Misrepresenting Cléirigh's Model As The Authors' Innovation

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 207):

As reviewed in Section 7.1, our project involves developing paralanguage as a semiotic system alongside language. We adopted our model of the relation of paralanguage to language from earlier work on the convergence of language and image in children’s picture books (Painter et al., 2013). As outlined in Table 7.1, sonovergence was explored in terms of how linguistic and paralinguistic systems resonate with one another (interpersonal meaning) and sync with one another (textual meaning).

Blogger Comments:

This is very misleading indeed. The origin of the notions of gestures being in tune with TONE, and in sync with TONICITY and RHYTHM is Cléirigh's model (2009), which predates, by four years, the "earlier" work on the convergence of language and image in children’s picture books (Painter et al., 2013):

The plagiarism in this work is effected through myriad small steps with Martin, the author of this chapter, the driving force.

On The Truth Of The Authors' Claim That They Didn't Relate Paralanguage To Grammatical Structure

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 198-9):

With the exception of mime (discussed later in the chapter) and some pointing deixis (discussed in Chapter 6), paralanguage converges with the intonation and rhythm of spoken language in our data. This argues for a linguistically informed model of prosodic phonology as a prerequisite for the analysis of paralanguage. It also provides one useful criterion for distinguishing somasis from semiosis (since somatic behaviour is not coordinated with prosodic phonology). 

Note that in relating paralanguage to discourse semantics rather than lexicogrammar, we are suggesting that the grammatical structure of a spoken language (specifically, the nature of its syntagms) is not relevant to its paralanguage. In this respect paralanguage resembles the ‘language-neutral’ sign language of the North American Plains Indians, but not the sign languages of Australia’s indigenous communities (Kendon, 2004: 299–303), at least for their more proficient signers.

Blogger Comments:

[1] As previously, paralanguage that "converges" with intonation and rhythm is not paralanguage, but language that realises the grammatical systems of KEY and INFORMATION by bodily means other than the vocal tract.

[2] To be clear, semiosis makes meaning, "somasis" does not.

[3] This is misleading, because the authors have related "sonovergent" paralanguage, explicitly or implicitly, to the grammatical systems of KEY, INFORMATION and THEME. On the other hand, the body language that the authors call "semovergent" is epilinguistic, and so has no grammar. 

To be clear, the reason why the authors related paralanguage to discourse semantics is that discourse semantics is Martin's model (of cohesion as semantics), though the ideational 'discourse' semantics used was, in truth, the ideational semantics of Halliday & Matthiessen (1999), rebranded by Martin's former student, Hao.

[4] Here the authors misrepresent the Sign language of the North American Plains Indians as not having a content plane that is stratified into semantics and grammar, the distinguishing feature of language.

Misunderstanding Textual Prominence

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 183, 184):

A paralinguistic beat can also give prominence to interpersonal meaning. The hand beat in image 5 of (17'') not only syncs with the final tonic segment form, but its low-falling trajectory is interpersonally ‘in tune with’ the major pitch contour of a falling tone 1 (see Chapters 3 and 5) – prominence is thus added to the meaning of this tone (here, providing information). 

Blogger Comments:

[1] To be clear, because the hand beat serves the same linguistic tonicity, it gives prominence to whatever metafunctional meaning it highlights as the New element of an information unit.

[2] To be clear, form is the tonic syllable, not the tonic segment. The tonic segment begins with the tonic foot and includes all subsequent feet in the tone group.

[3] To be clear, the direction of a beating gesture does not distinguish tones. For example, there is no rising beat for tone 2, no level beat for tone 3, no fall-rise beat for tone 4, and no rise-fall beat for tone 5. A downward movement is the default direction, regardless of the tone.

[4] This confuses the textual function of TONICITY with the interpersonal function of TONE. The choice of tonic prominence realises the choice of New information, whereas the choice of tone realises the choice of KEY for a given choice of MOOD. The choice of tonic gives prominence to an element of structure, not to the choice of tone.

[5] This confuses SPEECH FUNCTION (semantics) with KEY (lexicogrammar). 'Giving information' (statement) is SPEECH FUNCTION, and it is realised in the grammar by MOOD. The system of TONE, on the other hand, realises the system of KEY for a given MOOD.

Problems With The Authors' Intonational Analysis

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 182):

In the unmarked case, salient syllables highlight content words (not grammatical ones) and assign a secondary degree of prominence to that information in the discourse. However, in (17) there are two marked instances where grammatical words are made salient: not in the second tone group and is in the third.

These marked choices give prominence to contrastive positions in the discourse (in this case, that which is and is not knowledge). In the first two tone groups the tonic syllables (in bold) carry tone 4 pitch contours. This falling-rising tone movement indicates pending meaning. The tone 1 of the third tone group signals completion.

Blogger Comments:

To be clear, with regard to TONE, it is tone 3 that serves this textual function (Halliday & Matthiessen 2014: 440), and it is likely that the speaker selected tone 3, not tone 4. Tone 4 would be unlikely here because it would realise 'reservation' in terms of KEY, which is inconsistent the proposition being enacted. The fall-rise of tone 4 signals 'seems certain (fall) but isn't (rise)'.

In terms of TONALITY and TONICITY, it is likely that the second tone group actually consists of two tone groups, with the first tonic on not, to mark the contrast as New information for the student audience.

Misconstruing Endophoric Reference As Ideation

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 175-6):

It is important to note here the similarity between the expressions of PARALINGUISTIC DEIXIS in (12) and some depictions of ideational entities realising PARALINGUISTIC IDEATION (see Chapter 4; Hood and Hao, 2021). The difference is illustrated in the two images in (13).

In image 1 the teacher delineates an [actual] entity – a written text. The expression syncs with the verbal specific determiner this in We need some sentences that link this. 

In image 2 the teacher sculpts a paralinguistic entity with her left hand in the gestural space. This expression syncs with the figure How does that sentence link back to the first one?. The semiotic entity realised in sentence in image 2 is depicted (Chapter 4) rather than pointed to.

Blogger Comments:

[1] To be clear, the more likely tone for the WH- interrogative clause is tone 1. Tone 2 here would realise 'tentative' KEY, and there is nothing to suggest that this question from the teacher to her class is tentative.

[2] To be clear, in the first image, the referent of the gesture exophoric to paralanguage is the same referent as that of the exophoric demonstrative this in the spoken language.

[3] To be clear, here the authors misinterpret a gesture that realises a reference endophoric to paralanguage as a gesture that realises ideational meaning: an element ('entity') of a figure. Clearly, the gesture does not construe the meaning 'sentence'. Rather, here the teacher repeats the same gesture she previously used to point to a specific sentence in the written text. In doing so, her gesture makes anaphoric reference to her previous gesture to identify that sentence.

Interestingly, the speaker uses the word that to make exophoric reference to a referent outside language, while her gesture makes endophoric reference to a referent inside paralanguage, though the referent is the same in each case.

Problems With The Authors' Analysis Of A Discourse Move

 Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 156, 157-8):

In Coraline’s first encounter with Wybie, a boy of her own age from the same neighbourhood, he accuses her of being a water witch to which she responds: //3 ^ and if / I’m a / water / witch //1 ^ then / where’s the secret / well //. The focus in (30) is on the second tone group of this utterance, that is, //1 ^ then / where’s the secret / well //. … 

In the spoken language of this tone group there is apparently no resonant inscribed or invoked linguistic AFFECT. However, before we assume a divergent semovergent relation, there is more to be considered in the verbal and imagic co-text. 

The spoken language in (30) configures a question through a wh- interrogative on a falling tone 1 (signalling ‘certainty’). Taken in conjunction with the PARALINGUISTIC expressions [anger], this discourse move (then where’s the secret well) can be interpreted as a rhetorical question, one that challenges Wybie’s judgemental accusation that she is a water witch. From the perspective of affiliation and the negotiation of bonds (Section 5.3.4), Coraline is forcefully rejecting the coupling proposed by Wybie.

Blogger Comments:

[1] To be clear, the 'certainty' realised by tone 1 is 'polarity known'. Halliday (1994: 302):

[2] This misunderstands both the text and the notion of a rhetorical question. A rhetorical question is one that does not demand information from an addressee. The question then where’s the secret well is not rhetorical, because demands from the addressee the information that would validate the proposition that she is a water witch.

Problems With A Phonological Analysis

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 117):

The example in (1) shows paralinguistic expressions sonovergent with each major tone choice (other than the level-rise tone 3 which offers minimal phonological scope for convergent body-part movement). A phonological transcription records the tone (as, e.g. //1), and the intonation contour describes and interprets it (as, e.g. falling – ‘certain’). The paralanguage which is sonovergent with each intonation contour – which visualises it – is then described. The resonance of the visual and phonological contours adds further salience to the tonic and hence the given tone choice.

Blogger Comments:

[1] To be clear, tone 3 is a level or low rise in pitch, so it can be realised facially by a maintained level or low rise in the eyebrows.

[2] To be clear, adding salience to the tonic is adding salience to what the tonic realises: the focus of New information, not to the tone choice that realises the system of KEY.

[3] To be clear, based on the system of KEY, the most likely tone for // I didn't / break it // is tone 2 ('protest'), not tone 4 ('reservation'), and this analysis is supported by the raised eyebrows on the clay puppet.

The Problem With Interpersonal Sonovergent Paralanguage

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 116):

Sonovergent paralanguage is only meaningful in its relation to the prosodic phonology of co-expressed speech (Halliday, 1967, 1970a; Halliday and Greaves, 2008; Smith and Greaves, 2015) (see Chapters 1 and 3). … Where interpersonal sonovergent paralanguage resonates with tone choices it is frequently expressed in up or down movements of the head, eyebrows or arms in tune with pitch movements in co-articulated speech.

Blogger Comments:

As previously explained, sonovergent paralanguage is neither sonovergent nor paralanguage. It is not sonovergent because the bodily expressions diverge from the phonological expressions, and it is not paralanguage because it is language, since the expressions realise the grammatical system of KEY. Again, this is why it is termed 'linguistic' in Cléirigh's model, which the authors in this book rebrand as their own.

Foreshadowing Problems With Chapter 5 Analyses

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 115):

Analyses explore the paralinguistic systems of interpersonal sonovergence in which movements of parts of the body or face rise and fall in tune with the intonation contours of the prosodic phonology and interpersonal semovergence in which paralinguistic expressions converge with interpersonal meanings in spoken discourse. … System choices are illustrated in instances from Coraline and discussion focuses on intermodal convergences in expressions of emotion and the enactment of inter-character relations.

Blogger Comments:

[1] As previously explained, sonovergent paralanguage is neither sonovergent nor paralanguage. It is not sonovergent because the bodily expressions diverge from the phonological expressions, and it is not paralanguage because it is language, since the expressions realise the grammatical system of KEY. Again, this is why it is termed 'linguistic' in Cléirigh's model, which the authors in this book rebrand as their own.

[2] As previously explained, the notion of convergence misunderstands paralanguage as an expression-only semiotic system, and the notion of semovergence entails that these expressions realise the content of language. However, since the expression of these meanings (emotions) does not require the evolution and development of language, these systems are protolinguistic, not epilinguistic, which means that the meanings that are expressed are not metafunctional (interpersonal) but microfunctional (personal).

[3] As previously observed, the data used by the authors is not the body language of humans, but representations of body language on clay puppets, as constructed by animators, using the emotion-face coding proposed by Ekman. The data are thus epilinguistic depictions of a protolinguistic system.

Voice Quality

Ngo, Hood, Martin, Painter, Smith & Zappavigna (2022: 38):

Voice quality was noted in Section 1.5.1 in relation to the sing/song pitch (high then low) movement the vlogger uses in her last four tone groups to close down her hair dye narrative. From the perspective of APPRAISAL the sound quality resonates with her feeling that she is resigned to her current hair colour, at least for now. Work on this interpersonal aural dimension of paralanguage, drawing on van Leeuwen (1999), will be further explored in Chapter 5.

Blogger Comments:

This is recycled almost verbatim from Martin & Zappavigna (2019). Here are the comments from the review of Martin & Zappavigna (2019): Mistaking Language (Intonation) For Paralanguage (Voice Quality).

[1] Here the authors mistake prosodic features (the TONE sequence 3^13^3^1–) for a paralinguistic feature ("sing/song" voice quality).  Halliday (1985: 30-1) explains the difference as follows:

 

Moreover, if what the authors regard as "sing/song" pitch:

//3 hopefully / next ↑time I will 
//1 get my / ↓hair colour / back 
//3 um / but for / ↑now 
//3 this will / ↓do //

is compared with an accurate phonological analysis:

//3 hopefully / next time I will
//13 get my / hair colour / back
//3 um /but for / now 
//1- this will / do //

It can be seen that:

• the first ↑ corresponds to the low-rising pitch of tone 3,
• the first ↓ corresponds to the falling pitch of tone 1,
• the second ↑ corresponds to the low-rising pitch of tone 3, and
• the second ↓ corresponds to the narrow falling pitch of tone 1–

[2] To be clear, it is only the final TONE selection, tone 1–, that coincides with the APPRAISAL that the authors interpret as 'resignation' (this will do).  In SFL theory, the selection of tone 1– with declarative MOOD realises the KEY features 'mild or expected'.  Halliday (1970: 31):

Meaning of secondary tones In some cases the difference between a pair, or set, of secondary tones is mainly a matter of 'key', the degree of forcefulness or emotional intensity of the utterance. …

1. (medium), neutral; 1+ (wide), strong or unexpected; 1– (narrow), mild or expected.

On this basis, what the authors regard as voice quality "resonating" with 'resignation' is, in the authors' terms — though unknown to them — actually an instance of a secondary tone realising a feature of GRADUATION.