However, those features that interactants attend to in a situation of language use, the Field, Tenor, and Mode, can be generalized into a set of primary systems of Field, Tenor and Mode briefly defined here as: Field: Action, Sphere of Action, Performance of Action.
Our focus here will be on tenor between the translator and target readers, as MOOD and MODALITY are within the interpersonal system of language and a reflection of Tenor.
According to the systemic functional theory, three social functions are established within any context of language use, known as field, tenor and mode.
Halliday ([1978]) models the social contexts of language in three dimensions as field (what is going on), tenor (who is involved) and mode (the role of language).
Figure 1 represents these relations as sets of nested circles, in which tenor, field and mode are distinguished at the level of register, and realised intrinsically in the interpersonal, ideational and textual functions of language, but woven together at the level of genre.
London erupts with street language to match the tenor of the times, drawing vitality from the word-hoards of the powerless and disenfranchised.
Before the performance, the tenor Richard Leech spoke briefly about the program, describing its aim of going beyond simply helping young singers hit their high notes and offering them, over several intense weeks, an in-depth analysis of language and character.
Sharing outside of language.
Both senses refer to relations between tenor/field/mode and metafunctions of language.
In this model of language, context is viewed as the overarching layer that encompasses the linguistic system, split into the three parameters of field, mode and tenor (Halliday and Hasan 1989; Halliday and Matthiessen 2013).
