AIMS AND OBJECTIVES
Aims
This thesis explores the use of Affect and Judgement language within the Attitude category in English and Vietnamese love song lyrics It aims to provide language learners with practical insights into the evaluative expressions utilized by the songwriters, enhancing their understanding of emotional and judgmental language in romantic contexts.
Objectives
The study aims to achieve the following objectives:
- To describe types of Attitude values and to point out the linguistic resources for the realizations of the Attitude values (Affect and Judgement) in English and Vietnamese songs' lyrics;
- To point out the similarities and differences in English and Vietnamese 'love songs in terms of semantic values, syntactic realizations and quantitative distribution;
- To put forward implications on the teaching and learning of English as far as the attitude values of love songs are concerned.
RESEARCH QUESTIONS
To achieve the aims and objectives mentioned above, the study seeks the information for the following research questions:
1 What are types of Affect and Judgement values expressed in English and Vietnamese songs' lyrics in terms of Appraisal Theory?
2 What are the semantic values and syntactic realizations of Affect and
Judgement in both English and Vietnamese love songs in terms of Appraisal Theory and Functional Grammar?
3 What are the similarities and differences of Affect and Judgement in English and Vietnamese love songs in terms of semantic values, syntactic realizations and quantitative distribution?
SCOPE OF STUDY
Appraisal theory is an analytical framework that examines how language conveys attitudes towards subjects It consists of three key subsystems: Attitude, Engagement, and Graduation (Martin & White, 2005) This study focuses specifically on the Attitude subsystem as it appears in English and Vietnamese love songs, acknowledging the constraints of time and the researcher's capacity.
Song lyrics play a crucial role in music by conveying the underlying messages and emotions to the audience The effectiveness of this communication relies heavily on the writers' choice of words This article specifically examines two key aspects: Affect, which reflects the authors' emotions as expressed in their lyrics, and Judgement, which assesses the authors' attitudes towards the behaviors of others, including their praise, criticism, or condemnation of actions (Martin & White, 2005:42).
The study examines the semantic values and syntactic realizations of Affect and Judgement within the Appraisal framework It investigates sub-categories of Affect, including Un/Happiness, In/Security, Dis/Satisfaction, and Dis/Inclination, as well as Judgement's categories of Social esteem—Normality, Capacity, and Tenacity—and Social sanction—Veracity and Propriety Additionally, the research identifies the syntactic realizations of Affect and Judgement in the lyrics of English and Vietnamese songs, drawing on Halliday's Functional Grammar.
The study focuses on data sourced exclusively from English and Vietnamese love songs, featuring works by five prominent British songwriters—John Lennon, Paul McCartney, Elton John, Eric Clapton, and Adele—as well as five notable Vietnamese songwriters, including Trinh Cong Son, Duong Thu, and Bao Chan.
Nguyen Anh 9 and Duc Tri).
SIGNIFICANCE OF THE STUDY
This study significantly contributes to understanding the evaluative aspects of attitude within Appraisal theory, highlighting the importance of interpreting emotions expressed by songwriters Additionally, the findings serve as valuable references for implications and suggestions aimed at enhancing the comprehension and teaching of English, particularly through the lens of attitude and appraisal language.
ORGANIZATION OF THE STUDY
The thesis consists of 5 chapters:
Chapter 1 entitled “Introduction” covers the rationale, aims and objectives, scope of the study and the preview of the organization.
Chapter 2, Literature Review and Theoretical Background, presents an overview of existing research, theoretical frameworks, and key definitions pertinent to the research problem This chapter establishes the theoretical foundation for the study by exploring attitudes through the lens of appraisal theory.
Chapter 3, Research Methodology, deals with the methodology and the process of the study, which includes the design and procedure of the research, the data collection, and data analysis.
Chapter 4, Findings and Discussion the main chapter of the study, is designed for reports of the data analysis that focuses on some findings and discussions.
Chapter 5 serves as the conclusion of the study, highlighting key limitations identified throughout the research Additionally, it presents implications for teaching and learning English, along with recommendations for future research endeavors.
Chapter Two LITERATURE REVIEW AND THEORETICAL BACKGROUND
REVIEW OF PREVIOUS STUDIES
Appraisal theory, as defined by Martin and White (2005), is a framework within Systemic Functional Linguistics (SFL) that focuses on how texts express positive or negative evaluations This theory examines the ways in which the strength and directness of these attitudinal expressions can be intensified or diminished, providing insights into the discourse semantics of communication.
According to White (2015), speakers and writers interact dialogically with previous speakers and potential respondents regarding their current propositions This interaction occurs across three interconnected systems: Attitude, Graduation, and Engagement, which collectively shape the evaluative orientation of the text.
Numerous scholars have explored Appraisal Theory across various fields, with significant contributions such as "Evaluation in Texts: Authorial Stance and the Construction of Discourse" by Hunston and Thompson (2000) This study emphasizes the diverse linguistic elements that convey evaluation and authorial stance within discourse, revealing that evaluative meaning extends beyond mere evaluative lexical items.
Appraisal Theory, as discussed by Martin and White (2005) and further explored by Martin and Rose (2007) in "Working with Discourse: Meaning Beyond the Clause," examines how writers and speakers articulate their agreement or disagreement with potential responses from readers This theory highlights the ways in which individuals establish and reinforce their identities within a text or discourse, showcasing the intricate relationship between language and interpersonal dynamics.
Numerous scholarly articles have explored various aspects of Appraisal, including Martin's (2000) work on the Appraisal system in English, White's (2003) examination of modality and hedging from a dialogic perspective, and Hyland's (2005) instructional model for stance and engagement in academic discourse Additionally, research on annotating expressions of appraisal in English has contributed to a deeper understanding of this field.
Read et al (2007) and other related publications explore key aspects of Appraisal theory, including metadiscourse, stance, and evaluation These works collectively offer a comprehensive overview of the theoretical foundations of Appraisal in practice.
Since the Appraisal Theory was developed from Systemic Functional Linguistic byMartin and White, it has been adopted as a new approach to linguistic study and the
Appraisal framework has been applied to other areas.
In her 2006 study, Love examined Australian students' online responses to a postmodernist narrative within the Appraisal framework, highlighting the significance of Attitudinal analysis, particularly Affect This research underscores the importance of understanding emotional responses in literary discussions, providing valuable insights into student engagement and interpretation in online educational settings.
Judgement and Appreciation) as a diagnostic tool in art curriculum and cultural contexts.
In her 2010 study, Liu applied Appraisal Theory to enhance college reading instruction in China, focusing on the analysis and expression of Attitude, Engagement, and Graduation resources This research aimed to translate evaluative meanings effectively and resulted in the development of a model for the translation process.
Numerous studies have examined media discourses through the lens of Appraisal theory Juana and Begona (2006) investigated engagement patterns in journalistic commentary and news articles in both English and Spanish, focusing on the writer's stance and the aspects of (inter)subjectivity.
Journalistic Commentary and News Reportage” The presence and patterning of various linguistic resources and the comparison across languages are results of the study In
“Exploring the Dialogism of Academic Discourse: Heteroglossic Engagement in Medical
Research Articles”, Fryer (2013) indicated a variety of Engagement resources used the articles and their distributions both across and within different sections of the articles.
In addition to previous studies of Appraisal theory, there are some previous works of discourse analysis on songs have been conducted by some researchers Abrahamsson
In 2011, a study examined the gender roles present in the pop lyrics of Lady Gaga's album, focusing on the roles and interests of her listeners Similarly, Thompson (2002) utilized Discourse Analysis to explore how world music is represented in music education, highlighting an ideology of difference that creates binary oppositions between world music and European music regarding their cultural contexts, musical functions, pedagogies, and curriculum placement However, these studies primarily concentrated on the music and lyrics, neglecting to address the emotional expressions of composers towards their audiences.
Some certain aspects have been discussed in other frameworks rather than Appraisal or applied the Appraisal framework to some extent In “A Study of Proclaim Markers in
In his 2006 study, Nguyễn Văn Khôi examined proclaim markers in English and Vietnamese through the lens of the Appraisal framework The research emphasized the syntactic, semantic, and pragmatic characteristics of these markers, particularly in relation to epistemic modality, evidentiality, speech acts, force dynamics, politeness principles, and a dialogistic perspective.
Also, Trần Hữu Thuần (2014) with “A Study of Appreciation in Football
Commentaries in English and Vietnamese” focused on Appreciation in the category of
Attitude The researcher classified and analysed commentaries in three subcategories: reaction, composition, and valuation and helps valuate the beauty of language.
Another latest researcher, Nguyễn Thanh Tâm (2014) adopted the Appraisal Theory of Judgement in her study “A Study of the Semantic Features of Explicit Judgements in
The study of "Political Speeches in American English" reveals key semantic features that enhance understanding of political discourse Insights on explicit judgment, including epithet usage, illocutionary force, social esteem, and social sanction, provide valuable guidance for both English teachers and learners.
Research on song lyrics has been explored by various scholars, including Adit et al (2015), who conducted an "Emotion Analysis of Songs Based on Lyrical and Audio Features," and Xiaqing Li (2016), who performed an "Attitudinal Analysis of English Song Discourse."
Perspective of Appraisal Theory”; and Yuningsih (2018) “An Appraisal Analysis: The Interpersonal Meanings in the Discourse of a Lyric”.
Adit et al (2015) classified songs into emotion categories using a weighted combination of lyrical and audio features, aiming to develop Music Recommendation Systems and Automated Playlist Generation Systems tailored to user moods However, their research primarily focused on the emotional aspects derived from these features, indicating a need for further exploration of lyrics through Appraisal Theory to better understand the connection between songwriters, their lyrics, and audiences Additionally, Xiaqing Li (2016) analyzed the distribution of Attitude resources in English song lyrics, highlighting the frequent expressions of Affect and Appreciation.
In her 2018 study, Yuningsih utilized the Appraisal Framework to analyze how the band CNBLUE conveys interpersonal meanings in their song "Lonely Night." By examining the Attitude categories of Affect, Judgment, and Appreciation, she explored how the composers and singers negotiate emotional connections with their intended audience.
THEORETICAL BACKGROUND
Appraisal Theory
Appraisal theory is a framework for analyzing language that expresses attitudes toward various subjects It consists of three main subsystems: Attitude, Engagement, and Graduation, as outlined by Martin and White (2005) Each of these subsystems includes several subcategories, providing a comprehensive structure for understanding how attitudes are conveyed in communication.
APPRAISAL THEORY ENGAGEMENT xH CONTRACT \ I
Figure 2.1 Framework of Appraisal Theory (based on Martin & White, 2005)
This research focuses on the Attitude component of the Appraisal System, which encompasses gradable resources for evaluation Attitude is divided into three sub-systems: Affect, Judgement, and Appreciation Affect captures positive and negative feelings, such as happiness or sadness Judgement reflects attitudes toward behavior, highlighting admiration or criticism Appreciation evaluates natural phenomena based on their perceived value in various contexts.
Attitude, as defined by Martin & White (2005), is a key component of Appraisal Theory, encompassing our emotional reactions, judgments of behaviors, and evaluations of various elements This framework serves to map feelings as expressed in texts, focusing on emotional responses, assessments of human actions, and evaluations of products and processes.
Attitude can be categorized into three key subcategories: Affect, Judgment, and Appreciation This framework serves as the foundation for this study, which will delve deeper into Attitude and its subcategories in the following section.
Engagement involves the linguistic tools that speakers and writers use to express their stance regarding the values presented in the text and their audience (Martin & White, 2005: 36) It plays a crucial role in how interpersonal and ideational meanings are negotiated within discourse.
Attitude primarily relates to emotions, judgments, and evaluations, while Engagement focuses on how the speaker or writer positions themselves in relation to the text and other voices Understanding this distinction is crucial for effective communication and analysis.
Graduation, distinct from the previously mentioned sub-systems, focuses on the adjustment of evaluation strength, determining how intense or weak a feeling is (Martin & White, 2005: 37) It plays a crucial role in meaning construction, as every attitudinal meaning has a gradable quality Graduation operates along two scalability axes—Force and Focus—grading intensity and amount This process influences both Attitude and Engagement by either amplifying or diminishing the expression of feelings (Martin & White, 2005: 135).
In summary, Appraisal itself is regionalized as three interacting domains —
This article explores the concepts of attitude, engagement, and graduation in the context of love songs in both English and Vietnamese Attitude focuses on emotional reactions and evaluations of behavior, while engagement examines the influence of various opinions in discourse Graduation highlights how feelings can be intensified and categories can become less distinct By analyzing these elements in love songs, the article aims to provide language learners with valuable insights into the evaluative expressions used by songwriters.
Affect and Judgement as Two Sub-categories of Attitude
Attitude encompasses a framework of meanings across three key semantic domains: emotion, ethics, and aesthetics It can be categorized into three sub-types: Affect, which reflects human feelings; Judgement, which evaluates human character and behavior; and Appreciation, which assesses the value of objects and experiences.
Affect focuses on the speaker's emotions, while Judgement pertains to the speaker's assessment of others' behaviors In contrast, Appreciation evaluates the worth of things, transforming feelings into propositions about their value This analysis will explore how Affect and Judgement express and evaluate love from songwriters to their audience.
Vietnamese love songs in the thesis.
2.2.2.1 The Sub-Category Affect a Definition of Affect
Affect refers to the exploration of how individuals express their emotions in communication, assessing an entity, process, or situation on an emotional level (Martin & White, 2005: 42) It is commonly manifested through a variety of lexical items.
• Verbs of emotion (e.g You offer pleases me, I hate chocolate.)
• Modal adjuncts (e.g Sadly, the government has decided to abandon its commitment to the comprehensive school system.)
• Adjectives of emotion (e.g I am sad you've decided to do that.)
• Nominalization (e.g His fear was obvious to all.) b Major Sets of Affect
According to Martin and White (2005), Affect can be categorized into six key factors: cultural vibes, emerging emotions, reactions to specific emotional phenomena, general or undirected moods, the scale of feelings, and the intention behind reactions.
According to Martin and White (2005: 49), affective emotions can be categorized into four primary groups: un/happiness, which includes terms like 'cheerful' and 'sorrowful'; in/security, featuring words such as 'confident' and 'anxious'; dis/satisfaction, represented by 'absorbed' and 'furious'; and dis/inclination, exemplified by expressions like 'tremble' and 'miss'.
The un/happiness includes “affairs of the heart” which deal with the mood of feelings-sadness, hate, happiness and love (Martin & White, 2005: 49).
UN/HAPPINESS Surge (of behaviour) Disposition unhappiness misery
In moments of sadness, one might experience a range of emotions from a low whimper to a high wail, often feeling antipathy directed at others This can manifest as dislike or even hate, leading to feelings of revulsion Conversely, happiness brings a spectrum of positive emotions, from cheerful laughter to jubilant rejoicing Expressions of affection, such as hugs and handshakes, reflect our fondness and love for others, fostering connections that uplift and inspire.
The in/security covers “our feelings of peace and anxiety in relation to our environs, including of course the people sharing them with us ” (Martin & White, 2005:
In times of insecurity, individuals often exhibit restless behaviors such as twitching, shaking, and feeling anxious or disquieted This surge of unease can lead to startled reactions, where one may cry out or feel faint To combat these feelings, it’s essential to declare confidence and assert trust in oneself and others By committing to a sense of security and fostering a comfortable environment, individuals can proclaim their assurance and trust, ultimately leading to a more confident disposition.
Dis/satisfaction encompasses our emotional responses of achievement and frustration tied to our involvement in various activities, whether as participants or observers This concept includes feelings such as desire and fear, highlighting the complex nature of our experiences in different roles (Martin & White, 2005).
The surge of dissatisfaction can manifest in various behaviors, such as ennui, fidgeting, or a flat demeanor, leading individuals to tune out or feel jaded and displeased This can result in feelings of boredom, anger, or frustration, as people become fed up with their circumstances Conversely, satisfaction arises from genuine interest and involvement, where individuals feel busy and absorbed in their activities When engaged, they often experience pleasure, receiving compliments and rewards that leave them feeling impressed and charmed Ultimately, the contrast between dissatisfaction and satisfaction highlights the importance of being attentive and industrious in our pursuits.
The last one is dis/inclination Dis/inclination refers to such feelings as desire or fear (Martin & White, 2005: 48).
DIS/INCLINATION Surge (of behaviour)
Disposition disinclination fear tremble wary shudder fearful cower terrorised inclination desire suggest miss request long for demand yearn for
2.2.2.2 The Sub-Category Judgement a Definition of Judgement
Judgement refers to the aspect of meaning that shapes our perceptions of individuals and their actions, as outlined by Martin and White (2005) It involves evaluating human behavior through a lens of conventional norms, categorizing actions as moral or immoral, legal or illegal, and socially acceptable or unacceptable This evaluative language allows us to criticize, praise, condemn, or applaud the behaviors and beliefs of individuals or groups.
According to Martin and White (2005: 52), judgment can be categorized into two types: social esteem and social sanction Social esteem pertains to values established within social networks, reflecting our admiration or criticism of individuals based on their normality, capacity, and tenacity In contrast, social sanction involves attitudes towards behaviors that are either praised or condemned, often linked to civic duties or religious practices This judgment is assessed through veracity, which measures the honesty of a behavior, and propriety, which evaluates how beyond reproach a behavior is Ultimately, judgment is significantly influenced by cultural and ideological values.
Judgment values, much like Affect, can be categorized as either positive or negative The table below illustrates these realizations, though it is important to note that the range of meanings is not exhaustive The attitudinal meanings associated with lexical items can vary significantly depending on the context in which they are used.
ESTEEM Positive (admire) Negative (criticize)
Normality How special? lucky, fortunate, charmed, normal, natural, familiar, unlucky, hapless, star-crossed, odd, eccentric, unpredictable
Capacity How capable? powerful, sound, healthy, fit, adult, mature, experienced, mild, weak, immature, childish, helpless, slow, stupid, thick,
Tenacity How dependable? cautious, wary, patient, careful, dependable, faithful, loyal, impatient, weak, undependable, unfaithful, disloyal,
Veracity [truth] How honest? truthful, honest, credible, frank, candid, direct, discrete, tactful, dishonest, deceitful, lying, deceptive, manipulative, devious, blunt,
How far beyond reproach? good, moral, ethical, fair, generous, charitable, bad, immoral, evil, corrupt, unfair, unjust, mean, cruel, rude,
Judgement values can be recognized in such forms as Adverbials, Attribute and Epithet, Nominal and Verbal Hereby are the typical realizations.
• Adverbial: justly, fairly, virtuously, honestly, luckily, mdcfatigahly, cleverly, stupidly, eccentrically
• Attribute and Epithet: a corrupt politician, a skilful performer, truly eccentric hehaviour, that was dishonest, don't be cruel, she's very brave
• Nominal: a hrutal tyrant, a cheat and a liar, a hero, a genius, a maverick
Verbal expressions such as cheating, deceiving, sinning, lusting, backing out, and triumphing are key to understanding Judgement, which is articulated through modalization (Martin & White, 2005) This involves creating various realizations of probability, usuality, and capacity, which can be expressed through congruent and metaphorical language Consequently, modalizations are intricately linked to the lexicalized forms of Judgement across different contexts.
According to Martin and White (2005: 58), frames can effectively delineate the boundaries between two attitudinal sub-categories Specifically, for the Affect category, a key distinguishing frame is a relational attributive process that includes a conscious participant and utilizes the verb "feel."
{person feel Affect about something}
{it makes person feel Affect that [proposition]}
- I feel happy that they've come.
- It makes me happy that they've come.
For Judgement, a relational attributive process ascribing an attitude to some people's behaviour is useful (Martin & White, 2005: 59).
{it was Judgement for/of a person to do that}
{[for a person] to do that was a Judgement}
- It was silly of them to do that.
- (For them) to do that was silly.
Let's analyse one more example for the distinction between Affect and Judgement.
(1) I was not satisfied with the students' performance.
(2) It was not satisfying for the students to perform like that.
In the first instance, the phrase "not satisfied" reflects the author's negative emotional response to a situation, indicating a lack of fulfillment Conversely, "not satisfying" evaluates the students' behavior, highlighting their inadequate performance Therefore, it is essential to analyze lexical items within their linguistic context to accurately determine their attitudinal values.
Syntactic Realizations of Affect and Judgement in View of Systemic
Systemic Functional Linguistics (SFL) is a school of linguistics developed by
In the 1960s, Halliday established a linguistic framework that views language as a social semiotic system, emphasizing its evolution within the dynamic contexts of human interaction His work investigates how individuals utilize language across various contexts and examines the structural aspects of language as a semiotic system (Eggins, 1994: 20).
To deal with the syntactic forms of language, Systemic Functional Grammar (SFG) was introduced SFG attempts to explain and describe the organization of the
According to Halliday (2004), "meaning-making resources" are essential for expressing meanings and fulfilling various functions in our daily lives Systemic Functional Grammar (SFG) examines language as a tool for meaning-making, focusing on extensive written and spoken texts It identifies three interrelated modes of meaning present in all utterances: ideational, interpersonal, and textual.
In Systemic Functional Linguistics (SFL), language serves three interconnected metafunctions: ideational, interpersonal, and textual (Halliday, 2004: 30) The ideational function focuses on analyzing human experiences, enabling us to interpret the world around us through the representation of clauses.
The interpersonal function of language focuses on negotiating social relationships, particularly between the speaker and the listener This aspect is linked to the concept of clause as exchange, highlighting the interactive roles in communication In contrast, the textual megafunction emphasizes the organization of information within a text, relating to the clause as message and ensuring a coherent flow of ideas.
The Attitude sub-system of Appraisal reflects the speakers' or writers' experiences and evaluations of various subjects In this context, the concept of Clause as Representation is essential for assessing these evaluations Key aspects of Clause as Representation warrant careful consideration for a deeper understanding of how judgments are conveyed.
In the context of representation, process plays a crucial role, as it determines the possible types of participants involved Halliday identifies this concept as the system of transitivity, which encompasses various types of processes, including material, mental, relational, behavioral, verbal, and existential (Halliday, 2004: 213) This thesis specifically focuses on mental and behavioral processes as expressions of Affect, while also examining the behavioral process in relation to Judgement.
In the mental process, the key participants are the senser, who experiences thoughts and perceptions, and the phenomenon, which is the subject of those feelings and thoughts This process encompasses affection, cognition, perception, and desire In contrast, the behavioral process focuses on the behaver, who may engage in specific actions, often conveyed through intransitive verbs.
According to Halliday (2004), the framework of a process includes three essential components: (1) Process, (2) Participant, and (3) Circumstance These elements form the basis of grammatical distinctions across various word classes, which appear to be universal in human languages.
Table 2.7 Typical Functions of Group and Phrase Classes
Type of element Typically realized by
(3) Circumstance verbal group nominal group adverbial group or preposition phrase
The point may be explicit by the Figure 2.2 below.
The lion chased the tourist lazily through the bush
Participant Process Participant Circumstance Circumstance nominal verbal nominal adverbial preposition group group group group phrase
In summary, Affect and Judgement will be syntactically realized as verbal group, nominal group, adverbial group and prepositional phrase. a Affect and Judgement Realized as Verbal Group
A process of a clause is typically recognized by the verbal group included
Therefore, with a variety of verb types, we have various correspondent processes Within this thesis, it is concerned with two types of process as realizations of Affect and
Judgement - mental and behavioural. b Affect and Judgement Realized as Nominal Group
A nominal group contains the noun preceded and followed by various other items which occur in a certain sequence (Halliday, 2004) For example:
Consider the following clause (Halliday, 2004: 311):
Look at those two splendid old electric trains with pantographs!
Most of this clause consists of one long nominal group, those two splendid old electric trains with pantographs.
In such a long string, the nominal group can be structured as in the following figure.
Those two splendid old electric trains with pantograph Deictic Numerative Epithet Epithet Classifier Thing Qualifier
Pre-modifier Head Post-modifier
Figure 2.3 Experiential Structure of Part of a Nominal Group
Membership within the class is typically expressed by one or more of the function elements: Deictic, Numerative, Epithet, Classifier and Qualifier Each of them will be considered in turn.
- Deictic: The Deictic element indicates the specific subset of the Thing The
Deictic expressions can be categorized into specific and nonspecific types Specific deictics encompass demonstratives like "this," "these," "that," and "those," as well as the definite article "the" and possessive forms In contrast, nonspecific deictics include qualifiers such as "each," "every," "both," "all," "neither," "no," "one/a," "either," "some," and "any."
- Numerative: the Numerative element indicates some numeral features of the subset either quantity or order, either exact or inexact The quantifying Numerative
(quantitative) maybe specify exact numbers with cardinal numbers or inexact number, e.g two trains versus many trains or a lot of trains.
- Classifier: The Classifier indicates a particular subclass of the Thing in question
The range of semantic relations of Classifier may include: material, scale and scope, purpose and function, status and rank, origin, mode of operation.
- Epithet: The Epithet indicates some quality of the subset, e.g old, long, blue, etc.
It may be an objective property of the Thing itself or it may be an expression of the speaker's subjective attitude toward it, e.g splendid, silly, etc.
A qualifier is an essential component that follows the Thing and serves to characterize it This element can manifest as a major process, represented by a relative clause known as a Process, or as a minor process, indicated by a prepositional phrase referred to as a Range.
The Pobble who has no toes
The dog with the luminous nose
Figure 2.4 Qualifier in Nominal Group
- Thing: The Thing is the semantic core of the nominal group It may be a common noun, a proper noun or a (personal) pronoun.
In Vietnamese, nominalization is primarily achieved through the use of specific elements known as nominalizers, including terms like sự, việc, cuộc, cái, nỗi, niềm, cơn, trận, and chuyến, which are placed before verbs, adjectives, and clauses Additionally, there are various other methods for forming nominalizations Furthermore, the concepts of affect and judgment can be expressed through adverbial groups in the language.
According to Halliday (2004), an adverbial group is defined by having an adverb as its Head, which can stand alone or be accompanied by modifying elements The Head may include pre-modifiers like "not," "so," or "rather," which are categorized simply as Modifiers The structure of the adverbial group is illustrated in Halliday's work (2004: 356).
Figure 2.5 Pre- modification in the Adverbial Group
Post-modification of an adverbial group primarily involves comparison This can include embedded clauses or prepositional phrases, as illustrated in examples such as "much more quickly than I could count" and "too quickly for me to count."
Figure 2.6 Adverbial Group with Embedded Post-modifiers d Affect and Judgement Realized as Prepositional Phrase
There is a distinction between the term Group and Phrase in SFG Halliday (2004:
311) actually distinguishes between “group” and “phrase”:
“A phrase is different from a group is that, whereas a group is an expansion of a word, a phrase is a contraction of a clause ”
Halliday (2004) identifies the prepositional phrase as the sole class of phrase, defined as a combination of a preposition and a nominal group, such as "on the burning deck." In this structure, the preposition functions as a minor verb or predicator, with the nominal group acting as its complement Additionally, the prepositional phrase can serve as an adjunct within the modal structure of a clause, as well as a postmodifier in either a nominal or adverbial group.
Love Songs
Music is defined as the art of combining vocal and instrumental sounds to create beauty, harmony, and emotional expression A song, which is a vocal composition often accompanied by instruments, features lyrics that are usually poetic and may include religious verses or free prose For the purposes of this discussion, the term "song" specifically refers to the lyrics.
In this thesis, love songs are understood as songs about romantic love between males and females, excluding songs about love for country, family, friends, animals, and so
Modifier Head not so very much more easily
Love songs universally explore themes of romance, heartbreak, and the emotions tied to these experiences, reflecting a significant aspect of human culture While their presence spans various histories and societies, the prevalence of love songs has surged in modern times Prominent English songwriters, including Bob Dylan, Elvis Presley, Elton John, and Eric Clapton, have made notable contributions to the genre Similarly, Vietnam boasts renowned love song composers like Trinh Cong Son, Tran Hieu, Tran Tien, Pham Duy, and Do Bao, highlighting the global appeal of love-themed music.
In this thesis, the researcher takes the data including the lyrics of 50 English songs of famous British songwriters, and 50 Vietnamese songs, written by Vietnamese songwriters.
In this section, a brief review of related previous studies on Appraisal Theory has been presented In the theoretical background, Appraisal in line with SFL and SFG has been clarified.
In the upcoming section, we will delve into the significant aspects of Appraisal Theory within the framework of Systemic Functional Linguistics (SFL) We will analyze song lyrics to identify their semantic values, focusing on Affect—encompassing Un/Happiness, In/Security, Dis/Satisfaction, and Dis/Inclination—and Judgement, which includes Social Esteem (Normality, Capacity, Tenacity) and Social Sanction (Veracity, Propriety) Additionally, we will examine how Affect and Judgement are syntactically expressed through various grammatical structures, including verbal groups, nominal groups, adverbial groups, and prepositional phrases.
In the next chapter, we will describe the design and the methods for the study.
This thesis analyzes the meaning of attitude in English and Vietnamese love song lyrics through the lens of Appraisal theory Employing a descriptive analysis that integrates both qualitative and quantitative research methods, the study is grounded in the principles of Appraisal and Functional grammar.
The study employed an inductive approach, utilizing examples from English and Vietnamese love songs to explore the subject matter It incorporated tables and charts to illustrate the distributions and frequencies of Affect and Judgement resources A contrastive analysis was conducted to determine the frequency of specific sub-types of Attitude, as well as the sub-categories of Affect and Judgement in both languages This methodology facilitated the identification and analysis of the similarities and differences in the semantic values and syntactic realizations of Affect and Judgement in English and Vietnamese love songs.
RESEARCH METHOD
In order to meet the above-mentioned aims of the study in the previous chapter, three methods: qualitative method, contrastive analysis and quantitative method were used.
The study primarily utilized qualitative methods, including description, identification, and classification, to analyze the sub-categories of Affect and Judgement in both English and Vietnamese love songs Descriptive methods were employed to interpret data, focusing on semantics and syntax, while identification and classification helped establish the theoretical foundations of Appraisal Theory in both languages Additionally, contrastive analysis was conducted to identify similarities and differences in semantic values and syntactic realizations of Affect and Judgement To complement the qualitative approach, a quantitative method was also used to illustrate the distribution and occurrence of Affect and Judgement instances in the lyrics, supported by statistical tables.
DATA COLLECTION
Sampling of Study
This study aims to identify and collect samples related to Affect and Judgment, as defined within the scope of the thesis, guided by specific research questions.
In both English and Vietnamese love songs, language units expressing Affect and Judgement were identified as either single words or phrases The study employed a random sampling method, ensuring that each sample had an equal chance of being included in the analysis.
Here are some samples of Affect and Judgement in English love songs and Vietnamese ones.
(3.1) But when I see you darling,
It's like we both are falling in love again,
(“(Just Like) Starting Over” - John Lennon) (3.2) Some people want to fill the world with silly love songs.
(“Silly Love Song” - Paul McCartney) (3.3) Biết xa nhau là em sẽ đau buồn,
Thế sao không chờ nhau cuối con đường.
But true love is stronger.
(“When a Woman Doesn't Want You” - Elton John) (3.5) Tôi xin trả lại người một chuyện tình gian dối.
(“Xin đừng nói yêu tôi” - Nguyễn Ánh 9) (3.6) Nàng vô tư, ngây thơ, trắng trong.
(“Có quên được đâu” - Đức Trí)
(“Chuyện người con gái” - Đức Trí)
Within the theory framework of Appraisal (Martin & White, 2005), the language of
Affect can be expressed through various phrases that encapsulate emotions, such as "are falling in love again" and "sẽ đau buồn," which convey feelings of happiness and sadness, respectively Additionally, the desire for love is powerfully illustrated by the phrase "want to fill the world with silly love songs," reflecting an intense longing Conversely, the phrase "không chờ nhau cuối con đường" captures the sense of dissatisfaction in love, highlighting the complexities of emotional experiences.
Instances (3.4), (3.5), and (3.6) illustrate how certain phrases serve as judgments reflecting the attitudes of individuals in love, as well as the perspectives of songwriters on behavior and personality The expressions "true love" and "một chuyện tình gian dối" assess the sincerity of love, representing veracity Additionally, the phrase "vô tư, ngây thơ, trắng trong" highlights the beautiful qualities of the appraiser, embodying propriety.
Description of Data
The data of this study includes the lyrics of 50 English songs and 50 Vietnamese songs, written by famous British and Vietnamese songwriters.
The study analyzed lyrics from prominent English songwriters, including John Lennon, Paul McCartney, Elton John, Eric Clapton, and Adele, alongside Vietnamese songs by Trinh Cong Son, Duong Thu, Bao Chan, Nguyen Anh 9, and Duc Tri A total of ten songs were selected from each of these ten influential composers for the research.
Instruments of Data Collection
In our study, we qualitatively analyzed and classified Affect and Judgement instances found in English and Vietnamese love songs, focusing on their semantic values and syntactic structures We utilized observation and documentary review as primary data collection methods, and we also leveraged Google Search Engine to gather love songs from a pre-selected list of titles and composers.
Procedure of Data Collection
The steps for collecting data included:
- Collecting 50 English love songs and 50 Vietnamese love songs;
- Collecting the lyrics of 100 love songs;
- Reading to understand deeply the lyrics of the selected songs;
- Observing and identifying all the words and phrases containing the meaning ofAffect and Judgement.
DATA ANALYSIS
The study analyzed 988 instances of Affect and Judgement in both English and Vietnamese, focusing on their semantic and syntactic values Utilizing Appraisal theory, the data was examined both qualitatively and quantitatively to uncover the underlying attitudes expressed in the languages.
The qualitative method was utilized to analyze and interpret data related to the sub-categories of Affect and Judgement, focusing on their semantics and syntax Each sub-category was identified and classified into specific types: Affect includes Un/Happiness, In/Security, Dis/Satisfaction, and Dis/Inclination, while Judgement encompasses Social Esteem (Normality, Capacity, Tenacity) and Social Sanction (Veracity, Propriety) This classification facilitated an exploration of the syntactic characteristics of these realizations, revealing that Affect and Judgement are expressed through various syntactic structures, including verbal groups, nominal groups, adverbial groups, and prepositional phrases.
The study employed a quantitative method to analyze the distribution and occurrence of Affect and Judgement in the lyrics of English and Vietnamese love songs, utilizing statistical tables to present the findings.
The researcher explored how authors convey emotions and perspectives by analyzing the use and distribution of linguistic resources related to attitude within Appraisal theory.
RELIABILITY AND VALIDITY
This study ensured the reliability and validity of data collection by meticulously gathering and analyzing love song lyrics in both Vietnamese and English from ten songwriters The data were systematically sorted according to established theoretical frameworks, and the samples were carefully selected to verify the results The findings were supported by robust evidence, statistics, and frequency analysis, reinforcing the study's overall validity and reliability.
SUMMARY
Chapter 3 outlines the research methodology of the thesis, detailing the sample collection process and the procedures for data analysis It also addresses the reliability and validity of the research, establishing a solid foundation for the detailed findings and discussions that will follow in the subsequent chapter.
This section presents the semantic and syntactic realizations of Attitude resources in lyrics of English and Vietnamese love songs from the perspective of Appraisal.
Martin and White (2005) highlight that each sub-category of Attitude has distinct semantic criteria related to various positive or negative meaning domains The Affect sub-category specifically addresses emotions and feelings through three fundamental pairs: Un/Happiness, Dis/Satisfaction, and In/Security, along with Dis/inclination.
Judgment arises from our perceptions of others and their behaviors, influencing two key concepts: Social Sanction and Social Esteem These aspects will be explored in greater detail in the subsequent analysis.
Semantics and syntax are essential components for understanding language patterns, and our semantic investigation may overlap with previous samples We will analyze syntactic realizations from earlier findings to explore their semantic properties, mapping them to the criteria established by Martin and White (2005) to identify semantic realizations within the Attitude sub-categories Results will be presented in tables, with semantic criteria coded as “-” for negative values and “+” for positive values, using abbreviated terms as outlined in the Abbreviation list.
SEMANTIC VALUES OF AFFECT IN ENGLISH AND VIETNAMESE
Semantic Values of Affect in English and Vietnamese Love Songs
4.1.1.1 Un/Happiness Meaning of Affect
Let's analyze some examples of Un/happiness Affect in English love songs:(4.1) We used to go to now
I'll keep my bleeding heart.
(“No Valentines” - Elton John) (4.3) Still we're deep in each other's hearts.
(“Bless You” - John Lennon) (4.4) When I'm down really yin
And I don't know what I'm doing.
("Aisumasen (I'm Sorry)" - John Lennon) (4.5) It's hard enough I know just to feel your own pain.
("Aisumasen (I'm Sorry)" - John Lennon) (4.6) Out the blue you came to me
And blew away life's misery.
("Out the Blue" - John Lennon) (4.7) I didn't mean to hurt you, little girl.
(“One More Kiss” - Paul McCartney) (4.8) Holding you, you holding me,
Everyone could see we were in ecstasy.
And suddenly I'm glad that I have you here.
(“The Loveliest Thing” - Paul McCartney) (4.10) I have loved you all my life.
(ENGLISH LOVE SONGS) UN/HAPPINESS
(4.3) deep in each other's hearts +
(4.10) have loved you all my life +
In Vietnamese songs, a lot of instances of similar un/happiness Affect are also found Here are some examples:
(4.11) Chiều nay còn mưa sao em không lại
Nhỡ mai trong cơn đau vùi.
(4.12) Làm sao có nhau, hằn lên nỗi đau
Bước chân em xin về mau.
(“Diễm xưa” - Trịnh Công Sơn) (4.13) Những đêm mưa nằm đây khóc một mình,
Nhớ thương anh em thức suốt đêm buồn.
(“Có quên được đâu” - Đức Trí) (4.14) Tình ơi sao đi mãi nên sông dài mênh mông
Bàn tay ôm nỗi nhớ xôn xao biển rộng
(“Bên em là biển rộng” - Bảo Chấn)
(“Và cơn mưa tới” - Bảo Chấn) (4.16) Bài ca đã biên rồi mà chưa nói hết lời
Vì ta quá yêu đời đấy thôi.
(“Bài ca chưa viết hết lời” - Bảo Chấn) (4.17) Đường dài mãi sao bóng anh không quay lại, tan nát tim em bao buồn đau.
(“Có quên được đâu” - Đức Trí) (4.18) Và em nghe tiếng mưa vẫn rơi đều
Những giọt nước mắt chưa vơi.
(“Có quên được đâu” - Đức Trí) (4.19) Em qua công viên mắt em ngây tròn
Lung linh nắng thủy tinh vàng
Chợt hồn buồn dâng mênh mang.
(“Nắng Thủy Tinh” - Trịnh Công Sơn) (4.20) Em mang cho ta một chút tình
Miệng cười khúc khích trên lưng.
(“Quỳnh hương” - Trịnh Công Sơn) Table 4.2 Un/happiness Realizations of Affect in Vietnamese Love Songs
(VIETNAMESE LOVE SONGS) UN/HAPPINESS
(4.19) hồn buồn dâng mênh mang -
Affect, particularly in the context of happiness, encompasses words and phrases that convey a range of emotions, including joy, sorrow, and nostalgia for love This emotional spectrum is vividly illustrated through the use of expressive verbs that capture the essence of these feelings.
The phrases of Affect - Happiness can be found in English love songs such as:
“Happiness in the homeland”, “deep in each other's hearts”, “in ecstasy”, “glad”, and
The phrase "have loved you all my life" encapsulates deep emotions, reflected in Vietnamese expressions like "rất vui," "quá yêu đời," and "cười khúc khích." These positive phrases highlight the authors' perspectives on the value of love, emphasizing its connection to heartfelt emotions Love is portrayed as a profound experience that engages and enriches the heart.
The negative Affect is Unhappiness which can be found in phrases: “my bleeding heart”, “down really”, “feel your own pain”, “misery”, and “hurt you” in
English songs; and “cơn đau vùi”, “hằn lên nỗi đau”, “khóc một mình”, “ôm nỗi nhớ,
The phrases "Tan nát tim em," "Những giọt nước mắt," and "hồn buồn dâng mênh mang" reflect the profound sadness and emotional turmoil associated with love and heartbreak in Vietnamese culture These expressions illustrate the deep sorrow experienced by individuals in love or after a breakup, showcasing how different composers convey their feelings of lost love through various sentimental approaches.
4.1.1.2 In/Security Meaning of Affect
In/security, a sub-category of Affect, can be categorized into positive and negative forms The data analysis has revealed several meanings associated with In/security, highlighting its diverse implications.
(4.21) I'm lovin' you lovin' me lovin' you.
It's all the same; when loving, two together makes one.
(“Lovin' You Lovin' Me” - Eric Clapton)(4.22) But I set fire to the rain
(4.23) Layla, darling won't you ease my worried mind.
(“Layla” - Eric Clapton) (4.24) I was feeling insecure
You might not love me anymore.
(“Jealous Guy” - John Lennon) (4.25) After all we've been through
I can't decide if I should run and hide.
("Why Do You Love Me" - Adele) (4.26) If this ain't love, then what is?
We're willing to take the risk.
("He Won't Go" - Adele) (4.27) Too much confusion
Going around through my head.
(“Old Love” - Eric Clapton) (4.28) I'm scared to say I love you
(4.29) Afraid to let you know
(“Turned Out” - Paul McCartney) (4.30) When you are lost, lost in the night.
(“I Will Be There” - Eric Clapton) Table 4.3 In/security Realizations of Affect in English Love Songs
(4.30) lost, lost in the night -
A number of Vietnamese instances of Affect In/security are also found in the love songs.
(4.31) Em đã cho anh ấm lại
Dù bao giá băng trong tim vẫn còn.
(“Anh sẽ nhớ mãi” - Đức Trí) (4.32) Chiều buồn mưa bay, gió lay
Một mình cô đơn bước chân âm thầm.
(“Giáng ngọc” - Trịnh Công Sơn) (4.33) Ngày tháng mới yêu đẹp ôi biết bao nhiêu,
Em sợ ngày buồn lại mang tình đi mất.
(“Lúc mới yêu” - Đức Trí) (4.34) Đêm nay cô đơn đi về
Xin người hãy nhớ tình tôi.
(“Ai đưa em về” - Nguyễn Ánh 9) (4.35) Vẫn mong một ngày, nắng lên xanh ngời
Ta bên nhau sánh đôi.
(“Ước mơ trong đời” - Đức Trí)(4.36) Tình trót trao về người
(“Tình khúc chiều mưa” - Nguyễn Ánh 9) (4.37) Người hỡi, tình mình tựa như, những áng mây trôi về đâu
Vẫn mong cho, mình mãi bên nhau dài lâu.
(“Yêu thương mong manh” - Đức Trí) (4.38) Mưa rơi lạnh lùng xóa dấu chân xưa
Tin yêu bây giờ trả lại người xưa.
(“Tình khúc chiều mưa” - Nguyễn Ánh 9) (4.39) Chỉ một ánh mắt đắm đuối em trao
Anh ngỡ như ánh sao trên ti'0'i
(“Anh sẽ nhớ mãi” - Đức Trí) (4.40) Chiều đã về nằm nghiêng góc trời
Chờ đêm gọi vòng tay đón đợi.
(“Đêm nay anh mơ về em” - Bảo Chấn) Table 4.4 In/security Realizations of Affect in Vietnamese Love Songs
(4.31) đã cho anh ấm lại +
(4.39) ngỡ - relation to the environment such as anxiety, fear, confidence and trust.
The phrases "together," " đã cho anh ấm lại," "bên nhau sánh đôi," "bên nhau dài lâu," "tin yêu," and "vòng tay đón đợi" evoke a sense of positive emotion and security in love These expressions effectively guide listeners and readers towards experiencing a profound sense of peace and comfort in their romantic relationships.
However, the negative Affect including “cried”, “my worried mind”, “was feeling insecure”, “run and hide”, “the risk”, “Too much confusion”, “scared”,
“Afraid”, and “lost, lost in the night” in English love songs, and “Một mình cô đơn”,
In Vietnamese, words like “sợ” (fear), “cô đơn đi về” (loneliness), “lẻ loi” (solitude), and “ngỡ” (to feel) reflect deep emotions of insecurity Composers use these terms to express the pain that can accompany love, leaving individuals feeling lost and unsure of how to cope While love can bring a spectrum of emotions, including sadness and fear, it also adds complexity to life, often resulting in tears and heartache.
4.1.1.3 Dis/Satisfaction Meaning of Affect
Here are some examples of Dis/satisfaction in English love songs.
No reason to get excited.
(“No Valentines” - Elton John) (4.42) And I so want you to be my dear wife,
As only you can satisfy me any more.
(“Lovin' You Lovin' Me” - Eric Clapton) (4.43) It makes me so angry
To know that the flame still burns
(“Old Love” - Eric Clapton)(4.44) There must be something in the water
I won't forgive me if I give up trying
(“He Won't Go” - Adele) (4.46) I know time flies so quickly,
But when I see you darling,
It's like we both are falling in love again,
(“(Just Like) Starting Over” - John Lennon) (4.47) And woman, I will try to express,
My inner feelings and thankfulness,
(4.48) For showing me the meaning of success,
(“Woman” - John Lennon) (4.49) I tried to love for years upon years
You refuse to take me for real.
(“Promises” - Eric Clapton) (4.50) You seem to have a friendlier smile than all the rest.
(“The Loveliest Thing” - Paul McCartney) Table 4.5 Dis/Satisfaction Realizations of Affect in English Love Songs
(4.41) No reason to get excited -
Some instances in Vietnamese are also found:
(“Ai đưa em về” - Nguyễn Ánh 9) (4.52) Buồn ơi hãy đến với ta Để quên chuyện tình xót xa.
(“Buồn ơi chào mi” - Nguyễn Ánh 9) (4.53) Tôi xin trả lại người một cuộc tình cay đắng
(“Xin đừng nói yêu tôi” - Nguyễn Ánh 9) (4.54) Là một ngày anh đến không trễ hẹn cùng em.
(“Cho em một ngày” - Dương Thụ) (4.55) Buồn ơi yêu đương là thế, s
Sao tình ta mãi mãi đam mê.
(“Buồn ơi chào mi” - Nguyễn Ánh 9) (4.56) Giận hờn sẽ quên,
Dáng em trôi dài trôi mãi trôi trên ngàn năm
(“Ru em từng ngón xuân nồng” - Trịnh Công Sơn) (4.57) Đêm mai không ai đưa về,
Người ơi xin đừng hờn dỗi.
(“Ai đưa em về” - Nguyễn Ánh 9)(4.58) Vì sao ngừng mê say, vì sao chẳng mãi mãi? Đôi khi trách nhau có được đâu.
(“Có quên được đâu” - Đức Trí) (4.60) Vì ta còn đắm say khi em cười
(“Bài ca chưa viết hết lời” - Bảo Chấn) Table 4.6 Dis/Satisfaction Realizations of Affect in Vietnamese Love Songs
(4.53) một cuộc tình cay đắng -
Dis/satisfaction encompasses our emotional responses to achievements and frustrations in various activities, whether we are participants or spectators This spectrum of feelings includes curiosity, respect, ennui, and displeasure While satisfaction is characterized by interest and pleasure, dissatisfaction is marked by feelings of ennui and displeasure.
The essence of love is often debated; when chosen wisely, it is deemed intelligent, but when misguided, it is labeled as blind Expressions like "satisfy me," "deeper than I knew," and "the meaning of success" reflect the joy and fulfillment that love can bring However, love is a complex emotion that can evoke a range of feelings, making our hearts race and enhancing our experiences, regardless of whether we feel content or discontent.
The concepts of satisfaction and dissatisfaction are expressed through appraising items such as "love," "relationship," and "date," particularly among individuals experiencing the highs and lows of romantic feelings Love can evoke a spectrum of emotions, bringing both joy and resentment, indicating that appraising items can reflect either positive or negative sentiments toward a person or love itself Additionally, phrases like "thankfulness," "the meaning of success," and "refuse to take me for real" carry implicit meanings, requiring readers or listeners to infer the underlying feelings of satisfaction or dissatisfaction related to the appraised subjects.
4.1.1.4 Dis/Inclination Meaning of Affect
Here are some of their typical realizations from the data in English.
(4.61) Love is living, living love
Love is needing to be loved.
(“Love” - John Lennon) (4.62) We could have had it all
You're gonna wish you never had met me
(“Rolling in the Deep” - Adele) (4.63) Some people want to fill the world with silly love songs
And what's wrong with that?
(“Silly Love Song” - Paul McCartney)
(“When a Woman Doesn't Want You” - Elton John) (4.65) Having lovers and friends is all good and fine
But I don't like yours and you don't like mine.
(“Promises” - Eric Clapton) (4.66) I kept my distance so you would be free,
And hoped that you'd find the missing piece.
(“Don't You Remember” - Adele) (4.67) Have you ever loved a woman
(4.68) So much you tremble in pain?
(“Have You Ever Loved A Woman” - Eric Clapton) (4.69) I hate to turn up out of the blue, uninvited.
(“Someone Like You” - Adele) (4.70) With you my love
Whatever I do, you raise the same objection.
(“Part Time Love” - Elton John) Table 4.7 Dis/Inclination Realizations of Affect in English Love Songs
(4.61) is needing to be loved +
(4.63) want to fill the world with silly love songs +
The instances of Dis/inclination also appear in Vietnamese love songs.
(4.71) Em, lòng vẫn khát khao được yêu mãi thế.
(“Yêu thương mong manh” - Đức Trí) (4.72) Muốn xa anh thật xa,
(4.73) Muốn quên những ngày qua
(“Họa mi hót trong mưa” - Dương Thụ) (4.74) Từng chiều mong nhớ bước chân em vẫn âm thầm.
(“Chuyện người con gái” - Đức Trí) (4.75) Nghe hạt mưa rơi rớt quanh đời
Anh ngồi nhớ em mùa đông.
(“Nỗi nhớ dịu êm” - Bảo Chấn) (4.76) Buổi chiều ngồi ngóng những chuyến mưa qua.
(“Diễm Xưa” - Trịnh Công Sơn) (4.77) Ước mơ trong đời, có ai đâu ngờ.
(“Ước mơ trong đời” - Đức Trí) (4.78) Nằm nghe nỗi nhớ mênh mông
Từ con tim khao khát nhớ.
(“Đêm nay anh mơ về em” - Bảo Chấn) (4.79) Em sợ ngày buồn lại mang tình đi mất.
(“Lúc mới yêu” - Đức Trí)
Table 4.8 Dis/Inclination Realizations of Affect in Vietnamese Love Songs
Disinclination refers to a feeling of fear or wariness, indicating a sense of reluctance or apprehension In contrast, inclination expresses a longing or desire for something that is missed or yearned for Understanding these terms can enhance emotional expression and clarity in communication.
The fulfillment of love and happiness requires patience, anticipation, and a deep desire for connection Love songs often capture this sentiment through phrases that express longing and need, such as "needing to be loved," "wish," and "hoped."
“loved”, “khát khao được yêu”, “mong nhớ”, “nhớ em”, etc As presented in the instances, the feeling of desire is depicted strongly and reflect the burning love.
The instances of Disinclination Affect “doesn't want you”, “don't like”,
The phrases "wanting to distance from you," "wanting to forget," and "asking to return you" encapsulate the internal conflict experienced by lovers, highlighting that love encompasses both happiness and heartache.
Semantic Values of Judgement in English and Vietnamese Love Songs
Judgment, as defined by Martin and White (2005), encompasses the evaluation of individuals or groups through criticism, praise, condemnation, or applause This concept can be categorized into two main types: Social Esteem, which reflects the positive assessment of someone's qualities, and Social Sanction, which pertains to the negative evaluation of actions or beliefs.
Social Esteem deals with the ways we admire or criticize how unusual someone is - Normality, how capable they are - Capacity and how dependable they are
- Tenacity (Martin & White, 2005: 53) Based on the semantic properties of Judgement markers, Social Esteem values of selected samples can be observed to manifest in both positive and negative.
The in-depth analysis of Normality, Capacity and Tenacity will be presented respectively as the following: a Normality
Let's analyze several English and Vietnamese examples of Normality in love songs:
(4.81) I am so in love for once in my life.
(4.82) In my dreams, I've known you many times before.
(“Lovin' You Lovin' Me” - Eric Clapton) (4.83) Tell me that you love me as often as you can,
(“Tell Me That You Love Me” - Eric Clapton)(4.84) Woman, I can hardly express,
(4.85) I'll make a wish and suddenly
I'm glad that I have you here.
(“The Loveliest Thing” - Paul McCartney) (4.86) Những đêm trắng thao thức mong chờ
Anh ngồi nhớ em suốt đời.
(“Nỗi nhớ dịu êm” - Bảo Chấn) (4.87) Dịu dàng anh sẽ tới
Hát lên lời ru êm ái cho em mà thôi.
(“Và cơn mưa tới” - Bảo Chấn) (4.88) Nỗi nhớ anh ngày mưa,
Nỗi nhớ anh thật sâu nặng
(“Họa mi hót trong mưa” - Dương Thụ) (4.89) Phút mong chờ ấy tuyệt vời,
Chứa chan niềm tin yêu, kìa anh tới.
(“Lắng nghe mùa xuân về” - Dương Thụ) (4.90) Một lời cuối cho em, một lời cuối cho em
Khi tình ta hôm nay đã tàn phai.
(“Một lời cuối cho em” - Nguyễn Ánh 9)
Table 4.9 Normality Realizations of Judgement in Love Songs
Normality is a sub-type that assesses whether an individual's behavior is typical, unusual, or exceptional This evaluation can be framed in both positive and negative contexts, using terms such as "unlucky," "unnatural," "unfortunate," and "bumble."
The examples provided illustrate the dual nature of normality in love, highlighting both its positive and negative aspects Love is a profound emotion characterized by strong affection, often emerging unexpectedly This complexity is reflected in the lyrics crafted by songwriters, who convey the unpredictable and uncontrollable essence of love through their use of judgmental phrases.
The second sub-type of Social Esteem in Judgment, known as Capacity, focuses on the values associated with ability rather than permission This concept emphasizes the judgment of one's skills and knowledge in performing specific tasks, rather than merely the willingness to follow orders Capacity can be viewed positively or negatively, reflected in terms such as educated or uneducated, experienced or inexperienced, clever or dull, and successful or unsuccessful.
Take several following instances of Judgement in both English and Vietnamese love songs for analysis:
(“Lovin' You Lovin' Me” - Eric Clapton) (4.93) It's above and beyond me,
It's out of my hands
(“Why Do You Love Me” - Adele) (4.94) Your love is making me strong.
(“Bad Love” - Eric Clapton) (4.95) You know my heart more than I do.
(“I'll Be Waiting” - Adele) (4.96) Yêu đã tàn rồi mà lối thoát tìm không thấy giờ ngồi đây
(“Ai khóc nỗi đau này” - Đức Trí)
(4.97) Hãy đến đây cùng anh để anh mãi ấp ôm
Và mãi có em trong đời.
(“Anh sẽ nhớ mãi” - Đức Trí) (4.98) Em đã cho anh ấm lại dù bao giá bang trong tim vẫn còn
(“Anh sẽ nhớ mãi” - Đức Trí) (4.99) Chuyện người con gái mới biết yêu, yêu lần đầu.
(“Chuyện người con gái” - Đức Trí) (4.100) Gió vẫn reo cùng rừng thông
Anh không thể biết nỗi buồn.
Table 4.10 Capacity Realizations of Judgement in Love Songs
(4.92) can feel the power when you're standing there +
(4.97) mãi có em trong đời +
(4.98) đã cho anh ấm lại +
As illustrated above, instances “is making me strong”, “know my heart more than I do”, “can feel the power when you're standing there”, “mãi có em trong đời”,
The phrases "đã cho anh ấm lại" and "mới biết yêu" convey a positive assessment of emotional capacity, reflecting the songwriters' intention to help listeners grasp their optimistic views and the transformative power of love Additionally, expressions like "Misunderstanding," "out of my hands," and "tìm không thấy" highlight the complexities and challenges that often accompany relationships.
“không thể biết” indicate the negative meaning on commenting Capacity Thus, love can also become one with the capability to bring people sorrow. c Tenacity
Tenacity is reflected in the achievements of a target, showcasing determination and a commitment to pursuing goals This concept can be expressed positively in both English and Vietnamese love songs, highlighting traits such as heroism, reliability, and faithfulness Conversely, it can also be portrayed negatively, with terms like cowardice and recklessness illustrating the duality of tenacity's representation in music.
(4.101) You'll never know if you never try
To forget your past and simply be mine.
(“One and Only” - Adele ) (4.102) And woman, I will try to express,
My inner feelings and thankfulness,
(“Layla” - Eric Clapton) (4.104) Who knows why I love you
It could be something in the air I breathe
Whatever it is, I depend on it.
(“Why Do You Love Me” - Adele) (4.105) I won't forgive me if I give up trying.
(“He Won't Go” - Adele) (4.106) Những khúc ca buồn rồi sẽ tan vào lãng quên.
(“Bài ca đêm” - Bảo Chấn) (4.107) Biết anh bây giờ chắc vẫn mong chờ
(“Ước mơ trong đời” - Đức Trí) (4.108) Yêu thương khi xưa ta đánh mất thật rồi
Chắc ta vội vàng quá
(“Chuyện người con gái” - Đức Trí) (4.109) Mùa đông tới anh chờ em mãi
(“Một ngày mùa đông” - Bảo Chấn) (4.110) Người yêu nhé, nhìn em lần nữa, hứa một lời sẽ mãi bên nhau
(“Yêu thương mong manh” - Đức Trí) Table 4.11 Tenacity Realizations of Judgement in Love Songs
(4.103) tried to give you consolation -
Through the positive Tenacity like “will try to express”, “vẫn mong chờ”,
In the song "Chờ Em Mãi," the songwriters express the unwavering confidence of lovers who steadfastly believe in their shared future, envisioning a life together despite the obstacles they face in their journey of love However, the path is not always smooth, and some couples may find themselves unable to reach their destination together, leading to sentiments of longing and phrases like "tried to give you consolation."
“give up trying”, “lãng quên”, and “vội vàng quá”.
Some individuals may choose to part ways with their companions, while others remain steadfast, patiently waiting for their beloved partners The enduring sweetness of love often helps these devoted lovers overcome any challenges they encounter along their journey.
In both English and Vietnamese love songs, several examples of Veracity are found out Let's take some examples of Veracity as below:
(4.111) I gave you everything you never gave me
I never lied and I never faked it.
("Can't Let Go" - Adele) (4.112) All the things you'd say
They were never true, never true.
(“Set Fire to the Rain” - Adele)
(4.114) But true love is stronger
(“When a Woman Doesn't Want You” - Elton John) (4.115) I got a sweet feelin' I know is real.
(“Anything for Your Love” - Eric Clapton) (4.116) Người yêu nhé, nhìn em lần nữa,
Hứa một lời sẽ mãi bên nhau.
(“Yêu thương mong manh” - Đức Trí) (4.117) Tình em chỉ là dối gian,
(4.118) Biết yêu là biết hoang đường.
(“Biết yêu là hết mong chờ” - Bảo Chấn) (4.119) Tôi xin trả lại người một chuyện tình gian dối
(“Xin đừng nói yêu tôi” - Nguyễn Ánh 9) (4.120) Người yêu ơi, bây giờ người đã phụ tôi!
(“Xin đừng nói yêu tôi” - Nguyễn Ánh 9)
Table 4.12 Veracity Realizations of Judgement in Love Songs
(4.111) never lied and never faked it +
(4.116) hứa một lời sẽ mãi bên nhau +
(4.118) biết hoang đường - also be positive and negative The terms as truthful, honest, credible, deceptive, lying, etc certainly belong to this group.
The positive Veracity like “never lied and never faked it”, “no secret”,
“true love”, and “real” conveys the faithful and passionate love The phrase “hứa một lời sẽ mãi bên nhau” refers to promises of a lasting love and belief in love.
The phrases "no secret" and "true love" emphasize the importance of loyalty as the foundation for enduring relationships, while betrayal starkly contrasts this loyalty Expressions such as "never true," "dối gian," "biết hoang đường," "chuyện tình gian dối," and "đã phụ tôi" highlight the theme of betrayal in romantic relationships Both English and Vietnamese love songs reflect a range of positive and negative truths, showcasing the complexities of love and fidelity.
Propriety involves the expectation that individuals adhere to socially accepted values and norms regarding moral behavior This concept encompasses both positive attributes, such as politeness, fairness, and sensitivity, as well as negative traits, including impoliteness, unfairness, and cruelty Understanding propriety is essential for evaluating moral actions and behaviors within a societal context.
(4.121) I must have called a thousand times
To tell you I'm sorry for everything that I've done.
("Hello" - Adele) (4.122) It's not so good when you're on your own
(“This Never Happened Before” - Paul McCartney) (4.123) You know my heart more than I do
We were the greatest, me and you.
(“Thunder in the Night” - Elton John) (4.125) Oh my I didn't want to hurt you
(“Jealous Guy” - John Lennon) (4.126) Người vừa hiền khô dễ thương
(4.127) Lại vừa đẹp trai nhất vùng
(“Hoa cỏ mùa xuân” - Bảo Chấn) (4.128) Nụ cười thật hiền giấu trong đêm xanh bình yên.
(“Bài ca đêm” - Bảo Chấn) (4.129) Nàng vô tư, ngây thơ, trắng trong
Nụ cười tươi như hoa sớm mai.
(“Chuyện người con gái” - Đức Trí) (4.130) Với những lũ mây trời nhởn nhơ ấy
Chúng cũng vô tình bằng anh.
Table 4.13 Propriety Realizations of Judgement in Love Songs
(4.121) sorry for everything that I've done -
(4.129) vô tư, ngây thơ, trắng trong +
The concept of propriety highlights different perspectives on love, showcasing how men and women perceive their partners when they are falling in love Love songs often capture this sentiment with sweet lyrics that describe their beloved as "the greatest," "adorably charming," "the most handsome in the area," "truly gentle," and "carefree, innocent, and pure."
The concept of positive propriety highlights the qualities of admirable and beautiful lovers, while expressions such as “sorry for everything I've done,” “not so good,” “cheated,” “a jealous guy,” and “vô tình” reflect a negative perception of the evaluators.
