a study on the meaning and structure of an english fairy-tale a systemic functional analysis = nghiên cứu về ngữ nghĩa và cấu trúc của một câu truyện cổ tiếng anh theo quan điểm của ngữ pháp chức năng hệ thống

iii ABSTRACT In this thesis I will study the meaning and structure of a chosen English fairy-tale as seen from the systemic functional perspective Systemic functional grammar is a very powerful analytical tool for analyzing a text with the transitivity system, the mood, the thematic pattern and the cohesion Also, a fairytale may be very familiar with a lot of people because they are told so many fairytales for many times when they are just little boys and girls and until they are mature already; therefore the analysis of the meaning and structure of a fairytale is useful in some ways iv TABLE OF CONTENTS DECLARATION i ABSTRACT ii ACKNOWLEDGEMENTS iii LIST OF TABLES iv TABLE OF CONTENTS v CHAPTER INTRODUCTION 1.1 Rationale of the study 1.2 Aims of the study 1.3 Scope of the study 1.4 Methods of the study 1.5 Design of the study CHAPTER LITERATURE REVIEW 2.1 Introduction 2.2 Systemic functional grammar 2.2.1 Introduction to systemic functional grammar 2.2.2 Clause and clause complex 2.2.3 The transitivity system 2.2.4 The mood structure 12 2.2.5 The thematic structure 14 2.2.6 Cohesion 15 2.3 Theoretical backgrounds of fairy tales 20 2.3.1 What is fairy tales? 20 2.3.2 History of English fairy tales 21 v 2.3.3 Features of English fairy tales 21 CHAPTER THE MEANING AND STRUCTURE OF THE FAIRY-TALE “CINDERELLA” 24 3.1 Introduction 27 3.2 The chosen text 29 3.3 Contextual configuration of the text 29 3.4 Clause and clause complex analysis 30 3.5 The transitivity pattern of the text 37 3.6 The mood pattern of the text 38 3.7 The thematic pattern of the text 39 3.8 The cohesion of the text 39 3.9 The structure of the fairy tale text 41 CHAPTER CONCLUSION 43 4.1 Recapitulation 43 4.2 Implications for the study 43 4.3 Suggestions for further study 44 REFERENCES APPENDIXES 45 CHAPTER INTRODUCTION 1.1 Rationale of the study There are many different approaches to describe the grammar of a language One approach sees grammar as a set of rules which specify all the possible grammatical structures of the language where grammatical and ungrammatical sentences are distinguished clearly and so, its main concern is the forms of grammatical structures rather than with their meanings or their uses in contexts, therefore, the analysis of sentences isn’t connected to real world sources Another approach sees language as a system of communication and analyses grammar to discover by what means it allows speakers and writers to make and exchange meanings Its main focus is not a clear distinction between grammatical and ungrammatical forms but on the appropriateness of a form for a particular communicative purpose in a particular context In this approach, the function of structures is not concerned with their constituents and their meanings in context Grammarians who are interested in this kind of description is likely to use data from authentic texts The two approaches are clearly different from each other: the former approach refers to grammatical analysis and it is often called formal while the later one is called functional However, they are certainly exclusive For me, I find functional grammar very useful and interesting because it offers us an analytic tool of looking at the whole text Functional grammar is a complex but comprehensive model Although it has been studied by many famous linguists in the world, such as M A K Halliday (1961, 1967, 1970, 1978, 1985, 1994), it has not been studied much in Vietnam Up to now, there have been only two grammarians studying the functional approach: Cao Xuân Hạo (1991) with the work Tiếng Việt – Sơ thảo ngữ pháp chức and Hoàng Văn Vân (2002) with Ngữ pháp kinh nghiệm cú Tiếng Việt –Mô tả theo quan điểm chức hệ thống Being a teacher of English, I want to contribute something to this field I would like to choose “A study on the meaning and structure of an English fairy tale: a systemic functional analysis” for my thesis, using Halliday’s functional grammar as the theoretical framework 1.2 Aims of the study This thesis attempts to study the meaning and the structure of an English fairy tale as seen from the systemic functional perspective 1.3 Scope of the study This study does not mention all aspects of meaning and structure of the fairy tale but only some precious features are discussed They are the transitivity, the mood, the theme pattern and the cohesion of the text 1.4 Methods of the study The methods used in the study are descriptive and analytic Descriptive method is concerned with the description of main areas of functional grammar and analytic method is concerned with the analysis of the text 1.5 Design of the study This thesis is divided into chapters: - Chapter 1: Introduction – presents the rationale of the study, the aims, the scope, the methods and the design of the study - Chapter 2: Literature Review provides the theoretical background of the study Its focus is on introducing important concepts in systemic functional linguistics relevant to the topic of the study and knowledge surrounding the kind of fairy tales - Chapter 3: The meaning and structure of an English fairy tale Cinderella – analyzes the fairy tale as seen from the systemic functional point of view - Chapter 4: Conclusion – summarizes the results of the study, suggests some implications for discourse analysts, students and teachers of discourse analysis and then presents some suggestions for further research CHAPTER LITERATURE REVIEW 2.1 Introduction In this chapter we will present background knowledge on systemic functional grammar and overview some aspects of this theory (the transitivity system, the mood structure, the thematic structure and cohesion) 2.2 Systemic functional grammar 2.2.1 Introduction to systemic functional grammar Systemic functional grammar is a grammatical model developed by M.A.K Halliday In his book An introduction to Functional Grammar (1994), Halliday explained that his grammar is called functional because “the conceptual framework on which it is based is a functional one rather than a formal one It is functional in three distinct although closely related senses: in its representation (1) of texts, (2) of the system, and (3) of the elements of linguistic structures” (Halliday, 1994) According to Halliday, language is functional in sense that it is designed to account for how language is used and language has evolved to satisfy human needs Therefore, the fundamental components of meaning in language are functional components and each element in a language is explained by reference to its function in the total linguistic system Halliday’s grammar model is also called systemic because he developed the detailed system networks named mood type for many areas of English grammar Hoang Van Van states that systemic functional grammar owns “a very rich pool of analytical instruments which help researchers tackle not only phonological but also grammatical (syntax), semantic and discoursal problems of a text” (Hoang Van Van 2006: 161) This theory encompasses all levels of language: phonology, lexicogrammar, semantics and context of situation where language occurs In terms of phonology, it studies the resources of intonation, rhythm, and syllabic and phonemic articulation Lexico-grammar includes lexis or vocabulary and grammar in a unified system Semantics is concerned with the system of meaning Unlike other grammatical theories, this theory develops a model for contextual analysis which consists of three components or parameters: field, tenor, and mode His model can be represented as follows:  Field: refers to what it 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 features as some essential components?  Tenor: refers to who is taking part, to the nature of the participants, their statuses and roles: what kind of role relationships of one kind or another, both of 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: refers to what part the language is playing, what it is 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) 2.2.2 Clause and clause complex 2.2.2.1 Clause complex In Halliday’s theory of functional grammar, a sentence can be interpreted as a clause complex: a Head clause together with other clauses that modifying it There is the same kind of relationship between sentence and clause as there is between group and word: the sentence has evolved by expansion outwards from the clause However, we can not account for all of sentence structure simply in terms of Head + Modifier because there are a lot of kinds of modifying and also other similar relationships With the notion of clause complex, we are able to account in full for the functional organization of sentences A sentence can be defined as a clause complex The clause complex will be the only grammatical unit which we shall recognized above the clause Therefore, there is no need to bring in the term “sentence” as a distinct grammatical category The relations between clauses are interpreted in terms of the “logical” component of the linguistic system: the functional-semantic relations that make up the logic of natural language There are two systemic dimensions in the interpretation: one is interdependency including parataxis and hypotaxis which is general to all complexesword, group, phrase and clause alike, and the other is the logico-system of expansion and projection, which is specifically an inter-clausal relation 2.2.2.2 Types of relationship between clauses 2.2.2.2.1 Type of interdependency In this type, the relation of modifying, whereby one element ‘modifies’ another, is not the only relationship that may obtain between the members of a complex Where one element modifies another, the status of the two is unequal; the modifying element is dependent on the modified But two elements may be joined together on an equal footing, neither being dependent on the other Hypotaxis: The general term for the modifying relation is Hypotaxis Hypotaxis is the relation between a dependent element and its dominant, the element on which it is dependent The dominant element is free, but the dependent element is not Hypotaxis will be represented by the Greek letter notation already used for modification on the structure of the group Parataxis: Parataxis is the relation between two like elements of equal status, one initiating and the other continuing Paratactic structures are presented by a numerical notation 3… Both the initiating and the continuing element are free, in the sense that each could stand as a functioning whole 2.2.2.2.2 Type of logico-semantic relation In this type of logico-semantic relation, there is a wide range of different logicosemantic relations any of which may hold between a primary and a secondary member of a clause nexus and it is possible to group these into a small number of general types, based on the two fundamental relationships of Expansion and Projection Expansion: the secondary clause expands the primary clause, by elaborating it, extending it, or enhancing it Projection: the secondary clause is projected through the primary clause, which instates it as a locution or an idea Within the general categories of expansion and projection, we recognized first of all a small number of subtypes: three of expansion, and two of projection The names these, with suggested notation, are as follows: (1) Expansion: - elaborating = (equal) - extending + (is added to) - enhancing x ( is multiplied by) (2) Projection: - locution “ (double quotes) - idea ‘ (single quotes) These symbols combine with those for parataxis and hypotaxis: =2 =ß +2 +ß x2 xß “2 “ß ‘2 ‘ß Elaborating: one clause expands another by elaborating on it (or some portion of it): restating in other words, specifying in greater detail, commenting, or exemplifying Extending: one clause expands another by extending beyond it: adding some new element, giving an exception to it, or offering an alternative Enhancing: one clause expands another by embellishing around it, qualifying it with some circumstantial feature of time, place, cause, or condition Locution: one clause is projected through another, which presents it as a locution, a construction of wording Idea: one clause is projected through another, which presents it as an idea, a construction of meaning 2.2.3 The transitivity system According to Halliday (1970), language has three functions: ideational, interpersonal, and textual Each of the three metafunctions is about a different aspect of the world, and is concerned with different mode of meaning of clauses and all these functions are reflected in the structure of the clause The ideational metafunction, which includes experiential function and logical function is about the natural world, including our own consciousness, and is concerned with clause as representation The interpersonal metafunction is about the social world, especially the relationship between speaker and hearer, and is concerned with clause as exchange and the third metafunction textual metafunction is about the verbal world, and is concerned with clause as messages Experiential meanings are realized through the system of TRANSITIVITY and the transitivity construes the world of experience into a manageable set of process types In the transitivity system of English, six process types are recognized: Material, Mental, Verbal, Behavioural, Relational, and Existential 2.2.3.1 Material process Material process is the process of doing or action/ event such as running, walking, catching, kicking, etc The basic meaning of material process is that some entity does something or undertakes some actions, so to realize this type of process we often ask question “What did X do?” There may be one, two or even three participants in this process but there must be an obligator one which is Actor The Actor is the doer of the action When a process has only one participant (Actor), it is called intransitive When there are two participants, the process is called transitive and these transitive clauses are probed by “What did X to Y?” and in this case, these roles are referred to respectively as Actor and Goal (one that is affected by the action) In some material processes, there appears the third participant which is called Receiver, which is the one benefiting from the process The following examples reflects the material process (e1) He is running Actor Material Process (e2) The lion caught the tourist Actor Material Process Goal XXV 58 she Unmarked 59 she Unmarked 60 Suddenly Marked 61 she Unmarked XXIV 62 A beautiful lady Unmarked XXV 63 XXIII for Cinderella she 64 65 Tell me Marked 66 XXVI 67 Cinderella Unmarked XXVII 68 I Unmarked I Unmarked I Unmarked So you Unmarked but first we Unmarked For if you Unmarked I Unmarked Fetch Marked Cinderella Unmarked 69 Oh how 70 XXVIII 71 72 73 74 XXIX 75 76 77 XXX 78 79 XXXI 80 81 82 and with just a wave of her Marked wand XXXII 83 Now we Unmarked look Marked 84 XXXIII 85 86 see Marked 87 If There Unmarked 88 XXXIV and we Unmarked 89 Cinderella Unmarked XXVI 90 XXXV and 91 92 She Marked Unmarked Those horses 93 suddenly There and Unmarked Unmarked 94 XXXVI 95 96 XXXVII 97 Look Marked XXXVIII 98 There Unmarked The godmother Unmarked It Unmarked 99 And as 100 XXXIX 101 But now Up to the front of the Marked coach XXXX 102 103 go look Marked Cinderella Unmarked At the wave of her hand and Marked Marked Your coach Unmarked 104 105 and 106 107 XXXXI 108 109 XXXXII 110 XXXXIII 111 and There now Cinderella 112 XXXXIV 113 You Unmarked XXXXV 114 How Unmarked 117 Her godmother Unmarked 118 Her rags Unmarked on her feet Marked She Unmarked Cinderella Unmarked 115 116 XXXXVI 119 and 120 XXXXVII 121 As XXVII 122 Unmarked 123 The magic Unmarked everything Unmarked Be Marked Cinderella’s coach Unmarked 129 the word Unmarked 130 a beautiful lady Unmarked 131 XXXXVIII Her godmother she Unmarked 132 The prince himself Unmarked They Unmarked the other guests Unmarked the musicians Unmarked The prince Unmarked 124 and then 125 XXXXIX 126 127 XXXXX XXXXXI 128 When 133 134 XXXXXII and 135 as 136 137 XXXXXIII and 138 139 140 and XXXXXIV 141 The prince Unmarked XXXXXV 142 No one Unmarked 143 XXXXXVI 144 Not even the Ugly Unmarked Sisters XXXXXVII 145 Cinderella Unmarked 146 she Unmarked 147 how quickly Marked XXXXXVIII 148 Suddenly Marked XXXXXIX 149 With a cry Marked she Unmarked one of her shoes Unmarked she Unmarked 150 XXXXXX and 151 As 152 153 but XXVIII 154 XXXXXXI the prince Unmarked 156 he Unmarked 157 He Unmarked no one Unmarked 159 The guards Unmarked 160 XXXXXXII 155 the only person who Unmarked 158 XXXXXXIII Although but had gone out XXXXXXIV 161 No one Unmarked 162 XXXXXXV But the prince Unmarked 164 and he Unmarked 165 XXXXXXVI 163 as one of the elegant shoe Marked The next day Unmarked 166 167 Marked and how Marked 169 The place Unmarked 170 the prince Unmarked 171 His servants Unmarked 172 XXXXXXVIII how 168 XXXXXXVII and they Unmarked the prince Unmarked The prince Unmarked 173 XXXXXXIX and 174 175 but time and again Marked 176 as the shoe Unmarked XXXXXXX 177 At last Marked XXXXXXXI 178 The Ugly Sisters Unmarked XXXXXXXII 179 let Marked it Unmarked She Unmarked 180 181 182 183 XXXXXXXIII 184 XXXXXXXIV 185 But XXIX 186 187 XXXXXXXV and as she Unmarked 188 When she Unmarked Cinderella Unmarked you Unmarked Cinderella Unmarked 189 XXXXXXXVI 190 191 XXXXXXXVII You but 192 193 and it Unmarked XXXXXXXIII 194 Then she Unmarked XXXXXXXIX 195 At the same moment Marked Instantly Marked Cinderella Unmarked The delighted prince Unmarked Cinderella Unmarked 202 there Unmarked 203 she Unmarked 204 The Ugly Sister Unmarked she Unmarked There Unmarked they Unmarked Cinderella Unmarked They Unmarked 196 XXXXXXXX 197 198 XXXXXXXXI and and 199 200 201 XXXXXXXXII and 205 206 XXXXXXXXIII 207 208 XXXXXXXXIV and and 209 210 and XXX Cohesive devices Appendix Interpretative Devices Ties Status Chain his 1.gentleman 1-1 anaphoric Their 1.gentleman+ his wife 1-1 anaphoric his 1.gentleman 2-1 anaphoric the gentleman 1.gentleman 3-2-1 anaphoric his 1.gentleman 4-3-2-1 anaphoric she 4.new wife 5-4 anaphoric their 6.daughters 6-6 anaphoric the (Ugly sisters) daughters 6-6 anaphoric they Ugly Sisters 7-6 anaphoric the 6.Ugly sisters 9-7-6 anaphoric their Ugly Sisters 9-7-6 anaphoric they Ugly Sisters 10-9-7-6 anaphoric her new stepsister (pretty 10-9-1 anaphoric Table 6: References of the text daughter) her new stepsister 11-10-9-1 anaphoric her new stepsister 12-11-10-9-1 anaphoric her new stepsister 13-12-11-10-9-1 anaphoric the (work) exophoric the (big house) exophoric the (poor girl) New stepsister 14-13-12-11-10-9-1 anaphoric (pretty daughter) the (evening) she exophoric 14 poor girl 15-14-13-12-11-10-9-1 the (perfect name) you anaphoric exophoric 14.poor girl 16-15-14-13-12-11-10-9-1 anaphoric (Cinderella) the (stepsisters) two Ugly Sisters 17-6 anaphoric they Ugly Sisters 18-17-6 anaphoric her 16 Cinderella 18-16 anaphoric the (King and exophoric XXXI Queen) their 19 King and queen 19-19 anaphoric they 19 king and queen 20-19 anaphoric the (prince) 19 son 20-19 anaphoric he 20 prince 21-20-19 anaphoric the (big houses) exophoric the (royal ball ) exophoric the (Ugly Sisters) Ugly sisters 25-18-17-6 anaphoric their ugly sisters 25-18-17-6 anaphoric the (ball) 23 royal ball 26-23 anaphoric I 29 (One) ugly sister 27-29 cataphoric the (prince) 20 prince 28-20-19 anaphoric me 29 one Ugly sisters 27-29 cataphoric herself 29 (one)Ugly Sister 30-29 anaphoric the (mirror) exophoric you 32 other (Ugly sister) 31-32 cataphoric the (other) Ugly sister 32-31-25-18-17-6 anaphoric her 32 other sister 33-32 anaphoric he 28 prince 34-28-20-19 anaphoric me 32 other sister 34-32 anaphoric I 32 other sister 36-34-32 anaphoric she 32 other sister 37-36-34-32 anaphoric she 32 other sister 38-36-34-32 anaphoric she 32 other sister 39-38-36-34-32 anaphoric her 32 other sister 41-38-36-34-32 anaphoric she 42 Cinderella 43-42-39-18-16 anaphoric the (ball) 26 ball 43-26-23 anaphoric they 25 ugly sisters 44-25-18-17-6 anaphoric her 42 Cinderella 44-43-42-39-18-16 anaphoric they 25 Ugly sisters 45-25-18-17-6 anaphoric their 25 Ugly sisters 46-25-18-17-6 anaphoric the (day) cataphoric the (ball) 26 ball 48-43-26-23 anaphoric the (Ugly sisters) 25 Ugly sisters 50-25-18-17-6 anaphoric XXXII her 42 Cinderella they 50-42-39-18-16 (Ugly sisters and anaphoric anaphoric stepmother) the (carriage) exophoric the (king’s palace) exophoric the (family) exophoric it 53 the carriage 53-53 anaphoric she 42 Cinderella 56-42-39-18-16 anaphoric the (fire) 15 fire 56-15 anaphoric she 42 Cinderella 57-42-39-18-16 anaphoric the (ashes) exophoric she 42 Cinderella 58-42-39-18-16 anaphoric she 42 Cinderella 59-42-39-18-16 anaphoric them 52 family 59-52 anaphoric she 42 Cinderella 60-42-39-18-16 anaphoric she 42 Cinderella 61-42-39-18-16 anaphoric her (1) 42 Cinderella 62-42-39-18-16 anaphoric her (2) 62 beautiful lady 62-62 anaphoric she 62 beautiful lady 63-62 anaphoric I 62 beautiful lady 64-62 anaphoric your 42 Cinderella 64-42-39-18-16 anaphoric me 62.Beautiful lady 65-64-62 anaphoric 64 fairy godmother those (tears) 57 tear 66-57 anaphoric I 67 Cinderella 68-67-63-42-39-18-16 anaphoric I 67 Cinderella 69-67-63-42-39-18-16 anaphoric I 67 Cinderella 70-67-63-42-39-18-16 anaphoric the (ball) 48 ball 70-48-43-26-20 anaphoric you 67 Cinderella 71-67-63-42-39-18-16 anaphoric her 67 Cinderella 72-67-63-42-39-18-16 anaphoric we (Cinderella and her anaphoric godmother) you 71 Cinderella 75-71-67-63-42-39-18-16 anaphoric the (ball ) 70.ball 75-70-48-43-26-20 anaphoric XXXIII I 62 fairy godmother 76-64-62 anaphoric you 71 Cinderella 76-75-71-67-63-42-39-18-16 anaphoric you 71 Cinderella 79-76-75-71-67-63-42-39-18-16 anaphoric the (largest exophoric pumpkin) the (garden) the (largest exophoric 78 largest pumpkin 80-78 anaphoric she 71 Cinderella 81-76-75-71-67-63-42-39-18-16 anaphoric her 65 godmother 82-65-64-62 anaphoric we (godmother 83-73 anaphoric 84-80-67-63-42-39-18-16 anaphoric pumpkin) +Cinderella) her 80 Cinderella the (mouse trap) we exophoric 83 godmother 88-83-73 anaphoric +Cinderella the (larder) exophoric she/her 80 Cinderella 91-80-67-63-42-39-18-16 anaphoric the (coach) 82 coach 92-82 anaphoric their 93 horses 95-93 anaphoric those 93 horses 96-93 anaphoric her 89 Cinderella 96-89-80-67-63-42-39-18-16 anaphoric the (rat trap) exophoric the (trap) 97 rat trap 98-97 anaphoric the (godmother) 65 godmother 99-65-64-62 anaphoric the (largest rat) 99 largest rat 100-99 anaphoric the (front) 101 coach 101-101 anaphoric the (coach) 92 coach 101-92-91 anaphoric the (water barrel) exophoric her 103 Cinderella 104-103-89-80-67-63-42-39-18-16 anaphoric you 103 Cinderella 104-103-89-80-67-63-42-39-18-16 anaphoric we 89 godmother 107-89-83-73 anaphoric 108-103 anaphoric +Cinderella the 103.water barrel XXXIV her 108 Cinderella 109-108-103-89-80-67-63-42-39-18- anaphoric 16 the (wave) 110 wave 110-110 cataphoric your 108 Cinderella 111-108-89-80-67-63-42-39-18-16 anaphoric her 111 Cinderella 112-111-89-80-67-63-42-39-18-16 anaphoric you 111 Cinderella 113-111-89-80-67-63-42-39-18-16 anaphoric the (ball) 70 ball 113-111-70-48-43-26-20 anaphoric I 111 Cinderella 114-111-108-89-80-67-63-42-39-18- anaphoric 16 her 111 Cinderella 116-111-108-89-80-67-63-42-39-18- anaphoric 16 her 111 Cinderella 117-111-108-89-80-67-63-42-39-18- anaphoric 16 her 65 godmother 117-65-64-58 anaphoric her 111 Cinderella 118-111-108-89-80-67-63-42-39-18- anaphoric 16 her/ she 111 Cinderella 119-111-108-89-80-67-63-42-39-18- anaphoric 16 the (prettiest pair exophoric of shoe) she 111 Cinderella 120-111-108-89-80-67-63-42-39-18- anaphoric 16 the (coach) 101 coach 121-101-92-91 anaphoric her 121 Cinderella 122-121-111-108-89-80-67-63-42- anaphoric 39-18-16 the (magic) you exophoric 121 Cinderella 127-121-111-108-89-80-67-63-42- anaphoric 39-18-16 you 121 Cinderella 127-121-111-108-89-80-67-63-42- anaphoric 39-18-16 the (ball) 113 ball 127-113-70-43-26-23 anaphoric the (palace) 53 palace 128-53 anaphoric the (word) she exophoric 130 beautiful lady 131-130 anaphoric XXXV (Cinderella) the (prince) 28 prince 132-28-20-19 the (steps) anaphoric exophoric her 130 lady (Cinderella) 133-130 anaphoric her 130 lady 134-130 anaphoric the (ball room) they exophoric (Cinderella +prince) the (other guests) exophoric the (musicians) exophoric the (prince) 132 prince 138-132-28-20-19 anaphoric the (musicians) 137 musicians 138-137 anaphoric the (prince) 138 prince 139-138-132-28-20-19 anaphoric she 130 lady 143-130 anaphoric the 50 Ugly sisters 144-50-25-18-17-6 anaphoric her 140 Cinderella 144-140-130-121-111-108-89-80-67- anaphoric 63-42-39-18-16 she 145 Cinderella 146-145-140-130-121-111-108-89- anaphoric 80-67-63-42-39-18-16 the (time) she exophoric 145 Cinderella 148-145-140-130-121-111-108-89- anaphoric 80-67-63-42-39-18-16 st the(1 stroke) she exophoric 145 Cinderella 150-145-140-130-121-111-108-89- anaphoric 80-67-63-42-39-18-16 the (prince) 138 prince 150-138-132-28-20-19 anaphoric the (ball room) 134 ball room 151-134 anaphoric the (steps) 132 steps 152-132 anaphoric her 145 Cinderella 153-145-140-130-121-111-108-89- anaphoric 80-67-63-42-39-18-16 she 145 Cinderella 153-145-140-130-121-111-108-89- anaphoric 80-67-63-42-39-18-16 It 152 one shoe 154-152 anaphoric the (prince) 138 prince 155-138-132-28-20-19 anaphoric the (crowd) exophoric XXXVI he 155 prince 156-155-138-132-28-20-19 anaphoric her 145 Cinderella 156-145-140-130-121-111-108-89- anaphoric 80-67-63-42-39-18-16 he 155 prince 157-155-138-132-28-20-19 anaphoric the (guards) exophoric the (only person) exophoric the (pumpkin) 80 pumpkin 161-80-78 anaphoric the (corner) exophoric the (courtyard) exophoric the (shadows) exophoric the (prince) 155 prince 163-155-138-132-28-20-19 anaphoric he 163 prince 164-163-155-138-132-28-20-19 anaphoric it 163 glass shoe 164-163-119 anaphoric the 163 glass shoes 165-163-119 anaphoric the 130 lady 165-158-130 anaphoric the (next day) exophoric the 144 Ugly sisters 166-144-50-25-18-17-6 anaphoric the 158 lady 166-158-130 anaphoric she 158 lady 167-158-130 anaphoric her 158 lady 168-158-130 anaphoric the 128 palace 168-128-53 anaphoric the 163 prince 170- 163-155-138-132-28-20-19 anaphoric the 166 lady 170-166-158-130 anaphoric the 163 glass shoe 170-163-152-119 anaphoric his 171 prince 171-170-163-155-138-132-28-20-19 anaphoric the (country) 19 country 171-19 anaphoric it 170 glass shoe 171-170-163-152-119 anaphoric they 171 servants 172-171 anaphoric the 170 lady 172-170-166-158-130 anaphoric it 170 glass shoe 172-170-163-152-119 anaphoric the 170 prince 173-170-163-155-138-132-28-20-19 anaphoric that (lady) the exophoric 173 prince 174-173-170-163-155-138-132-2820-19 anaphoric XXXVII his 173 prince 174-173-170-163-155-138-132-28- anaphoric 20-19 he 173 prince 175-173-170-163-155-138-132-28- anaphoric 20-19 the (shoe) 170 glass shoe 176-170-163-152-119 anaphoric they (prince +servants) the (Ugly Sisters) 166 Ugly Sisters 178-166-144-50-25-18-17-6 anaphoric me 180 one (ugly sister) 179-180 cataphoric her 179 one ugly sister 181-179 anaphoric she 181 one ugly sister 182-181-179 anaphoric it 181 foot 183-181 anaphoric anaphoric it exophoric she 182 one ugly sister 185-182-181-179 anaphoric she/ her 186 sister (the other 187-186 anaphoric ugly sister) the 183 glass shoe 187-183-176-170-163-152-119 anaphoric she 187 sister 188-187-186 anaphoric you 189 Cinderella 190-189-156-145-140-130-121-111- anaphoric 108-89-80-67-63-42-39-18-16 the 178 ugly sisters 190-178-166-144-50-25-18-17-6 anaphoric you 189 Cinderella 190-189-156-145-140-130-121-111- anaphoric 108-89-80-67-63-42-39-18-16 the (ball) 127 ball 191-127-113-70-43-26-23 anaphoric her 189 Cinderella 192-189-156-145-140-130-121-111- anaphoric 108-89-80-67-63-42-39-18-16 the (glass shoe) 187 glass shoe 192-187-183-176-170-163-152-119 anaphoric it 192 glass shoe 193-192-187-183-176-170-163-152- anaphoric 119 she 189 Cinderella 194-190-189-156-145-140-130-121- anaphoric 111-108-89-80-67-63-42-39-18-16 her 189 Cinderella 194-189-156-145-140-130-121-111- anaphoric 108-89-80-67-63-42-39-18-16 she 189 Cinderella 194-189-156-145-140-130-121-111108-89-80-67-63-42-39-18-16 anaphoric XXXVIII the (same exophoric moment) the (godmother) 65 godmother 195-65-64-62 anaphoric her 65 godmother 196-65-64-62 anaphoric her 189 Cinderella 197-189-156-145-140-130-121-111- anaphoric 108-89-80-67-63-42-39-18-16 the (lovely (Cinderella) exophoric stranger) the 174 prince 199-173-163-155-138-132-28-20-19 anaphoric him 199 prince 200-199-174-173-155-138-132-28- anaphoric 20-19 she 189 Cinderella 203-189-156-145-140-130-121-111- anaphoric 108-89-80-67-63-42-39-18-16 the (prince) 199 prince 207-199-174-173-163-155-138-132- anaphoric 28-20-19 they 135.(Prince 208-135 anaphoric 209-204-190-178-166-144-50-25-18- anaphoric +Cinderella) the 204 Ugly sisters 17-6 they 209 Ugly sisters 210-209-204-190-178-166-144-5025-18-17-6 anaphoric Thank you for evaluating AnyBizSoft PDF Merger! To remove this page, please register your program! Go to Purchase Now>> AnyBizSoft PDF Merger  Merge multiple PDF files into one  Select page range of PDF to merge  Select specific page(s) to merge  Extract page(s) from different PDF files and merge into one ... and material process The meanings it realizes are midway between the material on the one hand and the mental on the other hand They are in part about action, but it is action that has to be experienced... ? ?The meaning and structure of a science fiction story: a systemic functional analysis? ?? starts with the answering this question by exploring the grammar and meaning of a science fiction story as a. .. Recapitulation We have tried to analyze the meaning and the structure of an English fairy tale on the Systemic Functional Theory framework In this thesis, theoretical background on which the study is carried