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ENGAGEMENT Monogloss
Heterogloss PROJECTION
MODALITY
CONCESSION
ENGAGEMENT
Engagement. Writers relate to their readers
with respect to the positions advanced in the
text, which I call engagement (Hyland, 2001).
This is an alignment dimension where writers
acknowledge and connect to others,
recognizing the presence of their readers,
pulling them along with their argument,
focusing their attention, acknowledging their
uncertainties, including them as discourse
participants, and guiding them to
interpretations.
Monogloss
• Monogloss (single voice) where the source is
simply the author.
Heterogloss
Heterogloss is the idea that different forms of
language can exist within a single cohesive text.
This is the case for some types of texts
communication, but not others.
For example, it would usually be improper for a
piece of technical writing, a business plan, a
public notice to include more than one dialect or
type of language. The common types of text that
can include more than one linguistic form or
dialect are largely works of fiction, including
novels, plays, and short stories.
PROJECTION
One thing we are able to do in discourse is
quote or report what people say or think.
Halliday (1994)calls this type of linguistic
resource ‘projection’. Projection is the relation
between he says in the example above , and
what he said : He and three of our friends
have been promoted. ‘ We’re moving to a
special unit. Now my darling. We are real
policemen now. ‘ We can illustrate projection
with a speech bubble’. Projection may quote
the exact words that someone said, in which
case ‘speech marks’ are ussually used in
writing.
MODALITY
• Modality as a resource which set up a semantic
space between yes and no, a cline running
between positive and negative poles.
• For example
Do it positive
you must do it
You sould do it
You chould do it
don’t do it negative
CONCESSION
is an example of content concession which relates
phenomena involving the physical world domain. The
raining and walking events are physically realized in the
real world. On the other hand (lb) shows epistemic
relationship that relates the speaker's premise and a
conflicting conclusion.
Although the two events [his being not at home] and
[his car parking] are real world events, there is a
difference between (la) and (lb) in the relations of the
two subevents. In (1c) the concessive meaning should
be assessed at the level of speech acts. On th Bother
hand in (1d) concession can be imagined at the textual
level.

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syntax

  • 2. ENGAGEMENT Engagement. Writers relate to their readers with respect to the positions advanced in the text, which I call engagement (Hyland, 2001). This is an alignment dimension where writers acknowledge and connect to others, recognizing the presence of their readers, pulling them along with their argument, focusing their attention, acknowledging their uncertainties, including them as discourse participants, and guiding them to interpretations.
  • 3. Monogloss • Monogloss (single voice) where the source is simply the author.
  • 4. Heterogloss Heterogloss is the idea that different forms of language can exist within a single cohesive text. This is the case for some types of texts communication, but not others. For example, it would usually be improper for a piece of technical writing, a business plan, a public notice to include more than one dialect or type of language. The common types of text that can include more than one linguistic form or dialect are largely works of fiction, including novels, plays, and short stories.
  • 5. PROJECTION One thing we are able to do in discourse is quote or report what people say or think. Halliday (1994)calls this type of linguistic resource ‘projection’. Projection is the relation between he says in the example above , and what he said : He and three of our friends have been promoted. ‘ We’re moving to a special unit. Now my darling. We are real policemen now. ‘ We can illustrate projection with a speech bubble’. Projection may quote the exact words that someone said, in which case ‘speech marks’ are ussually used in writing.
  • 6. MODALITY • Modality as a resource which set up a semantic space between yes and no, a cline running between positive and negative poles. • For example Do it positive you must do it You sould do it You chould do it don’t do it negative
  • 7. CONCESSION is an example of content concession which relates phenomena involving the physical world domain. The raining and walking events are physically realized in the real world. On the other hand (lb) shows epistemic relationship that relates the speaker's premise and a conflicting conclusion. Although the two events [his being not at home] and [his car parking] are real world events, there is a difference between (la) and (lb) in the relations of the two subevents. In (1c) the concessive meaning should be assessed at the level of speech acts. On th Bother hand in (1d) concession can be imagined at the textual level.