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Cover/Feedback sheetTo be completed by the student:

Student number: UP681371 Unit title: Theory and Practice ofApplied Linguistics

Assignment title: Text analysis

Due date of submission: 18/01/13

Word count (excluding texts):3337

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Systemic Functional Analysis of Spoken and Written Registers

Introduction of texts and methods of analysis

The first text in this document, is a news report

extracted from a popular ESL course-book co-authored by Jack C

Richards and Chuck Sandy. The report concerns a bridal gown

boutique and the subsequent affects its unsatisfactory service

has had on brides-to-be. The article, which was originally

produced by the BBC has been adapted for use by EFL learners,

and when compared to articles-in-press, the differences are

striking with respect to complexity and structure. One could

maintain that for classroom purposes, adaptation could be a

reasonable approach to take. However, with an increasing

number of learners and teachers with the point of view that

authentic language is what is needed in classrooms rather than

artificial materials, one could argue that heavy adaption can

have a negative rather than positive effect on learning. This

notwithstanding, course books are still the dominant method of

instruction for many context-removed learners, schools and

language centres. Therefore, the utilization of these in the

most effective way possible is something many teachers are

required to do in their day to day teaching practice.

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The second text is also from the same EFL publication,

but differs from the first in that it is a transcript of a

radio show from a listening exercise on a similar topic.

Specifically, how unhappy customers can deal with the services

or products they are dissatisfied with. Although the analysis

was carried out on a written text, it is identifiable as

spoken register. In addition, the radio show only involves two

active participants, although there are also a substantial

amount of references made to the audience which are clearly

identifiable. This contrasts with the other text in terms of

thematic development, which is further defined in the

comparison of the two texts.

Methods of analysis

A Transitivity and Theme/Rheme analysis was applied with

the goal of identifying the participants, processes and

circumstances and then comparing how patterns of these

constituents are realized in the Theme/Rheme analysis

throughout the texts. The justification for using these

analytical tools was pedagogical in nature. L2 Learners often

have difficulty in identifying various constituents in

clauses, which can lead to confusion. Analysis of the

participants and processes, followed a comparison of

Theme/Rheme analysis should assist in illuminating the

possible choices writers and speakers make in discourse.

Furthermore, once patterns are identified, they can be adapted

and used in the classroom to inform, or even provide the

theoretical underpinning for activities and tasks for

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learners. For example, once participants, processes and

circumstances have been labelled, learners can identify the

Theme of T-units and look for cohesive ties or patterns

throughout the entire text. This could help learners

understand the importance of variety when making thematic

choices in writing. As Halliday describes, “Theme is the

element that serves as the point of departure of the message;

it is that which locates and orients the clause within its

context” (p. 89). Once the Thematic portions of text are

identified, the participants and processes can be compared and

analysed. The results from this analysis could then be

reviewed and provide examples in order to inform L2 learners

of how to add variety to written work.

Transitivity analysis of adapted BBC report

As shown in appendix 1, material processes are dominant

throughout the text. This reveals the fact that the report is

primarily concerned with tangible actions or goings-on, the

participants and the circumstances. (Eggins, p. 335).

Furthermore, the text also realizes a number of reported (or

projected) clauses, which is also typical of the journalism

register. The reported clauses reveal both relational and

material processes, which help to realize the choices made by

the writer to include the thoughts, actions and feelings of

the participants in the article. In addition, the actor/goal

positions vary through the text, although the number of

inanimate goals feature more highly than human in goal

position. These elements in goal position are realized by the

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main participants in the article (brides and shop owners), in

all but one case (… the guests). A further aspect of the text

is the minimal use of cognitive processes, which feature only

three times throughout report. This indicates the text is

concerned with reporting actual events and actions in contrast

to ideas and abstract elements.

Existential processes feature only twice in the article,

although one interesting point with regard to this is that in

each instance the process emphasises a participant (wedding

gown, clause 18 and the Davises, clause 28) who has not

fulfilled an obligation. For example, in the case of the gown,

it did not arrive on time, and in the case of the Davises,

they did not fulfil their promise to the bride.

Verbal processes also feature throughout the article,

although considerably less than material processes they carry

equal weight to relational attributive processes. This

indicates a focus on the projection of locutions as opposed to

ideas which are generally represented by mental processes.

Halliday defines locutions as ‘[a] representation of the

content of a verbal clause’ (p. 509). This construes a certain

emphasis by the writer on material actions which are usually

present in reports of this nature. Thompson, further

classifies verbal processes as ‘intermediate between material

and mental processes’. (p. 106), and as the intention of the

analysis is to inform pedagogical practice, a clear

understanding of the intermediate points between the inherent

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fuzziness among processes could provide great assistance in

aiding learners in reading comprehension.

As Halliday explains, ‘relational processes construe

change as unfolding ‘inertly’ without an input of energy”, (p.

260). These are exemplified by the verbal groups of the

copular ‘be’ and auxiliary verb ‘have’. These processes are

realized by ‘the dresses’ as participants in relation to

problematic instances and human participants who have been

adversely affected by the wedding shop’s service. Moreover,

the use of attributive relational processes are chosen

exclusively over identifying processes, which clearly

illustrates the descriptive nature of the report.

The representation of changes as the text unfolds are

marked by the choices the writer makes by the placement of

circumstantial elements in a clause-initial position. For

example, in clause 8 the writer makes a conscious choice to

begin the clause with the circumstantial element ‘After her

second visit’ which indicates a future explanatory segment of

a sequence of events. This also creates an anaphoric reference

back to the previous clause which realizes an implied

agreement between the bride and the dressmakers. Moreover,

this could potentially reveal valuable information for

learners who are developing writing skills by exemplifying

which constituents are acceptable other than the traditional

constituents such as pronouns and subject conflating elements,

and how these circumstantial constituents can provide

additional information to the processes.

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Theme/Rheme Analysis of BBC report

The thematic progression of the report realizes topical

Theme choices as dominant throughout the text. In clause one

through six, the writer introduces the main participants of

report, and the use of lexical cohesion can be identified from

the first clause onwards. For example, in clause three, the

use of the possessive determiner ‘their’ is an anaphoric

reference to ‘brides’ in the preceding clause. This form of

reference is dominant throughout the text. One interesting

aspect in the article, is the inclusion of the journalists own

reference in clauses 3, 28, 35 and 37 (we), which signal a

change in the flow of the text and also illustrate the

inclusion of the journalists as participants involved in the

investigation. Thompson explains the inclusion of the writer

or speaker in the text as an indication of the texts register

(p. 136). This form of reference also allows the text a

certain documentary consistency, in which the writer expresses

events in a way which brings the article into the ‘here and

now’. Furthermore, the cohesive devices reveal a zigzag

pattern, with constituents in the Rheme element being

consistently chosen in the following Theme position and

realized consistently by personal pronouns and determiners.

For example, the choice of ‘this’ in Theme position in clause

9, refers back to a circumstance of events, ‘fittings being

cancelled or delayed’ as opposed to a participant. This

indicates an anaphoric reference, which can be difficult for

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L2 learners to realize, and provide important examples for

placing certain constituents in Theme positions.

Radio show transcript Transitivity analysis

Similar to the BBC report, the choice of material

processes are dominant through the text, although one of the

more striking patterns is the number of other processes

featured in the text. The material processes in the early

clauses indicate an expert figure providing advice, and a

descriptive narrative of what usually occurs when people

complain. This realizes the genre as a talk radio show which

has the ultimate goal of advising listeners of what to do in

certain situations. An interesting point in this text, is the

moment when the host switches from the initial advice segment

and frequently observed situations to the introduction of a

guest speaker who then acts as the main participant of the

interaction, although the host still remains clearly active

interjecting at pivotal points during the guests turn to

speak. Relational attributive processes feature most

prominently next to material processes. The host includes a

number of these processes to describe the relationship between

abstract elements such as feelings and the participants during

the preliminary stages of the show. In addition, from a

structural perspective, these are realized by interrogative

clauses, which give an interactive mood to the discourse, as

the questions are directed at the implied listeners. The guest

speaker also makes a conscious choice to include attributive

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processes in describing the problems he encountered in a

restaurant. These realize the relationship between the

speaker’s feelings and the quality of the service.

Verbal processes are also realized throughout the text

from early in the introduction. One interesting aspect of the

inclusion of verbal processes from the host’s perspective is

the choice to embed the processes to give additional

information to the main clause. For example, in clause 15, an

imperative clause (‘get this straight’…) realizes the main

process while the verbal process adds emphasis to the

preceding clause (‘before you complain’…)

The table of results in appendix 2 also show mental

processes as featuring highly throughout the interaction. Of

these, desiderative processes are the dominant choice for both

host and guest. This reveals the context to be one where

participants are expected to make decisions, which in turn

realizes the interactive mode of the text, in which

participants are clearly involved with one another in

discourse. The cognitive processes which do not feature as

highly as the desiderative process clearly realize the

listeners participation in the early interaction with the

host, as he/she uses the process to indicate the choices

listeners have in certain situations where they are

dissatisfied.

Behavioural and existential processes are only realized

once in the text, and in both cases signal a change in

direction. In the case of the behavioural process, the host

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indicates an emotive response to the guest’s description and

chooses to embed the behavioural process within a mental

process. This indicates a subliminal request from the host

which is intended to prompt a reaction or response from the

guest speaker, which in this case it does (I nearly did…).

The only instance of the existential process choice realizes

the three ‘rules’ of complaining and signals the beginning of

an extended list of events, in this case a list of rules and

advice connected to the rules. This again, indicates an

interactive mode between the host and the implied target of

the advice (you, the listener)

Theme/Rheme analysis of Radio show

The host makes consistent thematic choices, by placing

either the topical theme as first constituent in declarative

clauses or the predicator in imperative clauses. In addition,

the use of multiple choice constituents in Theme position,

which utilize interpersonal and textual elements to signal the

progression of the text. For example, the choice of finite

verbal operators in numerous yes/no interrogative clauses to

realize interaction with the listeners, and the use of

conjunctive adjuncts (‘However’, clause 22) to indicate a

hypotactic link with the following clause. The use of various

interrogative and imperative clauses also construe the nature

of the register as interactive and indicates discourse between

host, guest and implied listeners. The majority of imperative

choices in Theme position are directed at the implied

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listeners as the people who will carry out the action and only

on one occasion does the guest use the choice of imperative

with the sub-category ‘let’s’ , in which the implied doer of

the action is both the guest and the host (Thompson, p. 152).

The host also switches from declarative to imperative in

clause 4 which indicates a change in the direction of the text

from descriptive to instructional, which is realized, again,

by the choice of the sub-category of ‘let’s’ realized by the

imperative clause.

The thematic progression of the text is realized by the

consistent pattern of anaphoric reference and the use of

personal. For example, in clause 4, the imperative use of

‘let’s’ points back in the text to the constituent ‘we’ in the

preceding clause. This pattern is consistent throughout the

extract and as the text unfolds, and reveals a zigzag pattern

of reference between the constituents.

Comparison of Transitivity patterns in News Report and Radio

Show

Although both texts realize material processes as

dominant, one noticeable difference is the higher volume of

material process (15) in the news report in the first twenty

clauses compared to the lower number in the radio show extract

(6). The interesting aspect is the fact that in the radio

extract, material processes are realized mainly by imperative

and interrogative clauses as opposed to declarative clauses in

the news report. This construes a more interactive mode for

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the radio extract and indicates an implied doer of the

commands compared to the less interactive and more descriptive

mode of the news report, and gives exemplary reference as to

the register of the text. In the early stages of the radio

extract, the choice of relational attributive processes are

extensively used to introduce the various reasons why

listeners may be dissatisfied with either services or

products. One possible reason for the use of these processes

is to serve as an introduction to the following part of the

programme. Furthermore, this would seem to serve as a catalyst

for the realization of a more concrete example in the form of

a guest speaker who provides his own detailed account of

dissatisfaction. In contrast, the location of relational

attributive processes in the news report are distributed from

very early on in the text and introduce the relationships

between the implied listeners and their possible grievances.

This choice of process, which Halliday describes as ‘clauses

which model experience as ‘being’ rather than ‘doing’ or

‘sensing’ (p. 259) sets the tone for the guest speaker, who

then provides a concrete example of a real life situation. In

contrast to the choice of relational processes in the radio

extract, the news report realizes its function in a more

descriptive manner to relate the state of both animate and

non-animate participants as results of actions by other

participants. For example, in the case of animate participants

in clause 11 the bride describes herself ‘I was worried…’ and

in clause 22 (although realized through an embedded clause)

‘the dress would be ready’. The choice of relational processes

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in this case indicate the text as unfolding but due to past

events, whereas the radio host seems to use relational

processes to interact with the listeners. This illustrates the

impact of choice in Transitivity and how it can enable the

writer/speaker to succinctly emphasise meanings in messages.

The choice of mental processes in the news report carry

equal weight with concerns to cognitive processes, although

the interesting aspect of the radio show is the inclusion of

both desiderative and emotive processes. The host makes an

active choice in using these clausal constructs realized by

interrogative mood structures. This, again, gives the text a

spoken, interactive tone as opposed to the structured news

report. For example, in the radio show, interrogative and

imperative choices such as ‘what do you want to happen?’, ‘get

this straight’ indicates a sense of an expert giving advice.

Verbal processes, feature equally in both texts, but have

also been chosen to realize different elements. The news

report, as one would expect, utilizes verbal processes to

report (or project) speech made by participants involved in

the situation, in contrast the radio show participants use

direct verbal processes to move the interaction forward. For

example, in the news report we can clearly see the use of

speech marks to indicate where speech acts are projected in

instances where the writer feels a direct quote by a

participant is necessary. However, in the radio show, the host

uses verbal processes realized by interrogative and imperative

mood structures directed at the implied listeners to list the

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possible courses of action. This again, gives an indication to

the contrast of registers in both texts. One as written and

one as spoken.

Theme/Rheme comparison of News Report and Radio Show

The choices of elements in Theme position reflect the

register of each text, which both writer and speaker realize

through thematic choices as events in discourse unfold. In the

radio extract, there are a substantial number of imperative

and interrogative elements realized in Theme position, which

gives the text a less formal tone. For example, a clear choice

of omitting any form of nominalization in the interaction

indicates the nature of a more conversational discourse. In

contrast, the exclusive use of declarative clauses in the news

report, which include higher instances of marked forms,

indicate a more carefully structured and formal written

account of events. In both texts, the writer and speaker use

lexical repetition to maintain cohesion. In the radio extract,

the host uses multiple Theme choices with elements from the

preceding Rheme constituent to introduce both questions and

commands, in contrast to the news report, which the writer

uses repetition to keep track of the various participants as

the report unfolds and moves forward to the next participant.

In addition, there is also a clear choice of grammatical

repetition such as conjunctive adjuncts which signal how

clauses fit with their preceding counterparts (Thompson, p.

162). A further aspect of the radio show is the nominal use of

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the implied ‘you’ with regards to the listeners of the show.

This accounts for fifteen instances where the topical Theme

choice conflates with the subject in Theme position. This

clearly construes the tone of the text as one which is

designed to give advice and realizes a more interactive mode

than that of the news report.

In summary, the two texts could provide a valuable amount

of information which could assist L2 learners in the

development of their skills. By careful analysis, both

intentions and meanings can be deciphered through the

systematic labelling of participants, processes and

circumstances, and then tracking these through a Theme/Rheme

analysis to reveal choices writers and speakers make through

lexical and grammatical repetition, conjunction and

thematization. It is the intention of this paper to reveal the

underpinnings of meanings behind the choices writers and

speaker make and how these can be meanings can be utilized in

the classroom by both teachers and learners. In the first

text, the writer’s choices in both Transitivity and

Theme/Rheme clearly reveal both ideological meanings by giving

the report a sense of right and wrong, in contrast to the

radio show extract, which the analysis reveals as more

interactive in nature with indications of advice and spoken

instances of events which have taken place. These aspects of

language can be difficult for L2 learners to grasp and can

take considerable time in analysing in Systemic terms. But

with careful adaptation, teachers can both inform themselves

by carrying out analysis and provide valuable practice for

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leaners by using the results from the analysis to improve

tasks and activities for use in the classroom.

BibliographyEggins, S. (2004). An Introduction to Systemic Functional Linguistics 2nd Edition.

New York: Continuum International Publishing Group.

Fontaine, L. (2013). Analysing English Grammar A Systemic Functional Introduction.New York: Cambridge University Press.

Jack C Richards, C. S. (2008). Passages. New York: Cambridge University Press.

M.A.K. Halliday, C. M. (2014). Halliday's Introduction to Functional Grammar. New York: Routledge.

Saraceni, M. (2013). Meaningful form: transitivity and intentionality. Oxford Journals, 164-172.

Thomas Bloor, M. B. (2004). The Functional Analysis of English A Hallidayan Approach. London: Arnold Publishers.

Thompson, G. (2014). Introducing Functional Grammar Third Edition. New York: Routledge.

Appendix 1: Transitivity Analysis

1. [Circumstance: time] Every year, [Circumstance: degree] More than300,000 [Actor] brides [Circumstance: location] in the UK [Process:material] go shopping [scope] for the perfect gown [actor/ellipsis]

2. [The gowns] [ Process: material ] to help make [Beneficiary] their[Goal] wedding [Circumstance: manner] a perfect day.

3. [Actor] We [Process: material] caught up with [Goal] furiousbrides

4. [Sayer] [the brides] [ Process: verbal--- ] who would like to ask[Receiver] Verna and Robert Davis,

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5. [Actor] the people who [Process: material] run [Goal] the ‘It'syour wedding day’ shop [Circumstance: location] in Thornbury,England

6. [---Verbiage] Why [Beneficiary] they [Process: material] didn’t get[goal] their dresses [Circumstance: manner] in time – or at all

7. [Actor] Heather Molloy [Process: material] paid [Scope] £650[Recipient] to the Davises [Circumstance: purpose] for a deposit onher dress.

8. [Circumstance: location/time] After her second visit, [ Senser ] she [Process: mental: cognitive] realized [phenomenon] Verna Davis wasnot measuring up to her expectations.

[Actor] Verna Davis [Process: material] was not measuring up[scope] to her expectations

9. [Sayer] Heather [ Process: verbal ] said, “[Carr:-] I [ Process: relational: attributive ] had [ -:ier ] several fittings [Attribute]cancelled or delayed [Circumstance: matter] for different reasonsand different excuses

10. and [ goal ] [ situation ] this [Process: material] went on[circumstance: extent] for a period of time.

11. [Carrier] I [Process: relational: attributive] was [Attribute] worried

12. because [Actor] I [Process: material] was supposed to pick up[Goal] my wedding dress [Circumstance: time] two weeks [Circumstance:location] before the wedding”

13. and [Sayer] she [ Process: verbal ] said , "No, no [ Actor ] [ you ] [Process: material] do not [circumstance: manner] worry.

14. [Carrier] Everything [Process: relational: attributive] is going to be[Attribute] OK.”

15. [Goal] The ceremony [Process: material] was planned,

16. [Goal] the cake [Process: material] was chosen,

17. [Goal] the guests [Process: material] were invited,

18. but there [Process: existential] was still no [existent] weddingdress.

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19. Finally, [ Circumstance: time ] on the night [ Circumstance: matter ] before her wedding,

20. when [ Actor ] she [Process: material] was supposed to be having[Goal] dinner [Circumstance: accompaniment] with family andfriends,

21. [Recipient] Heather [process: material] got [Goal] the call

22. [Actor] [The Davises (subject ellipsis)] [Process: verbal] to say[Verbiage] her dress would be ready.

[Carrier] dress [Process: relational: attributive] would be[Attribute] ready.

23. However, when [ Actor ] she [Process: material] got [Circumstance:place] there,

24. [Carrier] the dress [Process: relational: attributive] still wasn't[Attribute] ready.

25. [Sayer] The Davises [Process: verbal] promised [Verbiage] to workon the dress all night

26. and [Actor] [They] [Process: material] deliver [goal] it[circumstance: manner/time] first thing in the morning of the bigday.

27. [Circumstance: manner] after a sleepless night, [ Carrier ] Heather [Process: relational: attributive] had [Attribute] just two hoursto go [circumstance: matter] before her wedding

28. <and> There [ Process: existential ] was still no sign of the[Existent] Davises.

29. [Circumstance: condition] with only one hour to spare, [ Actor ] Heather [ Circumstance: manner ] finally [Process: material] cut [Goal]her losses

30. [Actor] she [Process: material] went [Circumstance: location] to thenearest [Goal] wedding shop

31. and [Actor] she [process: material] bought [goal] a replacementdress [circumstance: location] off the rack

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32. [Actor] She [Process: material] never even got [scope] a refund[Circumstance: matter] on her deposit.

33. [Sayer] We [Process: verbal] also spoke [Receiver] to RobynBrown,

34. [Actor] [Robyn Brown] who [Process: material] is getting [scope]married [Circumstance: time] two days from now.

35. [Senser] She [Process: mental: cognitive] didn't know [Phenomenon]whether or not

36. [Beneficiary] [She] [Process: material] would receive [goal] herdress [Circumstance: manner] on time.

37. <So> [ Actor ] she [Process: material] already bought [Goal] areplacement.

38. <What’s more>, {minor clause?}

39. [ Actor ] Rachael Thorpe [Process: material] took [Goal] theDavises [circumstance: location] to court

40. <After> [ acto r] they [Process: material] supplied [beneficiary]her <with> [Carrier] a bodice

41. <That> [Process: relational: attributive] was [Attribute] defective

42. <And> [Actor] [it/the bodice] [Process: material] did not evenfit [goal] her.

43. [Sayer] We [Process: verbal] have asked [Recipient] the Davises[Verbiage] for a statement regarding the complaints,

44. <but so far>, [ Actor ] they [Process: material] haven't issued[Goal] one,

45. <And> [ Senser ] we [Process: mental: cognitive] are wondering[Phenomenon] if they will.

[If] [Actor] They [Process: material] will [issue/ellipsis proper][goal] [a statement/ellipsis proper]

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Table 1: Summary of Processes and Circumstances in BBC NewsReport

Processes CircumstancesMaterial 29Mental:- Manner 7Cognitive 3 Matter 4Relational:- Purpose 1Attributive 7 Location 7Verbal 7 Extent 1Existential 2 Time 4Total 48 Total 24

Table 2: Summary of Transitivity roles in BBC News Report

Transitivity roles

Reporter/writer brides

Dressmaker / weddingshop

dress situation total

Actor + goal 1 10 5 - - 16

Actor –goal/+scope

- 3 1 1 - 5

Beneficiary - 3 - - - 3

Sayer 2 2 2 - - 6

Senser 1 1 - - - 2

Carrier - 3 - 2 1 6

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Recipient - 1 2 - - 3

Receiver - 1 1 - - 2

Existent 1 1 2

Goal - 2 2 7 1 12

Total 4 26 14 11 2 57

Table 3: Summary of Theme/Rheme Clauses

Theme/Rheme Analysis

Unmarked 27

Marked 9

Actor/process in Theme Position 31

Circumstance in Theme position 5

Imperative 0

Declarative 37

Interrogative 0

Appendix 2: Theme/Rheme Analysis of BBC News Report

1. Every year, More than 300,000 brides in the UKgo shopping for the perfect gown

Theme: multiple: marked: declarative Rheme   2. to help make their Wedding a perfect dayTheme: multiple: unmarked: declarative Rheme

3. We caught up with furious brides

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Theme: unmarked: declarative Rheme   

4. WhoWould like to ask Verna and RobertDavis

Theme: multiple: WH-relative: unmarked: declarative Rheme   

5. The peopleWho run the 'It's your day' wedding shop

Theme: unmarked: declarative Rheme   

6. Why they didn’t get their dresses in time -or at all

Theme: multiple: WH- relative: unmarked: declarative Rheme   7. Heather Malloy paid £650 to the Davises for a

deposit on her dressTheme: unmarked: declarative Rheme   8. After her second visit, She realized Verna Davis was not

measuring up to her expectationsTheme: multiple: marked: declarative Rheme   9. Heather “I

SaidHad several fittings cancelled or delayed for different reason and different excuses,

And this Went on for a period of timeI was worriedBecause, I was supposed to pick up my dress

two weeks before the wedding”Theme: projecting: unmarked: declarative

Rheme

10. and she saidTheme: projecting: unmarked Rheme

11. “No, no, [you] Don’t worry.Everything is going to be OK.”Theme: multiple: unmarked: declarative: projected Rheme   

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12. The ceremony was plannedTheme: unmarked: declarative Rheme   13. The cake was chosenTheme: unmarked: declarative Rheme   14. The guests were invitedTheme: unmarked: declarative Rheme   15.but there was still no wedding dressTheme: unmarked: declarative Rheme   16. Finally, on the night before her wedding, when

She was supposed to be having dinner with friends and family

Theme: multiple: marked: declarative Rheme   

17. Heathergot the call to say her dress would be ready

Theme: unmarked: declarative Rheme 

18. However, when she got thereTheme: multiple: unmarked: declarative Rheme   19. The dress still wasn't readyTheme: unmarked: declarative Rheme   

20. The Davises promised to work on the dress all night

Theme: unmarked: declarative Rheme   

21. and deliver it first thing in the morning of the big day

Theme: unmarked: multiple: declarative Rheme   

22. after a sleepless night, Heather had just two hours to go before her wedding

Theme: marked: multiple: declarative Rheme

23. and there was still no sign of the DavisesTheme: unmarked: declarative Rheme

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   24. With only one hour to spare, Heather finally cut her lossesTheme: multiple: marked: declarative Rheme   25. She went to the nearest wedding shopTheme: unmarked: declarative Rheme   

26. and [she]bought a replacement dress off therack

Theme: multiple: unmarked: declarative Rheme

27. She never even got a refund on her deposit

Theme: unmarked: declarative Rheme   28. We also spoke to Robyn BrownTheme: unmarked: declarative Rheme   

29. Whois getting married two days from now

Theme: unmarked: WH- relative: declarative Rheme   30. She

didn't know whether or notTheme: unmarked: declarative Rheme

31. She Would receive her dress on timeTheme: unmarked: declarative Rheme   32. so she already bought a replacementTheme: multiple: unmarked: declarative Rheme   33. What's more, Rachael Thorpe took the Davises to

court after they supplied her witha bodice that was defective

Theme: multiple: WH-relative: marked: declarative:        

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34. and [it] didn't even fit herTheme: multiple: unmarked: ellipsis: declarative Rheme   35. We have asked the Davises for a

statement regarding the dressesTheme: unmarked: declarative Rheme   36. but so far, they haven't issued oneTheme: multiple: unmarked: declarative Rheme   37. and we, are wondering if they willTheme: multiple: unmarked: declarative Rheme

Appendix 3: Transitivity analysis of Radio Show extract

1. Host: [Minor clause] <Hello and welcome to The Complaints Coach,> where [ Actor ] we [Process-:] help [Goal] you [-: material] complain [circumstance: manner] effectively and efficiently.

[Sayer] You [Process: verbal] complain [Verbiage] effectively and efficiently

2. <Now, before> [ Recipient ] we [Process: material] take [Goal] any calls,

3. [ Actor ] let's just [Process: material] run through [Goal] the golden rules [circumstance: matter] of complaining.

4. There [ Process: existential ] are [circumstance: quantity] only [Existent]three,

5. <so> [ Goal ] they [Process:-] aren't [circumstance: manner] tough [-: material] to remember.

6. Number one: [ Carrier ] [ You ] [ Process: relational: attributive ] be [ Attribute ] clear [Circumstance: location] in your own mind [Circumstance: purpose] about why you are dissatisfied.

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[Carrier] You [Process: relational: attributive] are [Attribute] dissatisfied.

7. [ Process: relational: attributive ] Are [ Carrier ] you [Attribute] unhappy [Circumstance: cause] about the way you were treated?

[Actor] You [Process: material] were treated

8. [ Process: relational: attributive ] Are [ Carrier ] you [Attribute] annoyed [Circumstance: matter] about someone's behaviour?

9. [ Process: relational: attributive ] were [ Carrier ] they [Attribute] rude or careless?

10. Were [ Recipient ] you [Process: material] sold [Goal] defective goods?

11. [ Identifier ] What [Process: relational: identifying] went wrong [Identified: subject ellipsis] [for you] [circumstance: quality] exactly?

12. <Rule number two: > [ Carrier ] [You] [ Process: relational: attributive ] Be [Attribute] clear [circumstance: location] in your own mind

13. <what> [ Senser ] you [Process: mental: desiderative] want [Phenomenon] to happen [Circumstance: purpose] as a result of this complaint.

14. Do [ Senser ] you [Process: mental: desiderative] want [Phenomenon] an apology, a different decision, a refund, or a replacement?

15. [ Senser/subject ellipsis ] [You] [ Process: mental: cognitive ] Get this straight [Phenomenon] before you complain

[Circumstance: manner] before [Sayer] you [Process: verbal] complain

16. – [ Carrier ] it [Process: relational: attributive]'s [Attribute] important –

17. and make sure [ Sayer ] you [Process: verbal] tell [Receiver] the person you are complaining to [verbiage] what result you want.

[Phenomenon] What result [Senser] you [Process: mental: desiderative] want

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18. < Finally, rule number three: > [ Process: mental: cognitive ] Find out who [ Senser ] you [Phenomenon] should complain to.

[Verbiage ...] Who [Sayer] You [Process: verbal] should complain [… Verbiage] to

19. [ Actor ] You [Process: material] should, of course, try to resolve [Goal] the problem [Circumstance: matter] directly with thecompany involved.

20. <For instance>, [ Process: material ] by [ actor/ellipsis ] [ you ] returning [Goal] the faulty product [circumstance: location] to the store where [ Actor ] you [Process: material] bought [Goal] it.

21. [ Actor ] You [Process: material] should either take [Goal] your complaint [Circumstance: location] to the relevant senior manager or to customer service.

22. [ Actor ] This [ method ] subject ellipsis ] [Circumstance: extent] usually[Process: material] works.

23. <However,> if [ Actor ] it [Process: material] does not [work/ellipsis proper],

24. [ Senser ] you [Process: mental: cognitive] may want to consider [Phenomenon] taking it further

[ Actor ] ( You ) [Process: material] taking [Goal] it [Circumstance: manner] further

25. <By> [ Actor ] ( You ) [Process: material] contacting [Goal] the authorities

26. Or, [ Actor ] you [Process: material] might want to give [Receiver] us [Goal] a call,

27. as [ Actor ] Chris [Process: material] has done [Circumstance: time] this evening.

21. <Hello, Chris.>

22. Chris: Hi. Well, [ Sayer ] I [Process: verbal] would like to complain [Target] about this restaurant-

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23. Let's [Process: verbal] call [Target] it [Verbiage] the Golden Noodle.

24. [ Actor ] I [Process: material] go [Circumstance: location] in [Goal] there

25. <And> [ Circumstance: time ] right away [ Carrier ] I [Process: relational: attributive] am [Attribute] annoyed.

26. [ Sayer ] Nobody [Process: verbal] says [Verbiage] hello,

27. [ Sayer ] Nobody [Process: verbal] offers [Verbiage] to take my coat.

28. <Then> [ Actor ] we [Process: material] get put [circumstance: location] right by the door of the kitchen,

29. [ Actor ] people [Process: material] coming and going [Circumstance: location] past our table [Circumstance: time] all the time.

30. When [ Recipient ] we finally [Process: material] get [Goal] a chance [Circumstance: matter] to order,

31. [ Circumstance: result ] It turns out that [ Carrier ] they [Process: relational: attributive] are [Attribute] out [circumstance: matter] of practically everything on the specials menu.

32. Host: [ Senser ] I [Process: mental: emotive] am surprised [Phenomenon] you didn't walk out.

[Behaver] You [Process: behavioural] didn’t walk out

33. Chris: [ Actor ] I [Process: material] nearly did. [Walk out] [Ellipsis]

34. [ Actor ] I [Process: material] very nearly did. [Walk out] [Ellipsis]

35. <So> [ Goal ] the food [Process: material] eventually comes.

36. [ Carrier ] It [Process: relational: attributive] is [Attribute] overcooked, too salty, a disaster.

37. <When> [ Goal ] the check [Process: material] came, [Actor] they [Process: material] had already added [Goal] the tip!

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38. Host: <Right.> so what do [Senser] you [Process: mental: desiderative] want [Phenomenon] to happen, Chris?

39. Chris: [ Senser ] I [Process: mental: desiderative] want [Phenomenon]them to stop doing those things!

40. Host: [ Actor ] You [Process:-] will not be eating [Circumstance: location] there again, [-: material] will you?

41. Chris: Well, of course [ Actor ] I [Process: material: ellipsis] [will[eat]] [there again]. [Token] It [Process: relational: identifying] is [value] my favourite restaurant!

Table 4: Summary of processes and circumstances in Radio Show extract

Processes CircumstancesMaterial 27 Manner 4Mental:- Matter 5Cognitive 3 Quantity 1Desiderative 5 Purpose 2Emotive 1 Location 8Relational:- Extent 1Attributive 10 Cause 1Identifying 2 Quality 1Behavioural 1 Time 3Existential 1Total 58 Total 26

Table 5: Summary of Transitivity roles in radio Extract

Transitivity roles

Host

Guestspeaker

Listeners

Situation

Method

Restaurant/service/food

Total

Actor +goal 1 1 7 - 1 1 11

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Sayer 1 2 - - 2 5

Senser 1 2 6 - - - 9

Carrier 1 5 - 1 3 10Recipient 1 1 1 - - - 3

Receiver 1 - - - - 1 2

Existent - - - - 1 - 1

Value - - 2 - - 1 3

Goal 1 2 4 6 13

Total 4 6 24 2 7 14 57

Table 6: Summary of Theme/Rheme clauses

Theme and Rheme Analysis

Unmarked 48

Marked 1

Actor/process in Theme Position 31

Circumstance in Theme position 1

Imperative 9

Declarative 32

Interrogative 7

Appendix 4: Theme/Rheme analysis of radio show extract

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1.Hello And welcome to the complaints coach

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Theme Rheme

2. where we help you complain effectively and efficiently

Theme: multiple: WH-relative: unmarked: declarative

Rheme

   3. Now, before we take any callsTheme: multiple: declarative

Rheme

   4. let's just run through the golden rules of

complainingTheme: unmarked: imperative

Rheme

   5. There are only threeTheme: unmarked: declarative

Rheme

   6. So they aren't tough to rememberTheme: multiple: declarative

Rheme

   7. [rule] number one, Be

clear in your own mind about why you are dissatisfied

Theme: imperative: unmarked

Rheme

   8. Are you Unhappy about the way you were treated?Theme: yes/no interrogative: unmarked

Rheme

   9. Are you Annoyed about someone's behaviour?Theme: yes/no interrogative: unmarked

Rheme

10. Were they Rude or careless?Theme: yes/no interrogative: unmarked

Rheme

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   11. What Went wrong exactly?Theme: WH-interrogative: unmarked

Rheme

   12. Rule number two, Be

clear in your own mind what you want to happen as a result of this complaint

Theme: imperative: unmarked

Rheme

   13. Do you Want an apology, a different decision, a

refund, or a replacement? Theme: interrogative: unmarked

Rheme

   14. Get this straight before you complain Theme: imperative: unmarked

Rheme

   15. It 's important Theme: unmarked: declarative

Rheme

   16. and make sure you tell the person you are complaining to what

result you wantTheme: multiple: imperative

Rheme

   17. Finally, rule number three, find out

Who you should complain to.

Theme: imperative: unmarked

Rheme

   18. You should, of course, try to resolve the

problem directly with the company involvedTheme: unmarked: imperative

Rheme

   19. or for instance, by [you]

returning the faulty item to the store where you bought it

Theme: multiple: unmarked: declarative

Rheme

   

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20. You Should either take your complaint to the relevant senior manager or to customer service.

Theme: imperative: unmarked:

Rheme

   21. This [method] usually worksTheme: unmarked: declarative

Rheme

22. However, if it doesn'tTheme: multiple: unmarked: declarative

Rheme

 23. You may want to consider taking it further by

contacting the authoritiesTheme: unmarked: declarative

Rheme

   24. or, you might want to give us a callTheme: multiple: unmarked: declarative

Rheme

   25. as Chris Has done this evening, < hello Chris. >Theme: multiple: unmarked: declarative

Rheme

   26. Hi, well I would like to complain about this

restaurantTheme: multiple: unmarked: declarative

Rheme

   27. Let's Call it the ‘Golden noodle’Theme: unmarked: imperative

Rheme

   28. I go in thereTheme: unmarked: declarative

Rheme

   29. and right away, I'm annoyedTheme: multiple: marked: declarative

Rheme

   

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30. Nobody says helloTheme: unmarked: declarative

Rheme

   31. Nobody offers to take my coatTheme: unmarked: declarative

Rheme

   32. Then we get put right by the door of the kitchenTheme: unmarked: declarative

Rheme

   33. people coming and going past our table all the

timeTheme: unmarked: declarative

Rheme

   34. When we finally get a chance to orderTheme: unmarked: declarative

Rheme

   35. It turns outTheme: unmarked: declarative

Rheme

   36. that they 're out of practically everything on the

specials menuTheme: unmarked: declarative

Rheme

 37. I 'm surprisedTheme: unmarked: declarative

Rheme

   38. you didn't walk outTheme: unmarked: declarative

Rheme

   39. I nearly didTheme: unmarked: declarative

Rheme

40. I very nearly didTheme: unmarked: Rheme

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declarative   41. So the food eventually comesTheme: multiple: unmarked: declarative

Rheme

   42. It 's overcooked, too salty, a disasterTheme: unmarked: declarative

Rheme

   43. When the check cameTheme: unmarked: WH- relative declarative

Rheme

   44. they 'd already added the tipTheme: unmarked: declarative

Rheme

   45. <Right.> So, what Do you want to happen, Chris?Theme: multiple: WH- interrogative

Rheme

46. I want them to stop doing those thingsTheme: unmarked: declarative

Rheme

   47. You Won’t be eating there again, will you?Theme: yes/no interrogative

Rheme

   48. Well, of course I willTheme: multiple: unmarked: declarative

Rheme

  49. it 's my favourite restaurantTheme: multiple: unmarked: declarative

Rheme