(Luận văn thạc sĩ) an investigation into the meaning and structure of a pictorial story a systemic functional analysis

VIETNAM NATIONAL UNIVERSITY, HA NOI
UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES
FACULTY OF POST-GRADUATE STUDIES

NGUYỄN THỊ THU THỦY

AN INVESTIGATION INTO THE MEANING AND STRUCTURE
OF A PICTORIAL STORY: A SYSTEMIC FUNCTIONAL ANALYSIS
(NGHIÊN CỨU CẤU TRÚC VÀ NGỮ NGHĨA CỦA MỘT TRUYỆN
TRANH: PHÂN TÍCH THEO QUAN ĐIỂM CHỨC NĂNG)

M.A. Minor Programme Thesis

Field: English Linguistics
Code: 66 22 15

Ha Noi – 2010


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TABLE OF CONTENTS

DECLARATION
ACKNOWLEDGMENT
ABSTRACT
TABLE OF CONTENTS
CHAPTER ONE: INTRODUCTION
1.1. Rationale of the study…………………………………………………………………..1
1.2. Aims and Scope of the study…………………………………………………….. …....1
1.3. Methods of the study………………………………………………………………...…1

1.4. Data collection………………………………………………….……………………....2
1.5. Design of the study………………………………………………………………...…...2
CHAPTER TWO: LITERATURE REVIEW
2.1. Introduction………………………………………………………………………..…...3
2.2. Systemic Functional Theory………………………………………………………..…..3
2.3. Features of Systemic Functional Theory…………………………………………...…..3
2.4. Metafunctions……………………………………………….……………………..…...3
2.4.1. Ideational Metafunction……………………………………………….……….…….3
2.4.2. Interpersonal Metafunction…………………………………………….………….…6
2.4.3. Textual Metafunction……………………………………………………..………….7
2.5. Cohesion Analysis………………………………………………………..………….…8
2.5.1. Reference…………………………………………………………..………………....8
2.5.1.1. Anaphoric, Cataphoric, and Exophoric Reference………………………………....8
2.5.1.2. Personal Reference……………………………………………..…………………..8
2.5.1.3. Demonstrative Reference………………………………………..…………………8
2.5.1.4. Comparative Reference……………………………………..……………………...9
2.5.2. Substitution…………………………………..………………………………………9
2.5.2.1. Nominal Substitution…………………………………..…………………………..9
2.5.2.2. Verbal Substitution…………………………………………………...…………....9
2.5.2.3. Clausal Substitution..................................................................................................9
2.5.3. Ellipsis .........................................................................................................................9
2.5.3.1. Nominal Ellipsis......................................................................................................10


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2.5.3.2. Verbal Ellipsis.........................................................................................................10
2.5.3.3. Clausal Ellipsis........................................................................................................10
2.5.4. Conjunctive Cohesion................................................................................................10
2.5.4.1. Elaboration..............................................................................................................10

2.5.4.2. Extension.................................................................................................................10
2.5.4.3. Enhancement...........................................................................................................11
2.5.5. Lexical Cohesion........................................................................................................11
2.5.5.1. Reiteration...............................................................................................................12
2.5.5.1.1. Repetition.............................................................................................................12
2.5.5.1.2. Synonymy.............................................................................................................12
2.5.5.1.3. Antonymy.............................................................................................................12
2.5.5.1.4. Superordinate and Meronymy…………………………………………………..12
2.5.5.1.5. General Word…………………………………………………………………...12
2.5.5.2. Collocation………………………………………………………………..………13
2.6. Concluding Remarks………………………………………………………………….13
CHAPTER THREE: THE MEANING AND STRUCTURE OF THE PICTURE STORY
“THE BRAVE MONKEY PIRATE”
3.1. The Chosen Text……………………………………………………………………...14
3.2. Analysis……………………………………………………………………………….15
3.2.1. Clauses and Clauses Complexes Analysis…………….……………………………15
3.2.2. The Analysis of the Text in Terms of Transitivity, Mood and Theme……………..19
3.3. Discussion…………………………………………………………………………….29
3.3.1. The Transitivity Pattern of the Text….……………………………………………..29
3.3.2. The Mood Pattern of the Text……………………………………………………....29
3.3.3. The Theme – Rheme Pattern of the Text…………………………………………...30
3.4. The Cohesion of the Text……………………………………………………………..30
3.4.1. Grammatical Cohesion……………………………………………………………...30
3.4.2. Lexical Cohesion……………………………………………………………………36
3.4.3. Contextual Configuration of the Text………………………………………………37
CHAPTER FOUR: CONCLUSION
4.1. Recapitulation…………………………………………………………………………39
4.2. Implications…………...………………………………………………………………39

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4.3. Suggestions for Further Study………………………………………………………...39
REFERENCE
APPENDIX


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CHAPTER ONE
INTRODUCTION

1.1. Rationale of the study
Systemic functional grammar (SFG) is a model of grammar developed by Michael
Halliday in the 1960s. It describes the relationships between grammatical structures and
meaning. It is concerned with real language, not with made up examples of language that
can be found in many language texts, exercises, worksheets or traditional grammar books.
Therefore, explicit knowledge of functional grammar provides a powerful tool to assist
teachers and students in comprehending and composing texts in a wide range of social and
cultural contexts.
As a teacher of English, I would like to introduce this effective tool to my students
in the hope that it can help them study English in a communicative way. However, to
fulfill my wish I have to gain deep insight into this complex model of functional grammar.
That is the reason why I would like to choose “An Investigation into the Meaning and
Structure of a Pictorial Story: a Systemic Functional Analysis” for my thesis, using
Halliday‟s functional grammar as theoretical framework.
Hopefully, this study can effectively contribute to the teaching and learning English
as a foreign language in Vietnam.

1.2. Aims and Scope of the study

The study makes a big effort to:
■ Revisit some key concepts of functional grammar.
■ Analyze the meaning and structure of a pictorial story based on framework of
systemic functional grammar.
Therefore, the study is not concerned with all aspects of functional grammar.
Rather, it focuses on sub-areas of functional grammar and mentions only those issues
related to the analysis of the text.

1.3. Methods of the study
With the aim of analyzing the meaning and structure of a specific text (a pictorial
story), description and analysis are employed as the principal methods of the study. The


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first method is used to provide key concepts for the study or description of sub-areas of
functional grammar. The second method deals with the analysis of the chosen text.

1.4. Data collection
The text is taken from a pictorial story book namely The Brave Monkey Pirate by
Hayes Roberts published by Bluebison Press in 2007. The examples are mainly from
grammar books by Halliday (1995) and Hoàng Văn Vân (2002).

1.5. Design of the study
The paper is organized in four chapters:
■ Chapter one: The Introduction – presents the rationale of the study, the aims and
scope of the study, methods of the study, data collection, and the research design.
■ Chapter two: The literature review – provides theoretical concepts for the study
such as Systemic functional theory, metafunctions, cohesion analysis, ect.
■ Chapter three: The analysis of the pictorial story “The Brave Monkey Pirate” –

focuses on the meaning and structure of the text.
■ Chapter four: The conclusion – presents the results of the study in brief, its
implications and suggestions for future research.


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CHAPTER TWO
LITERATURE REVIEW

2.1. Introduction
This chapter will provide some key concepts for the study. It is concerned with
Systemic Functional Theory and its features. Besides, three components of meaning in
language and cohesion analysis are also re-examined.
2.2. Systemic Functional Theory
Systemic Functional linguistics (SFL) is a theory which is functional and semantic
rather than formal and syntactic in orientation. It takes the text rather than the sentence as
its object, and defines its scope by reference to usage rather than grammaticality. Within
SFL, language is analyzed in terms of four strata: Context, Semantics, Lexico-grammar,
and Phonology. The context of situation is referred to as Register which is characterized by
three functional variables: Field, Tenor and Mode. Field refers to what is going on or the
topics and actions which language is used to express. Tenor is concerned with the social
roles and relationship between participants. Mode is channel of communication. The
second stratum, semantics, is the systems of meaning. In SF theory, the meanings of
language are Ideational, Interpersonal and Textual which will be explored in some detail in
the next part. Lexico-grammar includes vocabulary and grammar in one unified system.
Phonology consists of intonation, rhythm, and syllabic and phonemic articulation. These
four strata are related by means of realization, accordingly, phonology realizes lexicogrammar, which realizes semantics, and which realizes context.
2.3. Features of Systemic Functional Grammar
Systemic Functional Grammar is a model of grammar developed by Michael

Halliday in the 1960s. The term “systemic” refers to the view of language as a network of
systems, or interrelated sets of options for making meaning; the term “functional” indicates
that the approach is concerned with the contextualized, practical uses to which language is
put, as opposed to formal grammar, which focuses on compositional semantics, syntax and
word classes.
2.4. Metafunctions
2.4.1. The Ideational Metafunction


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The ideational metafunction is the means of representing reality. It consists of
experiential meanings and logical meanings (Haliday 1994:179). Experiential meanings are
realized through the system of TRANSITIVITY. In systemic functional grammar
transitivity refers to the different types of process. There are six process types recognized:
Material, Mental, Verbal, Behavioral, Relational, and Existential.
Material Processes are processes of „doing‟. They express the notion that some
entity „does‟ something – which may be done „to‟ some other entity. This type of process
may involve up to three participants. The obligatory participant is the Actor, which is the
doer of the action. For example:
The lion

sprang.

Actor

Process: material

Some (not all) processes have a second participant called Goal, which implies
„directed at‟. For example:

The lion

caught

the tourist.

Actor

Process: material

Goal

When there are three participants, their roles are referred to respectively as Actor,
Goal and Receiver. Receiver is one that benefits from the process. For example:
He

gave

a book

to her.

Actor

Process: material

Goal

Receiver

Mental Processes are processes of sensing such as thinking, loving, wanting,
hoping. It consists of four main subtypes: cognitive (thinking, knowing, realizing),
perceptive (hearing, sensing, feeling), affective (loving, hating, adoring), and desiderative
(wanting, desiring, wishing). In a mental process there are usually two participants: Sensor
(one who senses, feels, thinks, and wants) and Phenomenon (one that is sensed, felt,
thought of, and wanted). For example:
The boy

loves

the girl.

Sensor

Process: mental

Phenomenon

Verbal Processes are the processes of saying such as saying, speaking, talking.
This type of process also covers any kind of symbolic exchange such as showing,
indicating. The typical participants in the processes are the Sayer (the one who does the
verbalization), the Receiver (the one to whom the saying is addressed), the Target (the one
that the verbalization is directed to), and the Verbiage (the message itself). For example:


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I

asked

him

a question.

Sayer

Process: verbal

Receiver

Verbiage

They

told

me

so.

Sayer

Process: verbal

Target

Circumstance

Behavioural processes are “processes of physiological and psychological

behaviour like breathing, coughing, dreaming, smiling” (Halliday 1994:139). Typically,
there is usually one participant referred to as Behaver, and this participant is always a
conscious being. For example:
He

laughed.

Behaver

Process: behavioural

Relational processes are the processes of being, being at, and having. In Relational
processes, “a relation is being set up between two separate entities” (Halliday 994: 119).
This relationship can be one of two sub-types, Attribute or Identifying. When a relational
process is in the attributive mode, it has one participant referred to as Carrier, and the
quality or the thing showing that the Carrier belongs to a class of things, which is
adjective, is referred to as Attribute. The Carrier is realized by a nominal group and the
Attribute is realized by an adjective or an indefinite nominal group. For example:
- He

is

good.

Carrier

Process: relational

Attribute

When a relational clause is in the identifying mode, it has two equating participants, one
identifying the other which are referred to respectively in two pairs of terms as
Identified/Identifier and Token/Value. For example:
- She

is

the best doctor.

Identified

Process: relational

Identifier

Intensive process is the process which expresses being in terms of “x is a” and “x is an
instance of a”. Circumstantial process is the process which expresses being in terms of
circumstantial elements such as time, place, distance, reason. The relation between the
participant and its circumstantial element is that of Carrier and Attribute. Possessive
process expresses being in terms of ownership, the relation between the two terms can be
characterized as Possessor and Possessed but for generalization and convenience they are
still analyzed as Carrier and Attribute.
Existential processes are the processes of existing. They have only one participant,


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called the Existent and one or two circumstantial elements. In English existential process
clauses, the dummy subject “There” is often used. For example:
There is

a man

Pro: existential

Existent

in the room.
Circumstance

Logical meanings are realized by relationships of co-ordination (or parataxis – the
linking of elements of equal status, the initiating and continuing elements are free) and
subordination (or hypotaxis – the linking of elements of unequal status, the dominant
element is free but the dependent one is not) between clauses and other structural units.
The way of analyzing a clause in terms of experiential meaning produces constituency
structures whereas logical meaning are associated with interdependency structures.
2.4.2. Interpersonal Metafunction
Clause is organized as an interactive event involving speaker/writer and audience.
In the act of speaking, speaker adopts a particular speech role and assigns to the listener a
complementary role. The functions of clauses are giving or demanding information,
expressing intention, expressing attitude, etc. They have more to do with social interaction
than with “content”.
As an exchange or an interactive event, an English clause consists of two
components: the Mood and the Residue. The Mood is “the component that is bandied”
(Halliday 1994: 72). Its function is to carry the argument forward. In English, the Mood
comprised two parts: the Subject (which is a nominal group) and the Finite (which is the
verb element in the Mood). The Residue is “the remainder of the clause” (Halliday 1994:
74). It consists of three functional elements: Predicator, Complement, and Adjunct. The
Predicator is presented in all non-elliptical major clauses, and is realized by a verbal group;
the Complement is an element within the Residue that has the potential of being Subject,

and is typically realized by a nominal group; and the Adjunct is an element that has not got
the potential of being Subject, and is realized by an adverbial group or a prepositional
phrase. For example:
Sister Susie

is

sewing

shirts

for soldiers

Subject

Finite

Predicator

Compliment

Adjunct

Mood

Residue


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2.4.3. Textual Metafunction
The textual meaning is described through the system of theme. Thematic structure
“gives the clause its character as a message” (Halliday 1994: 37), and thus, creates
relevance to the context. The terms used to label these are called Theme and Rheme. The
Theme “serves as point of departure of the message” (Halliday 1994: 37), which in English
coincides with the initial element(s) of the clause; and the Rheme is the remainder of the
message.
The Theme may be a nominal group, an adverbial group, or a prepositional phrase.
The Theme may be single or multiple, marked or unmarked. A theme is single when
“consists of two or more groups or phrases forming a single structure element” (Halliday
1994: 40). A multiple is the one that has a further internal structure of its own. Multiple
themes can be very complex including Topical Theme, Textual Theme and Interpersonal
Theme. A topical theme is the one that is conflated with an experiential element of the
clause. This means that the Theme ends with the first constituent that is either participant,
circumstance, or process. A textual theme is any combination of continuative (yes, no,
now, etc), structural (and, but…), and conjunctive (also, next, finally…). And within
interpersonal element, we may have a modal, the finite verbs (in Yes/No interrogative
clause) and also a vocative element.
In the declarative clause, an unmarked theme “is the mapping of Theme onto
Subject” (Halliday 1994: 43), and a marked theme “is something other than the Subject”
(Halliday 1994: 44) such as Complement, Adjunct, or even Predicator. Here are some
examples illustrating the thematic structure of the clause:
I

shall complete this tomorrow.

Unmarked theme
This

I shall complete tomorrow.

Marked theme

Oh

soldier, soldier

won’t

you

Continuative

Vocative

Finite

Topical

Textual

Interpersonal
Theme

marry me?

Experiential
Rheme

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2.5. Cohesion Analysis
2.5.1. Reference
According to Halliday (1994: 309) “a participant or circumstantial element
introduced at one place in the text can be taken as a reference point to something that
follows.” Reference is the relationship of identity between units in discourse. There are six
main types of reference: (1) anaphoric, (2) cataphoric, (3) exophoric reference, (4) personal
reference, (5) demonstrative reference, and (6) comparative reference.
2.5.1.1. Anaphoric, Cataphoric, and Exophoric Reference
Anaphoric reference is the items that “point backwards to the preceding text.”
(Halliday 1994: 312). For example:

Kumiko is a Japanese professor and she works in Turkey.
Cataphoric reference is a cohesive device which points the readers or listeners
forwards – it draws us further into the text in order to identify the elements to which the
reference items refer. For example:

The two astronauts put on their spacesuits and stepped onto the planet. They
looked at everything carefully.
Exophoric reference is “a means of linking outwards” to some person or object in
the environment” (Halliday 1994: 312). For example:

The spaceship flew around the new planet several times. The planet was blue.
2.5.1.2. Personal Reference
Personal reference is “reference by means of function in the speech situation
through the category of person” (Halliday and Hasan 1997: 37). For example:
Nam and Lan didn’t say a word. Perhaps they were angry.
2.5.1.3. Demonstrative Reference
According to Halliday and Hasan (1997), demonstrative reference “is essentially a

form of verbal pointing. The speaker identifies the referent by locating it on a scale of
proximity.” It is expressed through determiners: this/that, these/those and adverbs:
here/there. For example:
Leave that there and come here.


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2.5.1.4. Comparative Reference
According to Halliday (1994) comparative reference “set up a relation of contrast.”
It is expressed through adjectives and adverbs and serves to compare items within a text in
terms of identity and similarity. For example:
A: Would you like these eggs?
B: No, as a matter of fact, I’d like the other eggs.
2.5.2. Substitution
Halliday and Hasan (1997) state that substitution is “a relation between linguistic
items such as words or phrases.” It can be referred to as processes of the replacement of
one item by another in discourse. There are three types of substitution: nominal
substitution, verbal substitution, and clausal substitution.
2.5.2.1. Nominal Substitution
Nominal substitution is the use of a substitute word to replace the Head of a
corresponding nominal group. The noun functioning as the Head is always countable. In
English, nominal substitution is realized by the words such as one, ones, and the same. For
example:
-

There are three books on the table. Which one do you like to borrow?

-

I’ll have two poached eggs on toast, please. – I’ll have the same.

2.5.2.2. Verbal Substitution
Verbal substitute in English is do. It functions as Head of a verbal group and
something substitutes for a verb which is Head of a verbal group. It always stands at the
end of the group. For example:
…the words did not come the same as they used to do.
2.5.2.3. Clausal Substitution
Clausal substitution refers to the substitution “in which what is presupposed is not
an element with in the clause but an entire clause” (Halliday and Hasan 1997: 130). The
words used as substitutes are so and not. For example:
- Is there going to have an earthquake? – It says so.
- Will he come tomorrow? – I think not.
2.5.3. Ellipsis
Another form of anaphoric cohesion in the text is ellipsis. It is the omission of an
item with in the text. There are three types of ellipsis: nominal ellipsis, verbal ellipsis, and


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clausal ellipsis.
2.5.3.1. Nominal Ellipsis
At the experiential level, a nominal group is realized by the structure of “Deictic +
Numerative + Epithet + Classifier + Thing” (Halliday 1994: 180) (e.g., the three beautiful
garden flowers). When the Thing is omitted, the Head will be taken on by one of the other
elements and readers can still understand what the omitted thing is based on the
presupposition. For example:
Sylvia: I like the blue hat.
Mary: I prefer the green.
2.5.3.2. Verbal Ellipsis

As the verbal group consists of Finite and Predicator, verbal ellipsis will happen
when there is the omission of the Residue. For example:
- Have you been swimming? – Yes, I have.
2.5.3.3. Clausal Ellipsis
Clausal ellipsis is related to the question-answer process in dialogue. There are two
kinds: Yes/No ellipsis and Wh- ellipsis. Besides, there may be ellipsis of the whole clause
or just one part of it. For example:
A; Minh has gone to Ho Chi Minh City this morning.
B: Has he? He didn’t tell me.
2.5.4. Conjunctive Cohesion
According to Halliday (1994: 180) conjunction is a type of cohesion that
“constitutes a cohesive bond between two clauses.” Conjunction can be classified in many
different ways. In this study I would like to mention three types of conjunction:
Elaboration, Extension, and Enhancement.
2.5.4.1. Elaboration
In elaboration, “one clause elaborates on the meaning of another by further
specifying or describing it” (Halliday 1994: 225). There are two types of elaboration: (1)
apposition in which some element is represented or restarted; e.g. in other words, that is
(to say), for example, thus, etc.; clarification in which some element is reinstated,
summarized, made more precise such as actually, in fact, in conclusion, in particular,
anyway, at least, as I was saying, etc.
2.5.4.2. Extension


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According to Halliday (1994) in extension “one clause extends the meaning of
another by adding something new to it.” Extension can be divided into two types: (1)
addition which consists of positive (moreover, in addition, also, and), negative (nor), or
adversative (on the other hand, however, but, yet); and (2) variation which consists of

replacive (on the contrary, instead), subtractive (apart from that, except), and alternative
(alternatively).
2.5.4.3. Enhancement
Halliday (1994) states that in enhancement one clause enhances the meaning of
another by “qualifying it in one of a number of possible ways”. There are four types of
enhancement: spatio-temporal, manner, causal-conditional, and matter.
Spatial conjunctions are used as cohesive devices which create text. They may be
adverbs like behind, nearby; place reference like here, there; or expressions containing a
place noun or adverbs plus reference item like in the same place, anywhere else.
Temporal conjunctions comprise a number of different relations. The expressions
may be simple with following (then, next), simultaneous (just then), preceding (before
that) or conclusive (finally); or complex with immediate (at once), repetitive (next time),
specific (next day), etc.
Manner conjunctions create cohesion by comparison (likewise, similarity, in a
different way) and by reference to means (thus, thereby).
Causal conjunctions occur in many types of discourse as “cohesive agent”. Some
cause expressions are general (so, then, therefore, consequently), others relate specifically
to result (as a result), reason (for that reason), or purpose (for that purpose).
Conditional conjunctions consist of three types: positive, negative, and
concessive. The positive expressions are then, in that case, etc; the negative expressions
are otherwise, if not; and the concessive expressions are yet, though, however,
nevertheless, etc.
Matter conjunctions create cohesion by “reference to the matter that has gone
before”. The matter expressions are here, there, in that respect, elsewhere.
2.5.5. Lexical Cohesion
Lexical cohesion occurs when “the selection of items that are related in some way
to those that have gone before” (Halliday 1994: 330). Halliday and Hasan (1997) classify
lexical cohesion into two main categories: reiteration and collocation.

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2.5.5.1. Reiteration
There are five types of reiteration: repetition, synonymy, antonymy, suprordinate
and meronymy and general word.
2.5.5.1.1. Repetition
Repetition refers to the same lexical item with the same meaning occurring more
than one in the same discourse. For example:
Algy met a bear. The bear was bulgy.
2.5.5.1.2. Synonymy
Synonymy refers to the relation between different lexical items bearing the same
meaning or nearly the same meaning for a particular person, object, process or quality. For
example:
He was just wondering which road to take when he was startled by a sound from
behind him. It was the noise of trotting horses.
2.5.5.1.3. Antonymy
Antonymy refers to the lexical items whish are opposite in meaning. For example:
He fell asleep. What woke him was a loud crash.
2.5.5.1.4. Superordinate and Meronymy
Superordinate or hyponymy refers to class and subclass relation. The main idea of
hyponymy is „inclusion‟; that is, a lower term (hyponym) is included in a upper term (the
superordinate). The relation between the two lower terms is that of co-hyponym. For
example:
-

music: drum, violin, guitar, trumpet

-

vehicle: car, bus, coach, cab (taxi), motorbike

Meronymy presents a part/whole relationship. The relationship between two parts
is one of co-meronym. For example:
- car: door, driving wheel
- body: arm, face, chest, shoulder
2.5.5.1.5. General Word
According to Halliday and Hasan (1997), the class of general noun is “a small set
of nouns having generalized reference within the major noun class”, such as “human
noun”: people, man, woman, child; “object noun”: thing, object; “place noun”: place.
These items are often neglected in the description of English, but people place a significant


13

part in verbal interaction, and are also an important source of cohesion in spoken language.
For example:
A: Did you try the steamed buns?
B: Yes, I didn’t like the things much.
2.5.5.2. Collocation
Collocation refers to lexical cohesion that “is achieved through the association of
lexical items that regularly co-occur” (Halliday aand Hasan 1997: 284). In this category of
lexical cohesion, there are three types:
Resultative collocation refers to the relation of one item leading to the outcome of
another item such as kill-die, dark-night, wind-blow.
Modificational collocation refers to the relation holding between an item and one
of its inherent qualities such as run-fast/slowly, rain-heavy, sun-bright.
Contextual collocation refers to the co-occurrence of words in one context but in
other context they are not related, e.g. teacher-teach/explain, student-study/learn.
2.6. Concluding Remarks
This chapter has presented some key concepts used for the study. I have mentioned

briefly systemic functional linguistics. In SFL, the semantics level is organized into three
metafunctions: (1) the ideational with which a clause is analyzed into Process, Participants,
and Circumstances with different participant types for different process types; (2) the
interpersonal with which a clause is analyzed into Mood and Residue; and (3) the textual
with which a clause is analyzed into Theme and Rheme. In this chapter, the five main types
of cohesion are also introduced. They are reference, substitution, ellipsis, conjunction, and
lexical cohesion. These are all very useful for text analysis.
In the next chapter, I will be concerned with the analysis of the picture story “The
Brave Monkey Pirate” based on the systemic functional approach.


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CHAPTER THREE
THE MEANING AND STRUCTURE OF THE PICTURE STORY
“THE BRAVE MONKEY PIRATE”
3.1. The Chosen Text
This text is taken from a picture story book namely The Brave Monkey Pirate by Hayes
Roberts published by Bluebison Press in 2007. As it is a picture story, the text is combined
with pictures. There are 23 pictures used to illustrate the text. All these pictures help
provide the contexts for the story in terms of time and place as well as indicate the
characters mentioned.
In the cover of the story book there is a compass which suggests exciting adventures.
The story starts with the image of two monkeys on a boat. They are sailing on the blue sea
with green islands on which there are pink houses scattering around. In the second picture,
the two monkeys are in a shop as there are a lot of goods on shelves and the taller monkey
who is expected to be the mother of the smaller monkey, is holding a scooter. In the next
picture, the two monkeys are at a round table on which there are two glasses and two
dishes of peas and vegetables; as the mother (as supposed) is reading a menu, they are
probably at a restaurant. The fifth picture shows a green island on which there are a lot of

green mountains and pink houses with stairs and there are two other animals going down
stairs; the boat has stopped and the two monkey are going up stairs to the doctor‟s office
which is recognized by a red cross. In the next picture, the doctor who is in white is
checking the small monkey and the mother is waiting. The seventh picture shows the
doctor pointing at a picture of the small monkey with all parts of his body analyzed and the
last image is of an injection needle which seems to be the treatment. In the next picture, the
two monkeys are going down stairs to come back their boat. The ninth picture shows a
room in which the mother is sitting on a green armchair reading a book, the small monkey
is playing with his toys. At door, another monkey appears. He is expected to be the small
monkey‟s father. The next picture is a map which can be recognized by a lot of areas and a
compass in the right corner. There is one point marked on the map with red colour. In the
next three pictures, the small monkey sails on the sea, climbs up volcanoes and goes
through a bridge under which there are many snakes. He seems to be on the way to the
place marked on the map. In the fourteenth picture, there are a lot of mountains, pine-trees
and penguins. The monkey is standing in front of an icy castle. In the next picture, the


15

monkey is in the castle and he sees a crab lying on a golden clock and some penguins
around him. The monkey is still holding a paper (maybe his map) on his hand. In the
sixteenth picture, the crap gives the monkey a rock. The next picture shows green islands
with houses and we can see the small boat of the monkey. Maybe he is on his way home.
In the eighteenth picture, the monkey, with the rock in his hand, is in a room in which the
monkey‟s mother is submitting a paper to a green snake on the desk, the monkey is still
holding his rock and there are two other monkeys on chairs waiting. In the four next
pictures, the doctor fills up a shot and injects the monkey while the monkey holds the rock
and closes his eyes. When the monkey opens his eyes, the shot is finished. The last picture
shows the monkey on desk enjoying a dish of peas. There are two other animals with their
dishes.

If small children are invited to predict the text for wordless pictures, they will usually
provide poor narrative. Each kid will use his imagination and create his own story which
may be different from others‟.
3.2. The Analysis
3.2.1. Clauses and Clauses Complex Analysis
The analysis of the text into clauses and clause complexes can be done as follows:
(1) ||| One day the pirate Modi was out (2) || running errands with his mom. |||
(3) ||| They shopped for groceries (4) || and ate peas at his favorite restaurant. |||
(5) ||| Then the pirate Modi's mom said, (6) || "Oh yes, we need (7) || to stop off at the
doctor's office for a quick checkup." |||
(8) || The doctor checked Modi's heart, his blood pressure, and his knees. ||
(9) ||| Then he explained (10) || that Modi would come back the next day (11) || and get a
quick shot, (12) || to protect him from scurvy or something. |||
(13) || The pirate Modi did not like shots. ||
(14) ||| That evening his father came home (15) || and Modi told him all about the visit to
the doctor. |||
(16) ||| Modi's father said, (17) || "Modi, I know of something [[ that can help you ]] (18) ||
Take this map and my fastest pirate ship (19) || and find it. (20) || Also, if you stay very still
for the doctor (21) || you can have some ice cream.” |||
(22) ||| So Modi followed the map through the wildest seas, (23) || and climbed up
volcanoes [[ filled with fiery lava ]], (24) || and sneaked past creatures so terrible [[ that


16

they will not be described in this book ]], (25) || until he reached an icy castle at the top of
the mountains. |||
(26) || Inside, he found a great crab wizard on a crab wizard throne. ||
(27) ||| The crab wizard spoke these words, (28) || "Monkey Pirate, because you have
braved many obstacles (29) || to get here (30) || I will give you this rock. (31) || When you

get a shot, (32) || you must squeeze the rock very tightly, (33) || and count to three. (34) ||
You will be magically taken into the future [[ where the shot will be finished ]]. (35) ||
Also, you can have some ice cream after." |||
(36) ||| The pirate Modi thanked him (37) || and sailed back home (38) || to get some
sleep. |||
(39) || The next morning, he took the rock with him to the doctor's office. ||
(40) ||| The doctor hummed a little song (41) || and filled up Modi's shot. |||
(42) ||| Modi closed his eyes very tightly, (43) || squeezed the rock as hard [[ as he could ]],
(44)|| and counted 1, 2, 3! |||
(45) || The crab wizard was right! ||
(46) || The shot was finished. ||
(47) || The Brave Monkey Pirate was now immune to scurvy and some other stuff. ||
(48) || And he had ice cream on the way home. ||
If my analysis is correct, the text consists of 48 clauses which make up 19 clause
complexes. The clauses in the clause complexes are in both paratactic and hypotactic
relations but there are more clauses in paratactic relation than those in hypotactic relation,
which shows clauses‟ interdependence. Their semantic relations are of elaboration,
extension, and enhancement. Four clause complexes (III, V, VIII, XI) are of quoting and
quoted relation characterizing the dialogic portion of the text. Table 1 represents the
clauses and clause complexes of the text.
Boundary Markers used for this text analysis:
||| : clause complex boundary
||

: clause boundary

Type of dependence:
Logico-semantic relations:

(1.1) (1.2) (1.3) …

paratactic relation

(α) (β) …
= : elaboration

hypotactic relation

+ :

extension


17

x
”:

: enhancement
projection/locution (wording)

I, II, III … : Number of clause complex in the whole text

Others:

(1), (2), (3) … : Number of clause in the whole text
1, 2, 3 … : Number of clause within a clause complex

Table 1. Clauses and Clause Complexes
I

(1)

||| (1 α) || =

1

(1β) |||

2
II

(3)

||| (1.1) || + (1.2) |||

1
2
III

(5)

||| (1.1) || ” (1.2α) || x

1

(1.2β) |||

2
3

IV

(8)

|| (1.1) ||

1
V

(9)

||| (1α) || ”

1

(1β1) || +

2

(1β2α) || x
(1β2β) |||

3
4
VI

(13)

|| (1.1) ||

1
VII

(14)

||| (1.1) || + (1.2) |||

1
2
VIII

(16)
1

||| (1.1) || ” (1.2) || = (1.3) || + (1.4) || + (1.5α )
|| x (1.5β)

|||


18

2
3
4
5
6
IX

(22)

||| (1.1) || = (1.2) || = (1.3α) || x

1

(1.3β) |||

2
3
4
X

(26)

|| (1.1) ||

1
XI

(27)
1

||| (1.1) ||

” (1.2α) ||

= (1.3α1) || + (1.3α2) || = (1.4) || + (1.5) |||

x

2

x
(1.2βα) || x

3

(1.3β)||
(1.2ββ) ||

4
5
6
7
8
9
XII

(36)

||| (1.1) || + (1.2α) || x

1

(1.2β) |||

2
3
XIII

(39)

|| (1.1) ||

1
XIV

(40)
1
2

||| (1.1) || + (1.2) |||


19

XV

(42)
1

||| (1.1) || + (1.2) || + (1.3) |||

2
3
XVI

(45)

|| (1.1) ||

1
XVII

(46)

|| (1.1) ||

1
XVIII (47)

|| (1.1) ||

1
XIX

(48)

|| (1.1) ||

1
3.2.2. The Analysis of the Text in Terms of Transitivity, Mood and Theme
1.

One day

the pirate

was

out

Attribute

Modi
TRAN

Circumstance

Carrier

Process: relational

MOOD

Adjunct

Subject

Finite

Residue
THEME

Predicator

Mood

Complement

Residue

Theme

Rheme

2.

running

errands

with his mom

TRAN

Process: material

Range

Circumstance

MOOD

Predicator

Complement

Adjunct

Residue
THEME

Rheme

3.

They

shopped

for groceries

TRAN

Actor

Process: material

Circumstance

MOOD

Subject

Finite
Mood

THEME

Theme

Predicator

Adjunct
Residue

Rheme


20

4.

ate

peas

at … restaurant

Process: material

Goal

Circumstance

Complement

Adjunct

and

TRAN
MOOD

Finite

Predicator

Mood
THEME

Residue

Theme

Rheme

5.

Then

the pirate Modi‟s mum

said

TRAN

Circumstance

Sayer

Process: verbal

MOOD

Adjunct

Subject

Residue
THEME

6.

Finite

Predicator

Mood

Theme

Residue
Rheme

“Oh yes

we

need

TRAN

Senser

Process: mental

MOOD

Subject

Finite

Predicator

Mood
THEME

Residue

Theme

Rheme

7.

to stop off

at the doctor‟s office

for a quick checkup”

TRAN

Process: material

Circumstance

Circumstance

MOOD

Predicator

Adjunct

Adjunct

Residue
THEME

Rheme

8.

The doctor

checked

Modi‟s heart, …, and his knees

TRAN

Actor

Process: material

Goal

MOOD

Subject
Mood

THEME

Theme

Finite

Predicator

Complement
Residue
Rheme


21

9.

Then

he

explained

TRAN

Circumstance

Sayer

Process: verbal

MOOD

Adjunct

Subject

Residue
THEME

10.

Finite
Mood

Theme

that

Actor

MOOD

Subject

Residue
Rheme

Modi

TRANS

would

come

Process: material
Finite

back

the next day

Circumstance

Circumstance

Adjunct

Adjunct

Predicator

Mood
THEME

11.

Predicator

Theme

Theme

Rheme

and

get

a quick shot

TRAN

Process: material

Goal

MOOD

Predicator

Complement
Rheme

THEME

Theme

Rheme

12.

to protect

him

from scurvy or something

TRAN

Process: material

Goal

Circumstance

MOOD

Predicator

Complement

Adjunct

Residue
THEME

Rheme

13.

The pirate Modi

TRAN

Senser

MOOD

Subject

did not

like

Process: mental
Finite

Predicator

Mood
THEME

Theme

shots
Phenomenon
Complement
Residue

Rheme