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Lingüística literaria - Unit 3 - Prof. Patricia Green — Transcript

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0:02[music]
0:10>> Hello, it's me again.
0:12This is a continuation of video one,
0:15unit three, narrative prose fiction.
0:18And in this video, I am going to present
0:23the basic tools that one of the models
0:27that I have chosen for stylistic
0:29analysis of narrative prose.
0:32Let's see if I can amplify this window
0:36for myself. Thank you. There we are.
0:39And basically, what what I'm going to
0:41introduce is one of the models through
0:44which you can employ the tools of this
0:48model
0:49to analyze a particular text that is
0:53going to be part of your practical
0:55exercise
0:56uh unit three.
0:58This exercise will be um conducted in
1:02terms of of groups. It's not going to be
1:05a forum, and it will require the
1:08analysis of a particular text in prose
1:12narrative from a novel or a short story
1:16in which you are required to uh choose a
1:21framework, a stylistic framework for the
1:25analysis of this narrative prose.
1:28And apart from choosing the model, you
1:31have to state the grounds or the
1:33rationale for your choice
1:36uh in relation to the I would say the
1:40basic
1:42features, aspects
1:44both linguistic and uh literary and of
1:49course discursive
1:51in terms of
1:53the narrative focus of this uh
1:57particular text you're going to analyze
1:59and this narrative focus
2:01has of course the second part of the
2:05analysis the articulation of a narrative
2:08stylistic model together with the first
2:12part that we have already performed in
2:15the analysis of poetry which is the
2:19I would say
2:21surface level of the rhetoric of the
2:23poetics of stylistics
2:27that is to say the tools the stylistic
2:29tools that are
2:32used or employed or are foregrounded in
2:35the text as the product of
2:39as Jacobson has said also the
2:42manipulation
2:44of the author choice
2:48or selection of the units in thematic
2:51units in the sentence
2:53and
2:55together with the
2:57combination
2:59both the selection of the units in the
3:02syntagmatic
3:04segment of a sentence plus the
3:08combination
3:10of these units are projected into the
3:13narrative of the text
3:15and even though I have already
3:18introduced the most important
3:22theoretical frameworks of both
3:24textualist and contextualist I have not
3:27dealt into the authors proper because
3:30there are many authors that
3:34produce or provide frameworks for both
3:37contextualist and for textualist
3:41analysis
3:42claiming of course in that textualist
3:46approach to the text combines
3:50uh formalist
3:51uh tools of the frameworks of Shklovsky,
3:55of Vladimir Propp, of
3:59of these um
4:01textualists in the first income you have
4:04uh Barthes.
4:06Um
4:09also we are going to
4:11um
4:12have an array you are going to have an
4:14array at your disposal in the
4:16bibliography for this exercise which is
4:19unit three, exercise three in the
4:22bibliography. Uh say uh Stockwell and
4:25Carter, say Simpson which is a is very
4:29complete.
4:30And uh
4:31you have um Leech and Short as well.
4:35Both
4:36uh both uh I would say all three
4:39authors, all three texts, that is to say
4:42works, combine or offer models of both
4:47textualist and contextualist approaches
4:50that configure the stylistics of prose
4:53narrative.
4:55So first of all
4:56I'm going to um
4:58share
4:59present a small uh PowerPoint here.
5:04Can you all see?
5:05Okay.
5:08So in this PowerPoint
5:11which I'm going to present
5:16Let's see if you can see it here or not.
5:19It takes some time, sorry.
5:22Until it appears.
5:24There we are. This is unit three,
5:26stylistics in prose.
5:29In prose narrative. So the aim is to
5:31provide some um I would say a a little
5:35trajectory into what are
5:39those tools at our disposal from these
5:43contextualist and textualist approaches
5:46that beforehand have already been framed
5:50theoretically
5:52by the new formalist in Europe and the
5:56Russian formalist of course in Russia,
5:59plus the new critics and their tenants,
6:03their principles towards the stylistic
6:07of text analysis
6:10um together with what I've already
6:13explained in the previous video
6:17the
6:18type of approaches purely
6:21uh
6:22approaches
6:24uh of stylistics or literary linguistic
6:26approaches that conceive the text in
6:30terms of narrative prose fiction, which
6:32is of course similar but different to
6:35poetry.
6:37The styles or the frameworks for
6:40stylistic analysis for poetry, you're
6:42going to see that are um
6:45perhaps a combination
6:47of these other frameworks that you're
6:49going to see in this video, but as I
6:52stated the most uh important difference
6:55difference between prose and poetry,
6:57which is
6:59the referential framework of the telling
7:02of a story and the telling and showing,
7:05which are aspects of uh the sequential,
7:09the segmental and the syntactic aspects
7:13of narrative prose fiction together with
7:17the elements of salience and topicality,
7:20which are the focus or the the most
7:23important factors that you take into
7:26consideration before
7:29even choosing the model that I'm going
7:33to present now. Why? Because in every uh
7:38chance that we have
7:39for writing a stylistic analysis of a
7:42prose narrative text
7:44from an extract from a novel, and this
7:47will serve the poor purposes of
7:49articulating this stylistic model with
7:52any other interdisciplinary
7:55field of knowledge, like
7:58post-colonialism,
8:00like feminism, like um
8:03ecocriticism,
8:05uh
8:05like posthumanism, any other frame or
8:10epistemological
8:13uh
8:13knowledge uh dimension or field of
8:17knowledge will give you
8:20conceptual tools, right? Which together
8:24with the analytical tools
8:28that provide stylistic models of prose
8:32narrative fiction will help you to
8:35enrich your analysis in terms of of of
8:39uh choosing, I would say, a text or in
8:42terms of choosing
8:44what orientation do you want to give
8:47your master thesis, right? So, consider
8:51stylistics a very important dimension
8:55in providing technical uh right
9:00methodological and analytic tools of
9:03analyzing the function of language
9:07through the
9:09m- manipulation of its linguistic
9:12devices and functions
9:15in questions of selection and
9:18configuration
9:20and, of course, uh combination
9:24and also the stylistics in terms of what
9:29is style, if it's proper of an author,
9:31if it's proper of an era or a literary
9:35period, if it's uh uh
9:38questions of stylistic uh questions
9:41deriving from the topic of deviation or
9:44distortion, defamiliarization,
9:47foregrounding, backgrounding,
9:50uh well, etc. So,
9:53uh bear in mind that
9:55even if you have already
9:58um
10:00passed your courses on gender studies,
10:02on postcolonial studies, on whatever
10:05other seminar or other course you have
10:09taken in this master course, you can
10:12always apply the literal linguistic
10:15uh frameworks of knowledge, both the
10:18stylistic framework for analyzing texts,
10:22and the both contextualist and
10:24contextualist, plus
10:26another
10:28interdisciplinary
10:30field, I said feminist, Marxist, uh
10:34poststructuralist,
10:36uh culturalist,
10:39uh postcolonial
10:41framework to enrich the study of any
10:45novel um
10:47or any novels that you decide as your
10:51objects of study for your master thesis.
10:55Uh that's why I am explaining how these
10:59uh correlative subjects or courses
11:01you've been taking so far are, of
11:04course, in dialogue with one another.
11:08Stylistics in practice, the aim provides
11:10tools for stylistic research
11:13for a master's dissertation. And this is
11:15principally my objective, that is to say
11:18to orient you towards if
11:22you happen to like gender studies or
11:24postcolonial studies or Marxist or
11:26cultural studies, you can apply
11:29a theoretical framework of stylistics
11:33uh include and incorporate contextualist
11:36and contextualist models of analysis for
11:40your dissertation.
11:42Right.
11:43The research student in literary study
11:46uh can employ any of the models. Uh and
11:50style is, of course, known as a
11:52question, as I said, of author choice,
11:55foregrounding as deviation, indexical or
11:58a literary period. The stylistic
12:01approach to a to a narrative text
12:04uh depends
12:06inherent and utmost, the most important
12:11factor in the choosing, in the selection
12:15of a of a stylistic model of analysis,
12:17is a text itself. The text is already
12:21orienting you in all its elements,
12:25whether narrative elements of plot,
12:27character, narrator, type of narrator,
12:30focalization, type of events, type of
12:33chaining of events, type of speech
12:35discourse, uh type of uh um
12:40uh temporality, discursivity, etc.
12:43The text lies there,
12:47the object ready for your analysis. It
12:51depends on your competence, on your
12:53literary competence as a reader, as a as
12:56a student of literature, to um I would
13:00say choose, select the appropriate
13:03stylistic model for the analysis of
13:06narrative prose fiction.
13:09First of all, what you have to take into
13:11account is a type of prose narrative,
13:13right? And type of prose narrative is uh
13:17whether we are dealing with a
13:19description, whether we are dealing with
13:21a narrative proper, which includes
13:24description, telling and showing, but
13:26also includes telling in the form of
13:28narrative, whether it includes a
13:30dialogue, whether it includes a
13:32monologue, etc.
13:34The goings of both physical and the
13:36abstract world, the abstract world is
13:38the world of thinking, the world of
13:40ideas,
13:41the world of configuration of feelings,
13:44affect, etc. that are provided either by
13:48the narrator or by the protagonist or
13:52character via the narrate.
13:55Um
13:56and the physical world is the material
13:58world of a text, which is, of course,
14:00deployed in the axis of temporal and and
14:04place axis in terms of action
14:08and the rationale of the physical world.
14:11Uh what type of world material? The
14:14stylisticians and the questions on
14:16style.
14:18When you look at a text, you have to
14:21try to find
14:24if there are relations between the
14:27choices that you find most highlighted
14:31or relevant, that stick out of the text,
14:34whether it's a profuse use or employment
14:38of figurative language or a disruptive
14:42of of of the syntax or perhaps patterns
14:46of repetition or sentence construction
14:51or patterning.
14:52Whether these elements are foregrounded
14:56or highlighted already, they provide the
14:59source material that is going to orient
15:04you into the choosing of your accurate
15:07and appropriate uh
15:09stylistic model. Why do I say accurate
15:12and appropriate? Because I think that
15:14the selection of the model is of utmost
15:17importance in making the most out of
15:20your literary interpretation towards the
15:23end in your monograph, right? Okay.
15:27Then you have the type of stylistic
15:29model and approach. The stylist will
15:32choose a tool which triggers off the
15:34questions of style.
15:37Once you have Sorry, I'm going to drink
15:39some water.
15:45Excuse me. Once you have
15:48picked out those things
15:50that are relevant in the text and
15:52therefore
15:54highlighting,
15:56underlining, additional notes on the
15:58margin, this micro analysis of the text
16:02is fundamental in any critic because
16:06while you read, there is a critical
16:09appreciation and the reading is um
16:13surface reading and then becomes more
16:16intensive reading. But the surface mean
16:18the the surface meaning at first gives
16:21you at least a first glimpse of the
16:24text's major qualities or aspects.
16:28Right?
16:29Um you haven't chosen the model yet. You
16:32are just making notes on the margin.
16:34Um the margin
16:36of course
16:37this notes are not aleatory, are not
16:40arbitrary. They are configured in terms
16:44of analysis of paragraphs. Remember that
16:47the units of any
16:50uh text for analysis the units of
16:53analysis are of course framed within
16:56paragraph analysis because each
16:59paragraph gives you an idea and the
17:01successive argumentation or development
17:05of the argument of the author of the
17:08text in terms of successive paragraphs,
17:12finally weaves
17:15what we call the central idea or the
17:19most important
17:21important ideas which are
17:23paradigmatically
17:25in tune with your literal interpretation
17:30of what we call the discourse.
17:32Discourse, as I say,
17:34is an utterance in a context where there
17:37is a sender, an addresser, a receiver, a
17:41reader, audience at the other end, and
17:44there is a message. The message and the
17:48vehicle
17:49of conveyance of this message is,
17:53of course, the stylistic input that the
17:57writer or author is going to inscribe
18:02into the message. The way
18:05in which the message is configured both
18:08linguistically, stylistically in
18:11language, and narratively is, of course,
18:15the mode of interpretation of the reader
18:18at the end form, yes, at the other end.
18:24Who
18:25contextualizes reading, brings all the
18:29framework, yes, the horizons of
18:32expectations of a reader, the
18:34interpretative community, their
18:36authority
18:38in making meaning of what is already
18:41have been cropped as a literary text.
18:46And also
18:48the text itself and the author. If you
18:51know the author already, you are
18:53cognizant with the author's style in
18:55itself.
18:57So, all these things are brought to the
19:00fore before you choose the model.
19:03A choice in narrative prose style
19:05determines a certain way of reading the
19:07experience and experiencing that which
19:11is highlighted. I consider very
19:13important this because when you get
19:17together in groups,
19:19every single one of you, you're going to
19:21have groups
19:22which are going to extend up to three
19:25participants or members at the most, but
19:28each of you is going to
19:30contribute with a a different reading or
19:33perhaps similar readings, but with
19:35different inputs. And this is the
19:37richness of the analysis. This This will
19:41contribute to the first and most
19:43important step before the analysis,
19:45which is a brainstorming, a think tank
19:49of ideas in between you three or between
19:51you two,
19:52and therefore saying, "Okay, which is
19:55the topicality? Which is the salience
19:58here? Which are the most important
20:01stylistic literal linguistic tools apart
20:04from the narrative style?"
20:07We come to an agreement. We say that
20:10there is a more highlighting of
20:13functional
20:14forms such as events, such as movements,
20:17such as actions,
20:19such as contracts, right? Or
20:22dysfunctionals
20:24in terms of how physical actions and
20:27physical strategies can change all of a
20:31sudden a moment, an event, a situation
20:34and caused by vocal moments all going to
20:38the analysis of Propp's
20:41typical structure of the
20:44narrative plot from his study of the
20:47four tales gives you already some
20:49indexal framework to apply if
20:55you're applying a what Propp has
21:00based his model on the
21:05functions, right?
21:06And Greimas had applied the syntagma as
21:11the unit of analysis, right? At the
21:13level of unit and more paradigmatical
21:17and also analyzing the contractual, the
21:22performance, and the disfunctionnel.
21:26Um
21:28I'm going to present now a narrative of
21:30analysis, uh stylistic analysis of
21:33narrative prose fiction,
21:36which is very much used and is very
21:38popular and it is
21:40great framework for understanding
21:45um both uh the functions of narrative
21:49and this is purely more focused on
21:53narrative stylistics than rather the I
21:57would say the aesthetics of narrative,
21:59because the aesthetics of narrative are
22:01bound to the units of narrative. That is
22:04to say, how is a sentence constructed?
22:07Now, the overall understanding of a
22:10narrative prose extract is, first of
22:14all, the sentences act the as the main
22:19units of analysis, like you have in
22:22poetry, the the units of analysis are
22:26the verses or lines,
22:28and the unit of meaning is the stanza,
22:31right? Structured as a paragraph in
22:35prose. The stanza, therefore,
22:39uh the link of ideas foregrounded by the
22:45I would say articulation of the axis of
22:49combination projected onto the axis of
22:52selection gives you through literal
22:55linguistic input an idea of meaning of
22:59the poem that is not subordinated to
23:02narrative poetry because just meaning of
23:04a stanza in fact talking about poetic
23:08language and no narrative framework here
23:12because even though as I said before in
23:14video one there are points subtypes of
23:18poem categories which are called
23:21narrative poems
23:23like we have in the lyrics like Jack and
23:25Jill went up the hill to fetch a pail of
23:28water Jack fell down broke his crown and
23:30Jill came tumbling after. That is a
23:33lyric and is of course in the form of a
23:35narrative.
23:36However,
23:38the units of analysis have to do with
23:41the types of
23:43stresses, the types of rhythm and the
23:46types of items and folds that is proper
23:50of a ballad, right?
23:53Going back to this, I am choosing
23:56Halliday's transitivity model because
23:59Halliday's contribution to narrative
24:03prose stylistics is of utmost importance
24:07in terms that he also enriches this
24:12model with the functional linguistics,
24:16right?
24:17Model of analysis.
24:20Which is implemented across many other
24:24disciplines like for example
24:27political discourse and social studies.
24:31And this is derived from
24:34Halliday's model systemic functional
24:37analysis SFL.
24:40Systemic functional analysis and
24:43for literature
24:45you can also apply systemic functional
24:47analysis and you have here what we call
24:50in other words the transitivity model
24:52which is the same thing. Well, what is a
24:55transitivity model? Sorry, I'm having
24:57tea at the same time.
25:01A transitivity model talks about the
25:04functions of language, whether
25:07the the verb function of a language is
25:10transitive or intransitive, direct or
25:13indirect. But also, it includes three
25:17axes of analysis of the functions of
25:19language, the textual analysis of the
25:23functions of analysis, the inter-
25:25personal
25:26analysis
25:28of the functions of language, and the
25:31ideational,
25:33what goes on in the mind. These three
25:36axes are the axes of
25:39Halliday's or Holiday's transitivity
25:43model. Because Halliday also is used in
25:47in French as Halliday, right? So,
25:49Holiday's transitivity model in terms of
25:52three axes, textual, interpersonal,
25:55ideational.
25:57Okay.
25:58These are the functions. What to apply
26:00these functions?
26:02The That is to say, how to apply them.
26:05When you consider the text, let's look
26:08at the processes where these functions
26:11become present in the verbs,
26:14in the participants, where the
26:16protagonist,
26:17the secondary characters, or the
26:19narrators,
26:21uh the circumstances or events that are
26:24characterized by adverbial or
26:27prepositional groups.
26:29Right?
26:31What type of processes, what type of
26:34functions these processes
26:37uh in a way classify.
26:39First of all, the types of functions
26:42that involve processes which
26:45uh implement material forces, forces
26:48that are tactile, that you can perceive.
26:51Uh all action forces is through the
26:54ball. We know it's a material action. I
26:57picked up an apple.
26:59The supervention processes are those
27:02processes that do not um, are not
27:05intentional, that they are not volitive,
27:08that they not depend on acts of
27:10volition, but are unintentional
27:14and that happen but do have a
27:17protagonist.
27:18They are not directed of a protagonist
27:21of an actor, but they are there
27:24exactly the actors or the protagonist,
27:27in this case the ball, inadvertently,
27:31unconsciously,
27:32not on purpose, unintentionally
27:36uh, fell over. I dropped the vase. The
27:39verb dropped, which is a supervention
27:42process, dropped. I dropped my glasses,
27:45I dropped a vase, I dropped a cup of
27:47soup of um, yes, the cup of soup.
27:50The bowl of soup means that there was no
27:53intention behind the action. You
27:56understand? This is the differentiation
27:58between the material and supervention
28:00processes.
28:01While both processes involve actions
28:04which can be classified as material, the
28:07difference between them is a volition or
28:10an intention behind them.
28:12The event processes are processes that
28:16describe events, right? The lake
28:19murmured.
28:20Uh, the wind murmured. The window
28:24rattled. These are, of course,
28:28events that encompass
28:30a material objects, right?
28:35These material objects are not persons,
28:38but objects uh, which are inanimate.
28:43Now we go to a sen
28:45Sorry, first we have the material
28:47processes. Now, we go to the mental
28:49processes and of course mental processes
28:52involve what we call
28:54the activities of the mind. And the
28:56activities of the mind are perceived in
28:59terms of the sensory experience. That
29:02which is the capturing of the outside
29:07uh, of of the external world via events,
29:11via movements, and our sensory organs
29:15touch, the feeling of sound, the
29:17perception of uh, taste, of texture, uh,
29:23visual. All these perceptions come in
29:26through our senses and are processed
29:29mentally.
29:30For the understanding
29:33of an event, for instance, um,
29:37I would say the cooking of a lovely
29:39chocolate cake and it appeals, we
29:41perceive the smell and already our
29:45cognitive processes of apprehension and
29:48making sense in our brain of that smell
29:52is comforting, effectively comforting.
29:56This is a process of cognition. That is
29:58to say, the internalization,
30:00the making sense of that sensory
30:04experience, which is also very pleasant,
30:07right? So, internalized and externalized
30:11mental processes. I give you just an
30:14example of an externalized mental
30:16process by which one sensory organ
30:21is, of course, put into motion, is uh,
30:26in activity in terms of perceiving the
30:30smell and the cognitive processes in the
30:33mind of the association of that smell of
30:36the cake baking with pleasure. Now,
30:40there are mental processes that also are
30:44external internalized. Um the
30:47externalized mental processes are the
30:50ways we express what we have in our mind
30:56outside our mind. That is to say through
30:59our language, through our speech.
31:02Expressions of speak, the sayer,
31:05the addressee, the protagonist,
31:09the agent, the target, which is at the
31:12end there is a target of our
31:15communication, of our message. That is
31:18the addressee, the audience, the
31:20listener, the reader. That is spoken, a
31:23descriptive term, a decision, an
31:25agreement. I'm going to go to the
31:27pharmacy. I cooked a plate of soup. I
31:31agree with you. Oh, let's do this.
31:33Right? This is all an external mental
31:37process
31:39in a way exemplified through direct
31:41speech.
31:43Now,
31:45um
31:46these mental processes, which are
31:48internal, the perceiving of the smell of
31:50a cake, which in turn by the cognitive
31:53process, gives you a sense of pleasure
31:57or affect,
31:58and the external processes by which our
32:01mind
32:03is going to say something about that
32:05feeling or that perception of the cake,
32:08how lovely, um you have a statement, you
32:13have um you are making me very happy
32:16because you have cooked a cake, or I'm
32:18going to eat it all. That's a decision.
32:21It's also externalized. My decision to
32:24eat the cake is verbalized and is
32:26illustrative of an externalized
32:30mental process. In this case, my
32:33volition, my choice of eating the cake.
32:38Second part, internalized mental
32:40processes. The perception processes, the
32:43reaction, and the cognition processes
32:46are different, right?
32:50In
32:51these um reference that we have
32:54uh of internalized mental processes, we
32:57have the perception,
32:59we have a reaction, and we have a
33:02cognitive response.
33:04These mental processes, first of all,
33:07are categorized as relational processes.
33:12And all involve you and me. In
33:17in what sense?
33:23That they relate the processes related
33:26to
33:28a being,
33:30and it could be just
33:32attributed existential
33:35or identifier.
33:38The types of relational processes that
33:41we have as mental processes,
33:45the existential
33:47ones are the ones that do not involve
33:52you We processed that there was a storm,
33:54but there was a storm, and there was no
33:57such thing as somebody creating a storm.
34:01Yes?
34:02Um it was a great day. The day was
34:05great, but nobody exactly was a cause of
34:09you made that day great. You understand?
34:12So, existential processes, in a way,
34:17perform
34:18a process of meaning, which is not
34:22activated by a person or an agent, but
34:26what but that it occurs
34:30per se.
34:32Just purely a factor of existence, yes?
34:37A product of being in this physical
34:40world, right?
34:42Um
34:45it is called um there was nobody
34:49of course, it doesn't imply a
34:51protagonist, an agent who does something
34:54physical, who has an intention to
34:56communicate, but it exists per se. was
35:00called.
35:01The attributed mental relational process
35:06is the one
35:07that
35:08already
35:10uh precludes an agent. As different to
35:14the existential, we have already an
35:17agent here performing
35:21um a relational process in terms of
35:25relating a kind of characteristic,
35:28attribute, or property to someone or to
35:32something. Example, T is practical.
35:36Practical is the attribute, the aspect
35:40that
35:41I would say factor that makes us
35:43special. Uh she is practical, she is
35:47somebody
35:48uh who is very versed in managing
35:51certain things. And this is
35:54um not something that involves a sender
35:59and a uh and a target at the end, but is
36:03only
36:04a mental relational process that relates
36:08somebody to one attribute, one
36:11characteristic, or one aspect, eh?
36:15He has an Alfa Romeo. Uh
36:20is also um I would say that to identify
36:24these that
36:25attributes, it is important, and I use
36:28them as cues to use um the mental frame
36:32of the direct object, even though the
36:35direct object is not an object per se
36:37material, but the way the syntactic
36:41uh the syntax is uh framed or configured
36:45gives you T is verb and what. You are
36:48supposed to say what. T is what?
36:51Practical. Uh he has what? An alpha
36:54ruler, right?
36:56Um so,
36:58all attributes,
37:00aspects, uh uh uh I would say
37:03characteristics respond to the question
37:07what. And foremost, they don't uh need
37:12um I would say a target at the end, but
37:16what they need is to frame the agent,
37:21the actor, she or he in terms of a
37:25characteristic,
37:26a description, a mark about him. No end.
37:31This is No, we don't have a sender and a
37:34receiver. We have only a protagonist
37:38whose characteristic
37:40is in terms of relational attributes. We
37:44know her by her beautiful voice, right?
37:47That is an attribute. She has a
37:49beautiful voice is a relational
37:53uh attributed process.
37:55The third type of process is the
37:57identifier process, where we already
38:01have a noun
38:04and we have another noun at the end of
38:07the sentence. So, the noun is
38:10I would say the first unit of the syntag
38:14in which the second noun is going to
38:18give you a quality of identity. Today is
38:22Sunday. Today is not just any weekday,
38:26but it's a rest day. Today is Sunday.
38:29Yes? Yes, okay. Um
38:35the Congress will be in the open. The
38:38Congress in the open, right? Identifies
38:41the mode in which the Congress is going
38:45to be deployed. Out in the open air or
38:47the Congress is going to be um hybrid.
38:52You understand? This is a quality
38:55but the quality in terms of
38:58contributing to framing more
39:02knowledge about that protagonist, that
39:05element.
39:07Um they are also states, relational
39:10states or relational processes
39:13related to processes
39:16of doing.
39:18Now, here we have an agent
39:20and we have an entity involved. So, here
39:24we have
39:26as an object, a direct direct object
39:29would be
39:31another person or another object. So,
39:33these relational processes are defined
39:38in terms of the type of relation that
39:41the protagonist, the agent, has with the
39:45object which is the end of a sentence,
39:48or direct object. Example:
39:50The types of relation are featured
39:54according to three
39:56factors. The factor [snorts] of
39:58intensity,
40:00the factor of possessiveness, and the
40:02factor of circumstance,
40:05right? So, the factor of intensity
40:09uh or is of connection
40:12is mainly
40:14framed by an adjective, right? That uh
40:18it gives you she behaved appallingly,
40:21yes? Um
40:24the
40:26the cons the concert was a very bad
40:29show. Also, it gives you an intensity
40:34of in terms of the quality of the
40:36concert, right? This this film was a
40:39best thriller ever.
40:41The quality of possession
40:43is also
40:45informing an agent
40:48and a target. And the target is in terms
40:52of the relation
40:54of the target to the
40:56agent. What type of relation is a target
41:01or direct object? The type of relational
41:04process is of possession.
41:07He has a beautiful style. She has
41:11a beautiful voice. She has a terrible
41:15person a character.
41:20And of course, it has to do with aspects
41:24of that agent.
41:26Uh the aspects
41:29are in terms of verbs as in the case
41:32intensive, they all involve verbs.
41:35And the second also they involve verbs
41:38because the verbs the quality of
41:40possession involves the verb has.
41:43And the second and the third category
41:46which is the relational process
41:49qualified by the circumstance which is
41:52also a verb in how in which manner or
41:56where or why a certain event occurred
42:01that frames knowledge that gives you a
42:04contribution of knowledge. For instance,
42:09they were outside. Okay, this is typical
42:13a circumstantial of place and adverb of
42:16place and adverbial of place.
42:18Um they were playing on the
42:22on the cliffs gives you first first of
42:25all a spatial
42:28um location and of course response to
42:33um a circumstance, but the circumstance
42:36can be framed in term temporal, spatial,
42:40manner, right? Uh
42:43accompaniment role
42:45etc. and cause. Um
42:51She was very rude to us. Very rude is
42:54also a circumstantial
42:57or adverbial of manner that deploys a
43:01relational process between she and us,
43:04right? [snorts]
43:06And the interface and with this by this
43:09I finish this uh practical
43:12uh analysis of what are the tools
43:14Halliday's tools for um the transitivity
43:18analysis of language which focuses on
43:21the processes on mental, on physical
43:24processes and on relational processes.
43:27Um the interface between the material
43:30and mental processes are those processes
43:33that cannot be either categorized as
43:36purely material or purely mental. So,
43:39and they are of course
43:42um
43:43they include an agent which behaves in a
43:46certain manner. It can be of course
43:50um a person, an individual
43:54and the process isn't terms of a verb
43:59which cannot be coined or cannot be
44:02pinned either to the dimension of
44:05material dimension
44:07of activities or either to the mental
44:11dimension. And I give you very
44:14very specific examples that are in the
44:18range of the affected dimension or the
44:21sensory dimension here.
44:24But mainly these are
44:27relational processes that have to do
44:32with
44:33the blending between the material and
44:36the mental
44:37in terms of qualifying the process,
44:41right? Neither nor, but they have
44:43aspects of both. What do they involve
44:47different to others? They involve an
44:49agent, right? So
44:52um
44:54beside heavily Okay, side means the
44:58realm which is physiological is part
45:00material, but at the same time it can be
45:03perceived in terms of a sound, right?
45:06Cry, breathe, perspire, pant, dream,
45:09fear, dread. And dread can be perceived
45:12by a face,
45:14a figure, facial, a mask. Worry also,
45:18looking concerned. And wonder, looking
45:22perplexed.
45:24All right. Here we come to our analysis
45:28that is to say to the actual
45:32application
45:34of these um
45:37model of um
45:39Halliday's model into this analysis
45:44of
45:45selection of a passage of a novel
45:48and
45:49uh we are going to see how we can
45:53apply
45:55the different
45:57uh processes, whether they are physical,
45:59material, relation, and in which way
46:03these processes together with the axis
46:07of selection projected onto the axis of
46:12Sorry, the axis of combination
46:14projecting
46:16over the axis of selection can be seen
46:19in the
46:20rhetorical or poetic level uh of
46:24literary linguistic use of language. So,
46:26we are going to analyze, and this is an
46:29example for you to take into account
46:32that what we are going to use here
46:35is
46:36an illustration of the application of
46:39this model to an analysis, first of all,
46:43an analysis of the text that comes after
46:46the description of what is a text like
46:48in terms of units of meaning, the
46:51paragraphs, um
46:53the language of the text in terms of the
46:56stylistic choices that author has made
46:59in the employment of language, and gives
47:02you a stylistic profile of the author
47:05and the intention in the stylistic
47:08manipulation of language, and the
47:10articulation of the style of the
47:12narrative, which are the models in which
47:16the narrative story,
47:19what is it about, this paragraph, and
47:21the sujet,
47:23uh the plot, that is to say, the
47:25sequence, the arrangement of the sick
47:29cans, the sentences unit, they are
47:32hierarchically
47:34positioning,
47:35they are hierarchically positioning,
47:38they are placing in the sentence, their
47:41intensity
47:43through uh sequencings and notations,
47:46salients, and of course their topicality
47:50or ideational quality
47:53in which
47:55every paragraph is going to be arranged
47:59by you in terms of what does each
48:02paragraph throw in terms of narrative
48:06topics, right? Which together with the
48:10literal linguistic or stylistic topics
48:13produced or deployed [snorts] by the
48:16rhetorics or stylistics of language
48:19proper
48:20are going to be articulated together
48:23to give you
48:25a glimpse, an idea of the type of
48:29literary discourse and its
48:31interpretation
48:33contextual from your own framework
48:36of reception of ideological, social,
48:40cultural and factors that interfere in
48:44your understanding and of course your
48:46reading. Okay, South Africa. The name
48:50used to be a cause of embarrassment, but
48:52now it means something else.
48:55Truly, we are a nation that defies
48:57gravity. We are playing in the final,
49:00the World Cup, today in Johannesburg and
49:03all over the country there is a giddy
49:05mood in the air, Boxall versus All
49:08Blacks.
49:09The eyes of the other nations gazing
49:11hotly.
49:14From 1:00 in the afternoon, there's been
49:16almost nobody in the streets.
49:19Suppliers of beer have been stockpiled
49:22and faces everywhere are bathed in a
49:24fluorescent glow.
49:27In the lounges and kitchens and
49:29backyards, in the restaurants and bars
49:31and public squares, people look at
49:33nothing but the game.
49:36Even those who don't like rugby, due to
49:39whatever deficiency in their characters,
49:42are watching today.
49:45It's no difference on the farm.
49:47At the laborers' cottages, a
49:50black-and-white set has been propped on
49:52a crate and over in the Lombard place
49:56Salome stares at them folding contest
49:59with a frown.
50:01She doesn't know the rules.
50:03All of it is noise and spectacle to her.
50:07Yet somehow it compels.
50:10From the doorway behind her, half in the
50:12next room, even Lucas pays grudging
50:16attention, hands stuck in his pockets.
50:20At the main house, the mood is queasy,
50:23blend of depression and excite-
50:25excitement, including nausea.
50:28Nor does the alcohol help, and the match
50:31so tense and thrilling, it's not enough
50:34to make you draw claw the furniture.
50:37Our boys are keeping it right, not
50:40letting the meat mountain join a limu
50:43through.
50:45But we're not scoring any tries either.
50:47It's just drop kicking a whole four-way
50:50point, pushing against points, little
50:52grains of victory and defeat.
50:55Behind the striving are willpower and
50:57flesh in perfect units.
51:00Straining and grunting and heaving, but
51:03also great longing for all its manpower,
51:06rugby
51:07is still a spiritual pageant
51:10in the end.
51:12And when we are in extra time, and every
51:15centimeter, every second matter, oh man,
51:20there are no words. And then Joe, Joe
51:22Stransky.
51:26Okay, let's see if I can move to the
51:30next.
51:34I'm going to put here
51:36to see if I can read
51:39to the selection.
51:41And it's us. And something will never be
51:44better than this moment.
51:46With everybody jumping and hugging at
51:49each other as strangers, celebrating in
51:52the streets, car hooting and flashing
51:54their lights.
51:56But then it goes even better
51:58when Mandela appears in the green
52:00Springbok rugby jersey to give the cup
52:02to Francois Pienaar. Well,
52:06that's something. That's religious. The
52:09beefy Boer and the old terrorist shaking
52:12hands.
52:14Who could ever
52:15My goodness. More than one person thinks
52:19back to that moment when Mandela came
52:21out of jail.
52:23Fist in the air just a few years ago and
52:27nobody knew what he could look like.
52:30Now his face is everywhere. Avuncular,
52:34friendly,
52:35stern but forgiving, all beaming down on
52:38all of us like Father Christmas
52:41just as he's doing right now. How not to
52:44shed a tear for a beautiful country.
52:47We are all as amazing as this moment.
52:52Well,
52:53a a beautiful
52:55a beautiful excerpt from a novel that I
52:59have chose
53:00properly for you to see what is it that
53:04or how with in which way will you
53:07implement this model, this transitivity
53:11model
53:12uh
53:13in a way configured by Halliday
53:16into your analysis of the narrative flow
53:19style amidst the articulation of the
53:23stylistic devices of language.
53:27First of all,
53:29a very important thing
53:32you have to understand. Well, if you
53:35don't know the author, try to place the
53:38text in the context of production.
53:41When does this event that the author is
53:44narrated take place?
53:47It is a representation of an event that
53:50took place in reality because it's
53:53giving that that is giving information.
53:56Okay, once you place the text in the
53:59context of production and reception, we
54:02can more or less independent whether you
54:05know or not the author, you can more or
54:08less proceed to furnishing the second
54:11factor.
54:12What is the story about? That is to say,
54:16here we are talking about the
54:19fabula. Who is the narrator? What is a
54:23narrator narrating in terms of plot
54:27events
54:28and in terms of telling, what is he
54:31telling?
54:33This question will frame every
54:37analysis of the units of meaning. What
54:40are the analysis of the units of
54:43meaning? Are the analysis of paragraph
54:46and paragraph. As you see here,
54:50there are three main paragraphs
54:54and the last paragraph, right?
54:57This is very important because there is
55:00no writing, no analysis
55:04previous to uh any analytical practice.
55:09So, here you have to underline, you have
55:12to highlight, you have to put marginal
55:15notes.
55:16First of all,
55:18input into the narrative stylistic that
55:22you're going to implement. Don't worry
55:25about the model, just look at the text.
55:28So, the first paragraph gives you the
55:31context temporal and of course
55:35uh spatial, right? This is South Africa.
55:38This is a rugby match, a world
55:41championship rugby match between the All
55:45Blacks from New Zealand
55:48and the Springboks from South South
55:50Africa.
55:51So, the narrator obviously is
55:55an individual narrating from South
55:58Africa, right? He is a South African.
56:01And so, we analyze the paragraph and the
56:04name South Africa is the topic of the
56:07sentence.
56:09It is the topicality. It is a salience,
56:13right? South Africa, the name used to be
56:15a cause of embarrassment, but now it
56:18means something else. This is already
56:20foregrounding.
56:22A- And I say foregrounding because
56:24actually foregrounding
56:26is already signaling to the features of
56:30style that the author is implementing in
56:35his linguistic choice, right?
56:37So, South Africa
56:40as a person, it embarrasses us, right?
56:43As an entity, it embarrasses us, but at
56:45the same time, it gives us cause for
56:48happiness, right?
56:50Um, but now I mean something else. We
56:53are all united now.
56:55Um, so, the conflict here is how to
57:00experience South Africa in terms of
57:03individuals, in terms of civilians, in
57:06terms of of uh, the apartheid, in the
57:09terms of the end of the apartheid with
57:11Mandela.
57:13Uh, things better or not, but all these
57:16are in the context of
57:19the major topic here, which is how
57:24an international cham- rugby
57:26championship frames the sense of
57:30identity
57:31um,
57:32that the author is uh,
57:35conveying through the narrator.
57:37So,
57:39let's start performing a stylistics of
57:43narrative. Who is a narrator?
57:46Uh what is he what is he narrating? What
57:50is this passage about?
57:52Um is there another person he is
57:55addressing? Who is the addressee? What
57:58type of discourse? Which is the
57:59narrative main level? The narrative main
58:02level is of course an autodiegetic
58:05narrator that is both character and both
58:09protagonist and narrator that narrates
58:12and is both character inside the story
58:15narrating how the people experience this
58:18triumph
58:20through the television watching of this.
58:23And of course it separates um the
58:26different spectators, no, that take
58:29place that take part in this viewing of
58:31the match and how the spectators react
58:34to the match. So, this is in terms of
58:37plot narrative. How does he segment the
58:41development of the narrative events?
58:45First narrative event is the first
58:48paragraph which is a topicality or I
58:52would say the salience here is
58:56giving the reader the context of the
59:00topic, right?
59:02The experience of watching this match,
59:04the experience of of being champions.
59:07And of course,
59:10in terms of stylistics of language, you
59:12have paramount, right? So, you're going
59:15to articulate both stylistics, literary
59:18linguistics of language articulated with
59:22stylistics of narrative. We are playing
59:25the final. We He is a narrator, but
59:28collectively there is a sense of unity.
59:31Who are they? Who is we? That you have
59:34to identify.
59:35Um the old cup of Johannesburg all over
59:38the country, there's a giddy mood.
59:41Okay, look look at the the adverbials
59:43here or the adjectives.
59:46Uh the eyes of other nations, right?
59:49This is of course
59:51a it could be a synecdoche, it could be
59:53a personific- the a personification
59:57of other nations as person gazing hotly.
1:00:01The choice of an adverbial here, why
1:00:04hotly?
1:00:05Of course, you can start looking at the
1:00:08processes, whether they are relational,
1:00:10whether they are material, or um
1:00:14Sorry, whether they are material,
1:00:16physical processes, or they are mental
1:00:18processes. From 1:00 in the afternoon,
1:00:21there's been almost nothing in the
1:00:22street. Oh, what's this? This is of
1:00:25course a process that is existential.
1:00:28There's nobody on the streets, right? It
1:00:31depends there, it's not intentional.
1:00:34Supplies of beer have been stockpiled.
1:00:36The use of of um
1:00:38passive voice, that is to say, there has
1:00:41been an agent here that has been um
1:00:44responsible for stockpiling the beers uh
1:00:48in terms of enjoying these beers during
1:00:50the match.
1:00:52And it's giving you a glimpse of the
1:00:55context of events in physical and
1:00:59temporal uh axis. This is very important
1:01:03in the first paragraph. So, the
1:01:05topicality
1:01:07here is situating both politically
1:01:12and spatially and temporarily within the
1:01:15context of Johannesburg,
1:01:18the experience of a match as
1:01:21first of all, experience
1:01:24uh the the conflicted
1:01:27the conflicted experience of watching
1:01:29the the match that is ambivalent in the
1:01:32sense that it calls for joy, but at the
1:01:35same time they feel embarrassed by the
1:01:37country's politics. And
1:01:40secondly,
1:01:42the uh large joyful experience that this
1:01:47entails, right?
1:01:49And how this context of celebration has
1:01:53been anticipated with a large amount of
1:01:58sentences which are purely descriptive.
1:02:01In the last three sentences, in the
1:02:03lounges, in the kitchens, backyards,
1:02:05restaurants, bars, public squares. Okay,
1:02:07this enumeration
1:02:10gives you a topic, an idea. All
1:02:13sentences, all syntagmatic units frame
1:02:19one idea. I'm talking about the
1:02:22narrative prose analysis through, if you
1:02:26want, transitivity model.
1:02:29Okay? So, um
1:02:31analyze what type of um
1:02:35what type of processes we have here. We
1:02:38have material processes, we have
1:02:40existential processes, we have mental
1:02:43processes. And in terms of identifying
1:02:48through examples,
1:02:49conclude with the idea that these
1:02:52processes foreground or convey. Which is
1:02:55a central idea after analyzing a couple
1:02:59of sentences
1:03:00or three sentences that are similar in
1:03:03terms of their structural patterning
1:03:06through the processes, that give you
1:03:08one, two, or three ideas that account
1:03:12for the topicality of the first sentence
1:03:15or the ideational essence of each
1:03:18paragraph.
1:03:20It's no different on the farm. Here, we
1:03:23have um what we call a change in the uh
1:03:28temporal also spatial. We're going to
1:03:30the farm, and this does not preclude to
1:03:34analyze it in terms of the protagonist
1:03:38or the narrator's proper experience, but
1:03:41in turn of the protagonist and narrator
1:03:43proper experience of looking at the farm
1:03:48as a as a the space, the the space as an
1:03:52other space, the marginal space of
1:03:55servants, right? Of those assistants to
1:03:59the farm, because this is a farm. They
1:04:02are the owners of the farm, and they are
1:04:04the servants uh living on the compound,
1:04:08but apart from the manor, apart from the
1:04:13uh the the house. Yes, from the home.
1:04:17And and here we have characters
1:04:19that uh
1:04:21in a way are
1:04:23described and narrated in terms of
1:04:26processes which are both physical and
1:04:29mental.
1:04:30Okay. It's no different on the farm,
1:04:33meaning that the experience is going to
1:04:36intersect laborers as well. This will be
1:04:40the topic
1:04:41heading. But in which way? In which way
1:04:45is what you have to analyze in the
1:04:48subsequent segmenting of the syntagmatic
1:04:51units of each of the sentences.
1:04:54Each of the sentences contribute to
1:04:57framing one idea of the experience from
1:05:01the perspective of the laborers. And
1:05:04here, as regards narrative styling, the
1:05:07narrator shifts perspective.
1:05:10Focalization becomes internal to Salome,
1:05:14how she feels, how she thinks, and also
1:05:18on to Lucas,
1:05:20who is her son, and how, as an
1:05:23assistant, yes, um
1:05:26on the farm, how he is going to devise
1:05:31or feel or be affected by this
1:05:34experience on TV. Does he feel the same
1:05:37as the owners of the farm?
1:05:39Nothing at the main house. Difference.
1:05:42Here, location is paramount, right? This
1:05:46is a farm. However, within the farm are
1:05:48divisions. Why are these divisions?
1:05:51These divisions are in terms of the
1:05:54social, political, and cultural
1:05:55circumstances of the apartheid. Still
1:05:58not solved altogether, because we see
1:06:01the fragmentation of uh the social
1:06:04groups, right?
1:06:06The
1:06:08First of all, the whites,
1:06:10yes,
1:06:13and the non-whites.
1:06:16The mood is queasy behind. So, we talk
1:06:19about mood here.
1:06:21Already the topicality, the science
1:06:23here.
1:06:24So, explain the mood. Not by
1:06:27paraphrasing what the narrator says, but
1:06:29in your own words, and quoting blend of
1:06:32depression, excitement, nausea, alcohol.
1:06:36Okay.
1:06:37This is a combination in a blend
1:06:41to give you a core idea of what kind of
1:06:44mood, apart from the selection,
1:06:49the axis of selection
1:06:51that the author has made in terms of
1:06:54literary linguistic side. Queasy blend
1:06:57of depression and excitement, the queasy
1:07:01blend, right? Is, of course, stylistic,
1:07:06purely, or literary linguistic, purely,
1:07:09in terms that he did not choose
1:07:13any just adjective for blend, or he did
1:07:19not choose to omit an adjective to the
1:07:23noun blend, but he incorporated a very
1:07:26problematic adjective in the
1:07:29articulation of depression and
1:07:31excitement, the sense of ambivalence of
1:07:33this experience inducing nausea.
1:07:37Okay?
1:07:38So,
1:07:39uh this experience is really something
1:07:44very, very uh disrupted on the one hand
1:07:49and on the other. That I leave it to
1:07:50you. Look at the use of language here.
1:07:54Purely the stylistics of
1:07:57literal-linguistics,
1:07:58not the narrative here style, but
1:08:02alcohol help and the match so tense and
1:08:05thrilling, it's not enough to make you
1:08:07claw the furniture. Look at the absence
1:08:11now through narrative style of
1:08:13punctuation marks. Why?
1:08:18Why where would the sentence the
1:08:21syntactic
1:08:23units end and where would they begin?
1:08:26Why there is a continuation
1:08:29and I would say disruption, a
1:08:31transgression of typological or
1:08:35punctuation marks. What is the clue to
1:08:39this? What is the effect in our reading?
1:08:41Right? And how many processes we have,
1:08:46whether material or mental and
1:08:50relational,
1:08:51that involve who or what?
1:08:55And before
1:08:58starting with the processes, you have to
1:09:00go the way round. Your analysis should
1:09:03never begin with an analysis of the
1:09:07sentence proper, of the line proper, or
1:09:11of the metaphor, or the linguistic, or
1:09:15semantic choice.
1:09:17Uh or the role of the narrator, or the
1:09:20focalization. You should never begin an
1:09:24analysis with that. You should start
1:09:26from a top-down analysis.
1:09:29Start with the idea, then go back to its
1:09:32illustration
1:09:34in the text. Quote from the text, close
1:09:38quotations, comment on the text, on that
1:09:41quotation proper, and close your
1:09:45argument or conclusion with a reflection
1:09:49on this illustration that you have
1:09:51provided. So, mind you,
1:09:54in the articulation of narrative
1:09:57stylistic analysis, we shall have to do
1:10:00with a narrative plot development, with
1:10:03a development of events, with the
1:10:05material processes, relational processes
1:10:08that involve entities which are uh human
1:10:12or non-human,
1:10:13inanimate or animate, right? And the
1:10:16processes which involve are mental,
1:10:20cognitive, or are a blend of the most
1:10:22material and mental processes,
1:10:25together with the analysis of the
1:10:29rhetoric or linguistics, uh literal
1:10:32linguistics of the language use in terms
1:10:35of um lexical selections,
1:10:38uh nouns, verbs, adjectives, uh
1:10:41figurative language, metaphors,
1:10:43personifications,
1:10:46uh the structure or disruption of
1:10:48syntactic items, graphology,
1:10:52uh typology,
1:10:54uh punctuation mark. How do these
1:10:56articulated findings
1:10:59give you an idea? From the idea proper,
1:11:04which one, two, or three sentences
1:11:08can produce, that is to say, sometimes
1:11:11we do not get
1:11:14a concept or the formation of an idea
1:11:17proper from the reading of one sentence.
1:11:20We have to go back to the topicality
1:11:24of the topic sentence that frames the
1:11:27first sentence of a paragraph.
1:11:29The mood, right? A description of the
1:11:33mood at the main house.
1:11:35At the the owners, right? The farm.
1:11:39And not the farmers, the owners. Right.
1:11:42Uh the laborers are on the compound
1:11:45because this is typical workforce of
1:11:48African farms divided into compounds
1:11:50which are marginal zones for laborers
1:11:53and the manor house. Right. The mood is
1:11:56a topicality, the salience, the main
1:11:58idea.
1:11:59How is this mood, which is, of course,
1:12:02selected by a
1:12:04very, very, I would say, important or
1:12:07relevant um
1:12:10I would say projection of an array of uh
1:12:15adjectives at our hand. Queasy
1:12:18is more an adjective that has to do
1:12:21with uh a personal feeling, right?
1:12:24However, this personal feeling, which is
1:12:27at the level of how we feel affectively,
1:12:30how we feel physically, uh in terms of
1:12:35uh mental or physical, a blend of mental
1:12:38and physical processes,
1:12:40is applied, projected onto the realm of
1:12:44narrative to describe mood. No longer
1:12:47for a person. I feel queasy. I feel
1:12:50irritable. I feel unsteady. Yes, I feel
1:12:54discomfort. Not projected to an agent,
1:12:56an individual, but used in form of
1:13:00metaphor here to project the
1:13:05axis of combination queasy and apply it
1:13:09to the noun of mood.
1:13:13Uh okay.
1:13:15How is this queasy uneasy mood blended
1:13:20of excitement and depression conveyed?
1:13:23Conveyed through one, two, three ideas.
1:13:26How do I get the ideas through an
1:13:28analysis of one, two, three sentences?
1:13:31Start framing this queasy blend of mood
1:13:36of excitement and depression by saying
1:13:38the idea one, the idea two, and the idea
1:13:41three. Then you start with the idea one,
1:13:44but by uh describing the idea in your
1:13:47own words, then illustrating the idea
1:13:50through uh a quotation in text
1:13:52quotation, then
1:13:54following the close um the end of uh
1:13:58inverted commas of the quotation, it
1:14:00follows your own commentary on the
1:14:03employment of certain linguistic or
1:14:06narrative devices of that proper
1:14:08quotation, and
1:14:10uh ending your
1:14:12um conclusion of that idea with a full
1:14:15stop on the interpretation of your own
1:14:17reading of that.
1:14:20And finally, we move to the last, now.
1:14:23And it's us. Again, topicality salience
1:14:27here. We move from ideas
1:14:31to explanation of how the central
1:14:35topical idea is subdivided
1:14:39into sub ideas or topics that are
1:14:42correlatively or subsequently
1:14:45deployed through the
1:14:47distinct syntagmatic units or sentences.
1:14:51So, and it's us. What about us?
1:14:54Two or three ideas. How are we feeling?
1:14:57Us, we. The narrator ready the stylistic
1:15:02framework of analysis. The narrator
1:15:05emphasizing the collective, the communal
1:15:10unity that now the laborers and himself,
1:15:15the owners of a firm, are all for once
1:15:18united
1:15:20uh
1:15:21thanks to this match. That is the only
1:15:23moment that makes them
1:15:27all in one.
1:15:29It They are not separated. They are no
1:15:31longer the other, right? They are no
1:15:33longer the owner and the laborer. Yes?
1:15:37These binaries are dissolved into the
1:15:40communal experience, a collective
1:15:43experience of a nation that is united
1:15:46through the foot the rugby match. Now,
1:15:52how is us?
1:15:53How is idea of us performed, conveyed
1:15:57here? Look at the amount of material
1:16:00processes. Jumping, hugging, celebrating
1:16:04in the streets. Look at the amount of
1:16:08temporal and spatial
1:16:10um factors here. Okay, the celebration
1:16:14is in indoors and outdoors, internal
1:16:17external. It is expanded. So, three
1:16:20ideas at least have to ground it's us,
1:16:25the communal experience of both the
1:16:29oppressed and the oppressors within the
1:16:32same experience. And look at
1:16:36if there are
1:16:38towards the end
1:16:40any mental processes here which can be
1:16:43relational
1:16:45um
1:16:46given to the ideological input of this
1:16:48last paragraph, no? Uh when he stops
1:16:52describing how the celebration is
1:16:55externalized and internalize inside
1:16:58outside the house
1:17:00um
1:17:01he talks about
1:17:03um the narrative goes into a peak,
1:17:07right? The climatic peak is where
1:17:09Mandela is going to
1:17:12uh in a way
1:17:13uh show the cup or give the cup offer
1:17:16the cup to Francois Pienaar, who is a
1:17:18team leader, yes, a captain.
1:17:21And look at the description of Mandela.
1:17:24Here we have not only a narrative, which
1:17:27is focalized externally
1:17:32but also uh an external focalization to
1:17:35say the Biffy Bor is the captain of the
1:17:40of the sorry,
1:17:42of the Springboks and the old terrorist.
1:17:47The old terrorist
1:17:48uh from which whose perspective he
1:17:51Mandela is a terrorist? Who is speaking
1:17:53here? Who is a narrator? So, this this
1:17:56us is a bit now dissolved. Here again is
1:18:00a master who sees Mandela as one
1:18:03terrorist, a political terrorist that
1:18:06imposed the political system of the
1:18:08apartheid on
1:18:10uh the population of South Africa.
1:18:14Who could ever look at phrases that are
1:18:17incomplete? My goodness. Look at the
1:18:20phrasing. Look at the graphological and
1:18:23and units. Look at the function of
1:18:28uh punctuation marks.
1:18:31And look also at the processes here.
1:18:33They are no longer material processes,
1:18:35but uh more than mental processes, more
1:18:39than one person thinks back to that
1:18:41moment when Mandela came out of jail,
1:18:44fist in the air just a few years This is
1:18:46a just a memory. It's part of a mental
1:18:50process. It does not belong to the
1:18:53narrative diegesis, that is to say, the
1:18:57main narrative of a text. It's just a
1:18:59mental process conformed or configured
1:19:03within the mind of a narrator.
1:19:06This is how stylistics of narrative
1:19:08prose through uh Halliday's functional
1:19:11system
1:19:13uh
1:19:14gives you a tool for analyzing how the
1:19:18memory disrupts this experience, and he
1:19:21recalls
1:19:23how he came out of jail
1:19:25um and nobody knew what he could look
1:19:28like.
1:19:28Now his face is everywhere.
1:19:31Uh this is also mental. He thinks about
1:19:34the popularity and the protagonism
1:19:37uh of Mandela.
1:19:40Look now at the choice, at the
1:19:42selection. Again, the axis of selection
1:19:47over the syntagmatic.
1:19:49Sorry, the axis of combination,
1:19:52which
1:19:54adjective, which I choose
1:19:57um
1:20:00to describe
1:20:01the face Mandela
1:20:04is um
1:20:06his face now at the moment of this uh
1:20:10celebration, right? Avuncular,
1:20:14friendly, stern, but forgiving, beaming
1:20:17down on over lost, like Father
1:20:18Christmas. Like Father Christmas.
1:20:21Stylistics or literary linguistics, a
1:20:24metaphor here.
1:20:26So, try to articulate
1:20:29how the focus now
1:20:31from us is disrupted.
1:20:35Us being the laborers on the farm, again
1:20:38disrupted into himself as the master of
1:20:42the house viewing Mandela as an object
1:20:46of study, a
1:20:48a transgressor, a terrorist, yes,
1:20:52a disruptive element in the history of
1:20:55the political history of South Africa.
1:20:58And his face now
1:21:00is in a way a projection
1:21:03of his mental, ideological
1:21:07uh I would say
1:21:09configuration of this hero, no, of the
1:21:13revolution. So,
1:21:15um I would just advise you now that in
1:21:19the last very long sentence of this um
1:21:23No, sorry. In the last three very long
1:21:26sentences of this uh paragraph, the and
1:21:31it's us is highly disruptive, right? The
1:21:34us becomes disrupted to me, my focus on
1:21:39him, right? And how is he perceived now?
1:21:42The hero for others, for him is a
1:21:45terrorist.
1:21:47How does he perceive it? And this
1:21:50perception
1:21:52is framed from three ideas, right?
1:21:57Uh the religious as the country, how the
1:22:00country in general claims it
1:22:03as a terrorist, a leader
1:22:05or whatever.
1:22:07As
1:22:08um
1:22:10coming out of the jail, acclaimed by the
1:22:12people, then in terms of his own
1:22:16internal perception of my Mandela,
1:22:19colored by his ideology and his position
1:22:22as master and owner of the farm is
1:22:26already a different idea.
1:22:30And you have to give name to that idea.
1:22:32A distorted idea, a conflicted idea, a
1:22:35problematic idea, a political framing
1:22:39of one who cannot decide whether to like
1:22:42him or not,
1:22:44to celebrate him or not, or to despise
1:22:46him.
1:22:47Okay. So, this is
1:22:50for
1:22:52most of you the end of this. Sorry, it
1:22:54has been long enough for you to have
1:22:57today. But,
1:22:59it is uh I would say
1:23:02uh a journey
1:23:03um
1:23:05I would say uh um an exploratory
1:23:07[snorts]
1:23:09exercise on how to start an analysis.
1:23:14Uh an analysis that
1:23:16of prose narrative that includes both
1:23:19the stylistics of poetics that we have
1:23:22implemented in unit one, that is the say
1:23:25the literary linguistic on the style, on
1:23:28the manipulation of language proper, in
1:23:31articulation with the
1:23:34narrative
1:23:35framework of stylistic analysis provided
1:23:39in this case by Halliday's functional
1:23:42model or systemic functional analysis in
1:23:45term of uh looking at narrative from the
1:23:49perspectives of processes, of kinds of
1:23:53processes, material
1:23:55and mental processes, and a blend of
1:23:58both.
1:23:59And also,
1:24:01um marking as very important before you
1:24:05start your analysis in groups of the
1:24:09texts I'm going to submit to you,
1:24:11each group will have a different text.
1:24:14Uh you will be able to read each other
1:24:17once you have published your your
1:24:20analysis of the text as a group, but
1:24:23mind you, the model you have you will
1:24:27select for the analysis
1:24:29is a model that is of course a product
1:24:33of your own examination of what is the
1:24:37the major aspects
1:24:40linguistic and narrative aspects that
1:24:43the text yields. Yes, the salience, the
1:24:47highlighting in aspects of literary
1:24:50linguistic styles or language or
1:24:53language manipulation and the narrative
1:24:57manipulation of plot, of characters or
1:24:59temporal or situational space or
1:25:05I would say fragmentation of time.
1:25:08Um
1:25:09I would say
1:25:11the sequences of events, the type of
1:25:14events, the type of processes, the
1:25:17narrative and the type of plot. What is
1:25:19the story about? Yes, the sujet, also
1:25:23how is the story
1:25:26this celebration of
1:25:29the cup
1:25:31of the international world championship
1:25:34for rugby in South Africa. How is it in
1:25:38terms of employment of narrative
1:25:40configuration? First talking about South
1:25:43Africa, then talking about the laborers,
1:25:47this perspective very focalized on the
1:25:49laborers.
1:25:50Thirdly,
1:25:52uh talking on how these divisions in in
1:25:56a way are bridged by the common
1:26:00celebration of the community, of the
1:26:02collective. At one moment we are one, we
1:26:06are us and then again
1:26:08the segregation, the disruption when the
1:26:11cup is given to Pienaar.
1:26:14Thank Thank much for listening and I
1:26:17hope it's not
1:26:18it has not been too much for you.
1:26:26>> [music]

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