Martin & Rose (2007: 303-4):
The horizontal dimension of tenor, solidarity, is used to generalise across genres with respect to the alignment of social subjects into communities of all orders: networks of kith and kin, and collegial relations associated with more and less institutionalised activity (leisure and recreation, religion, citizenship and work).
There are degrees of integration into these communities related to the range and frequency of activities undertaken together and also to shared feelings about the value of what is going on. For example, a hardcore fan of Stevie Ray Vaughan will listen to more of his recordings more often and with more pleasure than ‘softcore' SRV fans, and will have more books and memorabilia, will spend more time on his websites, may even have made a pilgrimage to his grave and so on. The rave reviews of his recordings and videos on Amazon’s website suggest a finely tuned sense of membership which, quoting from his fans, we might scale from nucleus to periphery along the following lines:
Blogger Comments:
[1] To be clear, in SFL Theory, the contextual dimension of tenor is concerned with the enactment of speaker–addressee relations through language.
[2] To be clear, here Martin & Rose misconstrue social structure (their tenor) as their register (a functional variety of language) and propose, on their stratified model, that their genre (a type of text) is realised by social structure.
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