An investigation into the meaning and structure of a pictorial story a systemic functional analysis

VIETNAM NATIONAL UNIVERSITY, HA NOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST-GRADUATE STUDIES NGUYỄN THỊ THU THỦY AN INVESTIGATION INTO THE MEANING AND STRUCTURE OF A PICTORIAL STORY: A SYSTEMIC FUNCTIONAL ANALYSIS (NGHIÊN CỨU CẤU TRÚC VÀ NGỮ NGHĨA CỦA MỘT TRUYỆN TRANH: PHÂN TÍCH THEO QUAN ĐIỂM CHỨC NĂNG) M.A Minor Programme Thesis Field: English Linguistics Code: 66 22 15 Ha Noi – 2010 iv TABLE OF CONTENTS DECLARATION ACKNOWLEDGMENT ABSTRACT TABLE OF CONTENTS CHAPTER ONE: INTRODUCTION 1.1 Rationale of the study………………………………………………………………… 1.2 Aims and Scope of the study…………………………………………………… … 1.3 Methods of the study……………………………………………………………… …1 1.4 Data collection………………………………………………….…………………… 1.5 Design of the study……………………………………………………………… … CHAPTER TWO: LITERATURE REVIEW 2.1 Introduction……………………………………………………………………… … 2.2 Systemic Functional Theory……………………………………………………… … 2.3 Features of Systemic Functional Theory………………………………………… … 2.4 Metafunctions……………………………………………….…………………… … 2.4.1 Ideational Metafunction……………………………………………….……….…….3 2.4.2 Interpersonal Metafunction…………………………………………….………….…6 2.4.3 Textual Metafunction…………………………………………………… ………….7 2.5 Cohesion Analysis……………………………………………………… ………….…8 2.5.1 Reference………………………………………………………… ……………… 2.5.1.1 Anaphoric, Cataphoric, and Exophoric Reference……………………………… 2.5.1.2 Personal Reference…………………………………………… ………………… 2.5.1.3 Demonstrative Reference……………………………………… …………………8 2.5.1.4 Comparative Reference…………………………………… …………………… 2.5.2 Substitution………………………………… ………………………………………9 2.5.2.1 Nominal Substitution………………………………… ………………………… 2.5.2.2 Verbal Substitution………………………………………………… ………… 2.5.2.3 Clausal Substitution 2.5.3 Ellipsis 2.5.3.1 Nominal Ellipsis 10 v 2.5.3.2 Verbal Ellipsis 10 2.5.3.3 Clausal Ellipsis 10 2.5.4 Conjunctive Cohesion 10 2.5.4.1 Elaboration 10 2.5.4.2 Extension 10 2.5.4.3 Enhancement 11 2.5.5 Lexical Cohesion 11 2.5.5.1 Reiteration 12 2.5.5.1.1 Repetition 12 2.5.5.1.2 Synonymy 12 2.5.5.1.3 Antonymy 12 2.5.5.1.4 Superordinate and Meronymy………………………………………………… 12 2.5.5.1.5 General Word………………………………………………………………… 12 2.5.5.2 Collocation……………………………………………………………… ………13 2.6 Concluding Remarks………………………………………………………………….13 CHAPTER THREE: THE MEANING AND STRUCTURE OF THE PICTURE STORY “THE BRAVE MONKEY PIRATE” 3.1 The Chosen Text…………………………………………………………………… 14 3.2 Analysis……………………………………………………………………………….15 3.2.1 Clauses and Clauses Complexes Analysis…………….……………………………15 3.2.2 The Analysis of the Text in Terms of Transitivity, Mood and Theme…………… 19 3.3 Discussion…………………………………………………………………………….29 3.3.1 The Transitivity Pattern of the Text….…………………………………………… 29 3.3.2 The Mood Pattern of the Text…………………………………………………… 29 3.3.3 The Theme – Rheme Pattern of the Text………………………………………… 30 3.4 The Cohesion of the Text…………………………………………………………… 30 3.4.1 Grammatical Cohesion…………………………………………………………… 30 3.4.2 Lexical Cohesion……………………………………………………………………36 3.4.3 Contextual Configuration of the Text………………………………………………37 CHAPTER FOUR: CONCLUSION 4.1 Recapitulation…………………………………………………………………………39 4.2 Implications………… ………………………………………………………………39 vi 4.3 Suggestions for Further Study……………………………………………………… 39 REFERENCE APPENDIX CHAPTER ONE INTRODUCTION 1.1 Rationale of the study Systemic functional grammar (SFG) is a model of grammar developed by Michael Halliday in the 1960s It describes the relationships between grammatical structures and meaning It is concerned with real language, not with made up examples of language that can be found in many language texts, exercises, worksheets or traditional grammar books Therefore, explicit knowledge of functional grammar provides a powerful tool to assist teachers and students in comprehending and composing texts in a wide range of social and cultural contexts As a teacher of English, I would like to introduce this effective tool to my students in the hope that it can help them study English in a communicative way However, to fulfill my wish I have to gain deep insight into this complex model of functional grammar That is the reason why I would like to choose “An Investigation into the Meaning and Structure of a Pictorial Story: a Systemic Functional Analysis” for my thesis, using Halliday‟s functional grammar as theoretical framework Hopefully, this study can effectively contribute to the teaching and learning English as a foreign language in Vietnam 1.2 Aims and Scope of the study The study makes a big effort to: ■ ■ Revisit some key concepts of functional grammar Analyze the meaning and structure of a pictorial story based on framework of systemic functional grammar Therefore, the study is not concerned with all aspects of functional grammar Rather, it focuses on sub-areas of functional grammar and mentions only those issues related to the analysis of the text 1.3 Methods of the study With the aim of analyzing the meaning and structure of a specific text (a pictorial story), description and analysis are employed as the principal methods of the study The first method is used to provide key concepts for the study or description of sub-areas of functional grammar The second method deals with the analysis of the chosen text 1.4 Data collection The text is taken from a pictorial story book namely The Brave Monkey Pirate by Hayes Roberts published by Bluebison Press in 2007 The examples are mainly from grammar books by Halliday (1995) and Hoàng Văn Vân (2002) 1.5 Design of the study The paper is organized in four chapters: ■ Chapter one: The Introduction – presents the rationale of the study, the aims and scope of the study, methods of the study, data collection, and the research design ■ Chapter two: The literature review – provides theoretical concepts for the study such as Systemic functional theory, metafunctions, cohesion analysis, ect ■ Chapter three: The analysis of the pictorial story “The Brave Monkey Pirate” – focuses on the meaning and structure of the text ■ Chapter four: The conclusion – presents the results of the study in brief, its implications and suggestions for future research CHAPTER TWO LITERATURE REVIEW 2.1 Introduction This chapter will provide some key concepts for the study It is concerned with Systemic Functional Theory and its features Besides, three components of meaning in language and cohesion analysis are also re-examined 2.2 Systemic Functional Theory Systemic Functional linguistics (SFL) is a theory which is functional and semantic rather than formal and syntactic in orientation It takes the text rather than the sentence as its object, and defines its scope by reference to usage rather than grammaticality Within SFL, language is analyzed in terms of four strata: Context, Semantics, Lexico-grammar, and Phonology The context of situation is referred to as Register which is characterized by three functional variables: Field, Tenor and Mode Field refers to what is going on or the topics and actions which language is used to express Tenor is concerned with the social roles and relationship between participants Mode is channel of communication The second stratum, semantics, is the systems of meaning In SF theory, the meanings of language are Ideational, Interpersonal and Textual which will be explored in some detail in the next part Lexico-grammar includes vocabulary and grammar in one unified system Phonology consists of intonation, rhythm, and syllabic and phonemic articulation These four strata are related by means of realization, accordingly, phonology realizes lexicogrammar, which realizes semantics, and which realizes context 2.3 Features of Systemic Functional Grammar Systemic Functional Grammar is a model of grammar developed by Michael Halliday in the 1960s The term “systemic” refers to the view of language as a network of systems, or interrelated sets of options for making meaning; the term “functional” indicates that the approach is concerned with the contextualized, practical uses to which language is put, as opposed to formal grammar, which focuses on compositional semantics, syntax and word classes 2.4 Metafunctions 2.4.1 The Ideational Metafunction The ideational metafunction is the means of representing reality It consists of experiential meanings and logical meanings (Haliday 1994:179) Experiential meanings are realized through the system of TRANSITIVITY In systemic functional grammar transitivity refers to the different types of process There are six process types recognized: Material, Mental, Verbal, Behavioral, Relational, and Existential Material Processes are processes of „doing‟ They express the notion that some entity „does‟ something – which may be done „to‟ some other entity This type of process may involve up to three participants The obligatory participant is the Actor, which is the doer of the action For example: The lion Actor Some (not all) processes have a second participa „directed at‟ For example: The lion Actor When there are three participants, their roles are referred to respectively as Actor, Goal and Receiver Receiver is one that benefits from the process For example: He Actor Mental Processes are processes of sensing such as thinking, loving, wanting, hoping It consists of four main subtypes: cognitive (thinking, knowing, realizing), perceptive (hearing, sensing, feeling), affective (loving, hating, adoring), and desiderative (wanting, desiring, wishing) In a mental process there are usually two participants: Sensor (one who senses, feels, thinks, and wants) and Phenomenon (one that is sensed, felt, thought of, and wanted) For example: The boy Sensor Verbal Processes are the processes of saying such as saying, speaking, talking This type of process also covers any kind of symbolic exchange such as showing, indicating The typical participants in the processes are the Sayer (the one who does the verbalization), the Receiver (the one to whom the saying is addressed), the Target (the one that the verbalization is directed to), and the Verbiage (the message itself) For example: I Sayer They Sayer Behavioural processes are “processes of physiological and psychological behaviour like breathing, coughing, dreaming, smiling” (Halliday 1994:139) Typically, there is usually one participant referred to as Behaver, and this participant is always a conscious being For example: He Behaver Relational processes are the processes of being, being at, and having In Relational processes, “a relation is being set up between two separate entities” (Halliday 994: 119) This relationship can be one of two sub-types, Attribute or Identifying When a relational process is in the attributive mode, it has one participant referred to as Carrier, and the quality or the thing showing that the Carrier belongs to a class of things, which is adjective, is referred to as Attribute The Carrier is realized by a nominal group and the Attribute is realized by an adjective or an indefinite nominal group For example: - He Carrier When a relational clause is in the identifying mode, it has two equating participants, one identifying the other which are referred to respectively in two pairs of terms as Identified/Identifier and Token/Value For example: - She Identified Intensive process is the process which expresses being in terms of “x is a” and “x is an instance of a” Circumstantial process is the process which expresses being in terms of circumstantial elements such as time, place, distance, reason The relation between the participant and its circumstantial element is that of Carrier and Attribute Possessive process expresses being in terms of ownership, the relation between the two terms can be characterized as Possessor and Possessed but for generalization and convenience they are still analyzed as Carrier and Attribute Existential processes are the processes of existing They have only one participant, called the Existent and one or two circumstantial elements In English existential process clauses, the dummy subject “There” is often used For example: There is Pro: existential Logical meanings are realized by relationships of co-ordination (or parataxis – the linking of elements of equal status, the initiating and continuing elements are free) and subordination (or hypotaxis – the linking of elements of unequal status, the dominant element is free but the dependent one is not) between clauses and other structural units The way of analyzing a clause in terms of experiential meaning produces constituency structures whereas logical meaning are associated with interdependency structures 2.4.2 Interpersonal Metafunction Clause is organized as an interactive event involving speaker/writer and audience In the act of speaking, speaker adopts a particular speech role and assigns to the listener a complementary role The functions of clauses are giving or demanding information, expressing intention, expressing attitude, etc They have more to with social interaction than with “content” As an exchange or an interactive event, an English clause consists of two components: the Mood and the Residue The Mood is “the component that is bandied” (Halliday 1994: 72) Its function is to carry the argument forward In English, the Mood comprised two parts: the Subject (which is a nominal group) and the Finite (which is the verb element in the Mood) The Residue is “the remainder of the clause” (Halliday 1994: 74) It consists of three functional elements: Predicator, Complement, and Adjunct The Predicator is presented in all non-elliptical major clauses, and is realized by a verbal group; the Complement is an element within the Residue that has the potential of being Subject, and is typically realized by a nominal group; and the Adjunct is an element that has not got the potential of being Subject, and is realized by an adverbial group or a prepositional phrase For example: Sister Susie Subject Mood 26 34 TRAN MOOD THEME 35 Also TRAN MOOD THEME 36 TRAN MOOD THEME 37 TRAN MOOD THEME 27 38 TRAN MOOD THEME 39 TRAN MOOD THEME 40 TRAN MOOD THEME 41 TRAN MOOD THEME 42 TRAN MOOD THEME The next…, 28 43 TRAN MOOD THEME 44 TRAN MOOD THEME 45 TRAN MOOD THEME 46 TRAN MOOD THEME 47 TRAN MOOD THEME 29 48 TRAN MOOD THEME 3.3 Discussion 3.3.1 The Transitivity Pattern of the Text The text is a narrative about the brave pirate monkey who has to go to the hospital and get a shot, but he finds something magical that helps him be brave The “what is going on” of the text is well represented in the experiential component of meaning From the point of view of transitivity, of the 48 clauses, 25 are of material process (running in 2, shopped in 3, ate in 4, stop in 7, checked in 8, come in 10, get in 11, protect in 12, came in 14, take in 18, followed in 22, climbed in 23, sneaked in 24, reached in 25, get in 29, give in 30, get in 31, squeeze in 32, taken in 34, sailed in 37, get in 38, took in 39, filled in 41, closed in 42, squeezed in 43) and used to describe physical actions of the pirate Modi (2, 3, 4, 7, 10, 11, 18, 19, 22, 23, 24, 25, 29, 31, 32, 37, 38, 39, 42, 43), the doctor (8, 41), the Modi‟s father (14), and the crab wizard (30); are of mental process (need in 6, like in 13, know in 17, find in 19, found in 26, braved in 28 characterising perception (26), desideration (6), affection (13, 28) of the main character and cognition (13) of his father; are of verbal process (said in 5, explained in 9, told in 15, said in 16, spoke in 27, count in 33, thanked in 36, hummed in 40, counted in 44) denoting verbal actions of the pirate Modi (15, 33, 36, 44), his mother (5), his father (16), the doctor (9, 40) and the crab wizard (27); are of relational process (was in 1, stay in 20, have in 21, have in 35, was in 45, was in 46, was in 47, had in 48) describing the state of being of the things Most of the processes are in the simple past tense (29/48) They are used in the narrative portion The present simple (13/48), the present perfect (1/48), and the simple future (5/48) are used in the dialogic portion The circumstantial components in the clauses of the text are mainly of location This is one feature of picture story which uses images of places to establish the story setting The others are of cause, accompaniment, and manner 3.3.2 The Mood Pattern of the Text And 30 The “Who is taking part?” of the text is presented in its mood patterns There are two role relationships: one between the writer and the readers, and the other between the characters themselves This analysis shows that most of the Subjects in the clauses of the text are personal (animals live and act like human beings) They are the pirate Modi, his mother, his father, the doctor and the crab wizard The finite elements in the narrative portion are combined with the simple past tense, while in the dialogic portion, they are combined with a variety of tenses such as the simple present, the present perfect, and the future simple The text has few modal elements Only clauses contain modality Three of them are of probability, two are of obligation an one is of readiness Of 48 clauses, 48 are in the declarative mood, which is one of the typical features of a narrative 3.3.3 The Thematic Pattern of the Text Most of the themes in the text are topical theme Of 35 clauses analysed for theme, 28 have unmarked theme and have marked theme It should be noted here that nearly half of the clauses use textual theme characterizing the narrative for young children who always expect something new added or results of the previous actions 3.4 The Cohesion of the Text 3.4.1 Grammatical Cohesion According to Halliday & Hasan (1976), there are four main types of grammatical cohesive devices: reference, ellipsis, substitution, and conjunction In the chosen text, there are few ellipses, substitutions and conjunctive devices Therefore, they are not discussed in detailed in this analysis The analysis of the grammatical cohesive devices focuses on the different types of reference: anaphoric, cataphoric, exophoric, personal reference, and demonstrative reference They are represented in the table Table Grammatical Cohesive Devices of the Text Cohesive Devices The (pirate Modi) His They His The (pirate Modi‟s mom) 31 We The office) The (doctor) His His He The (next day) Him The (pirate Modi) That (evening) His (father) Him The (doctor) I You This (map) My ship) it you the (doctor) you the (map) the (wildest seas) they this (book) he the (top) he The (crab wizard) These (words) You 32 here I you this (rock) you you the (rock) you the (future) the (shot) you The (pirate Modi) Him The morning) He The (rock) Him The office) The (doctor) His (eyes) The (rock) he 33 The (crap wizard) The (shot) The Monkey Pirate) ( He The (way) Table Total number of references Anaphoric reference Exophoric reference Cataphoric reference Number of ties per clause As the Table shows, the number of exophoric reference is 25/77 but many of these exophoric references go with anaphoric references This suggests that the text is not completely self-sufficient but well illustrated by the pictures The Brave Monkey Pirate One day the pirate Modi was out running errands with his mom They shopped for R:P R:P R:P groceries and ate peas at his favorite restaurant Then the pirate Modi's mom said, "Oh yes, R:P R:P we need to stop off the doctor's office for a quick checkup." The doctor checked Modi‟s R:P R:D R:P 34 heart, his blood pressure, R:P the next day and get a quick shot, to protect him from scurvy or something The pirate R:D R:P R:P Modi did not like shots That evening his father came home and Modi told him all about R:D R:P R:P the visit to the doctor Modi's father said, "Modi, I know of something that can help you R:D R:P R:P R:P Take this map and my fastest pirate ship and find it Also, if you stay very still for the R:D R:P R:D R:P R:P doctor you can have some ice cream.” So Modi followed the map through the wildest R:P R:D R:D seas, and climbed up volcanoes filled with fiery lava, and sneaked past creatures so terrible that they will not be described in this book, until he reached an icy castle at the top of the R:P R:D R:P R:D R:D mountains Inside, he found a great crab wizard on a crab wizard throne The crab wizard R:P R:P spoke these words, " Monkey Pirate, because you have braved many obstacles to get here R:D R:P R:D 35 I will give you this rock When you get a shot, you must squeeze the rock very tightly, R:P R:P R:D R:P R:P R:D and count to three You will be magically taken into the future where the shot will be R:P R:D R:D finished Also, you can have some ice cream after." The pirate Modi thanked him and R:P R:P R:P sailed back home to get some sleep The next morning, he took the rock with him to the R:D R:P R:D R:P R:D doctor's office The doctor hummed a little song and filled up Modi's shot Modi closed R:P his eyes very tightly, squeezed the rock as hard as he could, and counted 1, 2, 3! The crab R:P R:D R:P R:P wizard was right! The shot was finished The Brave Monkey Pirate was now immune to R:D R:P scurvy and some other stuff And he had ice cream on the way home R:P Notes: R:D: reference demonstrative R:P: reference personal anaphoric reference cataphoric reference exophoric reference R:D 36 anaphoric and exophoric reference 3.4.2 Lexical Cohesion The analysis focuses on such lexical cohesive ties as repetition (REP), antonym (ANT), meronym (MER), synonym (SYN), and collocation (COL) It should be noted here that repetition is used very often for repeating the name of the main character,, the problem facing him (the doctor and the shot), the solution to his problem (the rock) Therefore, repetition drives children into the main points of the story One day the pirate Modi was out REP groceries and ate peas at his favorite restaurant Then the pirate Modi's mom said, "Oh COL REP REP/ANT yes, we need to stop off at the doctor's office for a quick checkup." The doctor checked COL REP COL Modi's heart, his blood pressure, and his knees Then he explained that Modi would REP MER MER MER MER come back the next day and get a quick shot, to protect him from scurvy or something COL/REP COL The pirate Modi did not like shots That evening his father came home and Modi told REP REP ANT/REP REP him all about the visit to the doctor Modi's father said, "Modi, I know of something that REP REP REP REP can help you Take this map and my fastest pirate ship and find it Also, if you stay very REP COL still for the doctor you can have some ice cream.” So Modi followed the map through the REP REP COL REP wildest seas, and climbed up volcanoes filled with fiery lava, and sneaked past creatures COL COL COL COL so terrible that they will not be described in this book, until he reached an icy castle at the top of the mountains Inside, he found a great crab wizard on a crab wizard throne The MER REP REP 37 crab wizard spoke these words, "Monkey Pirate, because you have braved many REP REP obstacles to get here I will give you this rock When you get a shot, you must squeeze the REP REP COL/REP rock very tightly, and count to three You will be magically taken into the future where COL/REP REP the shot will be finished Also, you can have some ice cream after." The pirate Modi REP REP REP thanked him and sailed back home to get some sleep The next morning, he took the rock REP with him to the doctor's office The doctor hummed a little song and filled up Modi's REP shot Modi closed his eyes very tightly, REP REP counted 1, 2, 3! The crab wizard was right! The shot was finished The Brave REP Monkey Pirate was now immune to scurvy and some other stuff And he had ice cream REP COL REP on the way home 3.4.3 Contextual Configuration of the Text Field: - An illustrated story written for young children - Participant types: actors, sensers, sayers and carriers Process types: mainly material, using past simple characterizing the feature of narrative Tenor - Writer and readers, with writer adopting the role as recounter - The pirate Modi, his parents, the doctor and the crab wizard - Mood: mainly declarative in both narrative and dialogic portion - Modality: probability, obligation, readiness 38 Mode - Medium: written; channel: a combination visual and graphic - Repeated words/phrases to help children memorize the story‟s main points - Simple uses of grammar 39 CHAPTER FOUR CONCLUSION 4.1 Recapitulation This paper is concerned with the analysis of a pictorial story using systemic functional linguistics as the theoretical framework In this paper, some literature reviews have been mentioned: the theory of systemic functional grammar with four strata and some features; three components of meaning in language: ideational, interpersonal, and textual and their realizations in the Transitivity, Mood, and Theme systems; and five main types of cohesion In the second part of the study, the picture story “The Brave Monkey Pirate” has been analyzed Based on useful background knowledge of systemic functional linguistics about phonology, lexico-grammar, semantics and the social context in which language occurs, the chosen text is analyzed in depth However, due to the shortage of time and lack of material, this paper cannot avoid mistakes I would like highly appreciate comments from the supervisor and readers to make it better 4.2 Implications This study is found to have some implications for teaching and learning English First, the overview of metafunctions and the analysis of the text enable students to distinguish the differences between three components of meaning in language as well as recognize the close relations among them Second, the text analysis based on the cohesion helps students develop their discourse in both spoken and written form Third, based on these fundamental theories in analyzing a text teachers of English can further analyze the mistakes that learners easily make in specific situations In short, text analysis based on systemic functional linguistics is extremely useful for both teachers and students 4.3 Suggestions for Further Study This paper is limited to a short text using only some analytical instruments of systemic functional grammar Further research, therefore, can be extended to investigate the meaning and structure of longer texts with some other genres, or make a comparison between one text type in two languages - English and Vietnamese using the same analytical instruments 40 References Alexander, L.G (1988) Longman English Grammar London: Longman Bloor, Thomas and Meriel (1995) The Functional Analysis of English Oxford University Press Inc Butt, David and Rhondda Fahey, Susan Freez, Sue Spinks Collin – Yallop (200) Using Functional Grammar – An Explorer’s Guide Sydney: Macquarie University Collin Cobuild English Dictionary (1998) Harper Collins Publishers Eggins, S (1994) Introduction to Systemic Functional Linguistics Wellington: Continuum Wellington House Halliday, M.A.K (1992) Functional Grammar London: Edward Amold Halliday, M.A.K (1994) An Introduction to Functional Grammar Second Edition London: Edward Amold Halliday, M.A.K and R Hasan (1997) Cohesion in English London: Longman http://www.magickeys.com/books/ 10 http://www.bluebison.net 11 Journal of Science Foreign Language No 2, 2005 12 Martin, J.R; Matthienssen, C.M.I.M Painter, C (1996) Working with Functional Grammar London: Arnold 13 Oxford Advanced Learner‟s Dictionary (1991) Oxford 14 Richards, J et al (1985) Longman Dictionary of Applied Linguistics London: Longman 15 Thomson, G (1996) Introducing Functional Grammar Oxford University Press Inc 16 Vân, Hoàng Văn (2005) Ngữ pháp kinh nghiệm cú tiếng Việt mô tả theo quan điểm chức hệ thống Hà Nội: KHXH 17 Vân, Hoàng Văn (2005) The Meaning and Structure of a Science Fiction Story: A Systemic Functional Analysis Journal of Science – Foreign Language 18 Widdowson, H (1997) Exploration in Applied Linguistics London: Cambridge University Press ... related to the analysis of the text 1.3 Methods of the study With the aim of analyzing the meaning and structure of a specific text (a pictorial story) , description and analysis are employed as... 3.2.2 The Analysis of the Text in Terms of Transitivity, Mood and Theme TRAN MOOD THEME TRAN MOOD THEME TRAN MOOD THEME 20 TRAN MOOD THEME TRAN MOOD THEME TRAN MOOD THEME TRAN MOOD THEME TRAN MOOD... use his imagination and create his own story which may be different from others‟ 3.2 The Analysis 3.2.1 Clauses and Clauses Complex Analysis The analysis of the text into clauses and clause complexes