Week 5+7

• Subject
• Predicator 
• Object
• Complement 
• Adjunct

The verb phrase around which the clause is built

• The 'doer' or main protagonist of the activity 
• Described by the predicator

• The element experiencing the direct action described by the predicator 
• 'I have eaten nothing'

• Element in direct relationship to the subject or object. 
• Normally connected by the predicator

• Answers 'who, what, when, why, where, how' questions 
• An element providing information about the timing, manner etc of the predicator

• I = Subject
• shove = Predicator
• him = Object 
• up against the wall = Adjunct

• Simple 
• Compound
• Complex

A set of rules that creates a pattern that makes up the anatomy of language

• Double negative
• Double superlatives 
• Split infinitives

• When an adverb is put between 'to' and 'verb'
• May lead to ambiguity if used 

eg. To boldy go...

• Words
• Phrases
• Clauses
• Sentences
• Paragraphs 
• Texts

• Noun 
• Verb
• Adjective
• Adverb

• Pronoun 
• Conjunction
• Determiner 
• Preposition

• Notional 
• Formal
• Distributional

Based on nouns that denote a person, place or thing

Possible inflections such as in 'cook, cooks, cooking, cooked'

The environment in which the word appears such as 'the cook is in the kitchen'

Yes 

• put a letter in the post
• post a letter

• Omission (if words can be omitted and leave a sentence) 
• Replacement (if words can be replaced) 
• Question (if words can be elicited by a WH question) 
• Movement (if they can be moved around in a sentence)

A string of words which expresses a proposition and typically consists of at least a subject and verb

• Structures which lack a predictor element due to ellipsis 
• eg. In your pocket

Two or more clauses that are in a symmetrical relationship and tend to be linked with coordinating conjunctions

Two or more clauses in an asymmetrical relationship

• The location and identification of a person object (etc) being talked about, or referred to, in relation to the spatiotemporal context created and sustained by the act of utterance and the participation in it of a single speaker and at least one addressee
• Involves a distinction between what is perceived as proximal to the deictic centre and what is 'distal'

Because the speaker/narrator is the centre of orientation

• A clause a finite verb, which can be main or subordinate.
• Finite verb forms show tense, person, number

• Usually a dependent clause whose main verb is non-finite.
• Does not show tense, person, place.
• Infinitive verbs with and without 'to' or -ing or -ed forms

• Place 
• Time 
• Person

• Locative expressions
• Deictic verbs (come, bring) 
• Prepositional phrases
• Adverbs 
• Pronouns tell you whether it is towards or away from the place

• Items such as 'now' 'then' 'today' 'yesterday'
• Present and past tense of full verbs

• Personal pronouns
• Generic nouns

The construction of a subjective position within an imagined situational context in reference to which the deictic expressions used in the text make sense 

Deixis builds up distance/time in a scene relative to the centre

• The matrix of beliefs we use to comprehend the world and the value systems through and by which we interact with society 
• Different POVs will have different ideologies

• A grammatical system that allows us to attach expressions of belief, attitude and obligation to what we write and say. 
• Used to position the first person both in relation to what they are saying and who they are addressing 
• Sentence adverbs express the modality of the whole sentence or clause in that they convey an attitude towards what one is clarifying

The varying degrees of certainty we have about the propositions we express

• The sorts of commitments or obligations that we attach to our utterances
• e.g. Saying thank you

Narrated in the first person by a character in the story

Third person, narrated by a character not in the story

• The most common shading.
• A narrative modality where the narrator's desires, obligations and opinions are foregrounded.

• Narrative modality where a 'bewildered' narrator relies on external signals and appearances to sustain description
• Words of estrangements
• Often characterises gothic writing
• Epistemic modality is common here

• Characterised by a complete absence of modality 
• Uncommon. Easier to find in poetry

No, shading can vary in a passage

It should answer the 'who' or 'what' placed in front of the verb

It should answer the question 'who' or 'what' placed after the verb

It should answer the question 'how' 'when' 'where' 'why' placed after the verb

Requests and commands such as 'Mind your head'

Single clauses increase the speed and urgency of a narrative and help to deliver tension

Creates symmetry in the sentence, popular with nursery rhymes

• The mathematical principle that two negatives added together results in a positive 
• (shows the overlap of educational branches)

• A third person narrator external to the action of the story. 
• Comes across as unable or reluctant to delve into the thoughts and feelings of characters

• POV on the ideological plane 
• POV on the temporal plane
• POV on the spatial plane
• POV on the psychological plane

• POV on the ideological plane refers to the way in which a text mediates a set of particular ideological beliefs through one character, narrator or author. 
• The concept of ideological POV is a tempting analytical tool but needs to be treated with caution because it is simply too wide to have much explanatory power.

• Temporal POV covers any manipulation of time sequence in narrative and explains how certain events might be relayed as remote or distant, others as immediate or imminent
• Temporal POV is less about focalisation and viewpoint and more about narrative structure as it encompasses structural segments and sequential progression of the time line of a narrative

• Spatial POV is about the narrative’s ‘camera’ (what the narrative shows/sees) and is a device which has palpable grammatical exponents in deixis and in locative expressions
• This suggests there are grounds for subsuming the category of spatial POV into the broader category of psychological POV