A study on the semantic and lexicogrammatical features of the short story mr know all by w somerset maugham a systemic functional analysis

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST – GRADUATE STUDIES ************ NGUYỄN THI ̣ BÍ CH LIÊN A STUDY ON THE SEMANTIC AND LEXICOGRAMMATICAL FEATURES OF THE SHORT STORY MR KNOW ALL BY W SOMERSET MAUGHAM: A SYSTEMIC FUNCTIONAL ANALYSIS NGHIÊN CỨU VỀ CÁC ĐẶC ĐIỂM NGỮ NGHĨA VÀ NGỮ PHÁP TỪ VỰNG TRONG TRUYỆN NGẮN ÔNG BIẾT TUỐT CỦA NHÀ VĂN W.SOMERSET MAUGHAM PHÂN TÍ CH THEO QUAN ĐIỂM CHỨC NĂNG HỆ THỐNG M.A MINOR PROGRAMME THESIS Field: English Linguistics Code: 60220201 HANOI – 2016 VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST – GRADUATE STUDIES ************ NGUYỄN THI ̣ BÍ CH LIÊN A STUDY ON THE SEMANTIC AND LEXICOGRAMMATICAL FEATURES OF THE SHORT STORY MR KNOW ALL BY W SOMERSET MAUGHAM: A SYSTEMIC FUNCTIONAL ANALYSIS NGHIÊN CỨU VỀ CÁC ĐẶC ĐIỂM NGỮ NGHĨA VÀ NGỮ PHÁP TỪ VỰNG TRONG TRUYỆN NGẮN ÔNG BIẾT TUỐT CỦA NHÀ VĂN W.SOMERSET MAUGHAM PHÂN TÍ CH THEO QUAN ĐIỂM CHỨC NĂNG HỆ THỐNG M.A MINOR PROGRAMME THESIS Field: English Linguistics Code: 60220201 Supervisor: Prof Dr Hoàng Văn Vân HANOI - 2016 CANDIDATE’S STATEMENT I hereby certify that the thesis entitled A study on the semantic and lexicogrammartical features of the short story Mr Know All by Somerset Maugham: A systemic functional analysis is the result of my own research for the Degree of Master of Art at University of Language and International Studies, Ha Noi National University, and the thesis has not been submitted for any degree at any other university or tertiary institution Hanoi, 2016 Nguyễn Thi Bi ̣ ́ch Liên i ACKNOWLEDGEMENTS I would like first to express my deep gratitude to Prof Dr Hoàng Văn Vân, my supervisor, for his untiring and benevolent assistance granted to me throughout the process of my writing His practical advice, useful suggestions and critical feedback have been generous and beneficial, without which I would not have been able to complete this thesis I would also like to express my sincere thanks to my whole-hearted colleagues and friends for their help and kind encouragement during the research period My indebtedness is to my beloved family members whose help and encouragements contributed greatly to the completion of my study Hanoi,2016 Nguyễn Thi Bi ̣ ́ch Liên ii ABSTRACT The shortcoming in most textual analyses is their dependence on contestable and value judgments of literary critics However, such prescriptive commentary is not instrumental in exploring multiple meanings encoded in grammar This necessitates a linguistic analysis of texts, which demonstrates how and why a text gets to be the way it is as well as the reader interprets it in the particular way For this reason, the functional text analysis undertaken in this study aims to investigate how and why the text is written It is performed with regard to Halliday‟s Functional Grammar framework The linguistic data were analyzed by using the quantitative and qualitative methods Consequently, how interpersonal relationships are created within texts, how information is organized in texts and how the ideological positions of writers are implanted in texts were shown and interpreted It is presented that the predominance of the material process reflects the main purpose of the discourse And most of the processes are presented in the past tense and in declarative mood which serves effectively the purpose of the author iii TABLE OF CONTENTS CANDIDATE‟STATEMENT i CKNOWLEDGEMENTS ii ABSTRACT iii TABLE OF CONTENTS iv PART I: INTRODUCTION CHAPTER1:GENER LINTRODUCTION 1.1 Rationale of the study 1.2 Aims of the study and research questions 1.3 Scope of the study 1.4 Methods of the study 1.5 Design of the study PART II: DEVELOPMENT CHAPTER 2: THEORETICAL BACKGROUND 2.1 Introduction 2.2 Systemic Functional Linguistics 2.2.1 Strata of the systemic functional model 2.2.2 Metafunctions 2.3 The ideational meaning 2.3.1 Process types 10 2.3.1.1 Material process 10 2.3.1.2 Mental processes 10 2.3.1.3 Relational processes 11 2.3.1.4 Behavioral processes 12 2.3.1.5 Verbal processes 12 2.3.1.6 Existential processes 13 2.3.2 Circumstances 13 2.4 The interpersonal meaning 14 2.4.1 Constituents of the Mood 15 2.4.2 Residue 16 2.4.3 Mood types 16 2.4.3.1 Indicative mood 17 iv 2.4.3.2 Imperative mood 18 2.5 The textual meaning 18 2.5.1 Types of theme 19 2.5.1.1 Ideational or Topical theme 19 2.5.1.2 Textual theme 20 2.5.1.3 Interpersonal theme 20 2.5.2 Theme and mood 20 2.5.2.1 Theme in interrogatives 21 2.5.2.2 Theme in imperatives 21 2.5.2.3 Theme in declaratives 21 2.5.2.4 Theme in exclaimatives 22 2.6 Summary 22 CHAPTER 3: THE SEMANTIC AND LEXICOGRAMMATICAL FEATURES OF THE SHORT STORY MR KNOW ALL 23 3.1 W Somerset Maugham and the story Mr Know All 23 3.2 The analysis of the story in terms of clause and clause complex 24 3.3 The analysis of the story in terms of transitivity 25 3.4 The analysis of the story in terms of mood 39 3.5 The analysis of the story in terms of theme 41 3.6 Summary 43 PART III: CONCLUSION CHAPTER 4: CONCLUSION 44 4.1 Recapitulation 44 4.2 Implications of the study 45 4.3 Suggestions for further study 45 REFERENCES 46 APPENDIX 1: Clause and clause complex I APPENDIX 2: The transitivity pattern IX APPENDIX 3: The mood pattern XC APPENDIX 4: The theme pattern C v PART I: INTRODUCTION CHAPTER 1: GENERAL INTRODUCTION 1.1 Rationale of the study Since its birth in early 18th century, linguistics has witnessed a great change in the development of various approaches to grammar study such as Chomsky‟s transformational generative grammar, Bloomfield‟s immediate constituent grammar Systemic functional grammar, among those, which was developed by celebrities in linguistics such as Halliday, Hassan, Morley, Bloor, can be seen as the most useful tool to satisfy human‟s desire to explore the language‟s nature As Thompson (1996:6) states functional grammar is “a full analysis of sentence in both form and meaning as well as their relationship” Compared with traditional grammar, which considered grammar as “a set of rules which specify all the possible grammatical structures of the language where grammatical and ungrammatical sentences are distinguished clearly” (Lock, 1996:1), functional grammar “is a way of looking at language in terms of how grammar is used” (Martin et al, 1997) In more details, functional grammar concerns with the grammatical patterns and lexical items used in text, as well as choices of those items, focusing on “the development of grammatical systems as a means for people to interact with each other” (Martin et al., 1997:1) In Vietnam, there also have valuable studies of grammarians relating to functional grammar, among which there are Cao Xuân Hạo (1991) with Tiếng Việt: Sơ thảo ngữ pháp chức năng, Hoàng Văn Vân (2005) with Ngữ pháp kinh nghiệm cú tiếng Việt: Mô tả theo quan điểm chức hệ thống Thanks to all these scholars, language is seen to be “closer to life” According to Halliday, a functional grammar was designed to study the wording and interpret the wording by reference to what it means in order to “make it possible to say sensible and useful things about any text” (Halliday, 1994) In detail, it is particularly helpful for explaining how language is selected and organized in particular ways for particular socio-cultural purposes Yet, “traditional approaches to the study of literary texts model text analysis as an interpretive activity”, where “students learn to read a text and try to argue about what meanings they think the writer was making in the text” (Eggins, 2000: 309) “From a systemic perspective”, text analysis is, however, “not an interpretive but an explanatory activity” (Eggins, 2000: 309) In fact, “the linguistic analysis of text is not an interpretation of that text; it is an explanation” – an explanation of both “WHAT” and “HOW” “a text means” (Eggins, 2000: 309; Halliday & Hasan, 1985: 327) In this way, students will become “effective readers”, who can “see the constructedness of the text and of the reading position” imposed upon them by the writer (Kress, 1990: 40) As a teacher of English, I am deeply interested in developing both language proficiency and structural accuracy for my students That is the reason why I have been deeply concerned with systemic functional grammar and my absorption in it, I believe, will help me to apply the theory teaching English to my students more effectively As shown in the title A study on the semantic and lexicogrammatical features of the short story Mr Know All by W Somerset Maugham: A systemic functional analysis, there are some main reasons for my choice of the topic Firstly, as a language teacher, what I am supposed to is to use and teach English correctly and appropriately In order to achieve this goal, analyzing texts to understand their meaning is quite necessary Secondly, understanding what a text is through analyzing, it will certainly help us a great deal in our teaching as stated by Halliday and Hasan (1985) That is reason why I choose to explore the semantic and lexicogrammatical features of Mr Know All by Somerset Maugham 1.2 Aim of the study and research questions The overarching aim of the study is to investigate how transitivity, mood and theme are employed in the story Mr Know All by W Somerset Maugham to convey experiential, interpersonal and textual meanings To achieve this aim, the following research question are raised for exploration: How are transitivity, mood and theme employed in the story Mr Know All by Somerset Maugham to reveal the experiential, interpersonal and textual meaning ? 1.3 Scope of the study Within the framework of a minor thesis submitted in fulfillment of the requirement for the Degree of Master of Arts in English Linguistics, the primary focus of this study will be on investigating semantic and lexicogrammatical features of the story; they are the transitivity pattern, the mood and modality patterns, and the thematic pattern The text used as data for the study is a short story entitled Mr Know All by W Somerset Maugham 1.4 Methods of the study To achieve the aim as stated above, the study will use two main methods: qualitative and quantitative methods Quantitative method is used for literature review, re-examining the systemic functional grammar framework, analysing the data for results, and discussing research results Quantitative method is concerned with calculating the data and concerting it into percentages for discussion and cocnclusion The analyses of the clauses in terms of transitivity, mood and theme are based on Halliday‟s systemic functional grammar framework 1.5 Design of the study The study is designed in three main parts: Part I – Introduction Chapter – General introduction presents rationale for the study, aim of the study, scope of the study, method of the study and design of the study Part II – Development – is the main part of the study which is organized around two chapters: Chapter 2: Theoretical backgrounds – provides the theoretical framework of the study Its focus is on introducing important concepts of systemic functional linguistics relevant to the topic of the study and a brief introduction to the author and the story Mr Know All XCVIII XCIX C CI CII CIII CIV CV CVI CVII CVIII CIX CX CXI CXII CXIII CXIV CXV CXVI 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 the doctor they (pearls) They ( real pearls) they (pearls) Mr Kelada He (Kelada) must were should rushed told was not knew could not I (narrator) Ramsay he (Ramsay) Ellipsis we I ( narrator) something he (Kelada) were had stung thumped shouted ought to am am I (Kelada) I (Kelada) I (Kelada) Ellipsis I (Kelada) there who what I say about pearls I (Kelada) am is not won‟t goes know isn‟t was had knew was looked will can‟t pointed wore take will is flushed slipped leaned gave flicked is what I don`t know about pearls Here Mr Kelada We he (Kelada) He (Kelada) They an expert He (Kelada) Mrs Ramsay You (Mrs Ramsay) that chain it Mrs Ramsay Ramsay He ( Ramsay) a smile XCV declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative Possibility Neg/pos Obligation Possibility Neg/ability Possibility CXVII CXVIII CXIX CXX CXXI CXXII CXXIII CXXIV CXXV CXXVI CXXVII CXXVIII CXXIX CXXX CXXXI CXXXII CXXXIII CXXXIV CXXXV CXXXVI CXXXVII CXXXVIII 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 That I (Kelada) Mr Kelada I (Kelada) those I (Ramsay) I (Ramsay) You(Kelada) You(kelada) somewhere it noticed answered said are didn‟t would think think round was shouldn‟t was anything up to thirty thousand smiled Ramsay will You bought Mrs Ramsay flushed Mr Kelada is not It is It have I (Kelada) will you will I ( Mr Ramsay) is it can‟t you said Mrs Ramsay had She (Mrs Ramsay) was her tone get I (Mr Ramsay) should I (Mr Ramsay) Ellipsis can it continued she (Mrs Ramsay) is It look Let me is It will I ( Kelada) can I (Kelada) said Mr Kelada take look the gentleman wants he (Ramsay) hesitated Mrs Ramsay put She (Mrs Ramsay) XCVI declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative Inter declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative wh-inter declarative declarative imperative declarative declarative declarative declarative imperative declarative declarative declarative Possibility Neg/obliga tion Possibility Possibility Possibility Neg/ obli Possibility Possibility Possibility Ability Possibility Possibility CXXXIX CXL CXLI CXLII CXLIII CXLIV CXLV CXLVI CXLVII CXLVIII CXLIX CL CLI CLII CLIII CLIV CLV CLVI CLVII CLVIII CLIX CLX CLXI CLXII CLXIII 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 I (Mrs Ramsay) she Mr Kelada I (narrator) something I (narrator) Ellipsis Ramsay I (Mrs Ramsay) He (Mr Ramsay) The Levantine can‟t said will had was could jumped will handed look examined spread handed was caught was looked were was held was wondered did not stopped flushed could was was said is looked saw wasn‟t think is took handed will A smile of triumph He (Kelada) He (Kelada) he (Kelada) It she she She They it I (narrator) her husband Mr Kelada He (Kelada) You he (Kelada) I (Kelada) he (Kelada) It I(Kelada) I (Kelada) it I (Kelada) eighteen dollars He (Kelada) He (Kelada) that Ellipsis Ramsay he (Mr Ramsay) I (narrator) said took noticed XCVII declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative Possibility Possibility Possibility CLXIV CLXV CLXVI CLXVII CLXVIII CLXIX CLXX CLXXI CLXXII CLXXIII CLXXIV CLXXV CLXXVI CLXXVII CLXXVIII CLXXIX CLXXX CLXXXI CLXXXII CLXXXIII CLXXXIV CLXXXV CLXXXVI 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 Mr Kelada`s hands The story stories he (Kelada) It Mr Know-All Mrs Ramsay I (narrator) were spread had was had retired got up began lay Mr Kelada Ellipsis there I (narrator) was saw pushed opened looked was picked up saw was was handed is opened tooked looked at reddened tore gave did asked looked likes said were had shouldn‟t‟ stayed said did not reached put I (narrator) There I (narrator) it The name I (narrator) Who He (Kelada) He (Kelada) He (Kelada) he (Kelada) He (Kelada) you I (narrator) he (Kelada) I (Narrator) No one he (Kelada) the pearls I ( Kelada) I (Kelada) I (Kelada) he (Kelada) I (narrator) He (Kelada) XCVIII declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative declarative wh – inter declarative declarative declarative declarative declarative declarative Inter declarative declarative declarative declarative declarative inter declarative declarative declarative declarative declarative declarative Neg/pos 384 declarative XCIX APPENDIX The theme pattern Textual theme 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 Interperso Topical theme nal theme I I The war the passenger traffic Accommodation to get you the agents you I to be given There I my heart It the night air It to share I I my fellow passanger‟s name I I I there the wardrobe trunk He I he I Mr Kelada`s brushes I I I (Ellipsis) I even before and and whatever and in which But when and but if when and and that for and C Markedness of theme Unmarked Unmarked Unmarked Unmarked Unmarked marked Unmarked Unmarked Unmarked Unmarked marked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked marked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 before and if a man (Ellipsis) he my name I he (ellipsis) we I I You I I I We you I You I You that To prove Mr Kelada (Ellipsis) King George Mr Kelada His long black hair He there his gestures I a closer inspection Mr Kelada (Ellipsis) What he I Prohibition to all appearance I I Mr.Kelada and oh, yes, when when if and in which and that than and when But CI Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked marked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 Whisky and soda or a dry From each of his hip and and (Ellipsis) I (Ellipsis) He A very good cocktail there that you you you who Mr Kelada He He He The Union Jack it I it Mr Kelada I to put I it to put he Mr Kelada I I he (Ellipsis) our conversation I Well Where and, if but when that but that when when but now for this first when than The three on the four There you to be told you you to look CII Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked marked Unmarked Unmarked marked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Marked Unmarked Unmarked marked Unmarked Unmarked marked Unmarked Unmarked 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 It he Then With rage and hatred in my No he you I I I He I I (Ellipsis) that he I I we we I I (ellipsis) I It to snub It he He you to see he to see In your own house (Ellipsis) he He in three days He He (Ellipsis) (Ellipsis) (Ellipsis) (Ellipsis) (Ellipsis) Well Then and Oh that , as and but that that as and that and and CIII Marked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked marked Unmarked Unmarked Unmarked Unmarked marked Unmarked marked Unmarked Unmarked Unmarked Marked Unmarked Unmarked Unmarked Unmarked 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 He He We He it he For the better part of an hour He He it you He He The possibility He who We Mr Kelada the doctor I a man who He ( Ellipsis) The discussion Ramsay (Ellipsis) He he He to resume (Ellipsis) to retell who Mrs Ramsay But that and that till for and except for and and and and but The Consular Service she she She I she that (Ellipsis) but but nowadays CIV Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked marked marked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked 208 209 210 211 which 212 213 214 215 216 217 218 219 220 221 222 223 224 225 and that 226 227 228 229 230 231 232 for and Well 233 234 235 236 237 and 238 239 240 241 242 243 244 that but and You It One evening at dinner the conversation There the cunning Japanese the doctor they They they Mr Kelada He (Ellipsis) I Ramsay he to have in five minutes I At last something that Ramsay said Unmarked Unmarked he (Ellipsis) I What I to look I there who Unmarked Unmarked Unmarked marked Unmarked what I say about pearls and I what I don‟t know about pearls Here For Mr Kelada We he He They that that CV Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 an expert like me He Mrs Ramsay You that chain you are wearing that than and it Mrs Ramsay (Ellipsis) Ramsay He a smile That I Mr Kelada I those I I you how much you think In the trade it (Ellipsis) anything up to thirty thousand Ramsay You Mrs Ramsay Mr Kelada It it I Will you I it (Ellipsis) Elmer Mrs Ramsay She her tone I and Oh But if that that but as Oh and If CVI Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Marked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked marked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 I not to take how she It Let me it I I Mr Kelada Take Let the gentleman he Mrs Ramsay She I She Mr Kelada I But and if that but and Suddenly that as though that why CVII marked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked marked marked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked something unfortunate Unmarked I marked to say Unmarked Ramsay Unmarked I Unmarked He Unmarked The Levantine (Ellipsis) Unmarked A smile of triumph Unmarked He Unmarked He Unmarked he Unmarked It Unmarked she Unmarked she Unmarked She Unmarked They Unmarked It Unmarked I Unmarked her husband Unmarked Mr Kelada Unmarked He Unmarked You Unmarked he Unmarked I 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 but of course that Perhaps as that as and that But and Suddenly and and and that and and he It I I it I eighteen dollar He He that not to be Ramsay he I Mr Kelada‟s hand The story stories he It Mr Know-All Mrs Ramsay Next morning (Ellipsis) Mr Kelada (Ellipsis) there I pushed I (Ellipsis) There I (Ellipsis) it The name I Who He He He again He (Ellipsis) CVIII Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked marked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 as and, then If While and carefully CIX Do you I he I No one he Were the pearls I I I he I He (ellipsis) Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked Unmarked [...]... this chapter to analyze the story Mr Know All by W Somerset Maugham 22 CHAPTER 3 THE SEMANTIC AND LEXICOGRAMMATICAL FEATURES OF THE SHORT STORY MR KNOW ALL 3.1 W Somerset Maugham and the story Mr Know All William Somerset Maugham was born on 25 December 1874 at the British Embassy in Paris, France, the fourth son (of seven children total, but only four that survived infancy) born to socialite and writer... under the door of the cabin of the narrator and Mr Kaleda Mr Know All by W Somerset Maugham is a short story of simple facts, but with a deeper meaning below the surface This story shows that first impressions are often misleading and that appearances are sometimes deceptive Mr Know All who is described as a disgusting person who shows off all the time and knows everything better than others, is in reality... Kelada about the peals and bet Mr Kelada on the authenticity of the string of pearls of Mrs Ramsay Just when Mr Kelada is about to announce about the real of the pearls, he catches sight of Mrs Ramsay‟s face which has turned pale, he allowed himself to be “caught” being wrong and that the pearls are fake Mr Kelada was willing to lose a $100 bet The next morning, an envelope with a $100 note is placed... many others In this chapter, I will draw attention to only those features of the model which appear directly relevant to a grammatical study of this kind To make the task manageable, the review will follow Hoang Van Van (2012) by organizing it around two major headings: semantics (the stratum of meaning) and lexicogrammar (the stratum of wording): metafunctional resonance Semantics is the highest stratum... In all of Maugham s works, the quality that shines through is his grasp of the greys of human nature Mr Know- All is a classic example The story takes place after World War I on a boat traveling from San Francisco in the United States to Yokohama in Japan A rich British merchant of Oriental origin, called Mr Kelada, meets a group of Westerners on a ship sailing across the Pacific Ocean His cabin-mate,... framework for analysis in the next chapter I began with the general introduction of the systemic functional grammar I have provided some of the most essential notions that are related to the description of the systemic functional grammar: ideational, interpersonal and textual meaning Then it was remarked with the main points of each meaning In the ideational meaning, I have examined the system of process... the boat, even 23 before he met him He observes, comments and judges Mr Kelada as he sees him through his own eyes In the second part, Mr Kelada took upon himself to arrange all the social affairs of the cruise The passengers called him Mr Know All to his face and Mr Kelada takes it as a compliment Mr and Mrs Ramsay are also introduced In the last part, Mr Ramsay decides to start an argument with Mr. .. not at all like Mr Kelada’ What is more, the clause „ I did not like Mr Kelada’ is repeated in the two clauses 108 and 139 Two clauses are short, simple but very clear to express the attitude of the author toward Mr Kelada With the outstanding appearance of the two verbs, the reader seems to 27 feel the prejudice and dislike for Mr Kelada of the author grow stronger But at the end of the story, the. .. metafunctional spectrum, extended in delicacy from grammar to lexis, and ordered into a series of ranked units" (Halliday, 2014) As the upper of the two content strata within language, semantics is the interface between context and lexicogrammar as presented in the diagram below Ideational meaning Interpersonal meaning Semantics Lexico-grammatical 5 Textual meaning From the point of view of analysis, the. ..Chapter 3: Data analysis – analyses the semantic and lexicogrammatical features of the story Mr Know All to see how transitivity, mood & modality, and theme are patterned in the story and provides comments based on these findings Part III – Chapter 4 - Conclusion – summarizes what has been studied; provides some implications for teaching and learning English; and makes some suggestions for further