1. The Functions of Language Jakobson’s functions Halliday’s Metafunctions

2. Introduction
LANGUAGE IS A CODE, a system of sign-words based on socio-cultural conventions that are determined by means of evolutionary process affecting various societal aspects (cultural, historical, economic, etc.)

3. Language performs a number of functions:
Jakobson’s Functions
1. Emotive/Expressive
2. Referential/Informative
3. Conative/Persuasive/directive
4. Phatic
5. Metalinguistic
6. Poetic/Aestethic

4. Language performs a number of functions:
The Emotive function can be observed when language is centred upon the sender so that the text expresses the sender’s feelings or thoughts or views.
It is predominantly at work in text types such as diaries, letters, personal writings;

5. Language performs a number of functions:
The Referential function concerns the simple exposition of information, facts, concepts.
It can be mainly observed in text types such as historical and scientific writing, newspaper reports.

6. Language performs a number of functions:
The conative/persuasive is at work when language is mainly used to persuade the reader to accept an offer, a request, a command.
It is frequently expressed by the vocative or imperative and it is mainly employed in advertising or promotional discourse.

7. Language performs a number of functions:
The phatic function (from latin fàri ‘speak’) can be observed in the maintenance and in the creation of contact between sender and receiver.
Discoursive formulae in greetings or leave takings and openings of Radio-TV broadcast can be listed among the most relevant examples.

8. Language performs a number of functions:
The metalinguistc function is centred on the code.
It is the fuction of language being used to explain the meaning of words, structure, or any discourse about language itself.

9. Language performs a number of functions:
The poetic function is focused upon the message.
It can be observed in the use of rhythm or ornate figures which allow meaningful nuances and exploitation of the many resources of creative language.

10. Language performs a number of functions:
In verbal messages these functions can hardly ever be found neatly separate, the predominant function allows identifying the nature of the text-type.
Predominant function text-type

11. Halliday’s metafunctions
Experiential [clause as representation]
Logical
Interpersonal [clause as interaction]
Textual [clause as message]

12. Halliday’s metafunctions
Ideational Experiential and Logical

13. Halliday’s metafunctions
Ideational: encode reality into words
Language is used as a symbolic code to represent the world around us, to conceptualise the world for ourselves and the others.

14. Halliday’s metafunctions
Interpersonal: interact with world and the others
Language is used as an interpersonal instrument of communication

15. Halliday’s metafunctions
Textual:
Language is used to construct text

16. Experiential meaning Experiential structure
Or leave a kiss within the cup, and I’ll not ask for wine
[‘you’ ] [leave] [ kiss] ‘[in cup’ ] [I ] ‘ll [not] [ask for] [wine ]
Actor Process Goal Locative Sayer polarity Process Goal
‘action’ ‘verbal’

17. Interpersonal meaning
Interpersonal structure
Or leave a kiss within the cup, and I’ll not ask for wine (Ben Jonson: ‘To Celia’ )
‘you’ ‘do that’ I ‘ll not ‘do this’
Subject Residue Subject Finite Residue
Command: request offer: undertaking

18. Halliday’s metafunctions
Experiential meaning LANGUAGE AS REFLECTION
Interpersonal meaning LANGUAGE AS (INTER)ACTION

19. The Logical meaning
Or leave a kiss within the cup, and I’ll not ask for wine (Ben Jonson: ‘To Celia’ )
The two halves of the sentences are related in some way
The two halves have different speech functions:

20. The two halves have different speech functions:
The Logical meaning
Or leave a kiss within the cup, and I’ll not ask for wine (Ben Jonson: ‘To Celia’ )
The two halves have different speech functions:
1) Command: a request ) Offer

21. What is the meaning/effect of the coordiantion of a:
The Logical meaning
Or leave a kiss within the cup, and I’ll not ask for wine (Ben Jonson: ‘To Celia’ )
What is the meaning/effect of the coordiantion of a:
1) Command ) Offer

22. The Logical meaning
Or leave a kiss within the cup, and I’ll not ask for wine (Ben Jonson: ‘To Celia’ )
We need to reinterpret it in some other relationship:
Parataxis
Hypotaxis

23. The Logical meaning
Or leave a kiss within the cup, and I’ll not ask for wine (Ben Jonson: ‘To Celia’ )
We need to reinterpret it hypotactically by the use of “if-clause relationship.
As it could be reinterpreted as: ‘offer conditional on acceptance of request’

24. The Logical meaning
Or leave a kiss within the cup, and I’ll not ask for wine (Ben Jonson: ‘To Celia’ )
Experiential meaning metaphor
Logical meaning metaphor

25. The Logical meaning
Or leave a kiss within the cup, and I’ll not ask for wine (Ben Jonson: ‘To Celia’ )
We could express this as : “if you leave a kiss within the cup, then I will not ask for wine”
Interpersonal meaning is “if you (agree to) do this, then I will (undertake) not (to) do that”.

26. The Logical meaning
Or leave a kiss within the cup, and I’ll not ask for wine (Ben Jonson: ‘To Celia’ )
To do this we have to invoke a third function of language, a third aspect of the organixation of the semantic system:
LOGICAL RELATIONS
that represent the meaning “if ….then …”
“if you leave a kiss within the cup, then I will not ask for wine”.

27. The Logical meaning
Or leave a kiss within the cup, and I’ll not ask for wine (Ben Jonson: ‘To Celia’ )
To do this we have to invoke a third function of language, a third aspect of the organixation of the semantic system:
LOGICAL RELATIONS
that represent the meaning “if ….then …”
“if you leave a kiss within the cup, then I will not ask for wine”.

28. The Textual meaning
Or leave a kiss within the cup, and I’ll not ask for wine (Ben Jonson: ‘To Celia’ )
Property of discourse:
Drink to me only with thine eyes And I’ll pledge with mine
Or leave a kiss within the cup, and I’ll not ask for wine
(Ben Jonson: ‘To Celia’ )

29. The Textual meaning Property of discourse:
Drink to me only with thine eyes And I’ll pledge with mine
Or leave a kiss within the cup, and I’ll not ask for wine
(Ben Jonson: ‘To Celia’ )
1) The pattern of “you do (A) and I’ll do (B) is repeaded on both occasions.
Again the meaning of “if” :‘if you only drink to me with your eyes, then I will pleadge with mine”, paralleled by ‘if you leave a kiss within the cup, then I’ll not ask for wine’
In both cases there is the same pattern: a request followed by an offer.

30. The Textual meaning
Drink to me only with thine eyes And I’ll pledge with mine
Or leave a kiss within the cup, and I’ll not ask for wine
(Ben Jonson: ‘To Celia’ )
1) This repetition is one aspect of texture.
2) Another component of the texture depends on rhythm and intonation;
3) Another feture is texture is the metric structure;

31. To sum up:
Four different aspects: these are the four components in the semantics of every language:
Experiential
Interpersonal
Logical
Textual

32. Jackobson’s and Hallidays’s functions
Jakobson’s emotive and metalinguistic and poetic functions can be subsumed under Halliday’s textual function.
Conative/persuasive and the phatic functions under the interpersonal
Referential under the ideational.

33. The relationship of the text and its context of situation
Drink to me only with thine eyes And I’ll pledge with mine
Or leave a kiss within the cup, and I’ll not ask for wine
(Ben Jonson: ‘To Celia’ )
Field of discourse
Tenor of discourse
Mode of discourse

34. The relationship of the text and its context of situation
What can we say about these headings and the linguistic features that are found in the poem?
Field of discourse
Drink to me only with thine eyes And I’ll pledge with mine
Or leave a kiss within the cup, and I’ll not ask for wine
(Ben Jonson: ‘To Celia’ )

35. The relationship of the text and its context of situation
Field of discourse: where is it reflected in the semantics?
Drink to me only with thine eyes And I’ll pledge with mine
Or leave a kiss within the cup, and I’ll not ask for wine
(Ben Jonson: ‘To Celia’ )
vocabulary: drink, cup, wine, kiss, eyes, pledge, ecc.
Transitivity structures in the verbal processes: pledge, ask for.

36. The relationship of the text and its context of situation
Field of discourse experiential function
Drink to me only with thine eyes And I’ll pledge with mine
Or leave a kiss within the cup, and I’ll not ask for wine
(Ben Jonson: ‘To Celia’ )
The field of discourse is reflected in one mode of meaning which is referred to as the ‘experiential’ mode. The field is expressed in the experiential function in the semantics.

37. The relationship of the text and its context of situation
What can we say about this heading and the linguistic features that are found in the poem?
Tenor of discourse
Drink to me only with thine eyes And I’ll pledge with mine
Or leave a kiss within the cup, and I’ll not ask for wine
(Ben Jonson: ‘To Celia’ )
Person: I, you
Speech function: command (specifically a request), offer ( specifically an undertaking).
How are the command and request realized gramatically?

38. The relationship of the text and its context of situation
Tenor of discourse interpersonal meaning
Drink to me only with thine eyes And I’ll pledge with mine
Or leave a kiss within the cup, and I’ll not ask for wine
(Ben Jonson: ‘To Celia’ )
The Tenor is expressed through the interpersonal funtion in the semantics.

39. The relationship of the text and its context of situation
What can we say about this heading and the linguistic features that are found in the poem?
Drink to me only with thine eyes And I’ll pledge with mine
Or leave a kiss within the cup, and I’ll not ask for wine
(Ben Jonson: ‘To Celia’ )
Theme: person oriented; ‘I’, You’
metric structure, rithm,

40. The relationship of the text and its context of situation
Mode textual function
Drink to me only with thine eyes And I’ll pledge with mine
Or leave a kiss within the cup, and I’ll not ask for wine
(Ben Jonson: ‘To Celia’ )
Theme: person oriented; ‘I’, You’
metric structure, rithm,
Cohesive relations,
The mode is expressed through the textual function in the semantics

41. The relationship of the text and its context of situation To sum up:
SITUATION realised by TEXT
Feature of the context Functional component of the semantic system
Field of discourse (what is going on) Experiential meaning. (transitivity, naming, etc.)
Tenor of discourse (who are taking part) Interpersonal meaning (speech function, person, etc.)
Mode of discourse (role assigned to language) Textual.m. (theme, coesive relation, rithm, intonation repetition, etc.)

42. The relationship of the text and its context of situation To sum up:
SITUATION realised by TEXT
Feature of the context Functional component of the semantic system
Field of discourse (what is going on): love poem:Love expressed as a metaphor.
Tenor of discourse (who are taking part) man and woman, love and beloved.
Mode of discourse (role assigned to language) poetic genre, spoken/written.
(Halliday 1994, Halliday and Matthiessen 2004; Halliday and Hasan 1989)