những đứa con" reveals the profound cause of this pain, illustrating the heart-wrenching experience of mothers who have lost their children in war The anguish of losing one, two, or even three children is depicted as an unbearable suffering, leaving mothers in a state where their tears seem insufficient to express their grief.
The mental aspect plays a significant role in defining a mother's love for her child, as it is expressed through her hopes for their return and her concerns for their well-being, particularly in the context of soldiers.
“Là biết mấy chờ mong mỏi mòn”
(From the song “Hát về mẹ Việt Nam anh hùng”)
“Thương con thao thức bao đêm trường”
In the song "Lòng mẹ," the absence of the mother's physical presence is palpable, yet her emotional depth is conveyed through the mental verbs "chờ mong" (to wait and hope) and "thương" (to love), enhanced by the phrases "mỏi mòn" (wearily waiting) and "thao thức" (restlessly anxious) This illustrates the mother's enduring patience as she counts the days until her child's return Despite the flicker of hope that sometimes threatens to fade, her worry for her child persists, keeping her hope alive through the letters she writes to the soldiers.
“I hope this letter catches up with you”
The article explores the dual processes in a single line, highlighting the mother's hope as she sends a letter to her child despite the harsh realities of war The mother, identified as the senser, expresses her longing through the mental verb "hope," believing firmly in her child's return In contrast, the letter is depicted as the actor in a material process, "catches," showcasing personification as a stylistic device This choice emphasizes the letter's role as a symbol of fragile hope for soldiers, underscoring the emotional weight of communication during conflict.
On the regular of basis, the reality of the war leads the mother to pray to God for her child to be safe
Please protect all the boys who are fighting tonight””
(From the song “Soldier’s last letter”) The verbal process is seen in the clause with the verb “pray” and the sayer is
The mother seeks solace in prayer, hoping that a higher power will protect her children from harm Whether through the belief in God in Western cultures or Buddha in Eastern traditions, individuals often create their own faith in the supernatural to foster optimism in life In this context, the woman draws on this intangible strength to nurture her hopes for her offspring's safety and well-being.
It is the similar case for Vietnamese mothers When their children, the soldiers, fight at battlefield, they closely and quietly follow each their step
Dõi theo bước đường tôi hành quân xa”
(From the song “Mẹ tôi”)
In both English and Vietnamese songs, mothers endure countless sleepless nights praying for their children, highlighting a universal experience of longing and worry The term “nhiều đêm” effectively conveys this sense of time and emotional weight The act of “dõi” illustrates a mother’s constant vigilance and hope for news from her child in the battlefield This shared sentiment among Vietnamese mothers emphasizes the deep emotional pain that accompanies their fervent hopes, especially when faced with tragic news The portrayal of these behavioral processes poignantly captures the profound struggles and heartbreak of motherhood.
“Then the mother’s old hands began to tremble The mother knelt down by her bedside”
(From the song “Soldier’s last letter”) Both the behavioral processes draw the physical postures of the mother,
The mother, unable to stand steadily, leans against the bedside, embodying a poignant image of vulnerability Her trembling hands reflect her deep anguish, evoking a sense of despair as she appears on the brink of collapse, overwhelmed by her circumstances.
In Vietnamese songs, the readers not only feel mother‟s pain by heart but by all other senses, even “nghe” (listen) to the that pain The behavioral verb
“nghe” is sophisticatedly used because there is a change of feeling here
The author transforms an abstract concept into a tangible experience, allowing readers to engage with it through listening, seeing, and touching This action is categorized as a behavioral process, as it goes beyond mere execution to encompass a deeper interaction with the material.
“Nghe dịu nỗi đau của mẹ”
In both English and Vietnamese songs, the image of mothers evokes a sense of peace and comfort for soldiers enduring the hardships of war These soldiers, despite their struggles, find solace in recalling their mothers, often thinking of them even during their waking moments.
“No one but mother can cheer me today Mother would comfort me if she were here”
(From the song “Mother would comfort me”)
In the first clause, the actor mentioned puts strong impression on the readers
The phrase "no one but mother" emphasizes the unique role of a mother as a source of cheer and comfort, particularly for a soldier in the battlefield This sentiment reinforces the idea that only a mother can provide such emotional support However, the dream of having her presence is overshadowed by the harsh reality of the soldier's circumstances, as it is conditional on "If she were here."
Likewise, Vietnamese soldiers always bring the image of mother as the encouragement for long and harsh journey
“Con đi trong bóng hình quê hương Mang bóng dáng mẹ già yêu thương”
(From the song “Về thăm mẹ”)
“Các con ra đi đã mấy chiến trường Mang theo cả tình thương của mẹ “
(From the song “Tấm áo chiến sĩ mẹ vá năm xưa”)
Although composed by different composers at distinct times, both songs share a common spirit, centered around the material process "mang." In both pieces, the soldier, referred to as "con," serves as the central figure driving the action.
Soldiers often carry the image of their mothers in their minds, as her unconditional love serves as a profound source of motivation This deep emotional connection instills hope and determination, empowering them to persevere in challenging situations No one else can provide the same level of comfort and encouragement, which is why they draw upon this maternal love during their operations.
The loving touch of mother is more clearly presented in the following lines:
“I saw my mother dear She clasped me to her heart Impressed a kiss upon my brow”
(From the song “I know my mother weeps for me” ) Two material processes are used to describe the comfort of the actor – mother
DIFFERENCES
The primary distinction in the portrayal of mothers in wartime songs across different languages lies in their contributions to the war effort Vietnamese wartime songs often highlight the direct involvement of mothers, emphasizing their exclusive dedication to Vietnam's victory In contrast, English songs do not reflect this same level of maternal participation The following sections will explore the potential reasons behind this disparity.
In a selection of English songs from wartime, none portray the mother's role or participation in the conflict A notable example is the song "I Know My Mother Weeps for Me," which illustrates this absence.
“My mother weeps for me When all the world is hushed in sleep”
(From the song “I know my mother weeps for me” – Charles Thompson)
In the song, the act of "weeping" symbolizes a mother's deep sorrow as she prepares to part from her child This emotional response is set against the backdrop of the challenging circumstances surrounding the soldier's experience in war.
The song “I know my mother weeps for me” was composed during the
The American Civil War (1861–1865) was a pivotal conflict that shaped the nation's identity, stemming from the deep-seated divide over slavery between the North and South This war raised fundamental questions about the future of a nation founded on the principle that all men are created equal, challenging its status as the world's largest slaveholding country The immense loss of life during the war profoundly affected American society, prompting inquiries into how individuals coped with grief and how their lives were irrevocably altered This era inspired a plethora of films and literary works that explored themes of death and reconciliation, often reflecting the emotional turmoil experienced by those who survived, including the poignant intuition of a mother sensing her son's fate.
It is the reason why when all living beings are hushed in sleep, there sits she alone and “weeps” when missing her child
The second typical song during the time of war is “Soldier’s last letter”
“The mother’s old hands began to tremble
Then the mother knelt down by her bedside”
In the song "Soldier's Last Letter," the mother's physical reactions, particularly her trembling and kneeling, leave a profound impact on readers These obsessive postures vividly convey her emotional turmoil upon receiving news about her son, highlighting the deep connection and anguish she experiences in that moment.
The song by Earnest Tubb and Redd Stewart tells the poignant story of a World War II soldier's final letter to his mother The war, rooted in conflicts over colonial rights among major powers, resulted in an unimaginable human toll, with estimates of 50 million lives lost, including significant combat casualties.
World War II resulted in approximately 19 million deaths, with the largest toll coming from the Soviet Union (10 million), followed by Germany (3.5 million), China (2 million), and Japan (1.5 million) In contrast, the United States and the United Kingdom suffered around 400,000 and 280,000 losses, respectively The emotional impact of war is poignantly captured in the song "Soldier's Last Letter," where a mother collapses upon receiving the heartbreaking news of her son's fate.
Vietnamese songs often transcend mere expressions of maternal grief over child loss, intertwining the image of mothers with their significant roles in the Resistance A prime example is “Huyền thoại mẹ” (Legend of Mother) by the late composer Trịnh Công Sơn, which powerfully illustrates the contributions of mothers during wartime, celebrating their heroism The inspiration for the song came during a visit to Quang Binh, where the composer was struck by the poignant image of a mother, Suot, with her hair blowing in the wind, symbolizing resilience amidst adversity, particularly during the turbulent years from 1964 to 1966 following the Gulf of Tonkin incident.
US troops initiated raids in northern Vietnam, particularly targeting Quang Binh, a strategic location for American air and naval operations aimed at disrupting supply lines from the North to the South At the age of 60, Mother Suot exemplified unwavering dedication by volunteering to transport officers, wounded soldiers, and weapons across the river, embodying the spirit of Vietnamese mothers who selflessly sacrificed for their families and country.
“Mẹ về đứng dưới mưa Che đàn con nằm ngủ Canh từng bước quân thù
Mẹ ngồi dưới cơn mưa
Mẹ lội qua con suối Dưới mưa bom không ngại
Mẹ nhẹ nhàng đưa lối Tiễn con qua núi đồi
Mẹ chìm trong đêm tối Gió mưa tóc che lối con đi
Mẹ về đứng dưới mưa Che từng căn hầm nhỏ”
(From the song “Huyền thoại mẹ)
The article highlights the various material verbs that depict a mother's role in revolutionary activities, such as "guard," "shelter," "see out," and "wade." For instance, in the phrase "Mẹ nhẹ nhàng đưa lối," the mother is the guiding actor, performing her duties with a gentle manner This reflects the weight of her responsibilities during wartime, where soldiers must remain hidden from enemy sight to avoid danger Mothers play a crucial role in helping soldiers navigate safely, providing shelter from enemy pursuits, even amidst the perilous conditions likened to "rain" due to constant bombardment Despite the threats to their lives, mothers show unwavering determination and resilience, working tirelessly through sleepless nights to ensure soldiers find peace This evokes a sense of maternal care, as mothers treat all soldiers as if they were their own children, embodying a universal bond of protection and sacrifice.
The song beautifully encapsulates the narrative and profound tone inspired by the central region, where composer Trinh Cong Son drew his influence The poignant anaphora in the final lines, “Cho đời mãi trong lành, mẹ chìm dưới gian nan…,” resonates deeply, evoking the enduring memory of heroic Vietnamese mothers.
This poignant song serves as a heartfelt tribute to Vietnamese heroic mothers, offering future generations insight into their sacrifices It symbolizes a fragrant bouquet from the composer, celebrating these remarkable women The image of motherhood inspires many artists to create similar works, with "Đất nước" by Phạm Minh Tuấn standing out as a notable song that honors mothers during wartime, who shielded soldiers from adversaries.
“Ngăn bước quân thù phía Nam phía Bắc”
In the song "Đất nước," the material verb "ngăn" (prevent) is strategically positioned at the beginning of the clause to emphasize the objective of hindering the enemy's advance This placement highlights the urgency and determination in the context of national defense.
The author draws inspiration from his mother, reflecting on her strength as she single-handedly evacuated with three children during challenging times He believes that while melodies can be beautiful, they cannot fully capture the virtues of motherhood This sentiment is echoed in various songs celebrating mothers, such as "Hát về mẹ Việt Nam anh hùng" by An Thuyên, "Người mẹ của tôi" by Xuân Hồng, and "Tấm áo chiến sĩ mẹ vá năm xưa" by Nguyễn.
Mothers play a vital role in the Resistance, not only through their direct involvement but also by supporting the home front Unlike English songs, this aspect often goes unrecognized As their husbands and children courageously fight on the battlefield, these mothers passionately cultivate crops and supply rations for the soldiers, demonstrating their unwavering commitment to the cause.
“Lưng núi thì to mà lưng mẹ thì nhỏ Đừng làm mẹ ngã, mẹ trỉa bắp trên nương”
RECAPITULATION
The study so far has concentrated on describing mother images in English and Vietnamese songs, which has brought about the similarities and differences
This article examines the transitivity patterns associated with various processes, including material, mental, relational, verbal, behavioral, and existential processes It analyzes specific circumstances of time and location to reveal their manifestations in different song types Additionally, it considers the role of stylistic devices in enhancing the overall meaning and impact of the songs.
At the last step, a comparison is drawn upon the result found in the investigation to find out the similarities and differences between them
Despite the differences in language, English and Vietnamese songs share significant similarities in their portrayal of mothers, categorized into wartime and peacetime representations During wartime, mothers universally experience anxiety for their children's safety, while children draw strength from their mothers' resilience, often willing to sacrifice for their families In peacetime, mothers embody roles as caregivers, teachers, and loyal friends, demonstrating dedication and patience even amidst challenges posed by their children They guide their children through moral lessons and remain steadfast, never abandoning them, regardless of mistakes These qualities—dedication, patience, and tolerance—are universal traits of mothers worldwide Analysis of both English and Vietnamese songs reveals common transitivity processes and stylistic devices such as similes and metaphors, though their frequency and rank of usage differ across the two languages.
The comparison of mother images in English and Vietnamese songs reveals the historical context and underlying ideologies of each culture During wartime, Vietnamese mothers not only left their children but also actively participated in the war, serving as transporters and protectors for soldiers on secret missions, while others provided essential supplies to those on the battlefield With a history of four thousand years of conflict, the involvement of women in defending Vietnam's sovereignty has been crucial In peacetime, the portrayal of mothers varies significantly due to cultural differences; Vietnamese authors often employ stylistic devices like similes and metaphors to convey their appreciation for mothers' contributions, emphasizing their roles through relational processes.
SUGGESTIONS FOR DESIGNING EXERCISES
Songs are effectively utilized to create exercises aimed at enhancing listening skills and pronunciation Interestingly, it is also possible to design subject-specific exercises for higher education learners, thanks to the diverse structures and stylistic devices found in music Here are some examples of exercises tailored to specific subjects.
In Functional Grammar for Master students
Task 1: Analyze the following text in terms of clause and clause complex and transitivity, mood and theme Provide comments on the above aspects
Which type of process is used most? Can you give explanation?
“Mẹ là dòng suối dịu hiền
Mẹ là bài hát thần tiên
Là bóng mát trên cao
Là mắt sáng trăng sao
Là ánh đuốc trong đêm khi lạc lối
Mẹ là lọn mía ngọt ngào
Là tiếng dế đêm thâu
Là vốn liếng yêu thương cho cuộc đời”
(From the song “Bông hồng cài áo” )
Task 2: Analyze the following text in terms of clause and clause complex, thematic progression and cohesion Provide comments on the above aspects
Mother There is no other Like Mother
So treat Her right Mother
So treat Her right, treat Her right
M is for the moan, and the miserable groan From the pain that She felt when I was born
O is for the oven with it's burning' heat Where She stood making' sure I had something to eat
T is for the time that She stayed up at night And took my temperature when I wasn't feeling' right
(From the song “Treat your mother right”)
In Semantics for University and Master students
Task 1: Identify linguistic means used in the following songs
“Bàn tay mẹ chắn mưa sa
Bàn tay mẹ không chỉ chặn bão mà còn chăm sóc mùa màng, thể hiện sự dịu dàng và yêu thương Hình ảnh trăng vàng ngủ ngon và trăng tròn như một lời ru êm ái, mang lại cảm giác bình yên và hạnh phúc trong cuộc sống Những câu thơ gợi nhớ về sự che chở của mẹ và vẻ đẹp của thiên nhiên, tạo nên một không gian ấm áp và đầy cảm xúc.
(From the song “À ơi tay mẹ”)
Your love flows like a deep and tranquil river, a cherished secret I hold close When I gaze into your eyes, I see the truth of our connection, as if God dedicated extra time to create you I never imagined love could evoke such profound feelings, yet with a single kiss, you transformed my entire world.
(From the song “A little more time on you”)
LIMITATIONS AND SUGGESTIONS FOR FURTHER STUDIES
This study represents the first trial to explore the similarities and differences between maternal imagery in English and Vietnamese songs, although it is limited to certain aspects Future research could expand on this by investigating additional stylistic devices, such as metonymy, anaphora, and litotes, to enhance comparative analysis.
The study focuses in comparing English and Vietnamese songs as genre; therefore, further research should be made on other related genres such as poems or proses
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APPENDIX A LIST OF ENGLISH SONGS
No Names of songs Authors or singers
1 A little more time on you Alabama
5 A song for Mama Kenneth B Admonds
6 Coat of many colors Dolly Parton
8 Goodbye‟s (The saddest word) Celine Dion
10 I can‟t live without mother‟s love Sun Kil Moon
11 I know my mother weeps for me Charles.Thompson
12 I love my mama Snoop Dog
14 I‟ll always love my mama Snoop Dog
15 In my daughter‟s eyes Martina Mcbride
17 Letters from home John Michael
21 Mama and me Nelie MCKAY
25 Mama, can you hear me? ACE HOOD
28 Mom Earth, wind and fire
31 Mother would comfort me Charles Sawyer
32 Mother‟ little helper The Rolling stones
33 Mother‟s Day song Adam Sandler
34 Music of my heart NSYNC
37 Slipping through my fingers ABBA
38 Soldier‟s last letter Earnest Tubb
40 Thank you, Mom Good Charlotte
41 Thanks to you Richard Marx
44 The best day Taylor Swift
45 The mom song Anita Renfroe
46 The perfect fan Backstreet Boys
47 Treat your mother right Mr T
48 Turn to you Justin Bieber
49 You‟ll be in my heart Phil Collins
50 Your mother and mine Wendy Darling
(soundtrack of Peter Pan film)
APPENDIX B LIST OF VIETNAMESE SONGS
No Names of songs Authors or singers
1 À ơi tay Mẹ Trần Viết Tân
2 Bà mẹ quê Phạm Duy
3 Bài hát tặng mẹ Kyo
4 Bàn tay mẹ Bùi Đình Thảo
5 Bao la tình mẹ Quốc An
6 Bóng cả Vũ Quốc Việt
7 Bông hồng cài áo Thích Nhất Hạnh
8 Ca dao mẹ Trịnh Công Sơn
9 Chỉ có thể là mẹ Lê Minh Trung
10 Chúc mừng tuổi mẹ Lê Đức Long
11 Chuyện ngày xưa của mẹ Phi Hùng
12 Con cò Lưu Hà An
13 Đất nước Phạm Minh Tuấn
14 Đất nước lời ru Văn Thành Nho
15 Đi tìm lời ru của mẹ Vân Quang Long
17 Đưa cơm cho mẹ đi cày Hàn Ngọc Bích
18 Hát về mẹ Việt Nam anh hùng An Thuyên
19 Huyền thoại mẹ Trịnh Công Sơn
20 Lời ru cho con Nguyễn Xuân
21 Lời ru của mẹ Mạnh Quỳnh
22 Lời ru của mẹ Trần Tử Thiêng &
23 Lời ru trên nương Trần Hoàn
25 Mẹ như tia nắng Trịnh Vĩnh Thành
27 Mẹ con đã về Mạnh Quân
28 Mẹ là Phật Võ Tá Hân
31 Mẹ tôi Ngô Trần Nguyễn
32 Mẹ yêu Ba con mèo
33 Mẹ yêu con Nguyễn Văn Tý
34 Mơ về mẹ Dương Thụ
35 Mừng tuổi mẹ Trần Long Ẩn
36 Người mẹ của tôi Xuân Hồng
37 Nhật kí của mẹ Nguyễn Văn Chung
39 Nhớ mẹ quê Nguyễn Đức Trung
40 Nhớ ơn mẹ Phan Đinh Tùng
41 Nỗi buồn mẹ tôi Minh Vy
42 Quang gánh mẹ tôi Lê Đức Hùng
43 Tấm áo chiến sĩ mẹ vá năm xưa Nguyễn Văn Tý
44 Thư xuân cho mẹ Vũ Đức Hạnh
45 Tiếng ru thần tiên của mẹ Phương Thùy
46 Tình mẹ Nguyễn Nhất Huy
48 Tự khúc mẹ ru Vũ Khắc Tuận