1. Michael Alexander Kirkwood Halliday
M.A.K. Halliday
Born 13 April 1925
Yorkshire
Residence Sydney, Australia
Nationality English
Fields Linguistics
Known for Systemic functional linguistics
Influences Wang Li, J.R. Firth
Spouse Ruqaiya Hasan
Michael Alexander Kirkwood Halliday (often M.A.K. Halliday) (born 13 April 1925,
Leeds, Yorkshire, England) is a Britishlinguist who developed an internationally
influential model of language, the systemic functional linguistic model. His grammatical
descriptions go by the name of systemic functional grammar (SFG).[1][2]
[edit]Biography
Halliday was born and raised in England. He took a BA Honours degree in Modern
Chinese Language and Literature (Mandarin) at the University of London. He then lived
for three years in China, where he studied under Luo Changpei at Peking University and
underWang Li at Lingnan University, before returning to take a PhD in Chinese
Linguistics at Cambridge. Having taught Mandarin for a number of years, he changed
his field of specialisation to linguistics, and developed systemic functional grammar,

2. elaborating on the foundations laid by his British teacher J. R. Firth and a group of
European linguists of the early 20th century, the Prague School. His seminal paper on
this model was published in 1961. He became the Professor of Linguistics at
the University of London in 1965. In 1976 he moved to Australia as Foundation
Professor of Linguistics at the University of Sydney, where he remained until he retired.
The impact of his work extends beyond linguistics into the study of visual and
multimodal communication, and he is considered to have founded the field of social
semiotics. He has worked in various regions of language study, both theoretical and
applied, and has been especially concerned with applying the understanding of the
basic principles of language to the theory and practices of education. He received the
status of emeritus professor of the University of Sydney and Macquarie University,
Sydney, in 1987. With his seminal lecture "New Ways of Meaning: the Challenge to
Applied Linguistics" held at the AILA conference in Saloniki (1990), he became one of
the pioneers of eco-critical discourse analysis (a discipline of ecolinguistics).[citation needed]
[edit]Contributions to linguistics
Halliday describes himself first and foremost as a grammarian. His first major work on
the subject of grammar was "Categories of the theory of grammar", published in the
journal Word in 1961.[3] In this paper, he argued for four "fundamental categories" for
the theory of grammar: "unit", "structure", "class" and "system". These categories he
argued were "of the highest order of abstraction", but were defended as those
necessary to "make possible a coherent account of what grammar is and of its place in
language" [4] In articulating the category 'unit', Halliday proposed the notion of a 'rank
scale'. The units of grammar formed a "hierarchy", a scale from "largest" to "smallest"
which he proposed as: "sentence", "clause", "group/phrase", "word" and
"morpheme".[5]Halliday defined structure as "likeness between events in successivity"
and as "an arrangement of elements ordered in places'.[6] Halliday rejects a view of
structure as "strings of classes, such as nominal group + verbalgroup + nominal group"
among which there is just a kind of mechanical solidarity" describing it instead as
"configurations of functions, where the solidarity is organic." [7]
[edit]Grammar as "systemic"
This early paper shows that the notion of "system" has been part of Halliday's theory
from its origins. Halliday explains this preoccupation in the following way: "It seemed to
me that explanations of linguistic phenomena needed to be sought in relationships
among systems rather than among structures - in what I once called "deep paradigms" -
since these were essentially where speakers made their choices".[8] Halliday's "systemic
grammar" is a semiotic account of grammar, because of this orientation to choice. Every
linguistic act involves choice, and choices are made on many scales. Systemic
grammars draw on system networks as their primary representation tool as a
consequence. For instance, a major clause must display some structure that is the
formal realization of a choice from the system of "voice", i.e. it must be either "middle" or
"effective", where "effective" leads to the further choice of "operative" (otherwise known
as 'active') or "receptive" (otherwise known as "passive").

3. [edit]Grammar as "functional"
Halliday's grammar is not just "systemic", but "systemic functional". He argues that the
explanation of how language works "needed to be grounded in a functional analysis,
since language had evolved in the process of carrying out certain critical functions as
human beings interacted with their...'eco-social' environment".[9] Halliday's early
grammatical descriptions of English, called "Notes on Transitivity and Theme in English
- Parts 1-3"[10] include reference to "four components in the grammar of English
representing four functions that the language as a communication system is required to
carry out: the experiential, the logical the discoursal and the speech functional or
interpersonal".[11] The "discoursal" function was re-named the "textual function".[12] In
this discussion of functions of language, he draws on the work
of Bühler and Malinowski. Halliday's notion of language functions, or "metafunctions",
became part of his general linguistic theory.
But the final volume in his 10 volumes is called Language in society, reflecting his
theoretical and methodological connection to language as first and foremost concerned
with "acts of meaning". This volume contains many of his early papers, in which he
argues for a deep connection between language and social structure, in which language
said not merely to reflect social structure. For instance, he writes:
“ ... if we say that linguistic structure "reflects" social structure, we are really
assigning to language a role that is too passive ... Rather we should say
that linguistic structure is the realization of social structure, actively
symbolizing it in a process of mutual creativity. Because it stands as a
metaphor for society, language has the property of not only transmitting
the social order but also maintaining and potentially modifying it. (This is
undoubtedly the explanation of the violent attitudes that under certain
social conditions come to be held by one group towards the speech of
others.) ”
[13]
[edit]Studies in child language development
In enumerating his claims about the trajectory of children's language development,
Halliday eschews the metaphor of "acquisition", in which language is considered a static
product which the child takes on when sufficient exposure to natural language enables
"parameter setting". By contrast, for Halliday what the child develops is a "meaning
potential". Learning language is Learning how to mean, the name of his well known
early study of a child's language development.[14]
Halliday (1975) identifies seven functions that language has for children in their early
years. For Halliday, children are motivated to develop language because it serves
certain purposes or functions for them. The first four functions help the child to satisfy
physical, emotional and social needs. Halliday calls them instrumental, regulatory,
interactional, and personal functions.

4.  Instrumental: This is when the child uses language to express their needs
(e.g.'Want juice')
 Regulatory: This is where language is used to tell others what to do (e.g. 'Go away')
 Interactional: Here language is used to make contact with others and form
relationships (e.g. 'Love you, mummy')
 Personal: This is the use of language to express feelings, opinions, and individual
identity (e.g. 'Me good girl')
The next three functions are heuristic, imaginative, and representational, all helping the
child to come to terms with his or her environment.
 Heuristic: This is when language is used to gain knowledge about the environment
(e.g. 'What the tractor doing?')
 Imaginative: Here language is used to tell stories and jokes, and to create an
imaginary environment.
 Representational: The use of language to convey facts and information.
According to Halliday, as the child moves into the mother tongue, these functions give
way to the generalized "metafunctions" of language. In this process, in between the two
levels of the simple protolanguage system (the "expression" and "content" pairing of the
Saussure's sign), an additional level of content is inserted. Instead of one level of
content, there are now two: lexicogrammar and semantics. The "expression" plane also
now consists of two levels: phonetics and phonology.[15]
Halliday's work represents a competing viewpoint to the formalist approach of Noam
Chomsky. Halliday's concern is with "naturally occurring language in actual contexts of
use" in a large typological range of languages whereas Chomsky is concerned only with
the formal properties of languages such as English, which he thinks are indicative of the
nature of what he calls Universal Grammar. While Chomsky's search for Universal
Grammar could be considered an essentially platonic endeavor (i.e. concerned with
idealized forms), Halliday's orientation to the study of natural language has been
compared to Darwin's method .
ENCYCLOPEDIA
skimming [′skim·iŋ]
(hydrology)
Diversion of water from a stream or conduit by shallow overflow in order to avoid
diverting sand, silt, or other debris carried as bottom load.
Withdrawal of fresh groundwater from a thin body or lens floating on salt water by
means of shallow wells or infiltration galleries.
DICTIONARY/ THESAURUS
v. skimmed, skim·ming, skims
v.tr.
1.
a. To remove floating matter from (a liquid).

5. b. To remove (floating matter) from a liquid.
c. To take away the choicest or most readily attainable contents or parts from.
2. To coat or cover with or as if with a thin layer, as of scum.
3.
a. To throw so as to bounce or slide: skimming stones on the pond.
b. To glide or pass quickly and lightly over or along (a surface). See Synonyms at brush1.
4. To read or glance through (a book, for example) quickly or superficially.
5. Slang To fail to declare part of (certain income, such as winnings) to avoid tax payment.
v.intr.
1. To move or pass swiftly and lightly over or near a surface; glide.
2. To give a quick and superficial reading, scrutiny, or consideration; glance: skimmed through
the newspaper.
3. To become coated with a thin layer.
4. Slang To fail to declare certain income to avoid tax payment.
n.
1. The act of skimming.
2. Something that has been skimmed.
3. A thin layer or film.
4. Slang The profit gained by skimming.
ENCYCLOPEDIA
skinning
Creating a new appearance on a graphical interface (GUI). See skin.
DICTIONARY/THESAURUS
v. or·gan·ized, or·gan·iz·ing, or·gan·iz·es
v.tr.
1. To put together into an orderly, functional, structured whole.
2.
a. To arrange in a coherent form; systematize: organized her thoughts before speaking.
b. To arrange in a desired pattern or structure: "The painting is organized about a young reaper
enjoying his noonday rest" (William Carlos Williams).
3. To arrange systematically for harmonious or united action: organize a strike. See Synonyms
at arrange.
4.
a. To establish as an organization: organize a club. See Synonyms at found1.
b. To induce (employees) to form or join a labor union.
c. To induce the employees of (a business or an industry) to form or join a union: organize a
factory.
v.intr.

6. 1. To develop into or assume an organic structure.
2. To form or join an activist group, especially a labor union.
DICTIONARY
out·line
[out-lahyn] Show IPA noun, verb, -lined, -lin·ing.
noun
1.
the line by which a figure or object is defined or bounded;contour.
2.
a drawing or sketch restricted to line without shading ormodeling of form.
3.
a general sketch, account, or report, indicating only themain features, as of a book,
subject, or project: an outline ofmedieval history; an outline of a speech.
4.
outlines, the essential features or main aspects ofsomething under discussion: At t
he first meeting, we gave heronly the outlines of the project.
5.
Printing. an ornamented type in which the outside contoursof each character appear
in black, with the inside left white.
Graphic organizers are visual representations of knowledge, concepts, thoughts,
or ideas.
Graphic organizers can be used as powerful tools for probing and analyzing
student thinking and learning. They are also a good alternative to longer.
SQ3R or SQRRR is a reading comprehension method named for its five steps: survey,
question, read, recite, and review. The method was introduced by Francis Pleasant Robinson
in his 1946 book Effective Study.[1][2][3].
The method was created for college students. However, it can also be used by elementary
school students, who can practice all of the steps once they have begun to read longer and
more complex texts (around fourth grade).[4]
Similar methods developed subsequently include PQRST and KWL table.
SQ3R was based on principles documented in the 1930s.[4]
The five steps
The first step Survey or skim advises that one should resist the temptation to read the book
and instead glance through a chapter in order to identify headings, sub-headings and other
outstanding features in the text. This is in order to identify ideas and formulate questions
about the content of the chapter.

7. Question asks "What is this chapter about?" "What question is this chapter trying to answer?"
"How does this information help me?" "Question" also refers to the practice of turning the
headings and sub-headings themselves into questions and then looking for the answers in the
text. If one chooses to actually write down the questions then they are using a variation
method known as "SQW3R".
The first "R" stands for Read. Only, in this case, one is meant to use the background work
done with "S" and "Q" in order to engage oneself in a way similar to active listening.
The second "R" refers to the part known as Recite/wRite or Recall. Using key phrases, one is
meant to identify major points and answers to questions from the "Q" step for each section.
This may be done either in an oral or written format. It is important that an adherent to this
method use her own words in order to evoke the active listening quality of this study method.
The final "R" is Review. In fact, before becoming acquainted with this method a student
probably just uses the R & R method; Read and Review. Provided the student has followed all
recommendations, he should have a study sheet and should test himself by attempting to
recall the key phrases. This method instructs the diligent student to immediately review all
sections pertaining to any key words forgotten.
Expository Structure
time order – temporal sequencing of information
cause and effect – showing how something occurs because of another event
problem and solution – presenting a problem along with a solution to the
problem
comparison – examining similarities and differences among concepts and
events
simple listing – registering in list form a group of facts, concepts, or events
organizational pattern - being recognized increases ability to recall
Narrative structure is generally described as the structural framework that underlies
the order and manner in which a narrative is presented to a reader, listener, or viewer.
The narrative text structures are the plot and the setting( also known as the shenter).
Generally, the narrative structure of any work (be it film, play, or novel) can be divided
into three sections, which is referred to as the three-act structure: setup, conflict,
resolution. The setup (act one) is where all of the main characters and their basic
situation are introduced, and contains the primary level of characterization (exploring
the character's backgrounds and personalities). A problem is also introduced, which is
what drives the story forward.
The second act, the conflict, is the bulk of the story, and begins when the inciting
incident (or catalyst) sets things into motion. This is the part of the story where the
characters go through major changes in their lives as a result of what is happening; this
can be referred to as the character arc, or character development.
The third act, or resolution, is when the problem in the story boils over, forcing the
characters to confront it, allowing all elements of the story to come together and
inevitably leading to the ending.

8. An example is the 1973 film The Exorcist: The first act of the film is when the main
characters are introduced and their lives are explored: Father Karras (Jason Miller) is
introduced as a Catholic priest who is losing his faith. In act two, a girl named Regan
(Linda Blair) becomes possessed by a demonic entity (the problem), and Karras'
character arc is being forced to accept that there is no rational or scientific explanation
for the phenomenon except that she actually is possessed by a demon, which ties in
directly with the theme of him losing his faith. The third act of the film is the actual
exorcism, which is what the entire story has been leading to.
Theorists describing a text's narrative structure might refer to structural elements such
as an introduction, in which the story's founding characters and circumstances are
described; a chorus, which uses the voice of an onlooker to describe the events or
indicate the proper emotional response to be happy or sad to what has just happened;
or a coda, which falls at the end of a narrative and makes concluding remarks. First
described in ancient times by Indian philosophers[1] and Greek philosophers (such
as Aristotle and Plato), the notion of narrative structure saw renewed popularity as a
critical concept in the mid- to late-twentieth century, when structuralist literary theorists
including Roland Barthes, Vladimir Propp, Joseph Campbell and Northrop
Frye attempted to argue that all human narratives have certain universal, deep
structural elements in common. This argument fell out of fashion when advocates
ofpoststructuralism such as Michel Foucault and Jacques Derrida asserted that such
universally shared deep structures were logically impossible.
Northrop Frye in his Anatomy of Criticism deals extensively with what he calls myths of
Spring, Summer, Fall, and Winter.