The document discusses the concepts of theme and rheme in the English language. It defines theme as the starting point of a clause, realized by the first element, and rheme as the additional information that provides context for the theme. There are three types of themes: textual, interpersonal, and topical. Different types of clauses, such as declarative, interrogative, and imperative sentences, have predictable patterns for their themes. The study also examines various patterns of thematic progression that link clauses together cohesively in a text.
Two Views of Discourse Structure: As a Product and As a ProcessCRISALDO CORDURA
This is are 3 presenter presentation on the discussion of "Two Views of Discourse Structure: As a Product and As a Process"
Credit to
https://uomustansiriyah.edu.iq/media/lectures/8/8_2020_03_30!04_57_35_PM.pptx
and
The book from the school
Two Views of Discourse Structure: As a Product and As a ProcessCRISALDO CORDURA
This is are 3 presenter presentation on the discussion of "Two Views of Discourse Structure: As a Product and As a Process"
Credit to
https://uomustansiriyah.edu.iq/media/lectures/8/8_2020_03_30!04_57_35_PM.pptx
and
The book from the school
Part 1 of a 2-day workshop to introduce style in technical communication. Presented to beginning students of technical communication on December 1, 2009 at Kyung Hee University in Suwon, South Korea.
Lecture No. 09 Parallelism in Discourse , lecture No 13 [Autosaved].pptxShoaibNajeeb
Stream of Consciousness in the novel ‘ To The Lighthouse’
Paper The Modernist Literature
Topic Stream of Consciousness in
the novel ‘To The Lighthouse’
Name Avani N. Dave
Roll No. 2
Class M.A. Sem. 3
Submitted to Dr. Dilip Barad
Department of English
MK.Bhavnagar University
Introduction
Virginia woolf, one of the prominent representative Of Modernist novelist in England, has contributed significantly to the development of modern novel in both theory and practice. She abandoned traditional fictional devices and formulated her own distinctive techniques. The novels of woolf tend to be less concerned with outward reality than with the inner life. Her masterpiece, to the Lighthouse, serves as an excellent sample in analyzing woolf’s literary theory and her experimental techniques.
Origin of the Word
The phrase “Stream of Consciousness” was coined by William James 1 to describe the flow of thoughts of the waking mind. Subsequently his phrase began to be used in a literary context to describe the narrative method by which certain novelists have described the unspoken thoughts and feelings of their characters, without resorting to objectives description or conventional dialogue. James Joyce was a pioneer in using this technique in his novels of which the best known are Ulysses and The Portrait of the Artist as a Young Man. And this technique was also used by Virginia Woolf. The related phrase “interior monologue” is used to describe the inner movement of Consciousness in a character’s mind. A famous example of the interior monologue is the opening pages of Mrs. Dalloway. The use of devices of the stream of Consciousness and the interior monologue marks a revolution in the form of the novel because through these devices the author can represent the flux of a character’s thoughts, impressions, and emotions and reminiscences, often without any logical Sequence.
Virginia Woolf and To The Lighthouse
When we mention Virginia Woolf’s ‘To The Lighthouse’, it’s very natural to talk about her stream of consciousness technique. In this novel, the structure of external objective events is demised in scope and scale, or almost e completely dissolved. It is composed of the continual activity of characters’ consciousness and shower of impressions. External events occupy little space in the novel the writer as an omniscient narrator has almost completely vanished and almost everything stated appears by the way of reflection in the consciousness of the dramatic characters and the novel does not progress on “what – happens – next” basis, but rather moves forward through a series of scenes arranged according to a sequence of selected moments of consciousness and the techniques to
1302 Notes – 06 – February 4, 2021 Writing about Fiction (& CicelyBourqueju
1302 Notes – 06 – February 4, 2021
Writing about Fiction (& Exam)
1. Putting the “Composition” into Composition II
(how to start and end paragraphs with your topic sentence)
2. The Academic Paragraph—with an Example
(it starts and ends with the same topic sentence)
3. Analyze First
4. Let’s Practice Topic Sentences (which will start and end the paragraphs)
5. Let’s Practice Finding Support (for the topic sentences which go where?)
6. Drafting the Paragraph Assignment (establishes today’s attendance)
7. Homework Help (Paragraph & Exam 1: Fiction)
8. Checklist of Graded Assignments, Week 3
HOMEWORK for NEXT TIME: 1- ANALYZE a short story. 2-DRAFT an
academic paragraph of 8-24 sentences, communicating one writing technique in that
story. 3-REVISE the paragraph, then UPLOAD it by Sunday night. 4-TAKE Exam 1:
Fiction any time until next Wednesday (note: no new readings).
1. Putting the “Composition” into Composition 2
• You are LEARNING ABOUT FICTION in order to WRITE ABOUT FICTION
• The skills you use to write about fiction, you can then use in real life
to write about incident reports, peer reviews, etc.
• We will start by writing an ACADEMIC PARAGRAPH
• Next week, we will write an ESSAY, which will include:
• An introductory paragraph
• 2 or more academic paragraphs, and
• A concluding paragraph
2. The Academic Paragraph (with an Example)
ACADEMIC PARAGRAPHS, in literary analysis, exist to communicate ONE (1) specific
insight about a story, poem, or play. This time, we’re doing short stories.
WHY WRITE? Consider Comic-Con, book clubs, and fandoms (like Trekkers or
Browncoats). Also, this develops your ability to look at evidence and build a theory
based on that evidence—a good skill to have in law, in medicine, in business, etc.
HOW & WHEN TO WRITE? Use today’s class time to write an academic paragraph
explaining one (1) insight about one (1) short story. You will then have a chance to
The paragraph starts and ends
with the same point. This "topic
sentence" is the whole reason
the paragraph exists. Be sure to
name the author & title. If you
think a reader may need a
reminder about the term you
are using, define it. If you don't
use your own words, you must
use quotation marks and cite
your source! It's a good idea,
toward the start, to give a one-
line summary of the story in
your own words—name the
main characters. You should
have points to make that
support your topic sentence. Put
them before the quotes that
support them. Support can be
given as quotes and as facts
from the story. If you use a story
with page numbers, remember
to put the page number of the
quote in parentheses after the
quote. Make sure you proved
your point, by the end, even if
you feel you're stating the
obvious, because you probably
are not stating the obvious.
Finish with a restatement of the
topic sentence.
revise and fix any glitches before uploading by Sunday night ...
1302 Notes – 06 – February 4, 2021 Writing about Fiction (& ChantellPantoja184
1302 Notes – 06 – February 4, 2021
Writing about Fiction (& Exam)
1. Putting the “Composition” into Composition II
(how to start and end paragraphs with your topic sentence)
2. The Academic Paragraph—with an Example
(it starts and ends with the same topic sentence)
3. Analyze First
4. Let’s Practice Topic Sentences (which will start and end the paragraphs)
5. Let’s Practice Finding Support (for the topic sentences which go where?)
6. Drafting the Paragraph Assignment (establishes today’s attendance)
7. Homework Help (Paragraph & Exam 1: Fiction)
8. Checklist of Graded Assignments, Week 3
HOMEWORK for NEXT TIME: 1- ANALYZE a short story. 2-DRAFT an
academic paragraph of 8-24 sentences, communicating one writing technique in that
story. 3-REVISE the paragraph, then UPLOAD it by Sunday night. 4-TAKE Exam 1:
Fiction any time until next Wednesday (note: no new readings).
1. Putting the “Composition” into Composition 2
• You are LEARNING ABOUT FICTION in order to WRITE ABOUT FICTION
• The skills you use to write about fiction, you can then use in real life
to write about incident reports, peer reviews, etc.
• We will start by writing an ACADEMIC PARAGRAPH
• Next week, we will write an ESSAY, which will include:
• An introductory paragraph
• 2 or more academic paragraphs, and
• A concluding paragraph
2. The Academic Paragraph (with an Example)
ACADEMIC PARAGRAPHS, in literary analysis, exist to communicate ONE (1) specific
insight about a story, poem, or play. This time, we’re doing short stories.
WHY WRITE? Consider Comic-Con, book clubs, and fandoms (like Trekkers or
Browncoats). Also, this develops your ability to look at evidence and build a theory
based on that evidence—a good skill to have in law, in medicine, in business, etc.
HOW & WHEN TO WRITE? Use today’s class time to write an academic paragraph
explaining one (1) insight about one (1) short story. You will then have a chance to
The paragraph starts and ends
with the same point. This "topic
sentence" is the whole reason
the paragraph exists. Be sure to
name the author & title. If you
think a reader may need a
reminder about the term you
are using, define it. If you don't
use your own words, you must
use quotation marks and cite
your source! It's a good idea,
toward the start, to give a one-
line summary of the story in
your own words—name the
main characters. You should
have points to make that
support your topic sentence. Put
them before the quotes that
support them. Support can be
given as quotes and as facts
from the story. If you use a story
with page numbers, remember
to put the page number of the
quote in parentheses after the
quote. Make sure you proved
your point, by the end, even if
you feel you're stating the
obvious, because you probably
are not stating the obvious.
Finish with a restatement of the
topic sentence.
revise and fix any glitches before uploading by Sunday night ...
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2. Backgroud of the study.
Aims and objective of the study.
Hallidayan framework will function as a background, while the
focus will be on the notion of Theme and rheme.
the Prague School scholars Mathesius, Firbas and Daneš, and
the Hallidayan theorists Matthiessen and Fries
Structure of Theme-Rheme in English language,their notions,
characteristics and classification
it intends to be descriptive, by counting, comparing and
describing thematic structures in clauses from a selection of
English fiction texts.
the use of the Hallidayan system in this analysis functions as a
kind of test for the system
the collecting of specific knowledge about thematic rules and
tendencies in English
3. 1. Theoretical concepts of Theme and Rheme in the english
language
1.1The notion of Theme and Rheme
1.2Classification or Multiple of Themes
1.2.1Topical, Interpersonal and Textual Theme
1.2.2The five Theme patterns in English by Halliday
1.3 The essence of Theme in texts
1. Analysis of Theme and Rheme
2.1 Theme in different mood of a clause
2.2Theme in clause complexes and Thematic progression
2.3Discourse analysis and Theme
Organization of the study
4. Theme is the starting point of the clause, realised by whatever element
comes first, and Rheme is the rest of the message, which provides the
additional information added to the starting point and which is available
for subsequent development in the text
Textual theme, functioning to relate the meaning of the
particular clause to other parts of the text;
Interpersonal theme, often functioning to code the
speaker’s or writer’s personal judgement on meaning;
Topical theme, functioning as the point of orientation for
the experiential meanings of the clause;
5. metafunction Component of Theme
Textual Continuative (discourse signallers/
Markers: yes, no, well, oh, now, which signal that a new
move is beginning)
Structural (conjunction: and , or,
nor, either, neither, but, yet, so, then,when, while, before,
after, until, because,even, in case… or WH-relative:
which,who, whose, when, where, that…)
Conjunctive: relate the clause to the clause to the preceding
text such as that is, for instance;rather; in any case; in
fact; in short; actually; and, also, moreover; but, on the
other hand; instead; meanwhile, then;likewise; so; if; yet;
as to that;
Interpersonal vocative: any item used to address such as a personal name.
modal: any of the model Adjunct which expresses the
speaker’s judgment regarding to relevance of the message
such as probably, possibly, generally regularly;
personally; frankly, to be honest; please,kindly;
mood-marking:a finite
WH (interrogative or relative)
Experiential Topical (participant, circumstance,
process)
6. Type Meaning Examples
I
appositive
corrective
dismissive
summative
verifactive
‘i.e., e.g.’
‘rather’
‘in any case’
‘in short’
‘actually’
that is, in other words, for instance
or rather, at least, to be precise
in any case, anyway, leaving that aside
briefly, to sum up, in conclusion
actually, in fact, as a matter of fact
II
additive
adversative
variative
‘and’
‘but’
‘instead’
also, moreover, in addition, besides
on the other hand, however, conversely
instead, alternatively
III
temporal
comparative
causal
conditional
concessive
respective
‘then’
‘likewise’
‘so’
‘(if …) then’
‘yet’
‘as to that’
meanwhile, before that, later on, next, soon, finally
likewise, in the same way
therefore, for this reason, as a result,
in that case, under the circumstances, otherwise
nevertheless, despite that
in this respect, as far as that’s concerned
7. Theme in declarative sentences
Unmarked (Theme = Subject): Subject is the ‘normal’ Theme choice. Nominal group
functioning as Subject;
a) The two Indians stood waiting.
b) The Indian who was rowing them was working very hard.
Marked (Theme Subject): A Theme that is something other than the subject, in a
declarative clause, we shall refer to as a Marked Theme Across the bay they found
the other boat.
a) And when you got down there you find he hasn’t actually got any.
• Theme in exclamative clauses: WH-element as Theme, normally nominal group
or adverbial group functions as exclamative (WH-) element.
a) How cheerfully he seems to grin!
b) What tremendously easy questions you ask!
8. Theme in interrogative sentences
The typical function of an interrogative clause is to ask a question and people in real life
ask questions for all kinds of reasons to request for an answer. The natural theme of a
question is ‘what I want to know’.
- Polarity (yes/no) questions: unmarked Theme = finite + Subject (What the speaker
wants to know is the polarity ‘yes or no?’). Normally, the first word (finite operator) of verbal
group together with nominal group functions as Subject.
a) Are you interested in Syntax?
b) Would you like a cup of tea?
c) - Wh-questions: unmarked Theme = Wh-word (What the speaker wants to know is
the identity of some element in the content.) Nominal group, adverbial group or
prepositional phrase functions as interrogative (WH-) element.
d) What are you doing here?
e) Then, in the name of goodness, why does she bother?
9. Theme in imperative sentences: The imperative is the only type of clause in which the
Predicator (the verb) is regularly found as Theme. Verbal group functions as Predicator,
plus preceding don’t if negative.
a) Wake me up before the coffee break.
b) Don’t disturb me while I’m taking a nap.
c) Let’s have a look at this recipe. (Let’s, plus preceding don’t if negative)
d) Please stop it.
Thematic equative: Theme = Rheme
a) What he meant by this was that he was no longer an apprentice.
b) What they did was go into the stern of the boat.
c) The reason he asked you where going is because he hoped you would be visiting
other areas.
When some other element comes first, it constitutes a ‘marked’ choice of Theme;
such marked Themes usually either express some kind of setting for the clause or
express a feature of contrast.
10. 1.Parallel progression: This pattern keeps the ‘same’ topical Theme (T) in focus
throughout a sequence of clauses. Information is built up in the Rheme (R) of each clause.
T ----- R1
T ----- R2
T ----- R3
Thematic progression
2.The continuous, linear or ‘zig-zag’ progression: In this sequence, an element that
is first introduced in the Rheme of a clause becomes the Theme of the next clause, and so
on. Each R becomes the T of the next utterance.
T1------R1
T2 (R1) ------ R2
T3 (R2) ------ R3
Theme Rheme
Li Ping was born in China.
He
was very interested in learning
English.
Outside my window is a big lawn.
In the middle of the lawn is a flower bed.
11. 3. The crisscross progression: Here the Theme in the first clause becomes the Rheme in
the second clause. And the Theme in the second clause becomes the Rheme of the third clause
and so on.
T1 -------- R1
T2 --------R2
T3 --------R3
The play (T1) was interesting,(R1)
But I(T2) didn’t enjoy it.(R2/T1)
A young man and a young
woman(T3)
troubled me.(R3/T2)
4.The split Rheme pattern: Here the Rheme of a clause contains an element which can be
split up and used for the Themes of subsequent clauses.
There (T1) are four basic types of clowns.(R1)
Whiteface clowns(T2/R1.1) cover their face with white make-up(R2)
and (they)(T2/R1.1) do a lot of physical stunts like leaping and
tumbling.(R3)
12. 5. Centralized progression: Here each clause has got different Theme but same Rheme
Theme Rheme
I went to the theatre last week.
He went to the theatre.
She went to the theatre, too.
13. The following points are concluded from this study:
1) The writer or the speaker decides where to start the sentence and the beginning of each sentence is
its theme.The rest of the sentence tells the reader or the listener something about the theme. And the
rest of the sentence is
called rheme. The theme is the framework of the point of the departure of the message. The rheme is
what the addresser wants to convey about the theme.
2) A clause can be analyzed ideationally, interpersonally, and textually.
3) When the three types of theme are present in the clause,the textual theme should come first
followed by the interpersonal theme which should in turn be followed by the ideational theme.
4) The operator is the theme in a polar interrogative clause;while the wh-element is the theme in a
content interrogative clause.