Thesis (MA)--Montana State University--Bozeman, 2010. / Typescript. Chairperson, Graduate Committee: Lisa Eckert. Includes bibliographical references (leaves 70-72).

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Thesis (Th. M.)--Regent College, 2002. / Abstract and vita. Includes bibliographical references (leaves 220-229).

Thesis (M. A.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.

This thesis presents a formal and functional analysis of footnotes In academic journal articles. In Chapter One a brief account of the recent history of Genre Analysis Studies leading to a definition of footnotes Is given. Also given is an account of the differences and similarities between footnotes and some other germane conventional structures (viz, parentheticals and asides) that may carry out similar functions to those that footnotes realize. Reasons why writers use footnotes are suggested and discussed. The work Is based on a corpus of 10 linguistics journal articles comprising 113 footnotes. In the search for a framework in Chapter Two, the relevant literature on text and discourse analysis studies is carefully examined and applied to a sample of the data used for the present work. A classification of the functions to which the article writers have put their footnotes Is offered In Chapter Three. The Chapter ends with a discussio. of the. cxttexta wttte.cs lzase. their footnoting decisions on. The cohesion and coherence relations between footnotes, the 'matrix text exit sentence' (i.e. the sentence tagged by the footnote) and the 'matrix text re-entry sentence' (i.e. the sentence following the one tagged by the footnote) had been Investigated In the context of cohesion and coherence theories and Winter's "Clause Relations". An experiment was conducted to test the coherence and cohesion relations between 'matrix text exit sentences' and footnotes. The issue of whether footnotes present new or old information Is then taken up and the literature on the THENE-RHEME dichotomy is reviewed with a view to shedding further light on footnotes. Chapter Five Is concerned with the question of whether footnotes help or hinder the reader and the reading process and the results are statistically analyzed. Readers' attitudes towards footnotes are surveyed through the use of a questionnaire. Also addressed are the Issues of: the utility of footnotes to readers and the purposes for which readers consult footnotes. In Chapter Six some linguistic features recurring In footnotes (e.g. formulaic expressions, the frequent use of proper names, hedges, etc.) are studied. The results of the study suggest that the employment of footnotes Is a compensatory strategy on the part of writers to overcome the problem of being over/under informative especially when an article is targeted at a multiple audience. This thesis, In addition to the fact that It provides a coverage of a neglected but intrinsically InterestIng and important genre (FOOTNOTES), makes certain theoretical and pedagogical suggestions and identifies further issues for future research which are presented on in Chapter Seven.

This research initiative responds to some of the issues raised by theoretical challenges leveled at Industrial Psychology (postmodernism), and practical challenges in the workplace (the use of teams) by investigating notions of what a team is via the postmodern methodology of discourse analysis. The research explores “team talk” – repertoires of speech employed by individuals to construct particular versions of “the team” for specific effects, of importance given emphasis placed on shared understanding, expectations and goals in a “team”. A Rhodes University Industrial Psychology Honours class required to work as a team (having participated in a team building exercise), as well as their lecturers who facilitated the team building process were interviewed to obtain “talk” to analyse. This uncovered a multiplicity of meaning, namely four ways of speaking about (constructing) the team. These repertoires are explored in terms of how they are constructed, how they differ across context and speakers, how they interrelate and what they function to achieve. The educational team repertoire constructs academic hierarchy, justifies individualism, positions members as experts and maintains distance from interpersonal processes. The machine repertoire divides work and interpersonal issues, regulates productivity and constructs team roles (defining individual activity and “team fit”), but is inflexible to change. The family repertoire voices emotive aspects to maintain cohesion via conformity, leaderlessness, group identity and shared achievement, but cannot accommodate conflict or workpersonal boundaries. The psychologised team repertoire constructs the team primarily as a therapeutic entity legitimately creating individual identities (and expertise) and facilitating personal growth, but this flounders when support in the “team” fails. Given that each repertoire has a different emphasis (reflective learning versus work processes versus building relationships versus personal growth), there are slippages / clashes between repertoires. This postmodern look at “the team” thus assists in recognizing and problematising these multiple meanings and identifying practical implications.

Like writing, art making is primarily a means of human expression, a means of communication – both “allow us to categorize our (inner and outer) environment as represented by symbols” (Appignanesi, 1999: 7). Yet it is language in the traditional Western garb of rational, philosophical discourse that has been perceived as the primary means of manifesting knowledge and positing truth, not only regarding the character of human existence, but also the nature of art. This infers the acceptance of both works as literally “truth of things”, and of “a language of reason” that “perfectly represents the real world” (Appignanesi, 1999: 77). Going against the grain of this traditional bias, Jacques Derrida holds that, firstly, “human knowledge is not as controllable or as cogent as Western thinkers would have it”: secondly, that language functions in “subtle and often contradictory ways” thus rendering certainty, truth, and perfect representation ever elusive to us (Lye, 1997: 2); and, thirdly, that “practices of interpretation which include art but are not limited to language, are extended discourses” (Appignanesi, 1999: 79). So, the “work of reason” (or rationalism) in this sense, is no longer the definitive “voice” of authority when it comes to ascribing meaning, proclaiming a message, defining truth, etc. Having the grip of its authority loosened and thus its rigid, imposing borders opened up, the communication of knowledge as a form of “aesthetic fiction” (Megill, 1987: 265) is allowed entry into the rarefied field of philosophical discourse. Moreover, if visual art (one such “aesthetic fiction”) is a process of sign-making, as is written and spoken language; if it therefore constitutes a signifying system, as does written and spoken language (Bal and Bryson in Preziosi, 1998: 242); and, if art is not just about autonomous, in-house formalism, then can it not, in any case, validly offer a form for discourse, albeit a different kind of discourse, a discourse that is not “truth seeking” (Sim, 1992: 33)? Here, the maker of the proposed artwork-asdiscourse would not be attempting to establish the truth or falsity of a philosophical position, but, as Derrida would have it, create a form which, without mimicry, would evocatively allude to Plato, his “deconstructor” and the maker of the proposed artwork. Discourse in this sense, then, would generate “active interpretation… infinite free association” (Megill, 1987: 283), because, as in Derrida’s writing, interpretation no longer aims at “the reconciliation or unification of warring truths (Sim, 1992: 10); in other words, it breaks with the (phal)logocentric tradition of discourse as dialectical and becomes questioning without closure. For visual art to enter the exalted arena of philosophical discourse, it cannot be selfreflexive in the Greenbergian or formalist sense – it has to be about something philosophical and this ‘something’ will be a deconstructive response to Plato’s doctrine of the two worlds in the Timaeus. What I propose presenting, then, is an imagographic rather than (phal)logocentric exposition of philosophical content where the aim is not to shape a certainty or to infer an absolute presence or essence of anything, but rather to suggest traces of the maker of the artwork reading Derrida, reading Plato. The proposed artwork as a response to texts will thus be a “pre-text” of my own endeavour.

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