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Title: EL3264B


1
EL3264B
  • 1st Lecture on Cohesion

2
A NOTE ON TEXTURE
  • The textual metafunction of language.
  • TEXTURE, -- the property of being a text.

3
Texture Structural Cohesive
  • (A) the structural component of texture
  • 1 thematic structure Theme Rheme (Chapter 3)
  • 2 information structure and focus (Chapter 8)
  • (B) the cohesive (non-structural) component of
    texture (Chapter 9)
  • 1 reference
  • 2 ellipsis and substitution
  • 3 conjunction
  • 4 lexical cohesion

4
A PRIOR NOTE ON COHERENCE
  • A cohesive text may not necessarily be coherent
    to the reader, and a text which is coherent to
    someone may be lacking in certain crucial
    cohesive elements.

5
Coherence vs. Cohesion
  • A text is cohesive according to the language it
    is written or spoken in, and it is coherent to
    the individual reader or hearer.
  • Cohesion is thus dependent on the resources of a
    particular language, whereas relevant
    psychological and other variable extra-linguistic
    factors are needed for the realization of
    coherence.

6
COHESION Going beyond the Sentence
  • 4 ways
  • 1) REFERENCE
  • 2) ELLIPSIS
  • 3) CONJUNCTION
  • 4) LEXICAL COHESION

7
REFERENCE
  • 1. Participant or circumstantial element
    introduced at one place in the text, which is
    either taken as a reference point for something
    that follows, or as a basis for comparison.

8
Referential Cohesion 3 Types
  • Three types
  • PERSONALS
  • DEMONSTRATIVES
  • COMPARATIVES

9
Referential Cohesion PERSONALS
  • Personals can perform the function of a
  • (a) Determinative
  • (b) Possessive
  • And which in turn can be
  • singular/plural, or
  • masculine/feminine/neuter

10
Referential Cohesion DEMONSTRATIVES
  • Demonstratives can perform the function of a(n)
  • (a) Head
  • (b) Deictic
  • (c) Adjunct

11
Referential Cohesion COMPARATIVES
  • 1.3 Comparatives can perform the function of
  • (a) Deictic/Numerative
  • (b) Epithet
  • (c) Adjunct/Submodifier

12
Personal Pronouns
13
Demonstratives
14
Comparatives
15
Referential Cohesion
  • In referential cohesion -- a major concern --
    whether the items refer forward or backward
  • to items within the text or
  • outside the text.

16
Referential Cohesion Anaphora Cataphora
  • Anaphora a personal pronoun, demonstrative or
    comparative refers to an item whose more detailed
    or precise description has been given earlier in
    the text,
  • Cataphora a reference item whose more detailed
    or precise description will be given later.

17
Referential Cohesion Endophora, Exophora,
Homophora
  • Endophora
  • both anaphora and cataphora are examples of
    endophora, as the cohesive links in both
    instances, can be found within the text.
  • Exophora
  • The opposite of endophora is exophora, where the
    reference item refers to an entity existing
    outside the text.

18
Referential Cohesion Homophora
  • Homophora
  • an item appears to be self-referential if its
    reference is known by members of a particular
    sociocultural community.

19
ELLIPSIS Definition Examples
  • Ellipsis (Halliday) a clause, part of a clause,
    or part of a nominal or verbal group which has
    been removed at a later place in a text, but
    which is presupposed by something stated earlier
    in the text.
  • linked to the interpersonal metafunction of
    language
  • examples occur in conversational discourse
    between two or more participants.

20
Yes-No Ellipses
  • 2.1 A clause or its part can be ellipted in a
    yes-no or WH-construction.

21
Yes-No Ellipses Involving Whole Clauses (1)
  • Can you row?
  • Yes. I can row
  • You're growing too.
  • Notice that yes-no ellipsis is not limited to
    yes-no questions, but to yes-no constructions in
    general.
  • Yes I'm growing too, but I grow at a
    reasonable pace.

22
Yes-No Ellipses Involving Whole Clauses (2)
  • "Are you to get in at all? That's the first
    question, you know." It was, no doubt only Alice
    did not like to be told so. Alice did not like
    to be told that that was the first question
  • The word so above is an instance of substitution.

23
Yes-No Ellipses Involving Whole Clauses (3)
  • Does your watch tell you what year it is?
  • Of course not. Of course my watch
    does not tell me what year it is
  • The word not above is another instance of
    substitution. ?
  • In ellipsis involving the clause or part of it, a
    particular word, usually so, not or nor,
    replaces the deleted clause or its part.

24
Yes--No Ellipses Involving Parts of Clauses
  • Must a name mean something?
  • Of course it must. mean something
  • Of course you know your ABC?
  • To be sure I do. know my ABC
  • So do I. know my ABC

25
WH-Ellipses -- Whole Clause and Part of a Clause
  • I think you ought to tell me who you are, first.
  • Why? ought I to tell you who I am
  • They're at it again.
  • Who are? at it again
  • It may be observed here that the WH-element in
    WH-ellipsis need not necessarily occur in the
    initiating clause, but may instead be found in
    the response.

26
Ellipses of the Verbal Group
  • Does it hurt?
  • Not any more. It was doing last night.
  • Have the children gone to sleep?
  • I think they must have done.
  • Note that both examples of ellipses of the verbal
    group involve substitution. In fact, most cases
    of ellipses of the verbal group involve
    substitution by means of the non-finite form of
    the verb do (eg. do, doing, done).

27
Ellipses of the Nominal Group
  • Have some wine.
  • I don't see any wine.
  • There isn't any.
  • This here ought to have been a red rose-tree, and
    we put a white one i.e. rose-tree in by
    mistake.
  • Note again here that the ellipsis of the nominal
    group also involves substitution. In the above
    examples, substitution is by means of the words
    any and one.

28
from Sir Walter Scott's Heart of Midlothian
  • The magistrate commenced by observing, that
    Butler has said his object was to return to the
    village of Libberton, but that he was interrupted
    by the mob at the West Port, Is the West Port
    your usual way of leaving town when you go to
    Libberton? said the magistrate with a sneer.

29
  • No. certainly, answered Butler, with the haste
    of a man anxious to vindicate the accuracy of his
    evidence but I chanced to be nearer that port
    than any other, and the hour of shutting the
    gates was on the point of striking.

30
  • That was unlucky, said the magistrate dryly.
    Pray, being, as you say, under coercion and fear
    of the lawless multitude, and compelled to
    accompany them through scenes disagreeable to all
    men of humanity, and more especially
    irreconcilable to the profession of a minister,
    did you not attempt to struggle, resist, or
    escape from their violence?

31
  • Butler replied, that their numbers prevented him
    from attempting resistance, and their vigilance
    from effecting his escape.

32
  • That was unlucky, again repeated the
    magistrate, in the same dry inacquiescent tone of
    voice and manner. He proceeded with decency and
    politeness, but with a stiffness which argued his
    continued suspicion, to ask many questions
    concerning the behaviour of the mob, the manners
    and dress of the ringleaders and when he
    conceived that the caution of Butler, if he was
    deceiving him, must be lulled asleep, the
    magistrate suddenly

33
  • and artfully returned to former parts of his
    declaration, and required a new recapitulation of
    the circumstances, to the minutest and most
    trivial point, which attended each part of the
    melancholy scene. No confusion or contradiction,
    however, occurred, that could countenance the
    suspicion which he seemed to have adopted against
    Butler...

34
from William Shakespeare's Measure for Measure
  • Present ANGELO (the Deputy to Duke VINCENTIO),
  • ESCALUS (an ancient Lord), Servants, and a
    Justice
  • Enter ELBOW (a simple constable) and Officers
    with FROTH (a foolish gentleman) and POMPEY
    (servant to Mistress Overdone).

35
  • Elbow. Come bring them away. If these be good
    people in a commonweal, that do nothing but use
    their abuses in common houses, I know no law.
    Bring them away.
  • Angelo. How now sir, what's your name? And what's
    the matter?
  • Elbow. If it please your honour, I am the poor
    Duke's constable, and my name is Elbow. I do lean
    upon justice, sir, and do bring in here before
    your good honour two notorious benefactors.

36
  • Angelo. Benefactors? Well, what benefactors are
    they? Are they not malefactors?
  • Elbow. If it please your honour, I know not well
    what they are. But precise villains they are,
    that I am sure of, and void of all profanation in
    the world, that good Christians ought to have.
  • Escalus. to Angelo This comes off well here's
    a wise officer.
  • Angelo. Go to. What quality are they of? Elbow is
    your name? Why dost thou not speak, Elbow?

37
  • Pompey. He cannot, sir he's out at elbow.
  • Angelo. What are you, sir?
  • Elbow. He, sir? A tapster, sir parcel bawd one
    that serves a bad woman whose house, sir, was,
    as they say, plucked down in the suburbs and now
    she professes a hot-house which I think is a
    very ill house too.

38
  • Escalus. How know you that?
  • Elbow. My wife, sir, whom I detest before heaven
    and your honour -
  • Escalus. How? Thy wife?
  • Elbow. Ay, sir whom I thank heaven is an honest
    woman -

39
  • Escalus. Dost thou detest her therefore?
  • Elbow. I say, sir, I will detest myself also, as
    well as she, that this house, if it be not a
    bawd's house, it is pity of her life, for it is
    not a naughty house.

40
Extract from Judith Wrights Silence
  • Silence is the rock where I shall stand.
  • The silence between this and the next breath,
  • that might be - is not yet - death
  • the silence between lover and lover
  • that neither flesh nor mind bridge over

41
Ellipted Theme Subject
  • Nearly everyone who can afford to do so sets up
    as a country gentleman, or ? at least makes some
    effort in that direction.
  • This wide-spread day-dream is undoubtedly
    snobbish, it has tended to stabilize class
    distinctions and ? has helped to prevent the
    modernization of English agriculture but it is
    mixed up with a kind of idealism, a feeling that
    style and tradition are more important than money.

42
Ellipses (Not in Conversational Discourse)
  • He really was an impossible person. He was Too
    shy altogether. ? With absolutely nothing to
    say for himself. And he had such a weight.

43
End of Lecture
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