Aim of the study and research questions
The aim of this study is to investigate how Jack London uses grammatical cohesive devices to develop his story
In order to achieve the above aim, three research questions are raised for exploration:
- What is grammatical cohesion as conceptualized in systemic functional linguistics?
- How does Jack London use grammatical cohesive devices to develop the story ―All Gold Canyon‖?
- What implications and suggestions should be made for teachers and students of English in teaching and learning writing paragraphs and essays?
Scope of the study
This study focuses specifically on grammatical cohesion, examining its framework, elements, and features, rather than attempting to cover all aspects of functional grammar or text relationships The investigation is grounded in the cohesion system established by Halliday and Hasan (1976), with the text analysis illustrated through Jack London's story "All Gold Canyon."
Methods of the study
This study aims to examine the role of grammatical cohesion in text development, utilizing both quantitative and qualitative methods It focuses on data collection and analysis to elucidate specific phenomena, employing statistical techniques for measurement and counting Following this, qualitative methods will be applied to understand the underlying reasons and effectiveness of grammatical cohesive devices in Jack London’s "All Gold Canyon." The procedures and conventions used in this research are grounded in Halliday’s theoretical framework.
The study consists of three main parts: introduction, development and conclusion
This study begins by outlining its rationale, objectives, and scope, providing a clear framework for understanding its significance It details the analytical methods used and offers an overview of the study's structure, ensuring a comprehensive approach to the research.
The article is organized into two chapters, with Chapter 1 outlining the theoretical foundation of the study by reviewing key concepts of systemic functional grammar This framework sets the stage for analysis and discussion in Chapter 2.
Chapter 2 analyzes the short story ―All Gold Canyon‖ using Halliday and Hasans’
(1976) grammatical cohesion system as the theoretical framework
The conclusion summarizes what has been studied, points out the limitations of the study, presents educational implications, and makes some suggestions for future research
PART B DEVELOPMENT CHAPTER 1 - THEORETICAL BACKGROUND
This chapter explores key systemic functional concepts essential for the analysis in Chapter 2, beginning with an overview of systemic functional linguistics It will then delve into the system of cohesion in English, providing a detailed examination of the various sub-types of grammatical cohesion.
2 Overview of systemic functional linguistics
Grammar has long been a focal point in linguistics, drawing significant interest from scholars worldwide who seek to explain the nature of language Chomsky’s theory defines grammar as a set of rules governing permissible sentence structures, while formal grammar emphasizes the structural combinations of words and phrases As linguists explored both traditional and formal grammar, the concept of functional systemic grammar (SFG) emerged, as proposed by Halliday et al (1993) SFG distinguishes itself by adopting a sociological perspective, focusing on the relationship between grammar and its societal functions.
Functional theories of grammar focus on the functions of language as essential to understanding linguistic processes and structures These theories assert that language is primarily a tool, suggesting that its structures should be analyzed based on the functions they perform Unlike traditional grammar theories that emphasize formal rules and relationships among language elements, functional theories prioritize the practical use of language in communicative contexts, highlighting how linguistic elements fulfill specific functions in real-world interactions.
To begin with, in order to see how different things in a text ―hang together‖ to make a text, it is important to define the notion of the text and texture
Language serves as a vital tool for conveying and acquiring information, as highlighted by Valeika and Buitkiene (2006) To effectively communicate, language units must fulfill specific functions, with words and sentences forming the foundation A text emerges when sentences are interconnected, creating mutual dependence Halliday and Hasan (1976) define text as any spoken or written passage that forms a unified whole Understanding the elements that contribute to text coherence is essential for producing a cohesive and meaningful text.
The deep structure of a text consists of a series of interconnected clauses that transform into coherent sentences through appropriate textualizing operations (Valeika and Buitkiene, 2006) To achieve this connection, the semantic relationships between words are crucial, as words and context are inherently linked Consequently, understanding the meaning and logical relationships among words and sentences is essential for crafting a cohesive text.
A text is defined by its texture, which ensures that it is coherent rather than a collection of unrelated sentences (Halliday and Hasan, 1976) The key feature of texture is the cohesive relation known as a "tie," which serves as a semantic link between elements (McCarthy, 1991) These ties create connections across sentence boundaries, linking related items and establishing cohesion within the text Essentially, cohesion indicates the degree of connection between sentences, contributing to the overall unity of the text.
Cohesion is a vital aspect of textuality, defined comprehensively by Halliday and Hasan (1976) as the set of semantic configurations linked to specific contexts, which shapes the essence of a text Its primary function is to connect different parts of the text, creating continuity that aids readers or listeners in fully interpreting the content Halliday and Hasan identified five types of cohesion: reference, substitution, ellipsis, conjunction, and lexical cohesion The first four represent grammatical cohesive devices, while lexical cohesion pertains to the relationships between words.
Cohesion in text creation is achieved through both grammar and vocabulary Halliday and Hasan (1976) classify cohesion based on linguistic forms, which can be categorized into two types: lexicogrammatical and semantic relations Essentially, cohesive relations can be understood as either lexicogrammatical or semantic, highlighting the importance of these elements in establishing coherence in writing.
Nature of cohesive relation Type of cohesion
Relatedness of form Relatedness of reference Semantic connection
Substitution and ellipsis; lexical collocation Reference; lexical reiteration
Grammatical cohesion includes reference, substitution, and ellipsis, while lexical cohesion pertains to vocabulary choices Conjunctions straddle the line between grammatical and lexical cohesion, as they can be understood both grammatically and through lexical selection Despite this overlap, conjunctions are primarily categorized under grammatical cohesion due to their dominant grammatical nature with a lexical aspect Therefore, we can distinguish between grammatical cohesion and lexical cohesion based on their defining characteristics.
Grammatical cohesion Lexical cohesion Reference
Figure 2: Grammatical and Lexical Cohesion
According to Halliday and Hasan, lexical cohesion refers to the cohesive effect created through vocabulary selection, emphasizing how lexical items interrelate to maintain textual continuity This concept is rooted in fundamental semantic relationships among words Lexical cohesion is primarily categorized into two types: reiteration and collocation.
Reiteration refers to the repetition of a lexical item or the use of a synonym in the context of reference, where both occurrences share the same referent (Halliday and Hasan, 1976) McCarthy (1991) clarifies that reiteration involves either restating an item through direct repetition or reaffirming its meaning by utilizing lexical relations The authors identify four sub-types of reiteration: the same word, a synonym or near-synonym, a superordinate, and a general word For instance, the phrase "a boy" can be reiterated as "the boy" (the same word), "the lad" (a synonym), "the child" (a superordinate), or "the idiot" (a general term) (Halliday and Hasan, 1976: 279).
Collocation is the relationship between words that native speakers intuitively use for understanding and producing text According to Halliday and Hasan (1976), this phenomenon is termed "word combination" or "word co-occurrence." Collocation can be categorized into two main types: grammatical collocation and lexical collocation.
THEORETICAL BACKGROUND 1 Introduction
Overview of systemic functional linguistics
Grammar has long been a focal point of linguistic study, attracting scholars who seek to explain the nature of language Chomsky's theory characterizes grammar as a set of rules governing permissible sentence structures, while formal grammar emphasizes the structural combinations of words and phrases In the evolution of grammatical teaching, some linguists have proposed the development of functional systemic grammar (SFG), which, unlike traditional and formal grammar, adopts a sociological perspective by examining the relationship between grammar and its societal functions.
Functional theories of grammar focus on the functions of language and its elements as essential for understanding linguistic processes and structures These theories suggest that language, being a tool, is best analyzed through the functions it serves Unlike traditional grammar theories that emphasize formal rules and relationships among language elements, functional theories prioritize the functions performed by language and connect them to the linguistic components that fulfill these roles Consequently, functional grammar emphasizes the practical use of language in communicative contexts.
Cohesion
To begin with, in order to see how different things in a text ―hang together‖ to make a text, it is important to define the notion of the text and texture
Language serves as a tool for conveying and acquiring information (Valeika and Buitkiene, 2006) To effectively communicate, language units must fulfill specific functions All languages consist of words and sentences, which need to be interconnected to form a cohesive text A text is defined as any spoken or written passage that creates a unified whole (Halliday and Hasan, 1976) Understanding the elements that contribute to text coherence is essential for crafting a unified text.
The fundamental structure of a text consists of interrelated clauses that can be transformed into coherent sentences through appropriate textual operations (Valeika and Buitkiene, 2006) To achieve this coherence, the semantic relationships between words are crucial, as words and their context are inherently linked Thus, understanding the meanings and logical connections of words and sentences is essential for crafting a coherent text.
A text is defined by its texture, which ensures that it is cohesive rather than a mere collection of unrelated sentences (Halliday and Hasan, 1976) The key feature of texture is the cohesive relation known as a tie, which serves as a semantic link between elements Ties link sentences across boundaries, creating connections that pair and chain related items together (McCarthy, 1991: 27) Thus, cohesion indicates the degree of connection between sentences within the text.
Cohesion is an essential aspect of textuality, defined comprehensively by Halliday and Hasan (1976) as a set of semantic configurations linked to specific contexts that shape the text's substance It serves to connect different parts of the text, creating continuity that helps readers or listeners interpret the overall message Halliday and Hasan identified five types of cohesion: reference, substitution, ellipsis, conjunction, and lexical cohesion, with the first four representing grammatical cohesive devices and the last focusing on lexical relationships.
Cohesion in a coherent text is achieved through both grammar and vocabulary Halliday and Hasan (1976) classify cohesion based on linguistic forms, distinguishing it by either semantic relations within the linguistic system or lexico-grammatical relations Essentially, cohesive relations can be understood as either lexicogrammatical or semantic in nature.
Nature of cohesive relation Type of cohesion
Relatedness of form Relatedness of reference Semantic connection
Substitution and ellipsis; lexical collocation Reference; lexical reiteration
Grammatical cohesion includes reference, substitution, and ellipsis, while lexical cohesion pertains specifically to vocabulary Conjunctions straddle the line between grammatical and lexical cohesion, as they can be interpreted through grammatical systems yet also involve lexical choices Nonetheless, it is more appropriate to classify conjunctions under grammatical cohesion due to their primary grammatical function with a lexical aspect Therefore, grammatical cohesion and lexical cohesion can be distinctly categorized.
Grammatical cohesion Lexical cohesion Reference
Figure 2: Grammatical and Lexical Cohesion
Lexical cohesion, as described by Halliday and Hasan, refers to the cohesive effect created through the selection of vocabulary, emphasizing the relationships between lexical items and their semantic connections to ensure textual continuity The two primary categories of lexical cohesion are reiteration and collocation, which play a crucial role in linking ideas and maintaining coherence in written text.
Reiteration refers to the repetition of a lexical item or the use of a synonym within a context where both occurrences share the same referent (Halliday and Hasan, 1976) McCarthy (1991) clarifies that reiteration involves either restating an item through direct repetition or reaffirming its meaning by utilizing lexical relationships The authors categorize reiteration into four sub-types: the same word, a synonym/near-synonym, a superordinate, and a general word For instance, "a boy" can be substituted with "the boy" (the same word), "the lad" (a synonym), "the child" (a superordinate), and "the idiot" (a general word) (Halliday and Hasan, 1976: 279).
Collocation is the semantic and structural relationship between words that native speakers intuitively use for understanding and producing text According to Halliday and Hasan (1976), this concept is often referred to as "word combination" or "word co-occurrence." Collocations can be categorized into two main types: grammatical collocation and lexical collocation.
This study focuses on grammatical cohesion, specifically examining four sub-types of grammatical devices to provide a comprehensive analysis.
The unique nature of this type of information retrieval is characterized by the continuity of reference, where the same subject is revisited within the discourse Halliday and Hasan (1976) define reference as a semantic relationship that is not limited by grammatical class They clearly differentiate between situational and textual reference, contrasting exophora, which refers to external context, and endophora, which refers to internal context within the text.
[to preceding text] [to following text] anaphora cataphora
Reference items can be categorized as exophoric or endophoric, with endophoric references further divided into anaphoric and cataphoric types Exophoric items lack specific naming and do not provide substantial information, relying on the situational context for interpretation In contrast, endophoric references are cohesive, linking elements within the text and enhancing coherence Anaphoric references direct attention to information mentioned earlier, while cataphoric references anticipate information that will be introduced later, guiding the reader's understanding.
―forward‖ It draws us further into the text in order to interpret
Eg: John is a big man He loves children anaphoric
Thinking about her work, No is so proud cataphoric
Functionally speaking, there are three main types of cohesive reference They are personal, demonstrative and comparative references Let us look at the examples of each type as follow:
Mikhail Gorbachev didn’t have to change the world He could have chosen to rule personal reference much as his predecessors did
Gorbachev recognized the need for change in his country and could have adopted a cautious modernization approach similar to China's, focusing on economic reform and technological advancement while resisting political change However, this did not occur.
A: Would you like these seats ? B: No, as a matter of fact, I’d like the other seats comparative reference
Substitution, as defined by Halliday and Hasan (1976), occurs when a word or expression is replaced by another to avoid repetition Bloor and Bloor (1995) emphasize that this linguistic strategy allows speakers and writers to utilize grammatical resources for this purpose For example, in the sentence, “I left my pen at home, do you have one?” the word “one” substitutes for “pen.” Substitution can be classified into three types: nominal, verbal, and clausal Nominal substitution typically uses words like “one,” “ones,” and “same” to replace nouns, while terms such as all, any, each, either, neither, some, and none can also serve this function Verbal substitution commonly employs the verb “do” as a substitute within a verbal group, while clausal substitution refers to replacing an entire clause, often using words like “so” or “not.”
Ellipsis and substitution are closely related concepts, with ellipsis essentially acting as "substitution" by omitting elements from the text while still allowing their understanding This omission can often be clarified by referencing elements from the preceding text Ellipsis can be categorized into three types: nominal, verbal, and clausal ellipsis.
The context of the chosen text
The analysis focuses on Jack London's short story "All Gold Canyon." Born in 1876 in San Francisco to a poor family, London rose to fame and fortune by 1916, during World War I Renowned as a prolific American author, he is celebrated for his vivid portrayals of nature and the human struggle for survival His impactful novels and short stories have left a lasting influence on subsequent writers, solidifying his status as a respected figure in literary history.
Jack London is celebrated for his vigorous writing style, making him one of the most widely read American authors globally From 1900 to 1916, he authored over 50 fiction and non-fiction books, alongside hundreds of short stories and numerous articles Many of his works, including classics like "Call of the Wild," "White Fang," "The Sea Wolf," "Martin Eden," and "John Barleycorn," remain popular and have been translated into as many as 70 languages.
In Jack London's 1905 story "All Gold Canyon," first published in The New Century magazine, the author explores the conflict between human greed and the natural ecosystem, highlighting his growing ethical concern for nature The narrative begins with a vivid depiction of a serene valley, where wildlife and flora coexist in harmony This tranquility is disrupted by Bill, a resource-driven pocket-miner whose relentless quest for gold leads to the valley's destruction and ultimately results in death The story culminates in a violent confrontation between Bill and another gold-seeker, emphasizing the destructive consequences of avarice.
2 Grammatical cohesive devices in the story "All Gold Canyon"
Halliday and Hasan (1976) identify four main types of grammatical cohesive devices: reference, substitution, ellipsis, and conjunction This article will analyze these cohesive devices in detail, following the framework established by Halliday and Hasan By collecting and classifying all cohesive items found in the story, we will highlight significant characteristics based on the frequency of various types of grammatical cohesion used throughout the text.
The analysis of grammatical cohesive devices in the story "All Gold Canyon" reveals a total of 2,198 ties, with references making up the majority at 1,627 ties, accounting for 74% Conjunctions follow with 542 ties, representing 24%, while substitution and ellipsis each contribute a minimal 1% This distribution highlights the predominant use of reference in the narrative structure.
Diagram 1: The percentage of grammatical cohesion in the story
Grammatical cohesive devices in the story ―All Gold Canyon‖
2.1 Reference 2.1.1 Anaphoric, cataphoric and exophoric reference
According to collected statistics, reference is a crucial component of grammatical cohesion, serving as the most significant element in establishing cohesion within a text The table below illustrates the percentages of anaphoric, cataphoric, and exophoric references present in the story.
Table 1: The percentage of anaphoric, cataphoric and exophoric reference
Anaphoric reference dominates the text, comprising 79.8% of the total references, primarily through personal pronouns and determiners like he, him, his, that, and the definite article "the." Exophoric reference follows in second place, accounting for 10.5% with 170 occurrences; it relies on the reader's background knowledge rather than connecting to the text directly This is particularly evident in the first seven paragraphs, where Jack London vividly describes nature, leading to a higher use of exophoric references Lastly, cataphoric reference ranks third at 9.7%, with the definite article "the" appearing 123 times among 158 items in this category.
2.1.2 Realization of different types of reference
In analyzing the narrative "All Gold Canyon," it is essential to focus on Halliday and Hasan's (1976) classification of references: personal, demonstrative, and comparative, rather than the grammatical classifications of anaphoric, cataphoric, and exophoric references Personal reference, which includes personal pronouns and determiners, is the most prevalent in the story, comprising 51% with 825 occurrences Demonstrative references follow closely, accounting for 48% with 775 instances, while comparative references are used sparingly, making up only 1% with just 24 occurrences This uneven application of reference types highlights Jack London's narrative style and contributes to the overall meaning of the text.
Table 2: The percentage of different types of reference
The analysis reveals that the writer employs personal and demonstrative references to connect ideas, rather than relying on comparative references This frequent use of personal and demonstrative elements highlights a narrative style in "All Gold Canyon," emphasizing storytelling over comparison or discussion.
Halliday and Hasan (1976) categorize personals into three classes: personal pronouns, possessive determiners, and possessive pronouns Each category's membership plays a crucial structural role in identifying relationships among individuals and objects within texts.
In Jack London's narrative, a total of 825 personal reference ties are utilized, encompassing first, second, and third person pronouns and determiners The first person pronouns, such as "I," "my," and "me," account for 57 instances, representing 6.9% of the total Second person pronouns, including "you," "your," and "yours," comprise 41 instances, equating to 4.9% Dominating the text, third person pronouns and determiners—such as "he," "his," "him," "they," "them," "it," and their variations—total 727 occurrences, making up 88.2% of the references.
The details of the distribution of personal reference are illustrated as follows:
Pronouns Numbers of examples Percentage (%)
Table 3: The distribution of personal reference in the story
The use of personal references in a narrative reveals the relationships between characters, as first-person pronouns and determiners frequently appear in speeches, dialogues, and inner monologues This reliance on cohesive devices creates a speaker-oriented text, emphasizing the speaker's perspective and enhancing the depth of character interactions.
In this narrative, the inner thoughts of Bill, the protagonist, are revealed through the use of first-person pronouns and determiners For instance, Bill reflects on his past decisions, questioning whether he made the right choices He also contemplates his current situation, feeling a mix of hope and uncertainty about the future These introspective moments provide a deeper understanding of Bill's character and the emotional struggles he faces.
(1) "My!" he said, "but I've got an appetite I could scoff iron-filings an' horseshoe nails an' thank you kindly, ma'am, for a second helpin'."
(2) "Now what d'ye think of that, by damn? I clean forgot my dinner again! If I don't watch out, I'll sure be degeneratin' into a two-meal-a-day crank."
In Jack London's narrative, the protagonist Bill engages in inner monologues, addressing himself and his surroundings as if they were companions This technique allows London to effectively convey Bill's thoughts and emotions without the use of first-person pronouns in dialogue, enhancing the reader's connection to the character's internal experience.
In this narrative, the main character engages in self-dialogue and conversations with surrounding entities, utilizing second person pronouns like "you" and the determiner "yours" to address both inanimate objects and himself The inanimate entities referenced include sweet hills, dandelions, hollyhocks, a deceased man, and a canyon affectionately named Mr Pocket by the protagonist.
(3) "Jumping dandelions and happy hollyhocks, but that smells good to me!
Talk about your attar o' roses an' cologne factories! They ain't in it!"
(4) "Hey, you, Mr Pocket!" he called down into the Canyon "Stand out from under! I'm a-comin', Mr Pocket! I'm a-comin'!"
In the article, the author demonstrates the use of anaphoric reference to create connections within the text The personal determiner "your" refers back to "jumping dandelions" and "happy hollyhocks," which are flowers in the canyon Additionally, the personal pronoun "you" anticipates a forward reference to Mr Pocket, the name given to the canyon by the main character This technique allows the protagonist to engage with the surrounding inanimate entities as if they could comprehend his thoughts, effectively conveying the emotions, mood, and essence of the character Bill, as crafted by Jack London.
In the narrative, the protagonist Bill engages in self-dialogue to convey his inner thoughts and emotions This unique approach allows Bill to assume both the roles of speaker and listener, utilizing first and second-person pronouns to reflect his personal perspective.
As he cast his line into the pool, he optimistically speculated, "Maybe they'll bite in the early morning." Moments later, his excitement erupted as he joyfully exclaimed, "What did I tell you?"
(6) "Slow an' certain, Bill;(…)," he crooned "Short-cuts to fortune ain't in your line, an' it's about time you know it Get wise, Bill; get wise
In the context of speech situations, first and second person pronouns denote roles, while third person pronouns, which are inherently cohesive, refer strictly to the text (Halliday and Hasan, 1976) In this analysis, third person pronouns such as he, his, him, her, they, and it appear 727 times, constituting 88.2% of the total usage Notably, 492 of these instances (67.7%) refer to Bill, a pocket-miner, highlighting his role as the main character Although a second man, armed with a revolver, is mentioned, he is referenced only 61 times, accounting for just 12.4% of the pronoun usage Furthermore, there are no second person pronouns that reference the man with the revolver, indicating the absence of dialogue between the two male characters in the narrative.
The man, who was last in line, unloaded his pack and saddle, then prepared his meal by unpacking food along with a frying pan and coffee pot He collected dry wood and used some stones to create a fire pit for cooking.
Suggestions for English learners in writing skill
Grammatical cohesion is crucial for effective text creation, making it important for English learners to understand and apply its principles in their writing Following an analysis of Jack London's short story "All Gold Canyon," several recommendations for English learners are proposed to enhance their narrative writing skills.
To enhance students' writing skills, it is essential to raise their awareness of grammatical cohesion, which includes reference, substitution, ellipsis, and conjunction Teaching cohesion as a standalone subject or integrating it into writing lessons can significantly benefit English learners With a solid understanding of these cohesion types, learners can produce coherent and logical texts Additionally, providing targeted exercises on grammatical cohesion will help students recognize its practical applications and importance in effective writing.
In narrative writing, the effective use of personal references is crucial to avoid repetitive character names and maintain coherence Writers often rely on personal pronouns to connect the text, but excessive use can lead to confusion, especially when multiple characters are involved For instance, if several female characters are present and the writer frequently uses pronouns like "she" or "her," readers may struggle to identify which pronoun corresponds to which character, resulting in potential misinterpretation of the narrative.
Substitution and ellipsis are the least frequently used cohesive devices in the analyzed story, each accounting for less than 1% of the total While these devices are prevalent in spoken discourse, they hold little value in written narratives Notably, they appear primarily in the monologues of the main character, which can aid English learners in structuring their narratives However, learners should exercise caution, as excessive use of substitution and ellipsis can result in imprecise or ambiguous writing, potentially leading to misunderstandings or misinterpretations of the story's content.
To enhance their writing, English learners should effectively use conjunctions, which are essential for creating cohesive and logical texts Understanding the four types of conjunctions is crucial, as it enables learners to acquire various conjuncts and apply them correctly By incorporating diverse conjunctive devices, writers can ensure their work is clear and easily understood.
Limitations and suggestions for further studies
This study aims to explore the use of grammatical cohesive devices in Jack London's "All Gold Canyon," but it faces several limitations Firstly, as a work of literary writing, the text relies more on lexical cohesion than grammatical cohesion, which may not fully capture its richness Secondly, the paper's length restricts a detailed examination of each type of grammatical cohesion Lastly, the study does not address cohesion in other language skills such as speaking and listening.
Due to the scope of study, all the issues related to the study cannot be covered In the future, I do hope to extend the topic to:
- the study of lexical cohesive devices in the story "All Gold Canyon" by Jack London
- other discourse features of the story "All Gold Canyon" by Jack London in terms of transitivity, expansion and projection, just name a few
This study investigates the grammatical cohesive devices present in Jack London's story "All Gold Canyon" while offering suggestions to enhance reading and writing skills for English learners As part of a minor M.A thesis, the author acknowledges the potential for errors due to limited expertise but aspires to contribute valuable insights for English teachers and learners in navigating this type of discourse.
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1 Diệp Quang Ban (1998) Văn bản và liên kết trong Tiếng Việt Hà Nội:
Nhà xuất bản Giáo dục
2 Hoàng Văn Vân (2002/2005) Ngữ pháp kinh nghiệm của cú Tiếng Việt
Hà Nội: Nhà xuất bản Đại học Quốc gia Hà Nội
3 Nguyễn Hòa (2003) Phân tích diễn ngôn: Một số vấn đề lý luận và phương pháp Hà Nội: Nhà xuất bản Đại học Quốc gia Hà Nội
I (32) The man (Bill) Personal pronoun +
Me (18) The man (Bill) Personal pronoun +
My (7) The man (Bill) Personal determiner +
You (4) Sweet hills Personal Pronoun +
Your (2) Sweet hills Personal determiner +
Your (2) Sweet hills Personal determiner +
You (14) The man (Bill) Personal Pronoun +
You (1) The man (Bill) Personal Pronoun +
Your (1) The man (Bill) Personal determiner +
Yours (2) The man (Bill) Personal determiner +
Your (1) Holly hocks Personal determiner +
You (6) The dead man Personal Pronoun +
They (1) The buck's ears Personal Pronoun +
They (4) The man's eyes Personal Pronoun + They (2) The man's fingers Personal Pronoun + They (1) The man's preparations Personal Pronoun + Them (1) The man's eyes Personal Pronoun + Their (1) Golden specks Personal determiner +
Them (2) Golden specks Personal Pronoun +
Them (1) Golden herbs Personal Pronoun +
Them (2) the fragments Personal Pronoun +
Them (1) vines and boughs Personal Pronoun +
Their (1) The walls Personal determiner +
Their (1) The leaves Personal determiner +
Their (1) The lines Personal determiner +
Their (1) the sides Personal determiner +
Their (1) The converging sides Personal determiner +
He (4) The red-coated, many- antlered buck
His (7) The red-coated, many- antlered buck
Him (2) The red-coated, many- antlered buck
He (29) The man with a revolver
Him (7) The man with a revolver
His (25) The man with a revolver
He (264) The man (Bill) Personal pronoun + Him (43) The man (Bill) Personal pronoun + His (178) The man (Bill) Personal determiner +
Himself (7) The man (Bill) Personal Pronoun +
Her (1) The stream Personal determiner +
Itself (1) The madrone Personal Pronoun +
Its (2) The madrone Personal determiner +
It (2) The air Personal Pronoun +
It (3) The little stream Personal Pronoun + Its (1) The little stream Personal determiner +
It (1) Singsong voice Personal Pronoun +
It (1) The man's voice Personal Pronoun +
It (1) The man's face Personal Pronoun +
Itself (1) The man's face Personal Pronoun +
Its (1) The pool Personal determiner +
It (1) A practiced eye Personal Pronoun +
It (1) A shovelful of dirt Personal Pronoun +
It (3) The pan Personal Pronoun +
It (3) This layer Personal Pronoun +
It (2) A small portion Personal Pronoun +
It (3) A golden speck Personal Pronoun +
It (3) Gold-pan Personal Pronoun +
It (1) The real thing Personal Pronoun +
Its (1) The spirit of the place Personal determiner +
It (1) The green screen Personal Pronoun +
Its (2) A second horse Personal determiner +
It (1) A second horse Personal Pronoun +
It (1) a pan with dirt Personal Pronoun +
It (1) the apex of the "V" Personal Pronoun +
Its (1) The sun Personal determiner +
It (1) The Canyon Personal Pronoun +
Itself (1) the backbone of the
It (1) the purple haze of the hills
Its (1) the Canyon Personal determiner +
Itself (1) the false footing Personal Pronoun +
It (1) a placer mine Personal Pronoun +
Itself (1) a placer mine Personal Pronoun +
It (3) a piece of rotten quartz Personal Pronoun +
It (1) half rock Personal Pronoun +
It (1) The other half Personal Pronoun +
It (1) a treasure-hole Personal Pronoun +
It (3) the heart of the gold Personal Pronoun +
It (1) the mysterious force Personal Pronoun +
It (5) The gold Personal Pronoun +
Itself (1) his body Personal Pronoun +
It (2) the hole Personal Pronoun +
Its (1) the cigarette Personal determiner +
It (1) the cigarette Personal Pronoun +
It (1) other's body Personal Pronoun +
It (1) the revolver Personal Pronoun +
It (1) the face of the dead man
Its (1) his treasure Personal determiner +
It (1) his head Personal Pronoun +
It (1) a crease through his scalp
It (3) The body Personal Pronoun +
Its (1) the hole Personal determiner +
Its (2) The animal Personal determiner +
It (1) The animal Personal Pronoun +
Here (2) the green heart of the Demonstrative +
Here (1) the apex Demonstrative adverb +
Here (1) on my pasture Demonstrative adverb +
There (8) the Canyon Demonstrative adverb +
There (1) the Canyon Demonstrative adverb +
There (1) the hillside Demonstrative adverb +
There (1) the stream Demonstrative adverb +
There (1) his cheek Demonstrative adverb +
There (1) cross-cut Demonstrative adverb +
There (10) a treasure-hole Demonstrative adverb +
The larger and the lighter (1) particles Comparative adjective + larger (1) a pin-point Comparative adjective + farther (1) the stream Comparative adverb + greater (1) clashing of steel-shod feet on rock
Comparative adjective + higher (1) pitch Comparative adjective +
Higher (1) the hill Comparative adjective +
Later (1) he made his first cast into the pool
Comparative adverb + deeper (1) the gold dipped Comparative adjective +
As he ascended the hill, the pitch became increasingly deeper Just a few yards above him, the depth continued to increase as he sank the hole further down.
Table of References in the Story "All Gold Canyon"
Nearer (1) the time when he must stand up
More (1) a single speck of gold Comparative adjective +
More (1) trout Comparative adjective + more (1) distinctly Comparative adjective + more (1) drowsed and whispered Comparative adjective + as indetermina te and colorless as
As far as (1) he could see Comparative adjective + as lightly and airily as
APPENDIX II Table of Conjunctions in the Story "All Gold Canyon"
APPENDIX III Table of Substitutions in the Story "All Gold Canyon"
That (smoke of life an' snakes of purgatory)
That (I clean forgot my dinner again) +
That (he was slow and awkward with his left-hand movements)
This (a third pan contained no gold at all) +
This (there was his pick, a handy weapon on occasion)
+ do (come right up an' snatch you out bald- headed)
It (Short-cuts to fortune ain't in your line) +
APPENDIX IV Table of Ellipses in the Story "All Gold Canyon"
Eighteen (golden specks) + twenty-one (golden specks) + twenty-six (golden specks) +
Would (shoot me in the back) +
APPENDIX V The Story "All Gold Canyon" by Jack London
Nestled within the Canyon's vibrant green heart, a sheltered nook offers a serene escape from the harshness of its towering walls This tranquil spot, brimming with sweetness and softness, invites all forms of life to rest Even the once-turbulent stream pauses to create a calm pool, where a majestic red-coated buck, adorned with many antlers, drowses knee-deep in the water, embodying the peaceful essence of this hidden oasis.
At the edge of the pool, a small meadow of resilient green grass leads to a towering wall, while a gentle slope covered in vibrant flowers rises towards the opposite wall The Canyon is enclosed, offering no view as its walls converge sharply, leading to a chaotic mix of rocks and moss hidden beneath a tapestry of vines and tree branches In the distance, the Canyon ascends to distant hills and peaks, with pine-covered foothills, and beyond them, the majestic Sierra Nevada looms, its snow-capped minarets glistening in the sunlight.
The Canyon was a pristine haven, free of dust, where clean leaves and flowers thrived The grass resembled young velvet, while three cottonwoods released their soft, snowy fluffs into the tranquil air above the pool The manzanita blossoms filled the atmosphere with delightful spring scents, and the leaves began to twist in anticipation of the summer's dryness In the sunny areas beyond the manzanita's shadow, mariposa lilies stood like jeweled moths, ready to take flight Meanwhile, the madrone showcased its transformation from pea-green to madder-red, releasing a sweet fragrance from clusters of creamy white, lily-of-the-valley-shaped bells, embodying the essence of spring.
The air was still and heavy with a fragrant sweetness, reminiscent of starlight transformed into a crisp atmosphere Despite its rich aroma, the sharp and thin air prevented it from becoming overwhelming, creating a harmonious blend of sunshine and floral notes.
In the serene landscape, butterflies flitted through the dappled sunlight, while the gentle hum of mountain bees created a tranquil atmosphere These bees, indulging in their feast, interacted amicably without a hint of rudeness Meanwhile, a small stream meandered quietly through the canyon, its soft gurgles resembling a sleepy whisper that ebbed and flowed with moments of stillness and awakening.
The heart of the Canyon was alive with a gentle motion, where sunshine and butterflies danced among the trees The harmonious hum of bees and the soft whisper of the stream created a soothing soundscape, intertwining with the vibrant colors of nature This delicate interplay formed an intangible fabric that embodied the spirit of the place—a spirit of peaceful vitality, characterized by a serene existence that was alive yet untroubled It reflected a tranquil life, rich in contentment and prosperity, untouched by distant conflicts.
The majestic red-coated buck, adorned with numerous antlers, peacefully dozed in a cool, shaded pool, fully aware of the spirit of the place With no bothersome flies around, he enjoyed a languid rest, occasionally stirring as the stream gently awakened, yet his movements were slow and relaxed, reflecting a deep sense of tranquility.
The buck's ears perked up, sensing a sound from down the Canyon With his head lowered, he inhaled deeply, trying to detect the source Though his vision was obscured by the greenery, he heard a man's steady, monotonous voice Suddenly, the harsh clash of metal against rock startled him, prompting a quick leap from the water to the meadow, where his feet sank into the soft grass Alert and cautious, he moved silently across the small meadow, pausing to listen before vanishing into the Canyon like a ghost.
The sound of steel-shod soles striking the rocks echoed as the man's voice, rising in a chant, became increasingly clear and distinct with proximity, allowing the words to be heard.
"Tu'n around an' tu'n your face Untoe them sweet hills of grace (D' pow'rs of sin your am scornin'!)
Look about an' look aroun', Fling you sin-pack on d' groun' (You will meet wid d' Lord in d' mornin'!)."
A man, characterized by his deliberate nature, observed the vibrant scene before him, where the sound of scrambling faded alongside the retreating red-coated buck He took in the meadow, the pool, and the sloping hillside with a sweeping glance, meticulously examining the details to confirm his initial impression Only after this thorough observation did he express his vivid and solemn approval of the picturesque landscape.
The breathtaking landscape features a harmonious blend of wood, water, and lush grass, creating a perfect haven for hunters and horses alike This serene environment offers refreshing greenery that rejuvenates weary eyes, far surpassing any medicinal remedies It serves as a hidden gem for prospectors and a restful retreat for exhausted burros, embodying the essence of nature's tranquility.
He was a sandy-complexioned man whose geniality and humor were evident in his expressive face, which changed rapidly with his thoughts His ideas seemed to dance across his features, while his sparse, colorless hair contrasted sharply with his strikingly blue, laughing eyes that held both childlike wonder and a quiet strength Emerging from a tangle of vines, he carried a miner's pick, shovel, and gold pan, dressed in faded overalls and a worn black shirt, topped with a battered hat showing signs of rough weather Standing tall, he absorbed the beauty of the Canyon garden, inhaling its warm, sweet air with delight, his eyes narrowing in joy as he smiled and exclaimed aloud.
"Jumping dandelions and happy hollyhocks, but that smells good to me! Talk about your attar o' roses an' cologne factories! They ain't in it!"
He had the habit of soliloquy His quick-changing facial expressions might tell every thought and mood, but the tongue, perforce, ran hard after, repeating, like a second Boswell
The man lay down on the lip of the pool and drank long and deep of its water