Mother image in English and Vietnamese songs – A literary analysis using transitivity system in Systemic Functional Linguistics perspective.pdf

1. VIETNAM NATIONAL UNIVERSITY, HANOI
UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES
FACULTY OF POST-GRADUATE STUDIES
TẠ THỊ THU HẰNG
MOTHER IMAGE IN ENGLISH AND VIETNAMESE
SONGS – A LITERARY ANALYSIS USING TRANSITIVITY
SYSTEM IN SYSTEMIC FUNCTIONAL LINGUISTICS
PERSPECTIVE
(Hình tượng người mẹ trong các bài hát tiếng Anh và tiếng Việt – một phân
tích văn học theo hệ thống chuyển tác trong ngôn ngữ chức năng hệ thống)
M.A. COMBINED PROGRAMME THESIS
Major: English Linguistics
Code: 60220201
Hanoi - 2016

2. VIETNAM NATIONAL UNIVERSITY, HANOI
UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES
FACULTY OF POST-GRADUATE STUDIES
TẠ THỊ THU HẰNG
MOTHER IMAGE IN ENGLISH AND VIETNAMESE
SONGS – A LITERARY ANALYSIS USING TRANSITIVITY
SYSTEM IN SYSTEMIC FUNCTIONAL LINGUISTICS
PERSPECTIVE
(Hình tượng người mẹ trong các bài hát tiếng Anh và tiếng Việt – một phân
tích văn học theo hệ thống chuyển tác trong ngôn ngữ chức năng hệ thống)
M.A. COMBINED PROGRAMME THESIS
Major: English Linguistics
Code: 60220201
Supervisor: Assoc. Prof. Dr. Lâm Quang Đông
Hanoi – 2016

3. i
DECLARATION
I declare that this MA thesis, entitled Mother image in English and
Vietnamese songs – A literary analysis using transitivity system in Systemic
Functional Linguistics perspective, is entirely the result of my own work. The
thesis contains no material which has been accepted for the award of any
other degree or diploma in any university or tertiary institution, and to the best
of my knowledge, neither does it contain material previously published or
written by another person, except where due acknowledgement is made in the
text.
Hanoi, 2016
Tạ Thị Thu Hằng

4. ii
ACKNOWLEGEMENTS
First and foremost, I would like to express my deepest gratitude to my
supervisor, Assoc.Prof.Dr Lâm Quang Đông for transferring me his
specialized knowledge, his inspiring me the love in linguistics as well as his
valuable suggestions, advice and correction throughout my study.
I also take this opportunity to thank all my lecturers in the Faculty of
Post-Graduate Studies at University of Languages and International Studies,
Vietnam National University, Hanoi for their interesting lectures, which have
surely contributed to the foundation of my thesis.
Finally, I would like to show my deep gratitude to my family for their
support, encouragement and understanding, without which my theis would
not have been accomplished.
Hanoi, January, 2016
Ta Thi Thu Hang

5. iii
ABSTRACT
Song lyrics and rhymes serve as an important part of English teaching
curricula in a variety of countries. Of all topics, songs about mother have
drawn attraction of listeners and learners as they not only entertain people but
also educate them in terms of linguistic knowledge and moral values. Until
now, there has not been much research on mother image under the light of
linguistics. These provide me with the motivation to carry out the research
“Mother image in English and Vietnamese songs – A literary analysis using
transitivity system in Systemic Functional Linguistics perspective”. The study
is conducted to figure out the similarities and differences in the way mother
image is represented in English and Vietnamese in view of systemic linguistic
perspective. In other words, the study aims to give readers a brief description
and analysis of mother image in English and Vietnamese songs. Within the
framework of an M.A. thesis, the research cannot cover all aspects of mother
image in English and Vietnamese; we therefore limit it to a manageable
scope: analyzing mother image in songs in terms of transitivity system. Two
principal methods employed in the study are descriptive and comparative
analysis. Through descriptive method, six types of transitivity process in each
language were identified. In fulfilling the focuses of the study, comparative
method is applied to the identification of prominent features of mother image
in English and Vietnamese songs. The paper also provides conclusions on the
images to which mother is compared, and these images are closely associated
with cultural and historical factors. Insights gained through this study lend
themselves to suggestions for designing exercises based on songs for teaching
English as well as linguistic theory.

6. iv
TABLE OF CONTENTS
DECLARATION ...............................................................................................i
ACKNOWLEGEMENTS.................................................................................ii
ABSTRACT.....................................................................................................iii
LIST OF TABLES AND PICTURES .............................................................vi
INTRODUCTION............................................................................................. 1
1. Rationale.................................................................................................. 1
2. Aims and research questions ................................................................... 3
2.1. Aims .................................................................................................. 3
2.2. Research questions............................................................................... 3
3. Scope and significance of the study ........................................................ 4
3.1. Scope ................................................................................................. 4
3.2. Significance....................................................................................... 4
4. Methodology and procedures .................................................................. 5
4.1. Methodology...................................................................................... 5
4.2. Procedures: data collection and analysis........................................... 5
CHAPTER I: LITERATURE REVIEW........................................................... 7
1.1. SYSTEMIC FUNCTIONAL LINGUISTICS................................... 7
1.2. APPLICATION OF TRANSITIVITY SYSTEM IN LITERARY
ANALYSIS...............................................................................................10
1.3. DEFINITION OF “IMAGE”...........................................................20
CHAPTER II: DATA ANALYSIS - TRANSITIVITY PATTERNS IN
ENGLISH AND VIETNAMESE SONGS .....................................................21
2.1. TRANSITIVITY PATTERNS IN ENGLISH SONGS ..................21
2.2. TRANSITIVITY PATTERNS IN VIETNAMESE SONGS..........25

7. v
CHAPTER III: DISCUSSION - A COMPARISON BETWEEN MOTHER
IMAGES IN ENGLISH SONGS AND IN VIETNAMESE SONGS............28
3.1. SIMILARITIES .................................................................................28
3.2. DIFFERENCES...............................................................................52
CONCLUSION...............................................................................................68
1. RECAPITULATION.............................................................................68
2. SUGGESTIONS FOR DESIGNING EXERCISES..............................70
3. LIMITATIONS AND SUGGESTIONS FOR FURTHER STUDIES..72
REFERENCE..................................................................................................74
APPENDIX A ....................................................................................................I
APPENDIX B .................................................................................................. V

8. vi
LIST OF TABLES AND PICTURES
Page
Table 1: Three lines of a meaning in a clause 10
Table 2: Process types, their meanings and characteristic
participants
12
Table 3: Material process type 13
Table 4: Mental process type 14
Table 5: The principal types of relational process 15
Table 6: Behavioural process type 15
Table 7: Verbal process type 16
Table 8: Existential process type 17
Table 9: Participants functions 18
Table 10: Range functions 18
Table 11: Circumstantial elements 19
Table 12: Transitivity patterns in English songs 21
Table 13: Transitivity patterns in Vietnamese songs 25
Table 14: Comparison examples between English and
Vietnamese songs
Picture 1: Difference in feeling expression between
Westerners and Easterners
60
64
Picture 2: Difference in thought expression between
Westerners and Easterners
65
Picture 3: Cultural thought patterns in inter-cultural education 65

9. 1
INTRODUCTION
1. Rationale
“Music gives you happiness and sadness
But it also, also heals your soul”
(From the song “Let the music heal your soul”)
Music is a very colorful thread woven into the entire fabric of our life.
Singing songs with melodic rhythm is a subtle way for people to share their
happiness and sadness.
Moreover, music lyrics and rhymes serve as an important part of English
teaching curricula in a variety of countries. As an obvious example, in
Taiwan, songs and rhymes are expected to fulfill different purposes in
elementary education, especially in English teaching (Teng, 2013). In a lot of
well-known English textbooks such as Headway, New English File and
Solutions which are in use in Vietnam, songs are used as a part of exercises.
Another example is in the famous English teaching program ESL Podcast,
music is often played at the beginning and the end of each audio. For instance,
to teach the vowel /i:/, instead of saying ““Today we are going to discuss
about the way to pronounce /i:/”, a piece of music introduced:
We are three
Shall have some tea
She will come

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And so will he
If by chance
We see a bee
We’ll say buzz off
Don’t bother me (two – three – four – five – six – seven – eight)
(Chorus)
Fiddle de fiddle de
Fiddle dee dee
Fiddle de fiddle de
Fiddle dee dee
(Bee Movie script, 2007)
According to Gardner (1983: 20), a Harvard psychologist, “music intelligence
is equal in importance to logical mathematical intelligence, linguistic
intelligence, spatial intelligence, bodily-kinesthetic intelligence, interpersonal
intelligence and intrapersonal intelligence”. In linguistic area in Vietnam, the
effectiveness of music in enhancing listening skill is also studied at Phuong
Dong University by Nguyen Thi Thanh Huyen, 2006 or by Nguyen Thi
Quyet 2005 supplied learners with language knowledge of structures and
meanings in English and Vietnamese nursery rhymes.

11. 3
Of all topics, songs about mother have drawn attraction of listeners and
learners as they not only entertain people but also educate them in terms of
language knowledge and moral values. Until now, there has not been much
research on mother image under the light of linguistics. All reasons mentioned
above motivate me to carry out the research “Mother image in English and
Vietnamese songs – A literary analysis using transitivity system in Systemic
Functional Linguistics perspective”. What should be carried out in the thesis
will be an inquiry of both of the structure and meaning of mother image in
order to find out the similarities and differences between them. We are
hopeful that the study will make a humble contribution to providing an insight
into the similarities and differences of English and Vietnamese mother image
in the issues investigated.
2. Aims and research questions
2.1. Aims
The study aims to:
- Describe and analyze mother image in songs from systemic functional
linguistics perspective.
- Identify similarities and differences in linguistic means to depict mother
image in English and Vietnamese songs.
- Offer some suggestions for teaching and learning English through songs.
2.2. Research questions
In order to achieve these aims and objectives of the study, the following
questions will be addressed:

12. 4
1. How are mothers depicted in English and Vietnamese songs from the
perspective of systemic functional linguistics?
2. What are the linguistic means to express such meanings?
3. Scope and significance of the study
3.1. Scope
Within the framework of an M.A. thesis, the research cannot cover all aspects
of mother image in English and Vietnamese songs; therefore, we limit it to
manageable scope: analyzing mother image in terms of transitivity system,
and at the same time mentioning some figures of meanings or stylistic devices
in depicting mother image.
3.2. Significance
By investigating representational meaning of mother image in English and
Vietnamese, this study, to some extent, could provide an aspect of linguistic
features of mother image in English and Vietnamese under the light of
systemic functional linguistics (SFL). In addition, it could be a valuable
source for foreign language learners to enhance knowledge of language and
music. To some extent, the results of the study can reveal the cultural
similarities and differences between English-speaking countries of the inner
circle (in the book English as an international language: perspectives and
pedagogical issues, 2009, inner circle refers to countries in which English is
primary language) and Vietnam.

13. 5
4. Methodology and procedures
4.1. Methodology
The study is conducted as an attempt to understand more about mother image
from SFL perspective. At the same time, the thesis illustrates similarities and
differences of mother image in English and Vietnamese song. Therefore, the
descriptive and comparative analysis is used as principal method in the study.
The descriptive method aims at describing mother through transitivity system,
and then synthesizes the result to find out the similarities and differences in
the depiction of mother images in the two languages.
In fulfilling the focuses of the study, the comparative method is applied to
present prominent features of mother images in English and Vietnamese.
4.2. Procedures: data collection and analysis
The study deals with mother image in English and Vietnamese, so we have
collected one hundred songs (50 songs for each type, 50 written in English
and 50 in Vietnamese). Then, we identify clauses and select one thousand
clauses (500 clauses for songs in each language). Based on theory of
transitivity system set by Halliday, we analyze clauses into six types of
process: material, mental, relational, behavioral, verbal and existential
process. In the paper, processes, participants and circumstances are analyzed
to illustrate activities and emotions of the mother in each song. It applies three
steps developed by Burton (1982) which are isolating the processes,
determining which participants (who or what) is doing each process,
determining what sort of processes they are, and which participants is
engaged in which type of process, and verifying who or what is affected or

14. 6
seems to be affected by each of these processes. All processes identified are
categorized and illustrated as percentages.
From these results, similarities and differences of mother images in English
and Vietnamese songs are presented.

15. 7
CHAPTER I: LITERATURE REVIEW
1.1. SYSTEMIC FUNCTIONAL LINGUISTICS
1.1.1. Development of Systemic Functional Linguistics
Systemic Functional Linguistics or Grammar, a grammar model developed by
Michael Halliday in the 1960s, refers to a new approach to the study of
grammar. Systemic linguistics deals with the way spoken and written
language operating in different social situations. In particular, it is very useful
in illustrating three points: the operation of text beyond the level of the
sentence, the difference in structuring the text and the variable changes of the
language to meet the purpose of the users. It takes on descriptive approach
and focuses on groups of words that function to make meanings. In his book,
An Introduction to Functional Grammar, Halliday (1994) points out that
functional grammar is so-called because its conceptual framework is a
functional one rather than a formal one. Such functions are identified in three
distinct senses, in its interpretation of texts, of the system, and of the elements
of linguistic structures. In the relation to the first aspect, functional grammar
is involved in how the language is used. In other words, each text unfolds in a
different usage of context. Regarding the second point, the fundamental
components of meaning in language are functional components. Based on the
analysis of Halliday, all languages possess two main types of meanings, the
“ideational” (to understand the environment), and the “interpersonal” (to act
on the others in it). The third meaning is formed by the combination of these
two above, the “textual”. Three components are called metafunctions in the
terminology of FG theory. In the third sense, each element in a language is

16. 8
explained by reference to its function in the total linguistic system.
Accordingly, “a functional grammar is one that construes all the units of a
language– its clauses, phrases and so on. Specifically, each part is
interpreted as functional with respect to the whole” (Halliday, 1994).
Following the pioneering model initiated by Halliday, some of other linguists
developed and gave informal explanation of functional grammar. Thompson
(1996) describes the three metafunctions of functional grammar as follows.
Firstly, we use language to talk about our experience of the world, including
the world in our minds, to describe events, states and the entities involved in
them. Secondly, we also use the language to interact with other people, to
establish and maintain relation with them, to influence their behavior, to
express our own viewpoint on things in the world, and to elicit or change
theirs. Finally, in using language, we organize our messages in ways which
indicate how they fit in with the other messages around them and with the
wider context in which we are talking or writing.
Similarly, Martin, Matthiessen and Painter (1997) define functional grammar
as a way of looking at grammar in terms of how grammar is used. In the field
of linguistics, formal grammar, which is an alternative to functional grammar,
is concerned with the way our genes constrain the shape of our grammar, and
thus constrain what a person can and cannot say.
Therefore, functional grammar, based on cultural and social contexts, is
considered as an effective tool for the description and evaluation of how
language can be adopted to write and speak more appropriately and
powerfully. Thanks to functional grammar, to some extent, our ability of

17. 9
reading documents is substantially improved in terms of cognition and
criticism.
1.1.2. Difference between traditional grammar and systemic functional
grammar
As a new model of grammar, functional grammar differs from traditional
grammar in many ways. While traditional grammar focuses on written
language and deals with rules of correct usage, functional grammar deals with
both spoken and written language and concentrates on the functions of
language. More specifically, functional grammar provides us with tools for
describing how language is used in various contexts in real life, and for
understanding why a text is the way it is (Martin, Matthiesen & Painter,
1997). On the contrary, traditional grammar is prescriptive one which shows
the speakers what they can and cannot say and generates a wide variety of
rules for correcting what are often referred to as grammatical errors. It is easy
to realize that functional linguistics respects speakers‟ rights to make up their
own minds about how they choose to talk, and it makes speakers explicitly
aware of the choices they have available. In addition, functional grammar is
concerned with how language in a text works together as part of a larger
system in order to construct meaning, while traditional grammar is concerned
with identifying the functions of words and word groups within sentences,
without demonstrating how language is presented in a range of cultural and
social contexts. Then, in the process of analysis, sentence works as a basic
unit in traditional grammar, yet, clause plays the main role in functional
grammar. It can be concluded that systemic functional linguistics is closer to
our language in daily life, and thus can help us see and understand human

18. 10
language more deeply and comprehensively. In the view of systemic
functional linguistics, language is a resource for making meanings and hence
grammar is a resource for creating meaning by means of wording. It is
designed to display the overall system of grammar rather than only fragments.
That is the reason why it has come to be known as a Systemic Functional
Linguistics or Grammar.
1.2. APPLICATION OF TRANSITIVITY SYSTEM IN LITERARY
ANALYSIS
As mentioned above, Halliday points that there are three lines of meaning in a
clause: the textual meaning, the interpersonal meaning and the ideational
meaning, or to put it differently, the clause has three metafunctions: textual,
interpersonal and ideational metafunctions which can be illustrated as the
following table:
Metafunctions My mother gave a book to me
Interpersonal Subject Predicate Complements Adjunct
Experiential Actor Process Goal Recipient
Textual Textual Theme Rheme
Table 1: Three lines of meaning in a clause
Among them, the ideational meaning (the clause as representation) serves for
the expression of “content” in language, that is, our experience of the real
world, including the experience of inner world. When we use language, we

19. 11
often use it to speak of something or someone doing something. That is why
the ideational meaning can be referred to as experiential meaning coming
from the clause as representation. The interpersonal meaning helps to
establish and maintain social relations; the individual is identified and
reinforced in this aspect by enabling him or her to interact with others by
expression of their own individuality. The textual meaning creates links
between features of the text with elements in the context of situation, it refers
to the manner in which a text is organized. In other words, the textual
meaning comes from the clause as message. Halliday also claims that the
three types of meanings presented in language are not accidental but are
necessarily in place because we need them to perform functions in social life.
In constructing experiential meaning, there is one major system of
grammatical choice involved: the system of transitivity or process type. The
transitivity system is chosen as framework in our research because of all the
grammatical aspects analyzed, it produces the fruitful data on the text.
Moreover, in recent years, there has been an increasing trend in adopting
transitivity system in analyzing literary works such as “Using Transitivity as
a framework in a Stylistic Analysis of Virginia Woolf’s Old Mrs.Grey”
(Bonifacio, 2011), “Transitivity analysis: representation of love in wilde’s the
nightingale and the rose” (Asad, Roshan, Sobia & Rabia, 2014) and
“Transitivity Analysis of A rose for Emily” (Zijiao, 2013).
It can be seen that transitivity analysis has been widely used to understand the
language of speakers and writers. It examines the structure of sentences which
are represented by processes, the participants involved in these processes and
the circumstances in which processes and participants are involved. Using

20. 12
transitivity analysis, researchers have tried to reveal that language structures
can produce certain meanings and ideology, which are not always explicit for
readers. In other words, the task of functional analysis, particularly transitivity
analysis, is to discover the relation between meanings and wordings that
accounts for the organization of linguistic features in a text.
According to this theory, in transitivity, different processes are distinguished,
classified and known as material, mental, relational, behavioral, verbal and
existential. We can see the process at the table below:
Process type Category meaning Participants
Material:
Action
Event
“doing”
“doing”
“happening”
Actor, Goal
Behavioral “behaving” “Behaver”
Mental:
Perception
Affection
Cognition
“sensing”
“seeing”
“feeling”
“thinking”
Senser, phenomenon
Verbal “saying” Sayer, Target
Relational
Attribution
Identification
“being”
“attributing”
“identifying”
Token, value
Carrier, attribute
Identified, identifier
Existential “existing” Existent
Table 2: Process types, their meanings and characteristic participants
(Halliday, 2004)

21. 13
The next part will be illustration in great details of each process adopted from
the book “An introduction to Functional Grammar” (Halliday, 2004) and
“Ngữ pháp kinh nghiệm của cú tiếng Việt: Mô tả theo quan điểm chức năng
hệ thống” (Hoàng Văn Vân, 2005)
1.2.1. Material processes: the process of doing
Material processes are processes of “doing”. They express the
notion that some entity “does” something – which may b done to
some other entity. In the material processes, there are two
participants role, namely: actor and goal, for example:
The lion Caught the tourist
Actor Process: material Goal
Từng đôi Chim bay đi
Circumstance Actor Process: material
Table 3: Material process type (Halliday, 2004 & Hoàng Văn
Vân, 2005)
1.2.2. Mental processes: process of sensing
 Perception (seeing, hearing, etc.)
 Affection (linking, fearing, etc.)
 Cognition (thinking, knowing, understanding, etc.)

22. 14
In the mental processes, there are two participants, namely senser (the
conscious being that is feeling, thinking, or seeing) and phenomenon (which
is “sensed” – felt, thought or seen). Let‟s see the example below:
I believe You
Senser Process: Cognition Phenomenon
Người già muốn sự thoải mái
Senser Process:mental Phenomenon
Table 4: Mental process type (Halliday, 2004 & Hoàng Văn Vân, 2005)
1.2.3. Relational processes: the processes of being
There are three types of relational process in the clause, namely,
 Intensive “x” is “a”
 Circumstantial “x” is at “a”
 Possessive “x has a”
Each of these comes into modes:
 Attributive (“a” is an attribute of “x”)
 Identifying (“a” is the identity of “x”)

23. 15
type mode (i) Attributive (ii)Identifying
(1)intensive Sarah is wise Tome is the leader;
the leader is Tom
(2)circumstantial The fair is on a Tuesday Tomorrow is the 10th
The 10th
is tomorrow
(3)possessive Peter has a piano The piano is Peter‟s
Peter‟s is the piano
Table 5: The principal types of relational process (Halliday, 2004)
1.2.4. Behavioral process
Naturally, there seems not to have a clear cut in the distinction of
different processes and on the borderline between material and mental
processes in the behavioral process, the one which represents outer
manifestation of inner workings, the acting out of the process of
consciousness and physiological states.
The child wept copious tears
Behaver Process: behavioral Ranger
Thằng ấy bị con Hoa nó lườm
Process: Behaver
Behavioral
Table 6: Behavioral process type (Halliday, 2004 & Hoàng Văn Vân,
2005)

24. 16
1.2.5. Verbal process
Between the process of mental and relational is the verbal process.
There are processes of saying. The participants of the process are sayer
(participant who speak), receiver (the one to whom the verbalization is
addressed), verbiage (a name of the verbalization itself). There is however
one other type of verbal process, in which sayer is in sense acting verbally on
another direct participant, with verbs such as: insult, praise, slander, abuse,
and flatter.
Pussy-cat said naught but
“Mew”
Sayer Process: verbal Reported
Anh hỏi em "bao giờ trở lại"
Sayer Process: Receiver Circumstance:
time
Process:
Material
Verbal Quoted
Table 7: Verbal process type (Halliday, 2004 & Hoàng Văn Vân,
2005)

25. 17
1.2.6. Existential process
Between the relation process and the material process is existential process,
by which a certain phenomenon is recognized/ seen to “be”- to exist, or to
happen. For example:
On the branch There was a nest
Circumstance Process:
existential
Existent
Trên giời có đám mây xanh
Circumstance: location Process: existential Existent
Table 8: Existential process type (Halliday, 2004 & Hoàng Văn Vân,
2005)
1.2.7. Other participant functions
There are two other participant in the clause, namely: Beneficiary and
Range. Beneficiary is the one to whom or for whom the processes said to take
place; it appears in material and verbal process.

26. 18
Process Beneficiary Example
Material a. The recipient, is
one that goods are
given to
b. The client, is one
that services is
done to
I gave my love a ring
Fred bought a present
for his wife
Verbal The one who is being
addressed
John said to Mary
Table 9: Participant functions (Halliday, 2004)
One the other hand, range is the element that specifies the range and
scope of the process. A range may occur in material, and verbal processes.
Process Range function Example
Material a. Expresses the
domain over
which the pre
process take place
b. Expresses the
processes itself
Ray climbed the
mountain
Fred played the piano
Verbal The element expressing
the class, quality, or
quantity what is said
He made a long speech
Table 10: Range functions (Halliday, 2004)

27. 19
1.2.8. Circumstantial elements
Type Categories Example
1 Extent a. Distant
b. Duration
He walks for seven miles
She stayed for two hours
2 Location a. Place
b. Time
We work in the kitchen
I get up at 6 o‟clock
3 Manner a. Means
b. Quality
c. Comparison
My mother went by bus
I was snowing heavily
I went through my head like an
earthquake
4 Cause a. Reason
b. Purpose
c. Behalf
For want of a nail the shoe was
lost
For the sake of peace
I‟m writing on behalf of Aunt
Jane
5 Accompaniment a. Comitative
b. Additive
Fred came with Tom
Fred came instead of Tom
6 Matter I worry about her health
7 Role I‟m speaking as your employer
Table 11: Circumstantial elements (Halliday, 2004)

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1.3. DEFINITION OF “IMAGE”
A number of reliable dictionaries such as Oxford Advanced Learner‟s
dictionary or McMillan English dictionary all agree that image is the picture
that we have what somebody or something looks like. In this paper; however,
we have not merely discussed the literal meaning of the word “image” but the
figurative meaning. In other words, “image” should be understood as how the
person is. Specifically, we will explore qualities and virtues of mothers in
English and Vietnamese song.

29. 21
CHAPTER II: DATA ANALYSIS - TRANSITIVITY PATTERNS IN
ENGLISH AND VIETNAMESE SONGS
In this chapter, we will study linguistic features of English and Vietnamese
songs under the light of systemic functional language. Specially, we make the
effort to explore mothers‟ hard work and dedication to bringing up their
children as well as discover their thoughts, feelings and emotions through
transitivity patterns. In our study, as mentioned in the methodology section,
one thousand clauses of English and Vietnamese songs (five hundred clauses
analyzed for each) are taken into the investigation.
2.1. TRANSITIVITY PATTERNS IN ENGLISH SONGS
PROCESS
NUMBER PERCENT (%)
Material
184 36.8%
Relational
164 32.8%
Mental 73 14.6%
Verbal
44 8.8%
Behavioral 29 5.8%
Existential 6 1.2%
Table 12: Transitivity patterns in English songs

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As can be seen from the table, material processes play the most important role
among processes. The figures show that the processes of doing take the
greatest proportion in English songs, which account for 36.8% of the total
processes analyzed. The second dominant proportion is relational processes,
which is lower than the first type. The relational processes stay at 32.8% of
the clauses. Mental clauses stand at 14.6%, which is equivalent to 73 clauses
out of 500 clauses; meanwhile verbal processes consist of 8.8% (44 clauses).
Behavioral and existential processes share the least proportion; they have the
percentage of 5.8% and 1.2%, which are accounted correspondently by 29 and
6 clauses, respectively.
Through data analysis, the most frequently used processes are material
processes. Many of them are actions, which are closely associated with
mothers‟ work on a regular basis. It can be seen that these verbs such as
“work”, “give”, “make” or “do” are employed with the high frequency. For
example, the verb “work” appears in a wide range of songs:
“You work late night just to keep on the lights”
(From the song “Hey Mama”)
“Worked three jobs all through the weekdays”
(From the song “I love my mama”)
“You worked two jobs to keep a roof up over our heads”
(From the song “Turn to you”)
“just working with the scraps you were given”
(From the song “Dear mama”)
Another example is the verb “give”.
“You gave life to me”

31. 23
(From the song “Goodbye’s”)
“You would give anything in this world”
(From the song “Hey mama”)
“She gave me peace and love”
(From the song “Mom”)
In addition to such verbs, numerous verbs are used to describe actions that
mothers encounter everyday in particular. They show the usual work that
mothers make living to raise their children or they do to take care of their
babies:
“How mama used to clean somebody else’s house”
“While scrubbing on the floor on her bended knees”
(From the song “I’ll always love my mama”)
Or
“Brush your teeth
Wash your face”
(From the song “The mom song”)
With the mental process, mothers tend to express their love, perception and
desire that they show to their children. We can come across these verbs like
“love”, “remember”, “want”, “hope”, or “believe”:
“I love you”
(From the song “The mom song”)
“She doesn’t want you to cry”
(From the song “That’s my mama”)
In some cases, we also find out such verbs used to reveal the children‟s love
and gratefulness to their mothers:

32. 24
“I want to thank you”
(From the song “Thanks to you”)
Relational processes witness the dominance of attributive clauses. Among 164
clauses, more than half of them are attributive type. Let‟s have a look at some
examples:
“Your love is like a river peaceful and deep
You soul is like a secret that I never could keep”
(From the song “A little more time on you”)
Another example can be illustrated:
“M is for the moan and the miserable groan”
(From the song “Treat your mother right”)
Or
“You’ve been the meaning of my life”
(From the song “Thanks to you”)
Sometimes, verbal processes are the prayers of mothers for their children:
“I pray for angels by your side”
(From the song “A mother’s prayer”)
However, at the other time, they are simply the advice, teaching or even
soothing mothers want to convey to their children:
“Told me when I was young
“Son, your life’s an open book”
(From the song “Mama said”)
Most behavourial are used to manifest states of consciousness such as:
“My mother weeps for me”

33. 25
(From the song “I know my mother weeps for me”)
Lastly, the appearance of the existential processes is not considerable (1.2%
out of 100%). Moreover, the meaning of this process will not be disscused in
our study because in terms of systemic functional grammar, existential
process has no representational function.
In short, the analysis of English songs with regard to transitivity system
reveals the mother image depicted in every aspect of life. The material
processes account for the majority of clauses while the relational processes
reach the second highest level. These next levels are mental, verbal,
behavourial, and existential processes, respectively.
2.2. TRANSITIVITY PATTERNS IN VIETNAMESE SONGS
PROCESS NUMBER PERCENT (%)
Relational 179 35.8%
Material 146 29.2%
Mental 95 19%
Behavioural 45 9%
Verbal 23 4.6%
Existential 12 2.4%
Table 13: Transitivity patterns in Vietnamese songs

34. 26
In association with the qualities as well as the personalities of Vietnamese
women in general and Vietnamese mothers in particular, relational processes
comprise 35.8%, which dominates the total clauses. A huge range of
adjectives is adopted to describe the image of mother in great details:
“Sớm chiều nặng đôi vai gầy”
(From the song “Nhớ mẹ quê”)
“Lòng mẹ bao la như biển Thái Bình
Tình mẹ tha thiết như dòng suối hiền ngọt ngào”
(From the song “Lòng mẹ”)
The second position is material processes, which amount to 29.2% of the total
clauses. Being concerned with mothers‟ daily work, a wide variety of verbs
such as “nuôi”, “chăm”, “nấu”… are adopted:
“Bàn tay mẹ bế chúng con
Bàn tay mẹ chăm chúng con”
“Tay mẹ nấu…
Tay mẹ đun”
(From the song “Bàn tay mẹ”)
“Nuôi con nên người từ dòng sữa mẹ”
(From the song “Mẹ như tia nắng”)
In addition to two types of processes above, mental processes stay at the third
rank. Most of mental processes in Vietnamese songs are the processes of
“feeling” and “thinking” with prominent verbs such as “yêu”, “thương”, “lo”
or “ước”, “trông”, “mong”.
“Thương con thao thức bao đêm trường”
(From the song “Lòng mẹ”)

35. 27
“Mẹ trông con trong niềm hi vọng bao la”
(From the song “Lời ru của mẹ”)
Through the investigation, the number of behavioral processes reaches 9%.
Behavioural processes are used to express physiological behavior. They often
describe mothers‟ state.
“Hai lần khóc thầm lặng lẽ”
(From the song “Đất nước”)
“Mẹ về đứng dưới mưa”
(From the song “Huyền thoại mẹ”)
“Đêm năm canh chày mẹ thức đủ vì con”
(From the song “Tiếng ru thần tiên của mẹ”)
In the investigation into the investigation of verbal processes (4.6%), the most
frequently used verb is “ru”. “Ru” is a special kind of music to sooth the baby
to sleep.
“Mẹ ru ta câu hát ngọt ngào”
(From the song “Lời ru của mẹ”)
“Mẹ ngồi ru con đong đưa võng buồn”
(From the song “Ca dao mẹ”)
“Mẹ ru con ngân tiếng tình tang”
(From the song “Lời ru của mẹ”)
The least frequency is existential processes with 2.6%.
In short, transitivity patterns have been investigated to clarify the mother
image in Vietnamese songs. In Vietnamese songs, the relational processes
play the most important role. At the second rank are the material processes.
The third largest amount is the mental processes whiles these following ranks
belong to the behavioral, verbal and existential processes, respectively.

36. 28
CHAPTER III: DISCUSSION - A COMPARISON BETWEEN
MOTHER IMAGES IN ENGLISH SONGS AND IN VIETNAMESE
SONGS
In this chapter, by the comparative method, similarities and differences
between mother images in English and Vietnamese songs will be made. Both
similar and different aspects will be shed under the light of systemic
functional linguistics. Through the investigation of one hundred songs, we see
that mothers in English and Vietnamese songs are depicted in both the
wartime and peacetime. This similarity allows us to make division of
comparison into mother image in wartime and mother image in peacetime.
3.1. SIMILARITIES
3.1.1. Mother image in wartime
No one can deny the harshness of the war which can steal a soldier‟s life at
any time. In the battlefield, they have to confront with overwhelmed dangers
from bomb or gunfire. Therefore, it is difficult for any mothers in the world to
say good-bye to their children on the day before drafting into the army. The
pain due to separating their own children is expressed in tears. Here the
behavioral process is adopted and the behavioral verbs are identified with
“weep” (in English) and “khóc” (in Vietnamese).
“My mother weeps for me
When all the world is hushed in sleep”
(From the song “I know my mother weeps for me”)
There is one behavioral process used in two verses. In the first line, the
behavioral process is identified by the verb “weep” and it implies the

37. 29
behavior is “my mother”, the mother of a soldier. The verb “weep”, as a
behavioral verb, both describes the state and emotion of the mother. Night is
supposed to be the time for all things to take a rest, which is shown in the
verbal process “hush” with the receiver “all the world”. Although the time is
not shown specifically in the line, the readers can easily realize in the
circumstance element “in sleep” that indicates the time must be at night.
However, somewhere, a mother alone begins to “weep”. The author does not
use another behavioral verb such as “howl” or “sob” but it is “weep”. Here
the reader can feel that the mother tries to hide her sorrow and worry in her
heart. There is deep loneliness which dominates her heart for which only the
appearance of her child can compensate.
Similarly, the readers witness teardrops of Vietnamese mother:
“Hai lần khóc thầm lặng lẽ”
(From the song “Đất nước)
In this line, the behaver is not mentioned but the circumstance of time is put at
the beginning of the sentence “hai lần”. The author seems to emphasize the
pain that the mother put up with. It is not the only time but it is repeated.
Once more time, the circumstance of manner “thầm lặng lẽ” depicts her
patience and sacrifice. If on the day mothers say good-bye to their children,
they try to fight back tears from their eyes, for these days of waiting, tears
spill from their eyes so much that their eyes are too dry to cry. Through the
behavioral process “weep” or “khóc thầm lặng lẽ”, the author partially helps
the reader feel and understand the pain of mothers. In Vietnamese songs, there
are many such mothers:
“Nước mắt mẹ không còn
Vì khóc những đứa con”

38. 30
(From the song “Người mẹ của tôi”)
The existential process is used in the verse with the verb “không còn”. “Nước
mắt” works as the existent of the process. In the second line, the circumstance
of cause explains the root reason “vì khóc những đứa con”. There is nothing
more painful than the pain of leaving their own children. Many of them lost
not only one but two or even three children in the war; hence, mothers have
undergone such intense agony that there is not enough tear for so-called
“cry”.
Besides the behavioral process, the mental type greatly contributes to
describing love the mother saves for the child. That love is conveyed through
mothers‟ expectation of their children‟s coming back and their worries for
soldiers.
“Là biết mấy chờ mong mỏi mòn”
(From the song “Hát về mẹ Việt Nam anh hùng”)
“Thương con thao thức bao đêm trường”
(From the song “Lòng mẹ”)
Again, the readers do not see the appearance of the participant – the senser
here but the mental verb “chờ mong” and “thương” with the powerful
effects of two circumstances of manner “mỏi mòn” and “thao thức” is the
clear demonstration of mothers‟ patient waiting at length. Seemingly, the
mother counts each day for the return of the child. There is sometime the light
of hope is on the edge of shattering but the mother cannot help worrying
about her child so the hope keeps alive through the letter she writes to these
soldiers.
“I hope this letter catches up with you”
(From the song “Letters from home”)

39. 31
Two clauses with two different types of processes are employed in the same
line. For the first clause, the senser is “I” – the mother with identified mental
verb “hope”. Though the mother is fully aware of the war fact, she still wants
to dispatch some lines to her child. Such lines rekindle her hope as well as
reinforce her belief. It is the strong belief that the child will return in the
hands of her. In the second clause, the actor is “the letter”, which performs
the material process “catches”. This material verb also belongs to a kind of
stylistic device – the personification that is likely to be further discussed in
our larger scale research. It is not accidental when the author takes “the letter”
as the subject – the actor of the action. It cannot be ignore the fact that the
letter can be sent to soldiers is merely slight hope.
On the regular of basis, the reality of the war leads the mother to pray to God
for her child to be safe.
“She prayed Lord…
Please protect all the boys who are fighting tonight””
(From the song “Soldier’s last letter”)
The verbal process is seen in the clause with the verb “pray” and the sayer is
“she” – the mother. The verbiage or the content of the pray is the hope that
the supernatural will shelter their offspring from dangers. God in Western
countries or Buddha in Eastern ones is a form of belief. It is said that to
encourage themselves to lead an optimistic life, humans builds their own
belief with supernatural power which can be real or not. In this case, the
woman relies on the intangible power to raise their hope.
It is the similar case for Vietnamese mothers. When their children, the
soldiers, fight at battlefield, they closely and quietly follow each their step.
“Và mẹ tôi nhiều đêm không ngủ

40. 32
Dõi theo bước đường tôi hành quân xa”
(From the song “Mẹ tôi”)
In English songs, the mother with innumerable sleepless nights to pray for
their child, Vietnamese mother also experience plenty of such nights. The
circumstance of extent “nhiều đêm” functions well to illustrate that. The
behavioral process “dõi” successfully interprets the meaning that the mother
day and night looks forward to their soldier‟s news in the battlefield. Mothers
in Vietnamese songs also share the same feeling when leaving their children.
However, the more fervent the hope is, the more painful the mother feels.
The behavioral processes once more time describe the mother‟s state when
she receives tragic news.
“Then the mother’s old hands began to tremble
The mother knelt down by her bedside”
(From the song “Soldier’s last letter”)
Both the behavioral processes draw the physical postures of the mother,
“tremble” and “knelt down”. The mother is not able to stand firmly, she
must lean on “the bedside” (the circumstance of location). Surely, the readers
will be obsessed about the image of trembling old hands of the miserable
mother. Too painful, she seems to nearly be collapsed with the thunderbolt.
In Vietnamese songs, the readers not only feel mother‟s pain by heart but by
all other senses, even “nghe” (listen) to the that pain. The behavioral verb
“nghe” is sophisticatedly used because there is a change of feeling here.
From an abstract concept, the author turns it into something concrete, which
the readers can listen, see and even touch. We classify this verb in the group
of behavioral process because it is not simply the process of doing but there is
the combination of the process of sensing.

41. 33
“Nghe dịu nỗi đau của mẹ”
(From the song “Đất nước” )
Another common point of mother image in English and Vietnamese songs is
that these soldiers, as the children, who are experiencing the hardship of war
appear to be peaceful and comfortable when they recall their mothers. They
think about their mothers when they are awake.
“No one but mother can cheer me today
Mother would comfort me if she were here”
(From the song “Mother would comfort me”)
In the first clause, the actor mentioned puts strong impression on the readers.
It is a noun phrase “no one but mother”. It is like the declaration that mother
is an unique person on the earth can “cheer” and “comfort” – the material
processes the goal “me” as the soldier in the battle field. The second clause
continues to mention the actor “mother” as another confirmation.
Nevertheless, we are aware that it is just the soldier‟s dream that never comes
true with the circumstance of condition “If she were here”.
Likewise, Vietnamese soldiers always bring the image of mother as the
encouragement for long and harsh journey.
“Con đi trong bóng hình quê hương
Mang bóng dáng mẹ già yêu thương”
(From the song “Về thăm mẹ”)
“Các con ra đi đã mấy chiến trường
Mang theo cả tình thương của mẹ “
(From the song “Tấm áo chiến sĩ mẹ vá năm xưa”)

42. 34
Despite the fact the two songs were composed by two different composers at
two different time, the spirit in both of songs proves to be the same with the
material process “mang”. The actor of the action is “con” – the soldier.
It can be concluded that these soldiers always keep the image of mother in
their mind. The reasons are very comprehensible. Mother is the source of
motivation and her love for her child has no comparison to any other type of
love on this planet. Imagining as if mother were beside, soldiers feel hopeful
and determined not to give up in any situation. No one apart from mother can
console their mind, “cheer” and “comfort” them; hence, they bring (“mang”)
that love along their operation.
The loving touch of mother is more clearly presented in the following lines:
“I saw my mother dear
She clasped me to her heart
Impressed a kiss upon my brow”
(From the song “I know my mother weeps for me” )
Two material processes are used to describe the comfort of the actor – mother
“clasped” and “impressed”. Such material verbs indicate tender and
affectionate action for a baby. It can be said that in the mother‟s eyes, these
children, whatever age they are, are always these babies.
It can be reached to the conclusion that the image of mother survives every
time and everywhere in soldiers‟ mind because they play the important role to
boost fighting power for the children, as the soldiers.
As mentioned above, all people including mothers are able to foresee the
impending dangers of the war and are aware of the fierceness as well as the
bloodiness of it. However, when comes a war, they, as mothers, are willing to

43. 35
encourage their sons or even their daughters to be drafted into the army
despite the fact that war can steal their children from them at anytime.
“It occurs to me I might not have said it, so I’ll say it now
Son, you make me proud”
(From the song “Letters from home” )
This song revolves around a soldier who receives three letters from home
from three of the most important people in his life, his mother, his fiancée,
and his dad. The song gets to its peak when the third letter comes along,
written by the soldiers dad who is seemingly stubborn and dry. Instead his
letter reveals him just to be very concerned with his son and the risk that he is
taking. He writes the letter in order to say one thing before it‟s too late, “son
you make me proud”. This causes the soldier to cry, something rarely
associated with soldiers who come off with a tough exterior. The verb in the
second line can be classified in relational type “make” with the attribute
“proud”. The relational verb helps the readers partially know the personalities
of the soldier. He must be a brave hero because both his parents and his wife
are proud of him. Struggling with the harshness of war, feeling disconnected
from civilian life, any child who reads words of encouragement given by his
or her mother like that will be provided with power. Here the relational
process with the verb “make” expresses father‟s pride but actually mother‟s
pride as well and belief in her son. Similarly, in Vietnamese songs, mothers
induce their sons to join the army and protect the peace of country.
“Ba lần tiễn con đi”
(From the song “Đất nước” )
“Đời dâng hiến giống nòi
Mẹ sống giữa gian lao”

44. 36
(From the song “Hát về mẹ Việt Nam anh hùng)
Two material processes are used in the lyrics of two songs. The material
process “tiễn” and “dâng hiến” illustrates mother‟s devotion to the country.
For a mother, a child is the most significant part which nothing can replace in
her life. In other words, a child is like the breath of a mother. Nevertheless,
she appears perfectly willing to see their son off even though her heart is
twisted with agony. The noun phrase “ba lần” (three times) more and more
emphasizes mother‟s sacrifice. It proves that mothers‟ love for their children
is so great that it is mingled with love for their countries.
Mother is a sacred symbol of literary works in general and of songs in
particular. Although the lyrics in songs of wartime give off an air of pain with
bomb, gun and sacrifice, these authors have saved numerous lines praising
mothers with respectful attitude. This layer of meaning is implied through
transitivity system in which outstanding process types are mental, behavioural
and material process.
3.1.2. Mother image in peacetime
We have witnessed similar points of mothers in English and Vietnamese
songs during the wartime. Back to normal life, they are not only mothers but
also wives. If mothers appear to be a great image, a sacred symbol of the
country in the wartime, they become humble and busy with daily activities as
the role of mothers and wives in the peacetime.
In this point, a wide range of material processes is employed to describe the
picture of a strenuous mother at home. Besides, the number of song in the
peacetime takes the majority; hence, we see material processes hold the first

45. 37
rank in English transitivity patterns and the second in Vietnamese transitivity
patterns.
In an English song, the composer reminisces about Sunday morning breakfast,
watching cartoon and about how mom would braid his hair too tight. He
celebrates all the little things she did to make a better life for him, even it was
just sitting on the porch and watching him play football.
“…mama in the kitchen cooking and spam cooking
I was just a young dude, watching morning cartoons, waiting for mama to
braid my hair”
(From the song “Mama” – performed by Chris Brown)
The actor of the material process is “mama” and the verb identified is
“cooking”. Thanks to the circumstance of location, the image of mother is
clearly depicted in the space of “the kitchen”. It is mostly thought to be the
familiar space of many mothers. Through this process, it partially reveals
daily job of the mother. She is not only a good cook who prepares delicious
meal for the whole family but takes care of family member‟s health. It is
meaningful and interesting when the author inserts the specific space of “the
kitchen” here because it is not the office or a clothes shop but the place the
mother makes all good things to serve her family.
More interestingly, a mother sings what she does in a normal day. At the same
time, she confirms that such job is endless. Simply, she is a mother.
“Brush your teeth
Wash your face
Get your pjs on
Get in bed
Get a hug
…
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46. 38
And tomorrow we will do this again because a mom’s work never ends”
(From the song “The mom song”)
Despite not being mentioned, it can be inferred that the participant for
material process “brush”, “wash” or “get…” is the child. A mass of material
verbs listed aim at emphasizing the continuation and repetition in the
mother‟s work. In the last lyric of the verse, we see the appearance of the
actor “we” for the material process “do”. Certainly, “we” consist of mother
and her child. For the next day, such little work needs to be continued.
Through the verse, we do not witness any complaints from the mother inspite
of jobs which can make anyone bored because the mother has been doing
things for her beloved one, the person she loves the most in her life. Anyone
should be advised to listen to the song because of exhilarating rhythm but full
of a mother‟s confidence.
Likewise, Vietnamese mothers are also these versatile homemakers. They are
responsible for most of household chores.
“Cơm con ăn
Tay mẹ nấu
Nước con uống
Tay mẹ đun”
(From the song “Bàn tay Mẹ”)
There are four material processes in the verse: the actor “con” with two
material verbs “ăn”, “uống” and the goals “cơm”, “nước”; the actor “tay
mẹ” with the material verbs “nấu”, “đun”. There should be explanation why
the author lets the goals “cơm” and “nước” at the beginning of the sentence.
He would like to focus on the idea that even the smallest thing in the house is
prepared by the mother. Although such things are simple, not all people can
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47. 39
be caring about it. In addition, the actor “tay mẹ” is also a kind of meaning
transference which is called metonymy. Instead of writing “the mother”, he
mentions a peculiar image “tay mẹ”. Mother‟s hands are beautiful images
which are praised in many literary works such as “In my mother’s hands” by
Biff Ward. Mother‟s calloused hands are poignant image, which remind us of
a great mother.
In another Vietnamese song, the mother, as a famer, is associated with
familiar work in the rice crop:
“Trời soi bốc khói sân nhà
Nắng nhiều thì phơi lúa ra”
(From the song “Bà mẹ quê”)
The material process “phơi” (dry) reveals that the song describes a mother as
a farmer. Normally, in the countryside, after harvesting, the farmer must dry
grain before storing it in the stock.
In both English and Vietnamese songs, mothers are dedicated people. Their
love for children not only expresses through housework on a regular basis, but
their caring for their own children. They play multi roles at the same time. On
occasion, they become teachers who show their children right from wrong
guide them in life and give them advice when necessary. In this case, the
verbal process “teach” (“dạy” in Vietnamese) is frequently used in either
English songs or Vietnamese songs.
“Mama she has taught me
Told me when I was young”
(From the song “Mama said”)
“She’ll teach you everything you’ll ever need to know”
(From the song “Mom” )
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