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Функциональная перспектива английского высказывания (Functional Sentence Perspective exemplified by
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Functional Sentence Perspective is a significant concepts in the functional theory of modern linguistics. The theory of FSP was first developed by Velim Mathesius who gave the ‘order of ideas’ the name of FSP or theme/rheme structure and dubbed what comes first in the sentence the starting point, point of departure, theme or topic; and the idea that follows it the nucleus, rheme, comment, focus, i.e. The essence of this conception is that every act of communication is structured in two different ways: the grammatical pattern of the sentence, and the information-bearing structure of the utterance. In English, the theme – rheme sequence is the normal, unmarked word order while the rheme – theme sequence is the marked word order.
This concept, however, has not received due attention, as the correspondence holding between the order of words and the order of ideas and the role of context in the sentence/utterance and sentence/discourse distinctions are still not fully clarified.
Yet, this concept can be manipulated not only at the sentential level, but also beyond the sentence, i.e., within the framework of discourse analysis. Its significance can be shown in terms of thematic ties linking parts of the text or discourse together. Thus, the rheme in one sentence becomes the theme in a following sentence.
Further, there is also a thematic organization of the paragraph. The first sentence of a paragraph is also the theme of that paragraph (topic sentence), whereas the following sentences have a rhematic value.
Functional Sentence Perspective (henceforth FSP) and Communicative Dynamism (henceforth CD) are two fundamental concepts in modern linguistics. Halliday’s work, as he himself acknowledges, is influenced by the functional concepts of the FSP and CD which can account for how discourse develops and how the use of different surface forms alters the relative prominence of the items of information which are conveyed. He goes further to define FSP as the textual component in the grammar of the sentence, and adds that the interest in FSP springs from its being an integral part of the understanding of the processes of speaking, listening, reading, and writing.
The different parts of the utterance are conceived of to contribute dynamically to the total communicative effect. Some parts will have little to add to the meaning as they reflect only what has already been communicated (theme). These thematic aspects would as such have the lowest degree of CD. Rheme, by contrast, has the highest degree of CD as it unfolds new information.
Although these two functional concepts were proposed some seventy years ago, their feasibility and effectiveness can still be retained. And from the standpoint of discourse and text analysis they still sound conspicuously modern. The FSP and CD, however, have received scant attention, as there are still some who doubt the correspondence holding between the order of words and the order of ideas.
The aim of the present study is to re-evaluate these two functional concepts so as to gauge their ultimate significance as a tool in the analysis of sentence and text and discourse analysis as well.
Introduction 2
Part 1 Functional Sentence Perspective in modern linguistics 4
1.1 Historical position of studying of Functional Sentence Perspective 4
1.2 Systemic Functional Linguistics in Halliday’s Works 7
1.3 Vilém Mathesius’ Approach 8
1.4 Functional Sentence Perspective of Jan Firbas and Brno School 10
1.5 Topic-Focus Articulation of Petr Sgall and Prague School 11
1.6 Schematic Comparison of Three Czech Approaches to Information Structure of Sentence 15
Part 2 Functional Sentence Perspective Exemplified by ‘The Last Leaf’ by O. Henry 18
Conclusion 29
Bibliography 31
Conclusion
Two notions of Functional Sentence Perspective and Communicative Dynamism have not been fully manipulated in the analysis of English texts. While these notions were first suggested to analyse language at the sentential level, they were not fully adopted in the analysis of language stretches beyond the sentence due to the conviction that the order of words does not necessarily correspond to the order of ideas. The theme / rheme distinction can be manipulated in the analysis of texts and discourses as well as they are can be used to organise the information in the text. Thus, throughout communicative dynamism, the rheme in one sentence becomes the theme in a following sentence as it has been exemplified by “The Last leaf” O. Henry.
The FSP can be employed to solve problems of structure and function. Since the theme/rheme relationship is not to be equated with the subject/predicate relationship, the utterance must be analyzed in terms of units other than those of syntax. Since the theme-rheme distinction has to do with the thematic organization of information in the semantic structure of sentence or text, it proves useful especially to solve problems of structure and function. These pairings listed by de Beaugrande can be adapted in a way and used as functional dimensions in the analysis of texts and discourses. Thus, a functional analysis in terms of time, position, context, novelty, expectation, determinacy, value, depth, register, markedness, emphasis, and discourse moves can be thoroughly applied to texts to approach texts from a functional perspective. As long as “The Last Leaf” is work of art in form of a story, its most prominent features are caused by genre and its main goal which is understood as to interact with a reader and affects his or her feelings and thoughts. Therefore, in such a type of discourse theme / rheme distinction helps to emphasise the most significant elements of narrative and portrayal.
As practical analyses of “The Last Leaf” shows, in the English language two basic tools of deriving and defining theme/rheme relationships are distinguished. The first one is traditionally viewed as word order: due to the features of the language, connected with its rhythm and pronunciation, the last word of the phrase (not necessarily a sentence or a clause) is commonly thought to be rheme for the reason that it is stressed by intonation. The second tool is a role of a word in a sentence: subject is considered to be theme, whereas predicate, attribute and other members of a sentence – rheme.
However, several cases are distinguish in order to state that the whole understanding of theme and rheme’s position in a sentence is questionable and cannot be analysed without a wider context. Thus, they are inversion, constructions with there/what, sentences starting with ‘It is … who/that/etc.’, structures have/ get something done, passive voice with by, ellipsis, do in its function of emphasizing, particles (only, almost, too) and articles (definite and indefinite). What is of no less importance is that every rheme and theme does not stand apart from the whole meaning focus and they are highly connected with previous and following sentences and context as a cluster of meaning. Finally, logical stress is viewed as additional tool; it can vary due to reader’s understanding of a story or a poem and adds additional issues of theme / rheme distinction.
Bibliography
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