INTRODUCTION
Rationale
Movies serve as a mirror of a country's culture, customs, and traditions, much like other major art forms such as sculpture, painting, music, and literature Beyond entertainment, films capture everyday life through contemporary perspectives and the evolution of language Therefore, movies stand out as a truthful representation of modern society.
Sitcoms, short for "situation comedies," are a prominent genre in film, characterized by amusing plots derived from everyday life and featuring real-time, face-to-face conversations This genre reflects human life and societal dynamics, drawing the interest of scholars across various fields due to its blend of humor and cultural relevance Researchers have explored comic discourse through diverse lenses, including anthropology, psychology, semiotics, and socio-cultural studies For instance, Sciama (2016) investigated the cognitive, social, and moral dimensions of humor, while Martin (2007) examined the development of humor and its role in social interaction Additionally, Mulkay (1988) contributed to psychological research by analyzing humor in contemporary British and North American contexts, focusing on the underlying principles of comedic situations.
Linguists have utilized pragmatics, discourse analysis, and translation to explore comic discourses in comedy films Notably, Šmilauerová (2012) investigated humor strategies in the TV sitcom Friends, focusing on the violation of Grice’s conversational maxims Additionally, Mahdalíková (2014) analyzed the discursive devices that shaped the geek identity of characters in the American sitcom The Big Bang Theory, employing a discourse analysis perspective alongside the pragmatic cooperative principle.
A study by Bosch Fàbregas (2016) examined linguistic gender stereotypes in the teen sitcom "Liv and Maddie" and its Spanish translation While several investigations have explored linguistic features in sitcoms through character dialogues, there is a noticeable lack of studies analyzing the interpersonal meaning of comedy films using systemic functional grammar This gap is particularly striking given that interpersonal meaning has been effectively analyzed in contrastive studies between English and Vietnamese across various fields, including literature, music, and advertising.
The study titled "A Contrastive Analysis of Interpersonal Meaning in American and Vietnamese Sitcoms" employs systemic functional grammar to explore the similarities and differences in interpersonal meaning across these two languages The findings aim to provide practical applications for language use, enhancing the teaching and learning of English as a foreign language.
Aims and Objectives of the study
This thesis seeks to enhance the understanding of interpersonal features within the sitcom genre, focusing specifically on the similarities and differences in dialogue between American and Vietnamese sitcoms, analyzed through the lens of functional grammar.
In order to achieve the stated aims, the thesis will focus on the following objectives:
-To identify and analyze the interpersonal meaning conveyed in the dialogues of American and Vietnamese sitcoms in terms of mood, modality and interpersonal grammatical metaphor of mood and modality
-To compare and contrast to find out the similarities and differences of interpersonal meaning used in verbal resources between American and Vietnamese sitcoms.
Research Questions
Based on the aims of the study, the following questions are expected to be answered respectively:
-What are the interpersonal features revealed by mood, modality, and grammatical metaphor used in American and Vietnamese sitcoms?
-What are the possible similarities and differences between American and Vietnamese sitcoms in terms of interpersonal meaning?
Scope of the Study
This paper examines interpersonal meaning through mood, modality, and interpersonal grammatical metaphor within the framework of functional grammar It compares and contrasts the realization of interpersonal meaning in American and Vietnamese sitcoms, highlighting both similarities and differences in their comic verbal resources Additionally, the analysis is confined to the written text of conversations to ensure the reliability of the resources utilized.
Significance of the Study
Sitcoms focus on everyday life, making their language resources highly relevant This research aims to enhance the understanding of interpersonal dynamics in sitcoms, highlighting both similarities and differences in conversational styles between American and Vietnamese cultures The findings offer valuable insights for language learners, improving their comprehension of language use in various contexts.
The Organization of the Study
The study is structured as follows:
Chapter one, the introduction, consists of the rationale, aims and objectives, research questions, the significance of the study, scope of the study and the organization of the paper
Chapter two offers a comprehensive overview of sitcoms, focusing on systemic functional theory and its metafunctions, particularly in terms of interpersonal meaning conveyed through various moods, modalities, and interpersonal grammatical metaphors Additionally, it summarizes previous studies in the field to highlight a gap in the literature that this research aims to address.
Chapter three outlines the research methods and procedures employed in the study, focusing on the approaches used for data collection, analysis, and the overall execution of the research.
Chapter four provides an in-depth analysis of the interpersonal meanings conveyed through various mood types, modality, and interpersonal grammatical metaphors in American and Vietnamese sitcoms It presents the results of the data analysis, along with discussions and interpretations of the findings.
Chapter five, the conclusion, summarizes the main findings of the study which satisfy the research questions and points out some limitations as well as some suggestions for further researches.
LITERATURE REVIEW
Sitcom as a genre
Sitcoms, or situation comedies, are a subgenre of comedy films that encompass various styles such as romantic comedy, parody, and farce, all aimed at eliciting laughter through a series of humorous events According to Taflinger (2001), effective sitcoms must engage the intellect and reflect human experiences, while also aligning with societal norms familiar to the audience Additionally, the humor arises from situations that are incongruous or inappropriate within their context, yet are perceived as harmless by viewers.
The sitcom genre uniquely blends spoken and written elements, as its dialogues are meticulously scripted for actors to perform This process results in spoken dialogues that audiences listen to, creating an engaging experience While sitcoms encompass both forms, they predominantly feature casual conversations that resonate with viewers.
Bakhtin (1986) also showed his attention into casual conversation He pointed out that
Language manifests through unique utterances that are shaped by the specific conditions and objectives of different contexts These utterances are characterized not only by their thematic content and linguistic style but also by their compositional structure While each utterance is distinct, various domains of language use cultivate their own relatively stable types of utterances, which can be classified as speech genres.
Sitcoms often feature casual conversations filled with anecdotes—short stories designed to entertain and elicit laughter from audiences According to Eggins and Slade (1997), the structure of an anecdote text comprises five key components that contribute to its effectiveness in engaging viewers.
(i) Abstract: Signals the retelling of an unusual or amusing incident (ii) Orientation: Sets the scene
(iii) Crisis: Provides details of the unusual incident
(iv) Reaction: Reaction to the crisis
(v) Coda (optional): Reflection on or evaluation of the incident
Casual dialogues reveal key social and interpersonal functions, as they facilitate the gathering of individuals to exchange information and nurture social relationships (Paltridge, 1997) Moreover, the entertaining aspect of anecdotes allows participants to share experiences, fostering agreement and a sense of shared perceptions (Eggins).
Overview of Systemic Functional Grammar
Systemic functional linguistics (SFL), developed from J.F Firth's work by Halliday, focuses on language in context, highlighting the interplay between linguistic meaning and social context What sets SFL apart is its systematic and functional characteristics, illustrating how language serves as a semiotic tool for meaning-making It emphasizes the role of social context and semantic features within a network of systems that guide utterance formation Halliday (1994) identified three functional modes of meaning within the semantic system: ideational, interpersonal, and textual meanings, which operate simultaneously at all levels of language Consequently, speakers and writers adjust their grammatical choices to convey their experiences, contextual understanding, and communicative intentions effectively.
Figure 2.1 Metafunctions in relation to field, mode and tenor
Experiential meaning is the first metafunction, focusing on the content of a message that helps individuals conceptualize their world for personal benefit It involves expressing language information, conveying new insights, and sharing content Essentially, experiential meanings empower language users to structure their experiences and understanding of the world, as noted by Halliday (1994).
The ideational meaning is expressed through the transitivity system, which consists of three key components: process, participants, and circumstances Among these, the process is fundamental, serving as the foundation for the development of participants and circumstances There are six distinct types of processes, with the three primary ones being material processes, which involve actions and events; mental processes, which encompass perception, cognition, and emotions; and relational processes, which pertain to states of being and becoming Additionally, there are three other types of processes: behavioral, verbal, and existential.
The interpersonal meaning plays a crucial role in social interactions, as it helps establish and maintain relationships between the speaker and the listener or between the writer and the reader (Thompson, 2004, p 30) This aspect of language serves as a vital tool for expressing feelings and attitudes about the world, facilitating connections among individuals Additionally, interpersonal meaning reflects how we communicate with one another, highlighting the dynamics between information providers and recipients in both spoken and written forms According to Halliday's analysis of English, the interpersonal component is linked to mood, modality, and grammatical metaphor.
The textual meaning focuses on how messages are organized and conveyed, referred to as the textual function, which includes three subtypes of semantic systems: thematic system, information structure, and cohesion system The thematic organization, which dictates how messages are presented, comprises two key components: Theme and Rheme According to Halliday and Matthiessen (2004, p 64), the Theme serves as the starting point of the message, while the Rheme provides new information that develops from the Theme Together, the combination of Rheme and Theme forms a clause that conveys a complete meaning within the textual organization.
This article explores the three key variables of context in a situation—Transitivity, Theme, and Mood and Modality—through the lens of the lexico-grammatical units of language Focusing specifically on the interpersonal meaning of language, the study examines the mood system, modality system, and interpersonal grammatical metaphor The subsequent sections will provide an in-depth analysis of each of these components.
Language serves as a reflection of the underlying social relationships within a text, particularly through the lens of interpersonal metafunction This metafunction highlights how grammatical choices in language are influenced by the social roles, status, and relationships of the speakers For example, the interpersonal language employed in a letter to an employer differs significantly from that used in casual conversations with close friends.
The mood system is essential for distinguishing features in English clauses, serving as a fundamental element in conveying interpersonal meaning It consists of two main components: a mood element that conveys the argument and a residue that may be omitted The mood element plays a crucial role in expressing various mood categories within the interpersonal clause structure, as highlighted by Halliday and Matthiessen (2004).
“'the burden of the clause as an interactive event”, and as the nub of the proposition
The mood element consists of the subject, represented by a nominal group, and the finite, a component of the verbal group that conveys information regarding temporality (past, present, future), modality (such as probability), and polarity (positive or negative).
(ii) The Residue consists of functional elements of three kinds: Predicator,
Complement and Adjunct of the clause
Here is the example for the mood element in the clause:
Ex 1 Sister Susie is sewing shirts for soldiers
Subject Finite Predicator Complement Adjunct
In Systemic Functional Grammar (SFG), three distinct mood structures are identified: declarative, interrogative, and imperative These mood structures are characterized by the presence and positioning of the Subject and Finite elements within a sentence.
Table 2.1 Relation of Mood selection to Mood structure
(Matthiessen, Martin, & Painter, 1997, p 63) Mood selection Mood element Example (mood in bold)
Indicative declarative non-exclamative exclamative interrogative yes/no
Subject^Finite Wh^Subject^Finite
Finite^Subject Wh^Finite^Subject
……… they^will build the house How quickly^they^will build the house! will^they build the house?
In English, declaratives exist in the form of statements with the structure of subject preceding Finite Declarative mood consists of two types: affirmative and negative statement
Ex 2 Henry James wrote “The Bostonians”
Ex 3 Henry James didn’t write” The Bostonians”
Declarative clauses can be categorized as full or elliptical A full declarative clause includes a complete structure with both a subject and a finite verb, while an elliptical declarative clause omits certain elements like the subject, finite verb, or predicator This ellipsis often occurs in responses.
(Will you join the dance?)
(Halliday & Matthiessen, 2004, p 151) (Who killed Cock Robin?)
Ex 5 I (said the sparrow) with my bow and arrow
(Halliday & Matthiessen, 2004, p 151) (ii) Interrogative Mood
In English, interrogative mood is primarily categorized into two types: Wh-questions, which utilize words like who, where, which, what, when, why, and how, and yes/no questions The structure of these questions can vary, with the subject's position being either before or after the finite verb.
Ex 6 Is Simon reading Henry James? finite Subject Predicator complement
Ex 7 Who wrote “The Bostonians”
Wh/subject finite Predicator complement
Ex 8 When did Henry James write “The Bostonians”
Wh/adjunct:circ finite subject predicator complement
Ex 4 I might do subject Finite predicator
Elliptical interrogative clauses are frequently used in casual conversation, relying on the context to convey meaning These clauses omit certain elements, much like elliptical declarative sentences, allowing for a more streamlined communication style.
Ex 9 Piece of dialogue Elliptical elements
Ex 10 Piece of dialogue Elliptical elements
-Met Fred on the way here
(Halliday & Matthiessen, 2004, p 152) (iii) Imperative Mood
Eggins (2004, p 177) identifies four types of imperative structures, which include a mood element comprising both finite (F) and subject (S), as well as variations that consist of either finite only or subject only Additionally, imperatives can have a mood element where the finite precedes the subject These imperative structures are further categorized into two types: affirmative and negative imperatives.
Ex 11 Don’t you take My copy of “The Bostonians”
Finite:neg subject predicator complement
The elements of imperative clause can be omitted except predicator This case is realized in a typical elliptical imperative structure based on the context as follows
Ex 13 Piece of dialogue Physical context
Brad: Look! The man walking up the hill
Omitted components in communication can often be inferred from the surrounding physical context, allowing speakers like Brad to convey meaning without explicitly stating details, such as in the example, "Look at that man walking up the hill!" (Eggins & Slade).
Previous studies related to the research
Systemic functional grammar, developed by Michael Halliday, has gained significant attention from linguists worldwide in recent years, leading to extensive research across various fields In Vietnam, numerous linguists have engaged in exploring and discussing linguistic issues from diverse perspectives, aiming to enhance and develop the theoretical framework of Vietnamese systemic functional grammar.
One of the most influential linguists in Vietnam is Cao Xuân Hạo
In 1991, a new sentence-analyzing model was introduced, focusing on three key aspects: syntactics, semantics, and pragmatics This model emphasized the theme-rheme structure for describing Vietnamese syntax, moving away from the traditional subject-verb (S-V) structure In contrast, Diệp Quang Ban (2005) advocated for the analysis of Vietnamese sentences using the S-V structure while incorporating Halliday's systemic functional grammar model from 1994 This approach examines Vietnamese sentences through three metafunctions: experiential, interpersonal, and textual metafunctions.
Linguistic scholars have conducted extensive research across various fields and genres grounded in Systemic Functional Grammar (SFG) Notably, Nguyễn Thị Thu Hiền (2016) explored the interpersonal function in English press commentaries through the lens of functional grammar and appraisal theory Her findings highlighted how rhetorical questions, diverse modalities, and attitudinal resources facilitate both implicit and explicit communication between authors and readers, revealing the authors' emotions, judgments, and attitudes towards the issues addressed in the text.
In 2018, Hoàng Văn Vân utilized systemic functional grammar to analyze three translations of the poem "Bánh trôi nước." The study identified both similarities and differences in ideational, interpersonal, and textual meanings among the versions Notably, it found that the variations in lexical choices were more pronounced than those in syntactic structures between the translations and the original poem.
In a study by Vinh Tô (2018), the linguistic features of lexical density, nominalization, and grammatical metaphor in English as a foreign language textbooks in Vietnam were analyzed within the framework of systemic functional linguistics The findings revealed that as the textbook levels increase, the complexity of the language also rises, evidenced by higher mean scores in nominalization and grammatical metaphor, resulting in greater lexical density in the selected texts.
In their 2017 research, Phan Văn Hòa, Trần Hữu Phúc, and Nguyễn Thị Tú Trinh explored Vietnamese simple clauses through contemporary linguistic approaches Their findings indicate that structural models, influenced by European and American theorists like Saussure and Bloomfield, alongside functional models based on Dik's functional grammar and Halliday's systemic functional grammar, are predominant in the analysis of Vietnamese simple clauses.
Research in the sitcom genre has explored various linguistic aspects, notably a study by Rahmi (2017) that examined joke strategies in "How I Met Your Mother." This study focused on the pragmatic meanings of the characters' jokes and their functions within the narrative The findings revealed 14 distinct joke strategies, with ambiguity being the most prevalent, allowing for multiple interpretations by conversation participants Furthermore, the jokes conveyed assertive, expressive, and directive meanings, highlighting the speaker's power, solidarity, and psychological defense.
Zand-Vakili, Kashani, and Tabandeh (2012) analyzed the frequency of speech events in the sitcom "Friends" to explore media discourse phenomena Their research highlighted a sample of spoken discourse alongside native speakers' cultural norms The findings revealed that confiding secrets and personal issues to friends, as well as seeking help and sympathy, were the most common events in friendly relationships Additionally, various speaking factors influenced each speech event, aligning with Hymes’ speaking model.
Syafitri (2018) conducted a sociolinguistic study on the forms and functions of jokes in the movie "Ghostbusters 2016," revealing that the most commonly utilized form of humor was identified.
“Ghostbusters 2016” were simple sentence and the function of joke was to amuse others and her/himself in informal setting that was used in close relationship
In her 2014 study, Mahdalíková explored the discursive devices that shape the geek identity of characters in the American sitcom "Big Bang Theory," utilizing discourse analysis and the pragmatic cooperative principle The findings revealed that geek characters often engage in discussions about niche topics that are rarely addressed in everyday conversations, favoring formal language over colloquial speech, and incorporating specialized terminology and idiomatic expressions.
In her 2016 study, Phạm Thị Thanh Ly analyzed humor strategies in English and Vietnamese sitcoms through a pragmatic lens, focusing on how characters violate Grice's Cooperative Principle to generate humor in their conversations The research identified a total of 12 humor strategies and 3 sub-strategies that breach four of Grice's maxims, with the maxim of quantity being the least utilized in both English and Vietnamese contexts Notably, the study revealed that English sitcoms frequently employ strategies related to quality and irony, while Vietnamese sitcoms favor the use of manner and lexical puns, reflecting traditional influences in their comedic styles.
Previous studies have highlighted the interest of linguistic researchers in systemic functional grammar, particularly within the sitcom genre However, there is a notable lack of research focusing on the interpersonal meaning in American and Vietnamese sitcoms This study aims to address this gap in the existing literature.
This chapter is divided into two main sections The first section provides a theoretical background essential for understanding the study's objectives, with a focus on Systemic Functional Grammar (SFG) and its interpersonal meanings, particularly through mood, modality, and interpersonal grammatical metaphors It specifically examines various moods (declarative, interrogative, imperative), modality (including modal finite operators and modal adjuncts), and interpersonal grammatical metaphors The second section reviews relevant previous studies that relate closely to this thesis The following chapter will outline the methods and procedures that underscore the primary focus of the research presented in Chapter 4.
METHODOLOGY
Research method
In order to achieve the aims and objectives mentioned in Chapter 1, this thesis was conducted with the following methods:
This study utilized qualitative methods to describe and analyze data, focusing on the interpersonal meaning in American and Vietnamese sitcoms Additionally, quantitative approaches were employed to examine the frequency of mood types, the expression of modality, and the use of interpersonal grammatical metaphors in the written dialogues of these sitcoms.
-Comparative and contrastive methods were applied to find out the similarities and differences in interpersonal resources used in comic verbal resources in American and Vietnamese sitcoms.
Data collection
Sitcom series are typically structured into multiple seasons, with episodes averaging 20-30 minutes in length and containing around 4,000 words of dialogue To facilitate a contrastive analysis, this study analyzed eight sitcom episodes—four from American sitcoms (coded AS1-AS4) and four from Vietnamese sitcoms (coded VS1-VS4).
The American sitcom resource was obtained from freely accessible movie scripts found at http://transcripts.foreverdreaming.org/, while the Vietnamese sitcoms were sourced from a YouTube video available at https://www.youtube.com/watch?v=UWOSL6NQsPc.
Data analysis
The research was conducted with following steps:
The dialogues in American and Vietnamese sitcoms were meticulously scripted, providing a rich source of data essential for analyzing the interpersonal dynamics within these cultural contexts.
The analysis of sitcom resources AS1-AS4 and VS1-VS4 revealed key components of interpersonal meaning, focusing on mood, modality, and interpersonal grammatical metaphor.
The analysis of data involved utilizing a quantitative method to assess the frequency distribution of mood, modality, and interpersonal grammatical metaphor occurrences To enhance clarity and specificity, detailed tables and figures were presented, accompanied by illustrative examples.
- Qualitatively discussing the findings reveals the similarities and differences in interpersonal features in conversations of American and Vietnamese sitcoms.
Reliability and Validity
The literature review on Systemic Functional Grammar is primarily based on the theoretical foundations established by the renowned linguist Halliday This section synthesizes insights from various authoritative sources, including Halliday (1994), Thompson (2004), Eggins (2004), and Matthiessen et al (1997), to provide a comprehensive understanding of systemic functional grammar.
Another evidence for the reliability and validity is lying in the collection of data Both American and Vietnamese sitcoms resources are mainly collected from the most popular websites
Three reliable methods—qualitative, quantitative, and comparative and contrastive—were flexibly employed to enhance the efficiency of linguistic research These approaches significantly contributed to the analysis of interpersonal features in American and Vietnamese sitcoms.
From stated evidences above, this research is confirmed as a reliable and valid one.
FINDINGS AND DISCUSSIONS
Mood in ASs and VSs
4.2 The occurrence of interrogative structures in Ass 36 4.3 Percentage of affirmative and negative imperative in
4.4 Proportion of Mood structure in VSs 41
4.5 Distribution of interrogative mood structures in VSs 45 4.6 Distribution of imperative structures in VSs 48
4.7 Modal operators used in ASs 54
4.8 Modal operators used in VSs 59
4.9 Frequency of metaphor of mood in Ass 66
4.10 Distribution of metaphor of mood in VSs 69 4.11 Frequency of values of metaphor of modality in Ass 74 4.12 Distribution of values of metaphorical modality in VSs 76
2.1 Metafunctions in relation to field, mode and tenor 9 4.1 Distribution of full and elliptical declarative in ASs 35 4.2 Distribution of full and elliptical interrogative in ASs 38 4.3 Distribution of full and elliptical imperative in ASs 40 4.4 Proportion of full and elliptical declarative in VSs 44 4.5 Distribution of full and elliptical interrogative structures in VSs
4.6 Proportion of full and elliptical imperative structures in
4.7 Frequency of mood in Ass and VSs 50
4.8 Frequency of modality in Ass 53
4.9 Distribution of modal adjunct in ASs 56
4.10 Frequency of modality in VSs 59
4.11 Proportion of modal adjuncts in VSs 62
4.12 Distribution of modality in Ass and VSs 64 4.13 Frequency of values of modal operators in Ass and VSs 65
4.14 Metaphorical mood in Ass and VSs 72
4.15 Distribution of value metaphor of modality in Ass and
• VSs (1-4): Vietnamese sitcoms from 1 to 4
• ASs (1-4): American sitcoms from 1 to 4
This chapter outlines the essential preliminaries of the thesis, beginning with the rationale for the study It then details the aims and objectives, formulates the research questions, defines the scope of the study, and highlights its significance, ultimately concluding with the organization of the research.
Movies serve as a mirror of a country's culture, customs, and traditions, much like other art forms such as sculpture, painting, music, and literature They provide entertainment while also depicting everyday life through contemporary perspectives and unique language characteristics The language used in films evolves over time, making movies one of the most authentic art forms that reflect the dynamics of modern society.
Sitcoms, short for "situation comedy," stand out as a prominent genre in film, characterized by humorous plots rooted in everyday life and featuring real-time, face-to-face conversations This genre effectively reflects human experiences and societal norms, drawing the attention of scholars across various fields Researchers have explored sitcoms through lenses such as anthropology, psychology, semiotics, and socio-cultural studies, each offering unique insights into the language and humor present in these narratives For example, Sciama (2016) examined the cognitive and social dimensions of humor, while Martin (2007) investigated the development of humor and its role in social interactions Additionally, Mulkay (1988) contributed to psychological studies by analyzing the nature of humor in contemporary British and North American cultures.
Linguists have utilized pragmatics, discourse analysis, and translation to explore comic discourses in comedy films Šmilauerová (2012) investigated humor strategies derived from the violation of Grice’s conversational maxims in the TV sitcom Friends Additionally, Mahdalíková (2014) analyzed the discursive devices that shaped the geek identity of characters in the American sitcom The Big Bang Theory, highlighting the significance of discourse analysis and the pragmatic cooperative principle in understanding humor in television.
A study by Bosch Fàbregas (2016) examined linguistic gender stereotypes in the teen sitcom "Liv and Maddie" and its Spanish translation While various investigations have explored linguistic features in sitcoms through character dialogues, there is a notable lack of research analyzing the interpersonal meaning in comedy films using systemic functional grammar This gap is particularly striking given the extensive contrastive analyses conducted between English and Vietnamese across different fields, including literature, music, and advertising.
The study titled “A Contrastive Analysis of Interpersonal Meaning in American and Vietnamese Sitcoms” employs systemic functional grammar to explore the similarities and differences in interpersonal meaning between the two languages The findings aim to enhance practical language use and support the teaching and learning of English as a foreign language.
1.2 Aims and Objectives of the study
This thesis seeks to enhance the understanding of interpersonal features within sitcoms, focusing specifically on the similarities and differences in dialogue between American and Vietnamese sitcoms through the lens of functional grammar.
In order to achieve the stated aims, the thesis will focus on the following objectives:
-To identify and analyze the interpersonal meaning conveyed in the dialogues of American and Vietnamese sitcoms in terms of mood, modality and interpersonal grammatical metaphor of mood and modality
-To compare and contrast to find out the similarities and differences of interpersonal meaning used in verbal resources between American and Vietnamese sitcoms
Based on the aims of the study, the following questions are expected to be answered respectively:
-What are the interpersonal features revealed by mood, modality, and grammatical metaphor used in American and Vietnamese sitcoms?
-What are the possible similarities and differences between American and Vietnamese sitcoms in terms of interpersonal meaning?
This paper examines interpersonal meaning through mood, modality, and interpersonal grammatical metaphor within the framework of functional grammar It compares and contrasts the realization of interpersonal meaning in American and Vietnamese sitcoms, highlighting both similarities and differences in their comedic verbal resources Additionally, the study focuses exclusively on the written text of conversations to ensure the reliability of the analyzed resources.
Sitcoms, centered around everyday life, utilize practical verbal resources that reflect interpersonal dynamics This research serves as a valuable addition to the understanding of these interpersonal features in sitcoms Furthermore, the study highlights both the similarities and differences in interpersonal communication between American and Vietnamese conversations, offering language learners insights into language perception.
1.6 The Organization of the Study
The study is structured as follows:
Chapter one, the introduction, consists of the rationale, aims and objectives, research questions, the significance of the study, scope of the study and the organization of the paper
Chapter two offers an overview of sitcoms, focusing on a theoretical framework grounded in systemic functional theory, particularly the metafunctions of language that emphasize interpersonal meaning through various moods, modality, and interpersonal grammatical metaphor Additionally, it summarizes previous studies in the field to identify existing gaps in the literature that this research aims to address.
Chapter three outlines the research methods and procedures employed in the study, focusing on the strategies used for data collection and analysis, as well as the overall research execution.
Chapter four delves into the interpersonal meanings conveyed through various mood types, modality, and interpersonal grammatical metaphors in the written texts of American and Vietnamese sitcoms This section presents a comprehensive analysis of the data and discusses the findings, offering interpretations and insights into the results.
Chapter five, the conclusion, summarizes the main findings of the study which satisfy the research questions and points out some limitations as well as some suggestions for further researches
This chapter offers a comprehensive overview of the theoretical framework of systemic functional grammar, focusing on interpersonal features expressed through mood, modality, and interpersonal grammatical metaphor Additionally, it revisits previous relevant studies to underscore the rationale for addressing the identified gaps in this research.
Sitcoms, or situation comedies, are a subgenre of comedy films that encompass various styles such as romantic comedy, parody, and farce, all aimed at eliciting laughter through a series of humorous events According to Taflinger (2001), effective sitcoms must engage the intellect and evoke a sense of humanity while adhering to familiar societal norms The humor often arises from situations that are incongruous or inappropriate within their context, yet are perceived as harmless by the audience.
Modality in ASs and VSs
The modality system not only influences mood but also reflects the interaction between speakers and listeners, along with their attitudes and opinions on the conversation topic This system comprises two key components: modal operators and modal adjuncts.
The distribution of occurrence of modal operators and modal adjuncts in ASs is shown in Figure 4.8
Figure 4.8 Frequency of modality in ASs
Figure 4.8 clearly shows that modal adjuncts account for just over 2% compared to modal operators, which stand at 51.06% and 48.93%, respectively This slight difference highlights the favored methods for conveying speakers' viewpoints and attitudes A comprehensive analysis of these two subtypes of the modality system will be presented in the subsequent sections.
The occurrence of modal operators in ASs is shown in Table 4.7
Table 4.7 Modal operators used in ASs
Low value Can, may, could, might, dare, don’t/didn’t need
Median value Will, would, should, won’t, shouldn’t, wouldn’t
High value Must, ought to, need, have/has to, can’t 68 29.69%
In casual conversations, addressers show a clear preference for using median values, which account for 40.62% of their choices, while both low and high values are equally represented at 29.69%.
The median value is predominantly expressed through the term "will," which accounts for 64.51% of occurrences This modal verb is commonly used to indicate a moderate level of probability and is frequently abbreviated in spoken language.
(AS-4) Richard: If kid is what I take to be with you then kids it is
Richard: If I have to I'll, I'll do all again, I'll do the 4 o'clock feeding thing, I'll go to the P.T.A meetings, I'll coach the soccer team
In a specific context as in (AS-4), the character repeats the word “I’ll” as his commitment to taking responsibility for being fatherhood in the future
Richard's actions are anticipated based on the conditional context, while "will" is employed to predict the likelihood of the situation unfolding.
(AS-1) Carol: Where are they?
Monica: I'm sure they'll be here soon
Apart from employing “will” to talk about the prediction or intention of speakers to do in the future, it is also used in making polite requests in everyday dialogues
(AS-3) Chandler: And what did you bring?
Lorraine: She's checking the coats Joey, I'm gonna go wash the cab smell off my hands Will you get me a white zinfandel, and a glass of red for Janice?
The modal verb "can" is prominently used in ASs to convey requests and permissions, exemplified by Lily's plea: "Can you get me in there?" This highlights its function in expressing a desire for access and action in social interactions.
(AS-4) Best man: Yo! Can I have your attention, please? Thank you I remember when Barry got home from his first date with Rachel (AS-1) Monica: Can we come in?
In conversational English, the modal verb "can" combined with personal pronouns like "I," "you," and "we" serves multiple purposes, including making requests and seeking permission Additionally, "can" is utilized to discuss possibilities For instance, Phoebe mentions her friend Abby, who suggests that to escape a cycle of bad relationships, one might consider performing a cleansing ritual.
By using “can’t” with the most frequency in high value of modality system, speakers show their own incapacity of doing something
(AS-3) Joey: Can you stop yellin'? You're makin' me nervous, and I can't go when I'm nervous
(AS-2) Ted: I'm bailing, see ya
Barney: Oh hey, I can't see her face Is she hot?
The term "can't" serves to inhibit listeners from taking certain actions, while the full form "cannot" is often employed for greater emphasis on preventing those actions from occurring.
Lily reflects on her past experiences, noting that her adventurous moments were initially sparked by a dare, while subsequent ones were simply for enjoyment Although she longs to revisit her college days and reclaim that vibrant persona, she acknowledges the importance of moving forward rather than dwelling on the past.
(AS-3) Chandler: Ok, you cannot do this to me
Joey: You're right, I'm sorry You're right
Modal adjuncts play a crucial role in identifying the modality system, often surpassing the use of modal operators in ASs They can be categorized into two subtypes: mood adjuncts, which offer extra information regarding probability, usuality, and obligation, and comment adjuncts, which convey the speaker's attitude toward the proposition or specific speech function (Halliday & Matthiessen, 2004).
129) Figure 4.9 is the distribution of two subtypes of modal adjuncts in ASs
Figure 4.9 Distribution of modal adjunct in ASs
Figure 4.9 illustrates a significant disparity between two types of modal adjuncts, revealing that mood adjuncts dominate with 92.88%, while comment adjuncts represent only 7.11%.
Among mood adjuncts identified by probability, time, usuality, intensity, etc., adjuncts of intensity appear at the highest rate in ASs By using the adjuncts
Mood adjuncts Comment adjuncts of intensity, speakers can express their own attitude and viewpoint on the topic of conversation For example:
(AS-1) Rachel: Ok, so anyway, you were telling me about Paris, it sounds fascinating
Dr Franzblau: It really was There was this great little pastry shop right by my hotel There you go, dear
(AS-3) Rachel: How did we end up with these jerks? We're good people!
Monica: I don't know Maybe we're some kinda magnets
(AS-2) Barney: One of the twenty-four similarities between girls and fish is that they're both attracted to shiny objects You never read my blog, do you?
(AS-4) Rachel: Oh honey, I'm so proud of you, Min
Barry (entering): Oh Rach, you're still here, at our wedding, they were packing up the chopped liver about now
In AS-1, Dr Franzlau employs the intensifier "really" to pre-modify an omitted adjective, which signifies his agreement with Rachel's perspective and underscores his enthusiasm for the allure of Paris.
Speakers can effectively combine adjuncts of probability and intensity to convey predictions with low certainty For example, using "maybe" to indicate uncertainty alongside "just" as a pre-modifier enhances the expression of verbal groups.
(AS-4) Joey: Then I don't know what it is? What's the problem?
Monica: Joey, you know, maybe you’re just not used to kissing men, maybe you just tensed up a little, maybe that's what you need to work on
Comment adjuncts play a crucial role in dialogues by enabling speakers to articulate their opinions about the overall proposition or specific statements.
Robin expresses that entering the VIP room isn't a priority for her, as she has extensive experience in such settings and is far from being a novice She requests a callback to discuss further.
In (AS-2), the character, Robin, shows his strong desire to be called back by using the comment adjuncts “seriously”
Sometimes we also see the combination of comment adjunct and mood adjunct in speech as in AS-2
Interpersonal grammatical metaphor
As mentioned in Chapter 2, interpersonal metaphor is understood as unusual ways to express something, called incongruent form involving types of clauses of mood and modality
Low value Median value High value
4.3.1 Interpersonal grammatical metaphor of mood
4.3.1.1 Interpersonal grammatical metaphor of mood in ASs
Congruent coding of mood is achieved when there is consistency between mood choice and speech functions; for example, declarative statements provide information, interrogative sentences seek information, and imperative forms request actions In contrast, Thompson (2004) noted that incongruent forms arise when mood choices and speech roles do not align The statistics of mood metaphor can be found in Table 4.9.
Table 4.9 Frequency of metaphor of mood in ASs
Metaphor of mood Number of the occurrence Percentage
The data reveals that declarative mood metaphors dominate, accounting for 50.60% of the total, which is more than half of all mood metaphors Following this, interrogative mood metaphors make up 44.04%, while imperative mood metaphors are significantly lower at just 5.36% These findings suggest that speakers predominantly favor declarative mood structures for expressing commands and questions.
(AS-3) Monica: You cannot do this
Rachel: (I cannot) Do what, do what?
(AS-2) Ted: You’re crazy? You think I like going to those clubs? I’d so much rather go to your fruity little wine tasting
(AS-1) Joey: Oh yeah? And who do you like?
Joey: (you like) The Celtics? Ha They couldn't hit a boat if wait
(AS-4) Phoebe: I think my boyfriend ever so dreamy, I wonder what our wedding's gonna be like
In casual conversations, speakers often utilize declarative mood structures to pose questions, as illustrated in the provided examples These structures typically feature a subject followed by a finite verb, with the option to omit the subject, as seen in examples (AS-1) and (AS-3) The primary purpose of employing this mood metaphor in examples (AS-1), (AS-2), and (AS-3) is to express the speaker's emotions regarding the situation at hand Additionally, in example (AS-4), the speaker opts for an indirect inquiry using the phrase "I wonder" rather than directly asking, "What's our wedding gonna be like?"
Carol encourages you to remove the pin from the item you placed, reassuring you that you will find the right woman who is just waiting for you.
(AS-4) Chandler: Well, I think you should seriously consider the marriage thing, give Rachel another chance to dress up like Princess
In sitcom dialogue, the use of a declarative metaphorical mood to convey commands is prevalent For instance, rather than directly stating "Take the pin out" with an imperative mood, characters often opt for a more indirect approach that offers consolation Additionally, combining a projecting clause with a modal operator allows for gentle advice, as seen in the phrase "Consider the marriage thing," instead of using a straightforward command.
Making up the relatively remarkable proportion, the interrogative metaphorical mood is also employed to express speaker’s statement and command in the interaction
(AS-1) Lydia: Hey, Knick fan, am I interested in your views on fatherhood? Uh, no
Joey: Ok, look, maybe I should just go
(AS-3) Lorraine: She's checking the coats Joey, I'm gonna go wash the cab smell off my hands Will you get me a white Zinfandel, and a glass of red for Janice?
In the examples provided, Lydia's use of the interrogative metaphorical mood conveys her disinterest in discussing fatherhood, emphasizing her strong attitude and opinion Additionally, a command is expressed in the interrogative mood through a modal operator, as seen in the example where the speaker politely requests, "Get me a white Zinfandel, and a glass of red for Janice," instead of using a direct imperative This approach fosters politeness and enhances the communication process between the speaker and the listener.
Besides, the imperative mood is also employed to convey speaker’s statement and question with the relatively small number in the communication
(AS-2) Robin: Well, I hate to take his side but come one a wine tasting?
What's the big plan for next Saturday, scrabble night?
Lily: Don't check your email
(AS-4) Claire: Oh, yeah Norah Jones just gets better and better
Lily: Please tell if me we can drink the wine now
In the example of imperative mood, Lily advises, “Don't check your email,” implying she has previously communicated the necessary information through the email, rather than explicitly stating, “I have already told you in the email.” This illustrates how imperative statements can convey underlying meanings effectively.
The imperative mood can convey indirect meanings, as seen in the phrase "Don't check your email," which implies "I have already told you in the email." A typical example of this is when the speaker, Lily, suggests drinking immediately by using an imperative instead of a question, as in "Can we drink the wine now?" This approach effectively communicates her intention while maintaining a conversational tone.
A comprehensive analysis of the interpersonal metaphor of mood reveals its significant role in enhancing interactions, particularly within American sitcom dialogues This understanding paves the way for a deeper exploration of how interpersonal metaphor of mood is applied in various contexts, such as VSs, enriching our comprehension of these interactions.
4.3.1.2 Interpersonal grammatical metaphor of mood in VSs
The interpersonal grammatical metaphor of mood in verbal structures (VSs) encompasses three primary types: declarative, interrogative, and imperative The distribution of these metaphorical moods is detailed in Table 4.10.
Table 4.10 Distribution of metaphor of mood in VSs
Metaphor of mood Number of the occurrence Percentage
Table 4.10 reveals that metaphorical moods in verbal structures (VSs) account for the highest proportion at 51.49%, while metaphorical imperatives are absent Additionally, metaphorical interrogatives follow closely behind declarative metaphors, comprising a notable 48.51%.
It is noticeable that declarative metaphor of mood is much more prominent in Vietnamese sitcom conversation, now we take a look at some particular examples below
(VS-1) Sơn: Ừ Mà Sơn qua đây học đây nè, ba Sơn cũng phải mua cho Sơn một cái nhà riêng để ở đó
Kim Chi: (Ba Sơn) Mua nhà bên Singapore?
(VS-4) Quyết: Thôi được rồi, thống nhất là Kiều Linh và Phan sẽ đi thi
Nhớ phải được giải đấy, không được giải thì đừng về gặp anh em nữa
Kiều Linh khuyên con gái không được làm việc ở đó và yêu cầu chia tay bạn trai, nếu không cuộc đời sẽ chỉ gắn liền với những điều tầm thường Bà đưa cho con 100 nghìn để trả tiền nước và nhấn mạnh tầm quan trọng của quyết định này trước khi rời đi.
The declarative metaphorical mood primarily serves two speech functions: questioning and commanding A clause taken from previous dialogues, combined with a rising intonation, can express surprise, as illustrated in example (VS-1), despite its elliptical declarative structure being less common than commands In examples (VS-2) and (VS-4), modal operators like "phải" and "sẽ" are employed in statements to effectively convey commands in communication.
From the perspective of the second rank, interrogative metaphorical moods also play a remarkable role in conversation with the function of statement and command
Kim Long kêu lên: "Ôi chú ơi, con đói quá!" Đức Hạnh đáp lại: "Thôi đừng nhắc đến, ai cũng đang đói." Kim Long tiếp tục cầu xin: "Ba ơi, ba cho con miếng cơm ăn được không?"
(VS-2) Bạn gái Quyết: Nếu không được thêm chỉ tiêu, sao anh không đuổi bớt một người đi, thêm người mới vào có phải tốt hơn không?
Em gái tôi vừa tốt nghiệp đại học và đang tìm kiếm việc làm Tôi nghĩ rằng có thể đuổi một nhân viên không hiệu quả để tuyển em ấy vào làm.
(VS-4) Trung: Uhm đúng là một cặp tri kỷ
Phan&Kiều Linh: Cái gì? Tri kỷ á?
Kiều Linh: Tôi mà thèm làm tri kỷ với ông à?
Phan: Tôi mà thèm làm tri kỷ với bà á?