the meaning and structure of an american short story a systemic functional analysis = cấu trúc và ngữ nghĩa của một truyện ngắn mỹ

iv Table of contents Declaration Abstract Acknowledgments List of Tables Abbreviations PART I: INTRODUCTION 1.1 Rationale 1.2 Aims and Scope of the Study 1.3 Methods of the Study 1.4 Data collection 1.5 Design of the study…………………… PART II: DEVELOPMENT CHAPTER 1: THEORETICAL BACKGROUND 1.1 Three Metafunctions of Language………………… 1.2 Context……………………………………………………… 1.2.1 What is Context? 1.2.2 Three aspects of context………………… 3-4 1.3 Clauses and their relations 1.3.1 Clause Simplex and Clause Complex 1.3.2 Types of Relations between Clauses……… 1.3.2.1 Taxis 1.3.2.2 Logico – semantic type .4-5 1.4 Three kinds of function of clauses 1.4.1 Clause as representation: Transitivity 1.4.1.1 Process types and Participants 1.4.1.1.1 Material process 1.4.1.1.2 Mental process 1.4.1.1.3 Relational process 1.4.1.1.4 Behavioural process 1.4.1.1.5 Verbal process 1.4.1.1.6 Existential process 1.4.1.2 Circumstances 1.4.2 Clause as exchange: Mood 7-8 1.4.3 Clause as message: Theme – Rheme………… v 1.5 Cohesion 1.5.1 Grammatical Cohesion 1.5.1.1 Reference…………… 8-9 1.5.1.2 Substitution 1.5.1.3 Ellipsis 1.5.2 Logical Cohesion 10 1.5.2.1 Adversative 10 1.5.2.2 Additive 10 1.5.2.3 Causal 10 1.5.2.4 Temporal 10 1.5.3 Lexical Cohesion 10 1.5.3.1 Reiteration………………………… 10-11 1.5.3.2 Collocation 11 1.6 Summary 11 CHAPTER 2: THE MEANING AND STRUCTURE OF THE TEXT “WITCHES‟S LOAVES” 12 2.1 The Chosen Text 12 2.2 Clauses and Clause Complex Analysis 132 2.3 The Analysis of the Text in Terms of Transitivity, Mood and Theme…… 12- 28 2.3.1 The Transitivity Pattern of the Text……………… 28-29 2.3.2 The Mood Pattern of the Text……………… 29 2.3.3 The Thematic Pattern of the Text 29 2.4 The Cohesion of the Text 30 2.4.1 Grammatical Cohesion 30-31 2.4.1.1 Reference…………………………… 31 2.4.1.2 Conjunctive Devices………… 41 2.4.2 Lexical Cohesion………………… 41 2.5 Contextual Configuration of the Text………………… 43 2.6 Summary 43 PART 3: CONCLUSION 44 1.1 Recapitulation 44 1.2 Contributions 44 1.3 Implications of the study 44 1.4 Suggestions for future research 44 REFERENCES APPENDICE vi List of Appendices Table Clauses and Clause Complexes Analysis Table Relations between clauses Table Transitivity Pattern of the Text Table Mood Pattern of the Text Table The Thematic Pattern of the Text Table The grammatical cohesive devices in the text Table The analysis of the text in terms of transitivity, mood and theme (cont.) Abbreviations ANT Antonym Pred Predicator Adjct Adjunct Rel Relational Beh Behavioural REP Repetition Circ Circumstance Res Residue COL Collocation R:D Compl Complement R:P Reference Personal Exist Existential SFG Systemic Functional Grammar Fi Finite Sub Subject HYP Hyponym SUB Mat Material SYN Synonym MER Meronym Phen Phenomenon Reference Demonstrative Substitution PART INTRODUCTION 1.1 Rationale According to Halliday (1994), the fundamental difference between systemic functional grammar and formal models of grammar is that the former is based on a functional framework It is functional in three closely related senses: in its interpretation of text, of system, and of the elements of linguistic structures Functional grammar sees language first and foremost as a system of communication and analyzes grammar to discover how it is organized to allow speakers and writers to make any exchange meanings Rather than insisting on a clear distinction between grammatical and ungrammatical forms, the focus is usually on the appropriateness of a form for a particular communicative purpose in a particular context The primary concern is with the functions of structures and their constituents and with their meanings in context A grammarian interested in this kind of description is likely to use data from authentic texts in specific contexts My reason for choosing to analyse a short story by O‟Henry is first and foremost due to my strong favourite for American short stories, especially, O.Henry‟s ones Therefore, I would like to have a deep understanding of my beloved short stories, one of which is the short story “Witches‟ loaves” by O‟Henry I myself find that functional grammar with the systemic functional analysis method is a very useful tool and an effective method to help me understand the story further in terms of both meaning and structure 1.2 Aims and Scope of the Study Within the framework of a minor thesis, the aim of the study is to:  Examine some basic analytical aspects included by systemic functional linguistics such as experiential, interpersonal and textual ones  Investigate how these aspects are employed in the short story “The Witches‟ Loaves” by O‟Henry  Offer some suggestions for teaching and learning The research question that the present study seeks to answer is: “How is the text expressed in terms of transitivity, mood and theme-rheme?” This study does not attempt to cover all aspects of functional grammar but some main areas of systemic functional theory and primary concepts such as linguistic system, metafunctions and cohesion The focus is on some issues relating to the analysis of the text My original writing of the thesis was based on the format and methods employed in the previous M.A Theses in the same file supervised by Prof Dr Hoang Van Van such as: The meaning and Structure of a Biology text: a systemic functional analysis by Ho Thi Mai (2008); The meaning and structure of a fairy tale story: a systemic functional analysis by Pham Thi Thuy and a research on The meaning and Structure of a Science Fiction Story: a systemic functional analysis Journal of Science (Foreign Languages) by Prof Dr Hoang Van Van However; according to the comments given by the Board of Examiners, my M.A thesis has been changed in some parts mainly in “Development” and “Appendix” I quite hope that such adjustments are reasonable and satisfactory 1.3 Methods of the Study The study is undertaken with a view to analyzing the meaning and grammar of a short story The descriptive and analytical methods will be applied as the principal ones The descriptive method is concerned with the description of concepts related to systemic functional grammar The analytical method is resorted to analyze the chosen text The procedures and conventions used in the analysis are based on the framework of Halliday‟s (1994) An Introduction to Functional Grammar 1.4 Data collection The text is a short story – a literature text taken from “O‟Henry short stories online” 1.5 Design of the study The minor thesis is divided into four chapters as following: - Chapter I – Introduction: Introduces the rational, aims, scope, methods of the study, data collection and the research design - Chapter II – Theoretical Background: provides the theoretical background of the study Its focus is on introducing important concepts in systemic functional linguistics relevant to the topic of the thesis - Chapter III – The analysis of the short story “Witches‟ Loaves”: focuses on the meaning and structure of the text - Chapter IV – The conclusion: summarizes the results of the study and suggests some implications for teaching and learning English as well as presents the suggestions for further research PART DEVELOPMENT CHAPTER I THEORETICAL BACKGROUND 1.1 Three Metafunctions of Language Halliday (1970, 1985) sees the functions of language from the sociological point of view According to him, language has three functions as follows:  Language is used to organize, understand and express our perceptions of the world and our own consciousness This function is known as the ideational function The ideational function can be classified into subfunctions: the experiential and the logical The experiential function is largely concerned with content or ideas The logical function is concerned with the relationship between ideas  Language is used to enable us to participate in communicative acts with other people, to take on roles and to express and understand feelings, attitude and judgments This function is known as the interpersonal function  Language is used to relate what is said (or written) to the real world and to other linguistic events This involves the use of language to organize the text itself This is known as the textual function 1.2 Context 1.2.1 What is Context? From Hymes‟ point of view, (1962), context is a limiter of the range of possible interpretations, and, on the other hand, a supporter of the intended interpretation: “The use of a linguistic form identifies a range of meanings A context can support a range of meaning When a form is used in a context it eliminates the meanings possible to that context other than those the form can signal: the context eliminates from consideration the meanings possible in the form other than those the context can support.” According to Nguyen Hoa (2000), contexts are the non-linguistic factors that contribute and constrain the interpretation of discourse 1.2.2 Three aspects of the context Language is a social activity which always takes place in a context The context of situation handles the dimensions of the situation which have a bearing on the language used and is studied under register Register is, traditionally in systemic grammar, studied in terms of three parameters: field, tenor and mode - Field of discourse refers to what is happening, to the nature of the social action that is taking place; what is it that the participants are engaged in, in which the language figures as some essential components? - Tenor of discourse refers to who is taking part, to the nature of the participants, their statues and roles; what kind of role relationships of one kind or another, both the types of speech role that they are taking on in the dialogue and the whole cluster of socially significant relationships in which they are involved? - Mode of discourse refers to what part the language is playing, what is it that the participants are expecting the language to for them in that situation: the symbolic organization of the text, the status that it has, and its function in the context, including the channel (is it spoken or written or some combination of the two?) and also the rhetorical mode, what is being achieved by the text in terms of such categories as persuasive, expository, didactic, and the like ( Halliday in Halliday and hasan 1989 : 12) 1.3 Clauses and their relations 1.3.1 Clause Simplex and Clause Complex According to Halliday, clauses can be divided into clause simplex and clause complex Clause simplex contains one clause, and clauses combine together to form a Clause Complex A sentence can be interpreted as a clause complex: a Head clause together with other clauses that modify it The notion of “clause complex” as Halliday (1994:216) states, “enables us to account in full for the functional organization of sentences” Sentence: constituent of writing Clause complex: constituent of grammar Clause simplex || He kicked the ball || Clause complex ||| When you are alone || call me ||| 1.3.2 Types of Relations between Clauses According to Halliday, the clauses constructing a clause complex are in relation in two terms: Taxis (Interdependency) and Logical-semantic type 1.3.2.1 Taxis (or Interdependence) relation Taxis, or interdependency, indicate the logical interdependency between clauses in a clause complex Taxis relationships are either paratactic or hypotactic Parataxis is “the relation between two like elements of equal status, one initiating and the other continuing” (Halliday 1994:218) In parataxis, the two elements are independent, so “we only need to distinguish them by the order in which the speaker has chosen to say them” This is done by using the number 1,2,3 … as in: || Jane came into the room,|| and sat down.||| Hypotaxis is “the binding of elements of unequal status” (Halliday, 1994:221) The relation of hypotaxis between a dominant unit and a dependent one is signaled by using an alpha () for the dominant, a beta () for a clause dependent on it, and a gamma () for one dependent on that, and so on ||| If they are here, || I have the right to be here |||   It is noted that paratactic and hypotactic relationships can be combined in a single clause complex: |||Your grandmother knew|| my sickness meant death,|| and that there were no cure|||  1 2 1.3.2.2 Logico-semantic type The logico-semantic relations are grouped into two main types: expansion and projection Expansion: The secondary clause expands the primary clause by: – Elaborating – Extending = („equals‟) + („is added to‟) – Enhancing x („is multiplied by‟) Expansion relationship can be either paratactic or hypotactic *Elaboration: One clause expands another by elaborating on it (or some of portion of it) It means saying the same thing over again, either by direct repetition, or by rewording, clarifying, or giving an example: ||| I wasn’t surprised ||– it was what I had expected.||| *Extension: One clause expands another by extending beyond it It means adding something new, giving an exception on it, or offering an alternative |||They don’t give any instructions, || nor would it help if they did ||| *Enhancement: One clause expands the meaning of another qualifying it in one of a number of possible ways: by reference to time, place, manner cause or condition ||| When the morning came, || the other shepherds returned from Bethlehem||| Projection: the secondary clause is instated by the primary one as what somebody said (locution) or thought (idea) In other words, locutions are projected verbal events and ideas are projected mental events Projection relationship can be either paratactic or hypotactic ||| He said, || “Stop talking.”||| "2 ||| My mother said || that I could go out then||| '  1.4 The three kinds of function in clauses According to Halliday (1994: 34) Actor, Subject, Theme-Rheme each one of the three forms part of a different functional configuration, making up a separate strands in the overall meaning of the clause As a working approximation, we can define these different strands of meaning as following: (i) The Actor functions in the structure of the CLAUSE AS A REPRESENTATION A clause has meaning as representation, a construal of some process in ongoing human experience; the Actor is the active participant in that process It is the element the speaker portrays as the one that does the deed (ii) The Subject functions in the structure of the CLAUSE AS AN EXCHANGE A clause has meaning as an exchange, a transaction between speaker and listener; the Subject is the warranty of the exchange It is the element the speaker makes responsible for the validity of what he is saying (iii) The Theme functions in the structure of the CLAUSE AS A MESSAGE A clause has meaning as a message, a quantum of information; the Theme is the point of departure for the message It is the element the speaker selects for „grounding‟ what he is going on to say These three headings- clause as a representation, clause as an exchange, clause as a message- refer to three distinct kinds of meaning that are embodied in the structure of a clause Each of these three strands of meaning is construed by configuration of certain particular functions Actor, Subject and Theme not occur as isolates; each occurs in association with other functions from the same strand of meaning Each kind of meanings will be discussed in detail in the following presentation 1.4.1 Clause as representation: Transitivity According to Halliday (1994: 106) language enables human beings to build a mental picture of reality, to make sense of what goes on around them and inside them Clauses play a central role, because it embodies a general principle for expressing experience The most powerful impression of experience is that it consists of “going-on” – happening, doing, sensing, meaning and becoming All these goings – on are sorted out in the grammar of the clause, the grammatical system by which this is achieved is transitivity and accounted for under the heading of process, participant and circumstances 1.4.1.1 Process types and Participants 1.4.1.1.1 Material process Material process is the process of doing One identification criteria for material process is that they can be probed by asking: “What did X do?” or “What did X to Y?” The one that performs the action is called actor The one that is affected by the action is called Goal The one that benefits from the process is called Receiver When a process has one participant, this role is referred to as Actor When a process has two participants, these roles are referred to respectively as Actor and Goal And when it has three participants, these roles are referred to respectively as Actor, Goal and Receiver E.X: He gave the boy five dollars Actor Process: material Receiver Goal 1.4.1.1.2 Mental process Mental process is the process of sensing which consists of processes of cognition (thinking, knowing, understanding, realizing), of affection (loving, hating, adoring, pampering), of perception (hearing, sensing, feeling) and of desideration (wanting, desiring, wishing) In this process we very often talk not about what we are doing, but about what we think of feel Metal process usually involve two participants referred to respectively as Senser (one who senses, feels, thinks, and wants) and Phenomenon (one that is sensed, felt, thought of, and wanted) The Sensor is always a human being E.X: I can recognize the King Sensor Process: mental Phenomenon 1.4.1.1.3 Relational process Relational process is the process of being, having and being at It comes under three subtypes: The intensive, the circumstantial, and the possessive Relational process consists of two modes: attributive and identifying When a relational process is in the attributive mode, it has one participant referred to as Carrier and the quality referred to as Attribute When the relational process identifies the other, it has two participants referred to respectively in two pairs of terms such as Identified/Identifier and Token/Value E.X: XXXII 96 she Miss Martha 102-85-84-83-82-81-79-77-65-55-52-50-39-38- 97 the (paper) 98 them the stale loaves anaphoric 34-32-31-24-11-7-6-5-1 exophoric anaphoric 102-100-98-90-50-35-22-21-19 99 he The customer anaphoric 64-61-59-49-47-38-35-34-27-26-25-23-22-19-17- 103-101-93-89-88-87-82-80-78-76-75-74-73-6716-15-12-10 100 the (heart) exophoric 105-102-85-84-83-82-81-79-77-65-55-52-50-39- 101 she Miss Martha anaphoric 38-34-32-31-24-11-7-6-5-1 102 he The customer anaphoric 67-64-61-59-49-47-38-35-34-27-26-25-23-22-19- 106-103101-93-89-88-87-82-80-78-76-75-74-7317-16-15-12-10 103 that (day) 104 her exophoric Miss Martha‟s 105 the (subject) 106 She 109-105-102-85-84-83-82-81-79-77-65-55-52-50- anaphoric 39-38-34-32-31-24-11-7-6-5-1 exophoric Miss Martha 107 the (scene) 110-109-105-102-85-84-83-82-81-79-77-65-55- anaphoric 52-50-39-38-34-32-31-24-11-7-6-5-1 exophoric 108 he The customer anaphoric 109 her Miss Martha‟s anaphoric 110 He The customer anaphoric 111 his the customer‟s anaphoric 112 his the customer‟s anaphoric 113 the (picture) 114 he 111-106-103101-93-89-88-87-82-80-78-76-7574-73-67-64-61-59-49-47-38-35-34-27-26-25-2322-19-17-16-15-12-10 111-110-109-105-102-85-84-83-82-81-79-77-6555-52-50-39-38-34-32-31-24-11-7-6-5-1 112-111-106-103101-93-89-88-87-82-80-78-7675-74-73-67-64-61-59-49-47-38-35-34-27-26-2523-22-19-17-16-15-12-10 112-112-111-106-103101-93-89-88-87-82-80-7876-75-74-73-67-64-61-59-49-47-38-35-34-27-2625-23-22-19-17-16-15-12-10 113-112-111-106-103101-93-89-88-87-82-80-7876-75-74-73-67-64-61-59-49-47-38-35-34-27-2625-23-22-19-17-16-15-12-10 exophoric the customer 115 the 114-113-112-111-106-103101-93-89-88-87-82- anaphoric 80-78-76-75-74-73-67-64-61-59-49-47-38-35-3427-26-25-23-22-19-17-16-15-12-10 exophoric (perspective 116 He the customer 117 his the customer‟s 118 He the customer anaphoric 116-114-113-112-111-106-103101-93-89-88-8782-80-78-76-75-74-73-67-64-61-59-49-47-38-3534-27-26-25-23-22-19-17-16-15-12-10 116-114-113-112-111-106-103101-93-89-88-8782-80-78-76-75-74-73-67-64-61-59-49-47-38-3534-27-26-25-23-22-19-17-16-15-12-10 anaphoric 117-116-114-113-112-111-106-103101-93-89-88- XXXIII 119 he the customer 120 the (hand) anaphoric 87-82-80-78-76-75-74-73-67-64-61-59-49-47-3835-34-27-26-25-23-22-19-17-16-15-12-10 119-117-116-114-113-112-111-106-103101-9389-88-87-82-80-78-76-75-74-73-67-64-61-59-4947-38-35-34-27-26-25-23-22-19-17-16-15-12-10 exophoric 121 he the customer anaphoric 122 he the customer anaphoric 121-119-117-116-114-113-112-111-106-10310193-89-88-87-82-80-78-76-75-74-73-67-64-61-5949-47-38-35-34-27-26-25-23-22-19-17-16-15-1210 121-119-117-116-114-113-112-111-106-10310193-89-88-87-82-80-78-76-75-74-73-67-64-61-5949-47-38-35-34-27-26-25-23-22-19-17-16-15-1210 123 The (front door) 124 the the front door anaphoric 125 she Miss Martha 126 The one of the two men anaphoric 77-65-55-52-50-39-38-34-32-31-24-11-7-6-5-1 130-126 anaphoric 127 her Miss Martha‟s anaphoric 79-77-65-55-52-50-39-38-34-32-31-24-11-7-6-5- 128 His the customer‟s anaphoric 129 his the customer‟s anaphoric exophoric 130 the (back) 129-111-110-109-105-102-85-84-83-82-81-79- 130-129-111-110-109-105-102-85-84-83-82-81- the customer‟s anaphoric 132 his the customer‟s anaphoric 133 He the customer anaphoric 134 his the customer‟s anaphoric the two fists anaphoric 136 he 131-130-121-119-117-116-114-113-112-111-106103-101-93-89-88-87-82-80-78-76-75-74-73-6764-61-59-49-47-38-35-34-27-26-25-23-22-19-1716-15-12-10 132-131-130-121-119-117-116-114-113-112-111106-103-101-93-89-88-87-82-80-78-76-75-74-7367-64-61-59-49-47-38-35-34-27-26-25-23-22-1917-16-15-12-10 exophoric 131 his 135 them 125-122 the customer anaphoric 132-131-130-121-119-117-116-114-113-112-111106-103-101-93-89-88-87-82-80-78-76-75-74-7367-64-61-59-49-47-38-35-34-27-26-25-23-22-1917-16-15-12-10 133-132-131-130-121-119-117-116-114-113-112111-106-103-101-93-89-88-87-82-80-78-76-7574-73-67-64-61-59-49-47-38-35-34-27-26-25-2322-19-17-16-15-12-10 134-133-132-131-130-121-119-117-116-114-113112-111-106-103-101-93-89-88-87-82-80-78-7675-74-73-67-64-61-59-49-47-38-35-34-27-26-2523-22-19-17-16-15-12-10 134-133-132-131-130-121-119-117-116-114-113112-111-106-103-101-93-89-88-87-82-80-78-7675-74-73-67-64-61-59-49-47-38-35-34-27-26-2523-22-19-17-16-15-12-10 135-134 136-134-133-132-131-130-121-119-117-116-114113-112-111-106-103-101-93-89-88-87-82-8078-76-75-74-73-67-64-61-59-49-47-38-35-34-27- XXXIV 137 it 138 The “Tausendonfer! The young man anaphoric anaphoric 139 him the customer anaphoric 140 he the customer anaphoric 141 her Miss Martha‟s anaphoric 142 He the customer anaphoric 143 he the customer anaphoric 144 his the customer‟s anaphoric 145 his the customer‟s anaphoric 146 the the shelves anaphoric 147 her Miss Martha‟s anaphoric 148 The The young man anaphoric 149 the 150 the (collar) 151 he 152 He the customer anaphoric 26-25-23-22-19-17-16-15-12-10 136-136 137-129-127-126 137-136-134-133-132-131-130-121-119-117-116114-113-112-111-106-103-101-93-89-88-87-8280-78-76-75-74-73-67-64-61-59-49-47-38-35-3427-26-25-23-22-19-17-16-15-12-10 139-137-136-134-133-132-131-130-121-119-117116-114-113-112-111-106-103-101-93-89-88-8782-80-78-76-75-74-73-67-64-61-59-49-47-38-3534-27-26-25-23-22-19-17-16-15-12-10 140-130-129-111-110-109-105-102-85-84-83-8281-79-77-65-55-52-50-39-38-34-32-31-24-11-76-5-1 141-139-137-136-134-133-132-131-130-121-119117-116-114-113-112-111-106-103-101-93-8988-87-82-80-78-76-75-74-73-67-64-61-59-49-4738-35-34-27-26-25-23-22-19-17-16-15-12-10 143-141-139-137-136-134-133-132-131-130-121119-117-116-114-113-112-111-106-103-101-9389-88-87-82-80-78-76-75-74-73-67-64-61-59-4947-38-35-34-27-26-25-23-22-19-17-16-15-12-10 144-143-141-139-137-136-134-133-132-131-130121-119-117-116-114-113-112-111-106-103-10193-89-88-87-82-80-78-76-75-74-73-67-64-61-5949-47-38-35-34-27-26-25-23-22-19-17-16-15-1210 144-144-141-139-137-136-134-133-132-131-130121-119-117-116-114-113-112-111-106-103-10193-89-88-87-82-80-78-76-75-74-73-67-64-61-5949-47-38-35-34-27-26-25-23-22-19-17-16-15-1210 147-40 148-140-130-129-111-110-109-105-102-85-8483-82-81-79-77-65-55-52-50-39-38-34-32-31-2411-7-6-5-1 149-137-129-127-126 149-144-144-141-139-137-136-134-133-132-131130-121-119-117-116-114-113-112-111-106-103101-93-89-88-87-82-80-78-76-75-74-73-67-6461-59-49-47-38-35-34-27-26-25-23-22-19-17-1615-12-10 exophoric the young man the young man anaphoric anaphoric 153 the the customer anaphoric 154 the the door anaphoric 151-149-137-129-127-126 153-151-149-137-129-127-126 153-149-144-144-141-139-137-136-134-133-132131-130-121-119-117-116-114-113-112-111-106103-101-93-89-88-87-82-80-78-76-75-74-73-6764-61-59-49-47-38-35-34-27-26-25-23-22-19-1716-15-12-10 153-125-122 XXXV 155 the (sidewalk) 156 he exophoric the customer 157 the (row) anaphoric exophoric 158 That the customer exophoric 159 He the customer anaphoric 160 the same office the customer anaphoric 162 He the customer anaphoric 163 It 165 the (lines) 166 his 167 it 168 he 169 the 170 That 171 the 172 that 159-157-153-149-144-144-141-139-137-136-134133-132-131-130-121-119-117-116-114-113-112111-106-93-89-88-87-82-80-78-76-75-74-73-6764-61-59-49-47-38-35-34-27-26-25-23-22-19-1716-15-12-10 160-159-157-153-149-144-144-141-139-137-136134-133-132-131-130-121-119-117-116-114-113112-111-106-93-89-88-87-82-80-78-76-75-74-7367-64-61-59-49-47-38-35-34-27-26-25-23-22-1917-16-15-12-10 exophoric 161 him 164 He 157-153-149-144-144-141-139-137-136-134-133132-131-130-121-119-117-116-114-113-112-111106-103-101-93-89-88-87-82-80-78-76-75-74-7367-64-61-59-49-47-38-35-34-27-26-25-23-22-1917-16-15-12-10 161-160-159-157-153-149-144-144-141-139-137136-134-133-132-131-130-121-119-117-116-114113-112-111-106-93-89-88-87-82-80-78-76-7574-73-67-64-61-59-49-47-38-35-34-27-26-25-2322-19-17-16-15-12-10 162-161-160-159-157-153-149-144-144-141-139137-136-134-133-132-131-130-121-119-117-116114-113-112-111-106-93-89-88-87-82-80-78-7675-74-73-67-64-61-59-49-47-38-35-34-27-26-2523-22-19-17-16-15-12-10 exophoric the customer anaphoric 165-162-161-160-159-157-153-149-144-144-141139-137-136-134-133-132-131-130-121-119-117116-114-113-112-111-106-93-89-88-87-82-8078-76-75-74-73-67-64-61-59-49-47-38-35-34-2726-25-23-22-19-17-16-15-12-10 exophoric a draftman‟s making drawing in pencil a draftman the pencil lines handfuls of stale bread crumbs the stale bread the butter in the stale bread anaphoric anaphoric anaphoric anaphoric anaphoric anaphoric anaphoric 167-167 168-167 169-167 169-167 170-169 171-102-100-98-90-50-35-22-21-19 173-99 XXXVI 175-85-65 173 the the back room anaphoric 174 She Miss Martha anaphoric 84-83-82-81-79-77-65-55-52-50-39-38-34-32-31- 176-148-140-130-129-111-110-109-105-102-8524-11-7-6-5-1 175 the the blue-dotted silk waist anaphoric 176 the (old brown serge) 176-148-84 exophoric 178-176-148-140-130-129-111-110-109-105-102- 177 she Miss Martha anaphoric 85-84-83-82-81-79-77-65-55-52-50-39-38-34-32- 178 she Miss Martha anaphoric 179 the the quince seed and borax mixture anaphoric 31-24-11-7-6-5-1 179-178-176-148-140-130-129-111-110-109-105102-85-84-83-82-81-79-77-65-55-52-50-39-3834-32-31-24-11-7-6-5-1 179-86-85 180 the (window) 181 the (ash can) exophoric exophoric XXXVII APPENDIX Table 7: The analysis of the text in terms of transitivity, mood and theme (cont.) (90) While (91) was for them there was a great tooting reaching and clanging, Process: Circumstance Process: Existent Transitivity Material Existential Subject Fi Pred Complement Subject Fi Pred Complement MOOD Mood Residue Mood Residue Textual Topical Rheme Theme Rheme THEME Theme Theme (92) (93) (94) and a firecame past The hurried to the door to look engine lumbering customer Actor Process: Circ Behaver Process: Circ Process: Transitivity Material Behavioural Mental Subject Fi Pred Adjunct Subject Fi Pred Adjunct Pred MOOD Mood Residue Mood Residue Textual Topical Rheme Theme Rheme Theme THEME Theme Theme (95) Suddenly Miss Martha seized the opportunity inspired, Actor Process: Material Goal Transitivity Circumstance Adjunct Subject Finite Predicator Complement MOOD Mood Residue Theme Rheme THEME (96) (97) On the was a pound that the had left ten minutes bottom shelf of fresh dairyman before behind the butter counter Actor Process: Circumstance Transitivity Circumstance Process: Existent Existential Material Complement Fi Pred Subject Subject Fi Pred Adjunct MOOD Residue Mood Mood Residue Theme Rheme Theme Rheme THEME (98) With a bread Miss Martha made a deep slash in each of the knife stale loaves, Actor Process: Material Goal Circumstance Transitivity Circumstance Adjunct Subject Finite Predicator Complement Adjunct MOOD Residue Mood Residue Theme Rheme THEME (99) (100) inserted a generous and pressed the loaves tight again quantity of butter, Miss Martha Actor XXXVIII Goal Process: Goal Circumstance Transitivity Process: Material Material Fi Pred Complement Fi Pred Complement Adjunct MOOD Mood Residue Mood Residue Rheme Textual Rheme THEME Theme (101) (102) When the turned once more she was tying the around them customer paper Transitivity Actor Process: Circumstance Actor Process: Goal Circumstan Material Material ce Subject Fi Pred Goal Subject Fi Pred Adjunct Adjunct MOOD Mood Residue Mood Residue Rheme Theme Rheme THEME Textual Topical Theme Theme (103) (104) When he had after an Miss smiled to but not without a gone unusually Martha herself slight pleasant fluttering little chat, of the heart Circumstance Transitivity Actor Process: Circumstance Behaver Process: Material Beh Subject Fi Pred Adjunct Subject Fi Pred Adjunct MOOD Mood Res Residue Mood Residue Rheme Rheme Theme Rheme THEME Textual Topical Theme Theme (105) (106) Had she been too bold? Would he take offense? Carrier - Relational Attribute Process- Senser - mental Transitivity Process Finite Subject Predicator Complement Finite Subject Predicator MOOD Mood Residue Mood Residue Theme Rheme Theme Rheme THEME (107) (108) There was no language Butter was no emblem of of edibles unmaidenly forwardness Process: Existent Carrier Process: Attribute Transitivity Existential Relational Subject Finite Predicator Complement Subject Fi Pred Complement MOOD Mood Residue Mood Residue Theme Rheme THEME (109) For a long time that day her mind dwelt on the subject Circumstance Senser Process: Mental Circumstance Transitivity Adjunct Subject Finite Predicator MOOD Residue Mood Residue Theme Rheme THEME (110) (111) XXXIX She Transitivity MOOD THEME Transitivity MOOD THEME Transitivity MOOD THEME Transitivity MOOD THEME Transitivity MOOD THEME Transitivity MOOD THEME Senser imagined the scene Process: Phenomenon Mental Subject Fi Pred Complement Mood Residue Theme Rheme when he Senser should discover Process: Mental Fi Pred her little deception Phenomenon Subject Complement Mood Residue Textual Topical Rheme Theme Theme (112) (113) He would lay his brushes There would stand his easel down and palette with the picture Actor Process: Goal Circumstance Process: Existent Material Existential Subject Fi Pred Complement Adjunct Fi Pred Subject Mood Residue Residue Mood Theme Rheme Theme Rheme (114) (115) he was painting in which the was beyond perspective criticism Actor Process: Material Circumstance Carrier Process: Attribute Relational Subject Finite Predicator Adjunct Subject Fi Pred Adjunct Mood Residue Residue Mood Residue Theme Rheme Theme Rheme (116) (117) He would for his of dry He would slice into a loaf prepare luncheon bread and water Actor Process: Circumstance Actor Process: Circumstance Material Material Subject Fi Pred Adjunct Subject Fi Pred Adjunct Mood Residue Mood Residue Theme Rheme Theme Rheme (118) (119) Ah, Miss blushed Would he think of the hand Martha Behaver Process: Process Senser - Mental Phenomenon Behavioural Subject Fi Pred Finite Subject Predicator Complement Mood Residue Mood Residue Textual Topical Rheme Theme Rheme Theme Theme (120) (121) that placed it there as he ate? Actor Process: Goal Circumstance Actor Process: Material Material Fi Pred Complement Adjunct Subject Fi Pred Mood Residue Mood Residue Theme Rheme Textual Topical Rheme XL Theme Theme (122) (123) (124) The front jangled viciously Somebody was coming making a great deal door bell in, of noise Actor Process: Circ Actor Process: Process: Goal Transitivity Material Material Material Subject Fi Pred Adjunct Subject Fi Pred Predicator Complement MOOD Mood Residue Mood Residue Theme Rheme Theme Rheme Theme THEME (125) (126) Miss hurried to the front Two were there Martha men Process: Circumstance Carrier Process: Circumstance Transitivity Behaver Behavioural Relational Subject Fi Pred Adjunct Subject Fi Pred Adjunct MOOD Mood Residue Mood Residue Theme Rheme Theme Rheme THEME (127) (128) (129) One was a young smoking a pipe a man she had neverseen before man Cir Transitivity Carrier Process: Attribute Process: Goal Phen Senser Process: Circ Relational Material Mental Subject Fi Pred Compl Fi Pred Compl Subject Fi Pred Adjunct MOOD Mood Residue Residue Mood Residue Theme Rheme Theme Theme Rheme THEME (130) (131) The other was her artist His face was very red, Carrier Process: Attribute Carrier Process: Attribute Transitivity Relational Relational Subject Fi Pred Complement Subject Fi Pred Complement MOOD Mood Residue Mood Residue Theme Rheme Theme Rheme THEME (132) (133) his hat was on the back his hair was wildly rumpled of his head, Process: Circumstance Carrier Process: Circumstance Attribute Transitivity Carrier Relational Relational Subject Fi Pred Adjunct Subject Fi Pred Adjunct Complement MOOD Mood Residue Mood Residue Theme Rheme Theme Rheme THEME (134) (135) He clinched his two fists and shook them ferociously at Miss Martha Goal Process: Goal Circ Transitivity Actor Process: Material Material Subject Fi Pred Complement Fi Pred Complement Adjunct MOOD Mood Residue Mood Residue Rheme Textual Rheme THEME Theme Theme XLI "Dummkopf!" Transitivity MOOD THEME Verbiage Complement Residue Theme he (136) shouted Sayer Process: Verbal Subject Fi Pred Mood The young man Actor Subject Mood Theme (138) "I vill not go," (137) tried to draw Process: Material Finite Predicator with extreme loudness; and then Circumstance Circ Adjunct Adjunct Residue Rheme "Tausendonfer !" or something like it in German Verbiage Complement him away Goal Circumstance Transitivity Complement Adjunct MOOD Residue Rheme THEME (139) (140) he said angrily, “I shall her." told Quoted Quoted Transitivity Actor Process: Sayer Process: Circ Sayer Process: Receiver Material Verbal Verbal Subject Fi Pred Subject Fi Pred Adjunct Subject Fi Pred Comple MOOD - ment Mood Residue Mood Residue Mood Residue Theme Rheme Theme Rheme THEME Theme Rheme (141) He made a bass drum of Miss Martha's counter Actor Process: Material Goal Circumstance Transitivity Subject Finite Predicator Complement Adjunct MOOD Mood Residue Theme Rheme THEME (142) (143) "You haf shpoilt (have spoilt) me," he cried, Quoted Behaver Process: Transitivity Behavioural Actor Process: Material Goal Subject Finite Predicator Complement Subject Finite Predicator MOOD Mood Residue Mood Residue Theme Rheme Theme Rheme THEME (144) his blue eyes were blazing behind his spectacles Carrier Process: Relational Attribute Circumstance Transitivity Subject Finite Predicator Complement Adjunct MOOD Mood Residue Theme Rheme THEME (145) (146) "I vill tell you You vas(were) von (an)_meddingsome old cat_!" XLII Process: Attribute Relational Subject Fi Pred Complement Subject Fi Pred Complement MOOD Mood Residue Mood Residue Theme Rheme Theme Rheme THEME (147) (148) Miss leaned weakly against and laid one on her blueMartha the hand dotted silk shelves waist Actor Process: Circ Circ Process: Goal Circ Transitivity Material Material Subject Fi Pred Adjunct Adjunct Fi Pred Compl Adjunct MOOD Mood Residue Mood Residue Rheme Textual Rheme THEME Theme Theme (149) The young man took the other by the collar Actor Process: Material Goal Circumstance Transitivity Subject Finite Predicator Complement Adjunct MOOD Mood Residue Theme Rheme THEME (150) (151) (152) "Come on," he said, "you 've said enough." Quoted Sayer Process: Sayer Process: Circumstance Transitivity Verbal Verbal Process: Material Complement Subject Fi Pred Subject Fi Pred Adjunct MOOD Residue Mood Residue Mood Residue Theme Theme Rheme Theme Rheme THEME (153) (154) He dragged the angry out at the to the and then came back one door sidewalk, Process: Goal Circ Process: Transitivity Actor Material Material Adjunct Mood Adjunct Fi Pred MOOD Subject Fi Pred Complement Mood Residue Rheme Textual Theme Rheme THEME Theme (155) (156) (157) (158) “Guess, you ought to be he said, "what is about” told” the row Process: Sayer Process: Carrier Process: Transitivity Process: Receiver Mental Verbal Verbal Relational Subject Fi Pred Subject Fi Pred Subject Fi Pred MOOD Mood Residue Mood Residue Mood Residue Theme Rheme Theme Rheme Theme Rheme THEME (159) (160) That is Blumberger He is an architectural draftsman Process: Attribute Carrier Process: Attribute Transitivity Carrier Transitivity Sayer Process: Verbal Receiver Carrier XLIII MOOD Subject Mood Theme (161) I work Relational Fi Pred Complement Relational Fi Pred Compleme nt Mood Residue Theme Rheme (163) hard for drawing a plan for a three new city months hall Circ Circ Proc: Goal Circ Material Adjct Adjct Pred Compl Adjct Residue Subject Residue Rheme THEME (162) in the with He has been same him working office Actor Process: Circ Actor Process: Transitivity Material Material Subject Fi Pred Adjunct Subject Fi Pred MOOD Mood Residue Mood Rheme Theme Rheme Theme THEME Theme (164) (165) It was a prize He finished the lines yesterday competition inking Process: Attribute Actor Process: Goal Circumstance Transitivity Carrier Relational material Subject Fi Pred Complement Subject Fi Pred Complement Adjunct MOOD Mood Residue Mood Residue Theme Rheme Theme Rheme THEME (166) (167) Well today well You know, a always makes his drawing in first draftsman pencil TRANS Circ Senser Process: Actor Circ Process: Goal Circ Mental Material Subject Fi Pred Subject Adjct Fi Pred Compl Adjunct MOOD Mood Res MoRes -od Residue Theme Rheme Theme Rheme THEME Interpersonal Theme (168) (169) When it is done he rubs out the pencil with handfuls of stale lines bread crumbs Goal Process: Actor Process: Goal Circumstance Transitivity Material Material Subject Fi Pred Subject Fi Pred Compl Adjunct MOOD Mood Residue Mood Residue Rheme Theme Rheme THEME Textual Topical Theme Theme (170) (171) That is better than India Blumberger has been the bread here rubber buying Attribute Circ Actor Fi Pred Goal Circ Transitivity Carrier Process: Relational Adjunct Subject Fi Pred Complement Adjunct MOOD Subject Fi Pred Comp Mood Residue Mood Residue Rheme Theme Rheme THEME Theme (172) (173) XLIV Well, Transitivity today, Circ well you know, Senser Process: Mental that butter Carrier isn't Process: Relational Subject Fi Pred Mood Res Theme Rheme Subject Finite Pred Mood Residue Topical Interpersonal Rheme THEME Interpersonal Theme Theme Theme (174) Well Blumberger's isn't good for now except to plan anything cut up into railroad sandwiches Carrier Process: Attribute Circ Transitivity Relational Subject Fi Pred Comp Adjunct MOOD Mood Residue Interpersonal Topical Rheme THEME Theme Theme (175) (176) Miss went into the back She took off the blue-dotted Martha room silk waist Process: Material Circumstance Actor Process: Goal Transitivity Actor Material Subject Finite Predicator Adjunct Subject Fi Pred Complement MOOD Mood Residue Mood Residue Theme Rheme Theme Rheme THEME (177) (178) and put on the old brown she used to wear serge Process: Material Goal Actor Process: Material Transitivity Finite Predicator Adjunct Subject Finite Predicator MOOD Mood Residue Mood Residue Textual Rheme Theme Rheme THEME Theme (179) Then she poured the quince out of the seed and window into borax mixture the ash can Circumstance Actor Process: Material Goal Circumstance Transitivity Adjunct Subject Finite Predicator Complement Adjunct MOOD Mood Residue Textual Theme Theme Rheme THEME MOOD Witches‟ Loaves Miss Martha Meacham kept the little bakery on the corner (the one where you go up three steps, and the bell tinkles when you open the door) Miss Martha was forty, her bankbook showed a credit of two thousand dollars, and she possessed two false teeth and a sympathetic heart Many people have married whose chances to so were much inferior to Miss Martha's Two or three times a week a customer came in in whom she began to take an interest He was a middle-aged man, wearing spectacles and a brown beard trimmed to a careful point He spoke English with a strong German accent His clothes were worn and darned in places, and wrinkled and baggy in others But he looked neat, and had very good manners He always bought two loaves of stale bread Fresh bread was five cents a loaf Stale ones were two for five Never did he call for anything but stale bread Once Miss Martha saw a red and brown stain on his fingers She was sure then that he was an artist and very poor No doubt he lived in a garret, where he painted pictures and ate stale bread and thought of the good things to eat in Miss Martha's bakery Often when Miss Martha sat down to her chops and light rolls and jam and tea she would sigh, and wish that the gentle-mannered artist might share her tasty meal instead of eating his dry crust in that draughty attic Miss Martha's heart, as you have been told, was a sympathetic one In order to test her theory as to his occupation, she brought from her room one day a painting that she had bought at a sale, and set it against the shelves behind the bread counter It was a Venetian scene A splendid marble palazzio (so it said on the picture) stood in the foreground or rather forewater For the rest there were gondolas (with the lady trailing her hand in the water), clouds, sky, and chiaro-oscuro in plenty No artist could fail to notice it Two days afterward the customer came in "Two loafs of stale bread, if you blease "You haf here a fine bicture, madame," he said while she was wrapping up the bread "Yes?" says Miss Martha, reveling in her own cunning "I so admire art and" (no, it would not to say "artists" thus early) "and paintings," she substituted "You think it is a good picture? "Der balance," said the customer, is not in good drawing Der bairspective of it is not true Goot morning, madame." He took his bread, bowed, and hurried out Yes, he must be an artist Miss Martha took the picture back to her room How gentle and kindly his eyes shone behind his spectacles! What a broad brow he had! To be able to judge perspective at a glance and to live on stale bread! But genius often has to struggle before it is recognized What a thing it would be for art and perspective if genius were backed by two thousand dollars in bank, a bakery, and a sympathetic heart to -But these were day-dreams, Miss Martha Often now when he came he would chat for a while across the showcase He seemed to crave Miss Martha's cheerful words He kept on buying stale bread Never a cake, never a pie, never one of her delicious Sally Lunns She thought he began to look thinner and discouraged Her heart ached to add something good to eat to his meagre purchase, but her courage failed at the act She did not dare affront him She knew the pride of artists Miss Martha took to wearing her blue-dotted silk waist behind the counter In the back room she cooked a mysterious compound of quince seeds and borax Ever so many people use it for the complexion One day the customer came in as usual, laid his nickel on the showcase, and called for his stale loaves While Miss Martha was reaching for them there was a great tooting and clanging, and a fire-engine came lumbering past The customer hurried to the door to look, as any one will Suddenly inspired, Miss Martha seized the opportunity On the bottom shelf behind the counter was a pound of fresh butter that the dairyman had left ten minutes before With a bread knife Miss Martha made a deep slash in each of the stale loaves, inserted a generous quantity of butter, and pressed the loaves tight again When the customer turned once more she was tying the paper around them When he had gone, after an unusually pleasant little chat, Miss Martha smiled to herself, but not without a slight fluttering of the heart Had she been too bold? Would he take offense? But surely not There was no language of edibles Butter was no emblem of unmaidenly forwardness For a long time that day her mind dwelt on the subject She imagined the scene when he should discover her little deception He would lay down his brushes and palette There would stand his easel with the picture he was painting in which the perspective was beyond criticism He would prepare for his luncheon of dry bread and water He would slice into a loaf Ah! Miss Martha blushed Would he think of the hand that placed it there as he ate? Would he… The front door bell jangled viciously Somebody was coming in, making a great deal of noise Miss Martha hurried to the front Two men were there One was a young man smoking a pipe a man she had never seen before The other was her artist His face was very red, his hat was on the back of his head, his hair was wildly rumpled He clinched his two fists and shook them ferociously at Miss Martha 'At Miss Martha' "'Dummkopf'!" he shouted with extreme loudness; and then "'Tausendonfer'!" or something like it in German The young man tried to draw him away "I vill not go," he said angrily, "else I shall told her." He made a bass drum of Miss Martha's counter "You haf shpoilt me," he cried, his blue eyes blazing behind his spectacles "I vill tell you You vas von 'meddingsome old cat'!" Miss Martha leaned weakly against the shelves and laid one hand on her blue-dotted silk waist The young man took the other by the collar "Come on," he said, "you've said enough." He dragged the angry one out at the door to the sidewalk, and then came back "Guess you ought to be told, ma'am," he said, "what the row is about That's Blumberger He's an architectural draftsman I work in the same office with him He's been working hard for three months drawing a plan for a new city hall It was a prize competition He finished inking the lines yesterday You know, a draftsman always makes his drawing in pencil first When it's done he rubs out the pencil lines with handfuls of stale bread crumbs That's better than India rubber Blumberger's been buying the bread here Well, to-day well, you know, ma'am, that butter isn't well, Blumberger's plan isn't good for anything now except to cut up into railroad sandwiches." Miss Martha went into the back room She took off the blue-dotted silk waist and put on the old brown serge she used to wear Then she poured the quince seed and borax mixture out of the window into the ash can ... Van Van such as: The meaning and Structure of a Biology text: a systemic functional analysis by Ho Thi Mai (2008); The meaning and structure of a fairy tale story: a systemic functional analysis. .. Pham Thi Thuy and a research on The meaning and Structure of a Science Fiction Story: a systemic functional analysis Journal of Science (Foreign Languages) by Prof Dr Hoang Van Van However; according... view, the analysis is useful for activities of teaching and learning language From the analysis of the text, it can be said that it is important for teachers to master the features and genres of a