HE SEVEN STANDARDS OF TEXTUALITY_INTRO TO STYLISTICS.pptx

1. THE SEVEN
STANDARDS OF
TEXTUALITY
B e a u g r a n d e & D r e s s l e r 1 9 9 2

2. THIS OR THAT
THIS
BINGE WATCH KDRAMA ALL
DAY AND NIGHT
THAT
BINGE WATCH MARVEL AND
HOLLYWOOD MOVIES

3. THIS OR THAT
THIS
READ WATTPAD STORIES
AND ROMANCE NOVELS
THAT
READ SELF
HELP/IMPROVEMENT
BOOKS

4. THIS OR THAT
THIS
LISTEN TO MUSIC AS YOU DO
SCHOOL WORKS AND WHILE
REVIEWING FOR EXAMS
THAT
COULD FOCUS MORE IN A
SILENT SPACE

5. THIS OR THAT
THIS
GO ON A PICNIC DATE
BOOKS, NATURE, FRUITS AND
ART
THAT
GO ON A BEACH DATE
SUNSETS, SALT WATER, BIKINIS
AND BEER

6. Robert de
Beaugrande
• American text linguist and discourse analyst
• Became a professor of English in the
University of Florida, Vienna, Botswana;
Florida, and in several universities in
Asia, the Middle East, and Latin America.
• A major figure in the consolidation of critical
discourse analysis.
• Robert de Beaugrande's 47 research
works with 568 citations and 2290 reads,
including: Speech versus writing in the
discourse of linguistics.

7. Wolfgang Ulrich
Dresser
• Austrian professor of linguistics at
the University of Vienna.
• Eminent scholar who has
contributed to various fields of
linguistics, especially
phonology,
morphology, text linguistics,
clinical linguistics and child
language development.
• He has published more than 500
books, volumes, and articles.

8. Seven Standards of Textuality
Any text whether written or spoken should meet several standards in order to have
communicative qualities.
Generally speaking, communication is the transformation of pieces of information
from one or more person to another.
• COHESION
• COHERENCE
• INTENTIONALITY
• ACCEPTABILITY
• INFORMATIVITY
• SITUATIONALITY
• INTERTEXTUALITY

9. COHESION
the way in which the components of the surface text, i.e. the actual words we hear or see,
are mutually connected within a sequence.
• Recurrence - straightforward repetition of elements or patterns.
The problem with contemporary art is that it is not easily understood by most people.
Contemporary art is deliberately abstract, and that means it leaves the viewer wondering what
she is looking at.
• Partial recurrence - shifting of already used elements to different classes (e.g., from adj to adv)
Christina has a beautiful voice, so she can sing any songs beautifully.
• Parallelism - repetition of the same grammatical form in two or more parts of a sentence.
The steel pipe crosses windswept plains and endless miles of delicate tundra that tops the
frozen ground. It weaves through crooked canyons, climbs sheer mountains, plunges over rocky
crags, makes its way through thick forests, and passes over or under hundreds of rivers and
streams.

10. • Ellipsis- takes place when the components of sentences are physically
and directly deleted because the writer relies on the reader to infer the
missing components.
The younger child was very outgoing, the older much more reserved.
A: Where are you going?
B: To town.
A: Why are you going away?
B: Because it's late

11. • Junction - shows the relationship of components in a sentence
Conjunctions - used to link things which are of the same status (and, also,
besides, furthermore etc.)
• Disjunctions - used to link things which are of alternative status
(or, either, etc.)
• Contrajunctions - used to link discrepant elements (but, yet,
however,nevertheless etc.)
• Subordinations - used to link contents which are dependent on one
another (because, since, thus, while, therefore etc.) These devices help
unify the text and make it more economical.

12. continuity of words is consistent,
logical, and sensical. The series of
sentences sticks to one central idea
and the overall meaning makes sense.
[meaning]
COHERENSE
Coherent: Writing is a process, which can take a long time and
involve many obstacles. However, when you are finished, you’ll
see that it was worth the effort.
Non-coherent: I had the most beautiful experience when I
went to the Zoo. I saw different kinds of birds. But it was my first
time to see a carabao flying.

13. refers to what a text producer plans to
do and what he/ she hopes the target
text receiver will accept .e]
INTENTIONALITY
e.g
Conveying information or arguing an opinion
The following is between a mother and son
Mother: What are you thinking about?
Son: Nah, it’s just about work. It’s just so toxic these past few
days Mom.

14. SEVEN
STANDARDS OF
TEXUALITY
Presented by:
Ma. Vanica Hezekiah I. Lucas
Regine C. Rana

15. Table of Contents
4. Acceptability
6. Situationality
5. Informativity
7. Intertextuality

16. Acceptability
Concerned with the intentions of the speaker/writer to
produce a text and the listener/reader to accept it as a
text.
04

17. If a conversation is to be successful, it
should involve:
• co-operation of the interlocutors;
• truthfulness of the interlocutors;
• providing necessary information
• being relevant, to the point;
• being clear.
Acceptability

18. EXAMPLE:
THOMSON: ON THE WAY TO FRANCE, I HAD THE FUNNIEST EXPERIENCE! I WAS
SITTING NEXT TO A FRENCHMAN ON THE TRAIN AND HE WAS DOZING OFF AND
THEN …
SMITH: DID YOU GET TO FRANCE AT ALL WHEN YOU WERE AWAY?
THOMSON: THIS WAS IN FRANCE THAT I AM TELLING YOU ABOUT. ON THE WAY
FROM PARIS TO MARSEILLES, I GOT INTO THIS CARRIAGE AND SAT NEXT TO A
FRENCHMAN.
SMITH: THE CARRIAGES THERE AREN´T LIKE OUR HERE, RIGHT?
THOMSON (RATHER DISCOURAGED): A BIT DIFFERENT, BUT THAT´S NOT THE
POINT.

19. In translating any text, a translator must transfer the
message, the attitude and the intention of the author of the
original text to the target text so that there will be a clear
understanding between the text producer and the receiver.
Therefore, the translated text should maintain the same
message of the original text. If the translated text is
misrepresented or is short of any of the standards of de
Beaugrande and Dressler’s (1981) textuality, that translated
text is considered unacceptable.

20. Informativity
Concerned with the balance between the unknown and
certain, expected and unexpected in a text.
05

21. Informativity
A text which is full of the new and unexpected can be rejected as too difficult. (Too
high on informativity) A text which consists of only known information can be
rejected as boring. (Too low on informativity)
Example:
Particularly low informativity is likely to be disturbing, causing boredom or even rejection of the
text. The opening stretch of a science textbook runs like this:
[1] The sea is water
The fact asserted here is so well known to everyone that there seems to be no point in saying it
here. The stretch of text is clearly cohesive and coherent, and undoubtedly intended to be
acceptable as such. But it is nonetheless a marginal text because it is so uninformative.
[2] The sea is water only in the sense that water is the dominant substance present. Actually, it is
a solution of gases and salts in addition to vast numbers of living organisms...

22. 06
SITUATIONALITY
Concerned with factors which make a text
relevant to a current situation or occurrence.

23. Example:
A road sign such as: (1) SLOW CHILDREN AT PLAY may be
interpreted in different ways, but its intended meaning may be
inferred by considering its context, or the situation in which it
is used. If the sign is placed in a location where a certain class
of receivers, namely motorists, are likely to be asked for a
particular action, then it is far more reasonable to assume that
‘slow’ is a request to reduce speed rather than an
announcement of the children’s mental or physical deficiencies.

24. 07
INTERTEXTUALITY
Concerned with the ways in which
the production and reception of a
given text depend upon the
participants’ knowledge of other
texts. The transfer from an old text
to the present one can take the form
a direct quotation or an allusion.

25. INTERTEXTUALITY
EXAMPLE:
AN ADVERTISEMENT APPEARED IN MAGAZINES SOME YEARS AGO
SHOWING A PETULANT YOUNG MAN SAYING TO SOMEONE OUTSIDE
THE PICTURE: [1] AS LONG AS YOU’RE UP, GET ME A GRANT’S.
A PROFESSOR WORKING ON A RESEARCH PROJECT CUT THE TEXT OUT
OF A MAGAZINE, ALTERED IT SLIGHTLY, AND DISPLAYED IT ON HIS
OFFICE DOOR AS: [2] AS LONG AS YOU’RE UP, GET ME A GRANT.

26. The seven standards of textuality
proposed by de Beaugrande and
Dressler (1981) are appropriate for
analyzing any text types including a
translated text by emphasizing
cohesion, coherence, intentionality,
acceptability, informativity, situationality
and intertextuality. These seven
standards overlap with each other. If the
text does not meet any of the said
standards, the text may be considered
unacceptable.
Conclusion

27. Our team
Ms. Regine Rana Ms. Vanica Lucas

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questions?
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