Análisis del Discurso

Odd one out. Sentence word order is of capital importance for the organization of the information. The order in which sentences are put into texts, is crucial because this order will influence the hearer’s or reader’s interpretation of the whole discourse in question. The speaker/writer always has to choose a beginning point: what s/he puts last will influence the interpretation of the text which follows it.

The process by which the speaker/writer has to choose a beginning point and has to do with the linear organisation of sentences and texts. It is the process of choosing and organizing the theme of a clause to structure information in a way that reflects the speaker's communicative intentions and priorities. In systemic functional linguistics, ................ involves selecting elements to be placed at the beginning of the clause, thus making them the theme and setting the stage for the rest of the clause (the rheme). This process helps in highlighting certain pieces of information, creating coherence, and guiding the flow of discourse. Thematization. Tone unit. Pitch movement.

Out she came in a rush-which clause constituent has been thematized?. She. Out. Out she came.

Coming up is the latest news-which clause constituent has been thematized?. News. Coming up. latest news.

In discourse analysis, ......................... refers to the way information is organized and presented in stages or segments within a text or conversation. This concept helps to understand how speakers or writers structure their messages to guide the audience through the information in a coherent and logical manner. It involves breaking down the discourse into manageable parts, each serving a specific function, and ensuring that these parts are effectively connected to create a unified whole. It has to do with the linear organization of sentences and texts. Staging. Information structure. Thematic structure.

It involves the organization of information across larger stretches of discourse, beyond individual clauses or sentences. It deals with the logical progression and arrangement of ideas or events in a text. Staging. Thematization.

It focuses on the initial presentation of information within individual clauses. Staging. Thematization.

It involves the organization of information across larger units of discourse to create coherence and structure in texts. Staging. Thematization.

Thematization and Staging. In the sentence "Running swiftly through the forest, the fox evaded its pursuers," the theme is "Running swiftly through the forest," which sets the scene and introduces the main action of the sentence. Thematization helps establish the focus of the message and guides the reader's attention to the most salient information at the beginning of the clause. Staging: In a short story about a detective solving a mystery, the staging involves organizing the plot events cohesively. The story may begin with the detective receiving a mysterious letter (introduction), followed by the detective investigating the crime scene (development), and finally concluding with the detective unraveling the mystery and catching the culprit (resolution). Staging ensures that the events in the story progress logically and are connected in a meaningful way, allowing the reader to follow the narrative arc from beginning to end. In this example, thematization focuses on how information is introduced within individual clauses to highlight key elements, while staging deals with the broader organization of events across a narrative to create a coherent and engaging story structure. Some authors, like Brown & Yule make no distinction between these terms (thematization and staging). According to Grimes, staging refers to the fact that “Every clause, sentence, paragraph, episode, and discourse is organised around a particular element that is taken as its point of departure. All. The tittle-Differents interpretations of the text depending on the title. The title constrains the way the text is interpreted.

According to Halliday, the information unit, thus, is a structure made up of two functions: Odd one out... New. Given. Focus.

Odd one out. From a structural point of view, it can be said that all information units have an obligatory new element and an optional given element. The new element is concerned with information which is presented by the speaker as ‘recoverable’ (either from the linguistic co-text, from what has been said before, or from the situational or cultural context). The new element is concerned whatever information the speaker presents as not recoverable by the hearer.

In Systemic Functional Linguistics ........refers to content that is introduced for the first time in a conversation or text. It typically represents information that the speaker or writer believes the listener or reader is not aware of or has not been mentioned before. It often carries the main message or focus of the communication. Given information. New information.

In Systemic Functional Linguistics ........it refers to content that is already known to the listener or reader, either through previous mention or shared knowledge. Given information serves as a reference point or background against which new information can be introduced and linked. It helps establish coherence in discourse by connecting new information to what has already been established. Given information. New information.

Theme/Rheme. the theme deals with both given and new information: God is 'hearer-given' (the hearer has the concept of God in his/her mind) but 'discourse new' (it is introduced here for the first time). The rheme, as expected, contains new information (that God is in town). All.

Odd one out. The Given is optional from the structural point of view because, by its own nature, this element is referential or ‘phoric’ (i.e. it refers to something already present in the verbal or non-verbal context), and reference is often achieved through ellipsis. The Given typically precedes the New, and the New is always marked by tonic prominence. The element which has this prominence is said to be carrying information theme.

The syllable in capitals represents the intonation nucleus of the tone unit: In A’s utterance, you guys is a deictic expression that refers to B (I) and to Tim, so by the time of B’s reply, I and Tim are a Given, and the New elements are found towards the end of each coordinate clause. All.

It refers to instances where information that is known or given in the context is omitted or left unsaid in a sentence. This omission is possible because the information is recoverable from the context or shared knowledge between the speaker and the listener. Ellipted given. Ellipted new.

In Systemic Functional Linguistics, relates to how speakers highlight specific information within a sentence or discourse to convey emphasis or importance. This is achieved through linguistic devices such as intonation, word order, stress, or specific grammatical structures. By strategically placing ............... on different elements, speakers can draw attention to key information, clarify their intended meaning, or convey nuances in communication. Information focus. Staging. Fronting.

Odd one out. Regarding the information focus in normal, unemphatic discourse, the unmarked distribution starts with the Given and progresses towards the New. Regarding the information focus in normal, unemphatic discourse, the unmarked distribution starts with the New and progresses towards the Given. The principle of end-focus in linguistics suggests that information crucial to the message is typically placed at the end of a sentence or a discourse unit. This positioning helps to emphasize and highlight the key information, making it more salient and easier for the listener or reader to process and remember.

The principle of end-focus-Odd one out. "She discovered the treasure deep within the cave." "After a long journey, they reached the summit of the mountain.". In these examples, the important information ("the treasure deep within the cave" and "the summit of the mountain") is placed at the end of the sentences, adhering to the principle of end-focus. This placement helps to create suspense, build anticipation, and ensure that the most crucial details are retained by the audience. The focus normally marks where the New element ends (because it typically falls on the last lexical item in the clause) but it is not always clear where it begins, or where the boundary between Given and New would be. The principle of end-focus allows us to say that the marked option for the focus is to fall on the last lexical item of the clause.

Speakers divide their messages into segments of information, namely.... Information units. Information focus. Absolute theme.

This concept refers to a segment of speech that is organized around a single pitch accent or prominence. It is a prosodic unit that typically corresponds to an intonational phrase in spoken language......It always contains one syllable which is more prominent. Tone Unit. Intonation nucleus. Focus of information.

The most prominent syllable in tone units contain...... Pitch Unit. Intonation nucleus. Focus of information.

Odd one out. There is a one-to-one correspondence between the tone unit and any grammatical unit. Speakers may lengthen or shorten their tone units according to their communicative needs, and that variations in the length of tone units also depend on other factors, such as speed of utterance, the syntactic structures and/or the lexical items chosen, familiarity with the content of the message and the consequent relative need to plan ahead, acoustic conditions, self-confidence, etc. The identification of the information focus is not always as easy and clear-cut a task.

Clefting can be done by using two different constructions: Wrong one. It-cleft. Wh-cleft. Subject-cleft.

a) It’s a hamburger (that) I want. (It-cleft) b) What I want is a hamburger. (Wh-cleft)--------------------------------The focus is..... Want in a and hamburger in b. Hamburger in both. What in b and hamburger in a.

The main discourse function of cleft constructions is....Odd one out. To mark contrastive focus. To highlight expressions of time or place. To signal the beginning of an episode in discourse. To signal a shift to a new episode. To suggest exclusiveness. Guide the audience's attention to the general parts of their message.

Odd one out. The speaker/writer will choose the Theme from within what is Given and will locate the New within the Rheme. However, context and emphasis can influence the distribution of given and new information. Theme strictly coincides with the given and rheme with the new information.

The speaker so judges it, she can treat information that has already been mentioned in the discourse as New by giving it phonological prominence. She gives the highest prominence to the word brother in all the clauses of her discourse in order to signal, in each case, a new aspect of the importance of brotherhood as it affects Tommy. All. The speaker plays with the 2 systems in order to produce a certain effect. (non-prototypical).

Odd one out. The sole function of pitch prominence is to mark the focus of new information within the tone group. It may have several other discourse/pragmatic functions, such as marking the beginning of a speaker’s turn or the beginning of a new topic. Brown & Yule argue that phonological prominence has “a general watch this! function” (1983: 164), that is, it is used by speakers to mark any kind of information that requires being paid attention to, but by no means does it only and exclusively mark the information focus. It is common to find tightly rhythmically bound structures with several peaks of prominence. Some authors such as Ward & Birner (2001) have noted that the term focus means different things to different people, and that a two-way division of information into Given and New is inadequate. In very general terms, however, Halliday’s approach is accepted by most information structure analysts: it can be said that the information that is felt or judged to be New is going to be prominent, while the Given information will be produced without prominence. However, it seems reasonable to suggest that information structure is not only realized by the phonological system, but also by the syntactic system (e.g. by word order and thematic organization) and the textual system (e.g. the organization of the different paragraphs in a given text).

a. Fred found {a bottle/#something}. The label looked interesting. He removed the cork.--Odd one out. Label and cork are discourse-old. Bottle is discourse-new. Label is discourse-new and bottle is discourse-old.

They went to Rome to see Pope Francis and they met their old friend Ricardo there-Odd one out. Rome is discourse new and hearer old. Pope Francis is discourse-new and hearer old. Their old friend Ricardo is discourse-new and hearer old.

Yesterday the sun was shining, so I invited a neighbor to go to the pool. Right one. The sun represents information that is discourse-new but hearer-old,. The sun represents information that is discourse-new and hearer-new too. Neighbor refers to information that is both discourse-old and hearer-old.

Thematization... After 12 years of marriage, I have just begun divorce proceedings. We have three children ranging from 1 to 10, and I’ve been a stay-at-home mom for the entire marriage. My physician husband has a substantial income, and our expenses are high because of our large mortgage.

Letter on page 197 of the book. In a narrative of personal experience there is often a tendency to thematize the teller or narrator. A theme is interactional if it contains words or phrases which specifically refer to the sender or receiver(s)”. All. The two types of theme found in this letter lead us to reach the conclusion that we are facing a case of ‘mixed register’ (Fairclough, 1989), i.e., it contains the characteristics of a narrative of personal experience but at the same time it communicates with the recipient of the letter on a different plane, asking for advice, which also makes it a multifunctional and multivalent discourse. Halliday’s approach is accepted by most information structure analysts: it can be said that the information that is felt or judged to be new is going to be prominent, while the given information will be produced without prominence.

Communicative dynamism has to do with the extent to which a linguistic element contributes towards …. a) the development of communication. b) the grammaticality of the clause. c) the accuracy and truth of a proposition.

A tenet within Functional Sentence Perspective is that…. a) themes and rhemes are always marked options. b) the rheme carries the lowest degree of communicative dynamism. c) the relative order of constituents in a clause serves different functions in discourse.

What is the type of theme in this clause?---Honestly, I don’t understand what you say.---Honestly is... a) Experiential. b) Non-experiential. c) Detached.

Choose the appropriate combination of themes corresponding to the following clause containing multiple themes: O.K., then I will do what you want. 1 + 2 + 3. a) Non-experiential (Textual) + experiential (object) + Nonexperiential (interpersonal). b) Non-experiential (interpersonal) + Non-experiential (Textual) + experiential (subject). c) Experiential (subject complement) + Non-experiential (interpersonal) + Experiential (object).

6) What sub-type of detached theme is your sister in the following clause? Does she like music, your sister?. a) Left dislocation. b) Absolute theme. c) Right dislocation.

7) The theme, subject and topic of a clause…. a) always coincide in the same wording. b) do not necessarily have to coincide. c) never coincide.

8) The themes in i, ii, and iii are, respectively… i) What I want is to know your secret. ii) Under no circumstances will I tell you my secret. iii) Can you tell me your secret?. a) marked, marked, unmarked. b) unmarked, marked, unmarked. c) unmarked, unmarked, marked.

9) The information unit is made up of…. a) four elements: theme, rheme, given and new. b) two elements: theme and given. c) two elements: given and new.

10) The Given is optional from the structural point of view because…. a) the speaker knows what s/he is talking about. b) it is marked by tonic prominence. c) it is referential or phoric.

11) The focus of a clause…. a) is always at the end. b) always coincides with the rheme. c) does not necessarily coincide with any of its grammatical units.

12) The focus in i, ii and iii are, respectively: i) I DO like your new car. It’s beautiful. ii) I like your NEW car, not the old one. iii) She came here to ask for a FAvor. a) marked, marked, unmarked. b) unmarked, unmarked, marked. c) marked, unmarked, marked.

13) In the clause: She wants to BORROW your car, not just see it. a) both Theme and New coincide in the word borrow. b) the Theme does not coincide with the New element. c) the Rheme coincides with the Given element.

14) Pitch prominence…. a) fulfills the sole function of marking the focus of new information within the tone group. b) fulfills several discourse/pragmatic functions. c) fulfills the sole function of marking a speaker’s turn.

15) Information structure…. a) is only realized by the phonological system. b) is realized by the syntactic and semantic systems. c) is realized by the phonological, syntactic and textual systems.

a) Out she came in a rush. Marked / Unmarked theme. Out (circumstantial adjunct) marked. She (subject) unmarked. In a rush (Circumstancial adjunt) unmarked.

Susan called to say good-bye. Marked/Unmarked. to say goodbye (circumstantial adjunct) marked. Susan (subject) unmarked.

Are you for or against McCain?. Unmarked theme. Marked theme.

Never say never again. Unmarked theme. Marked theme.

Right you are. Unmarked theme. Marked theme.

IDENTIFY the type of theme: Experiential/nonexperiential/ detached? Hey dude, give me my pen-drive. Multiple themes. Experiental. Non-experiential. Detached.

IDENTIFY the type of theme: Experiential/nonexperiential/ detached? I love him. However, I don’t want to talk to him. Multiple themes. Experiental. Non-experiential. Detached.

IDENTIFY the type of theme: Experiential/nonexperiential/ detached? She will never forgive you. Multiple themes. Experiental. Non-experiential. Detached.

IDENTIFY the type of theme: Experiential/nonexperiential/ detached? That kid, is he your child?. Multiple themes. Experiental. Non-experiential. Detached.

IDENTIFY the type of theme: Experiential/nonexperiential/ detached? The Rolling Stones. There will be a concert tomorrow night. Multiple themes. Experiental. Non-experiential. Detached.

Examen-2º semana-1 sentence----(1) se analiza la frase subordinada como un constituyente de la frase principal (2) solo se analiza la frase principal ignorando la existencia de la frase subordinada, y (3) como lo que se busca es evaluar si saben reconocer los temas e identificar su tipología también se han tenido en cuenta los análisis de las frases subordinadas cuando aparecen en primer lugar. Experiential: E Non-experientia: NE Marked: M Unmarked: U Single: S Multiple: Multi. All.

Examen-2º semana-1 sentence----(1) se analiza la frase subordinada como un constituyente de la frase principal (2) solo se analiza la frase principal ignorando la existencia de la frase subordinada, y (3) como lo que se busca es evaluar si saben reconocer los temas e identificar su tipología también se han tenido en cuenta los análisis de las frases subordinadas cuando aparecen en primer lugar. Theme in red. Experiential: E Non-experientia: NE Marked: M Unmarked: U Single: S Multiple: Multi. All.

Examen-2º semana-1 sentence----(1) se analiza la frase subordinada como un constituyente de la frase principal (2) solo se analiza la frase principal ignorando la existencia de la frase subordinada, y (3) como lo que se busca es evaluar si saben reconocer los temas e identificar su tipología también se han tenido en cuenta los análisis de las frases subordinadas cuando aparecen en primer lugar. Theme in red. Experiential: E Non-experientia: NE Marked: M Unmarked: U Single: S Multiple: Multi. All.

Examen-2º semana-1 sentence----(1) se analiza la frase subordinada como un constituyente de la frase principal (2) solo se analiza la frase principal ignorando la existencia de la frase subordinada, y (3) como lo que se busca es evaluar si saben reconocer los temas e identificar su tipología también se han tenido en cuenta los análisis de las frases subordinadas cuando aparecen en primer lugar. Theme in red. Experiential: E Non-experientia: NE Marked: M Unmarked: U Single: S Multiple: Multi. All.