HO CHI MINH UNIVERSITY OF EDUCATION

ENGLISH DEPARTMENT

GENRE ANALYSIS
BOOK REVIEW
COURSE: DISCOUSE ANALYSIS

Group Members:
Lê Chí Nghị - 47.01.701.134
Đặng Ngọc Yến Nhi - 47.01.701.142
Nguyễn Hoàng Hân - 47.01.701.097
Code: ENGL141903
Lecturer: Mrs. Trương Thị Thanh Hoa

Ho Chi Minh City, 16th December 2023

We hereby declare that this paper titled "Genre Analysis: Book review" is entirely the result of
our own work. All sources used or referred to have been duly cited and acknowledged within the
text and in the references. Any assistance received in the preparation of this work is
acknowledged, and all direct quotations are identified by quotation marks and the appropriate
reference.

We affirm that this work has not been submitted previously for any academic purpose and has
not been written by any other person except where due acknowledgment is made.

We understand the importance of academic integrity and the consequences of plagiarism.

Therefore, we take full responsibility for the content presented in this paper.

KEYS
For the sake of the analysis, your evaluation, and word count conformity, we have
designated the three chosen example texts as follows.

● Text 1: Language Teacher Educator Identity by Gary Barkhuizen review - by Rabia İrem
Demirci.
● Text 2: The Complete Tales of Winnie the Pooh by A.A. Milne review by Bianca Schulze.
● Text 3: The Bigger Picture: Elements of Feature Writing edited by Ivor Shapiro review –
by Jane Johnston.

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 ANALYSIS
Book reviews go beyond just critiquing a book; they provide a window into the intricate
dance between an author's creativity and a reader's interpretation. In this genre, words transcend
their mere function of conveying meaning and transform into powerful instruments that both
inform and assess while fostering connections. To delve into the common elements of book
reviews, we turn to the Motta Roth (1995) framework 1, which breaks down the discourse
structure of this genre. Our chosen text for analysis is the review of "Language Teacher Educator
Identity" (Text 1), and we use this framework to dissect its main components. Our focus in this
analysis is to highlight the value of this review in developing a comprehensive approach while
also examining the similarities and differences in order to present a compelling and concise
representation of the genre.

Social and cultural context of the genre

The setting of the first text is the world of language teacher education, highlighting the
ongoing global discussions on professional identity. In sharp contrast, the second text finds its
home on a multinational children's book review site, making it easily accessible to readers of all
ages. Meanwhile, the third text delves deep into the intersection of cultural and professional
factors within the field of literary journalism studies, specifically examining the art of crafting
effective reviews.

The primary text upholds academic norms by closely examining the book's material,
organization, and influence in ELT. It meets the standards of scholarly reviews, showcasing an
informative tone and offering astute evaluations. On the other hand, Text 2 lacks offering an all-
encompassing evaluation of "The Complete Tales of Winnie the Pooh," briefly mentioning
characters and lacking profound analysis. In contrast, Text 3 excels in providing bibliographic
information, summarizing the content, and delivering a discerning evaluation that balances
informative and reflective elements.

The major purpose of Text 1 is to inform educators and researchers about "Language
Teacher Educator Identity," offering a comprehensive overview of its content and significance in
ELT literature. Meanwhile, in text 2, the reviewer aims to provide a captivating summary and
1
Appendices, p.7

2
favorable evaluation of "The Complete Tales of Winnie the Pooh," showcasing A.A. Milne's
storytelling prowess. In contrast, Text 3, within Jane Johnston's review, meticulously evaluates
and encourages readers regarding "The Bigger Picture: Elements of Feature Writing." This
comprehensive assessment underscores the instructional value of the book, emphasizing its
potential impact on aspiring feature writers.

In terms of focus and perspective, texts 1 and 2 both adopt an informative focus,
providing detailed chapter summaries without offering critical evaluations. In Text 1, the author's
non-native L1 background may influence this choice, reflecting potential language proficiency or
unfamiliarity with book review structures (Nodoushan & Montazeran, 2012) while maintaining a
neutral tone aids objectivity, guiding potential readers. Similarly, Text 2 leans towards
informativeness by extensively summarizing "The Complete Tales of Winnie the Pooh" but lacks
a critical assessment. In contrast, Text 3 delivers a comprehensive and favorable assessment,
evaluating educational value, substance, contributors, and inspirational potential, intending to
persuade readers positively.

The reviews cater to diverse audiences and their purposes. Text 1 targets academics,
practitioners, and individuals in ELT, emphasizing the book's relevance to their professional and
personal interests. Text 2, focused on a children's book, addresses young readers, parents, and
graphic novel enthusiasts, guiding them in evaluating the book's appropriateness for different age
groups. Text 3, a guide on feature writing, targets individuals, especially journalism students,
offering educational insights, making it valuable for aspiring writers and instructors worldwide.
Each review serves as a guide for readers to make informed decisions based on their specific
interests and needs.

With each review, the writer-reader dynamic serves as an informed guide, offering
valuable insights, critiques, and personal experiences to mold readers' perspectives. Text 1
strongly advocates the book, specifically highlighting its affordability and potential for
institutional accessibility. On the other hand, Text 2 aims to positively sway readers' decisions to
engage with the book, while Text 3 takes on a persuasive and informative tone, targeting those
interested in the art of literary journalism and feature writing.

Regarding background knowledge, text 1 invites readers who possess a strong

understanding of language teacher education, as its principles stem from a study of language

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teacher educator identity. In contrast, Text 2 assumes the audience's familiarity with the works of
A.A. Milne trusts their prior knowledge of the whimsical world of Winnie the Pooh.
Furthermore, Text 3 highlights the book's emphasis on feature writing in literary journalism,
drawing on the author's vast expertise and applauding its accessibility and relevance to a global
audience.

Discourse structure of the book review genre

Text 1 adheres to the conventions of its genre, displaying a discourse structure in

alignment with Motta-Roth's four-move model and associated sub-functions as suggested in
scholarly literature. The review initiates with an introductory segment (Move 1) that explores the
concept of professional identity within the language teacher education domain. Subsequently,
bibliographic details of the book are introduced (sub-function 1). The transition to the book
outline (Move 2) follows, where brief references to specific chapters are made (sub-functions 6
and 7). In the third move, the articulation of highlighted parts (Sub-function 9) becomes
apparent, manifested through summaries of various facets of language teacher identity. The
author's organizational approach and content traversal are discernible through lexical choices
such as "fairly," "last but not least," and expressions like "In my humble opinion," portraying the
text as an engaging resource and a commendable endeavor. The concluding move (Move 4)
delivers a positive recommendation for the book, despite acknowledging potential areas for
improvement, thus fulfilling sub-function 10B. This structural framework is mirrored in Text 2;
however, it deviates by not offering detailed reviews of individual chapters. This divergence is
justified by the emphasis on the book's inspirational nature and constraints related to space
limitations in academic journals. Text 3, in contrast, leans towards an expressive writing style,
understandably suited for its review of fiction. Given the wide-ranging target audience, spanning
from children to adults, the review prioritizes elements such as setting, plot, characters, and
events over the criteria typically applied in non-fictional reviews.

Textual factors

The academic reviews published in Texts 1 and 3 exhibit striking similarities, evident in
their sophisticated lexical choices, cohesive structure, and thematic progression. Both texts are
skillfully crafted with formal language, tailored to the intellectual nature of their audience. Text 1
delves into the realm of language teacher education, expertly incorporating terms like "language

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teacher educator identity" and "professional development." Meanwhile, Text 3, a review of a
feature writing guide, masterfully employs phrases like "literary journalism" and "creative
nonfiction." These deliberate choices enhance the overall discourse and showcase the authors'
expertise in their respective fields.

In terms of textual cohesion, both texts demonstrate cohesive devices such as anaphoric
references, additive conjunctions, and thematic progression. They use anaphoric references, like
pronouns and repeated terms, to maintain clarity and coherence within the text. Additive
conjunctions contribute to a smooth flow, connecting ideas and information logically. Thematic
progression follows a linear pattern, presenting information in a structured and organized
manner.

While Text 1 and 3 share commonalities due to their academic nature, Text 2, a review of
"The Complete Tales of Winnie the Pooh," diverges in lexical choice and thematic progression.
Text 2 employs rich, evocative language to convey the enchanting qualities of the children's
book, using terms like "whimsical" and "heartwarming." Thematic progression revolves around a
constant theme pattern, emphasizing the enduring appeal of Winnie the Pooh across generations.

Reflection

From our perspective, the genre analysis approach will offer students a diverse platform
to practice their English writing skills. For instance, in a 45-minute writing lesson, the teacher
can begin by assigning a text in a genre that fits the students' skills and objectives, especially for
academic preparation such as essays or reports. Together, they dissect the chosen genre, breaking
it down as well as discussing its function and purpose. Later, with the teacher's guidance, the
class explores and practices the text's vocabulary, syntax, and structure together before
reconstructing it in their own words. Following that, students work in pairs or groups to produce
their original work in the selected genre, making sure they have a thorough understanding of all
of its components, including purpose, structure, syntax, vocabulary, and textual devices. Finally,
each individual can self-assess their work or have their peer review it based on the criteria the
teacher has provided.

Drawing from the model class discussed above, genre-based teaching seamlessly
combines both process and product approaches. This method places a strong emphasis on
following systematic writing techniques, while simultaneously shining a spotlight on unique

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elements such as organization, layout, and language usage (Dirgeyasa, 2016, p. 50). What makes
this approach truly effective is its ability to support students who may struggle with writing or
lack motivation, allowing them to gradually work towards independence and encouraging self-
directed learning. By providing a fresh perspective on the art of writing, this approach has
proven successful in both academic and professional settings, transforming writing instruction
into a dynamic and multifaceted experience.

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 APPENDICES

TEXT 1: Language Teacher Educator Identity by Gary Barkhuizen review - by Rabia İrem
Demirci.

The notion of professional identity has gained prominence in many professional fields,
especially in education with supportive policies of universities around the world. As language
teacher educators, we need to better understand the roles we are ascribed to carry the language
teacher education a step further. In Barkhuizen’s (2021) book Language Teacher Educator
Identity, being language teacher educators in the field of language teaching and learning were
examined from varying perspectives. Barkhuizen is currently working as a professor in Applied
Language Studies and Linguistics at the University of Auckland, New Zealand. As a researcher,
his areas of expertise consist of language teacher education, teacher identity, study abroad, and
narrative research in applied linguistics. Along with publishing several books on identity, he was
involved in many projects adopting a narrative inquiry approach that he employs in the Language
Teacher Educator Identity book, as well.

The book includes the description of different types of language teacher educators
working in a range of professional and institutional contexts to comprehend the identities that
language teacher educators are attributed to in different working contexts. This book not only
presents theoretical aspects of language teacher educator identity but also provides personal
narratives to support theoretical parts with practical sides to offer the reader to conceptualize the
perfect matches and ill-matches between theory and practice regarding language teacher educator
identity. With its comprehensive contents and reader-friendly style, the book may serve as a
guide and a handbook for practitioners in language teaching fields from all levels of educational
systems, but it is especially geared towards academics in the language teacher education field. To
present an overview of the book of 95 pages in total, it is composed of five main sections,
respectively titled as; 1) Who Are Language Teacher Educators?, 2) Teacher Educators
Reflecting on Their Identity, 3) What Do Language Teacher Educators Do?, 4) Further
Professional Development of Language Teacher Educators, and 5) Future Research on Language
Teacher Educator Identity. This work aims to examine and understand how teachers learn to
become teachers, what they know, when they know how to teach, how they continue to develop

7
professionally over time, and how their teacher identities relate to what they do, both inside and
outside the classroom. In section 1, Who Are Language Teacher Educators?, Barkhuizen (2021)
introduces the topic by addressing basic questions and informs readers about what the work
covers and what it does not. After this brief introduction of the work, the indispensability of the
language teachers, the content and pedagogy of teacher education, and the teacher educators as
core constituents of the knowledge base of language teacher education (LTE) is highlighted by
stressing the significance of pedagogy education and pedagogical knowledge. The second part of
the section starts with the author's personal narrative about his first formal experience as a kind
of language teacher educator. After briefly discussing the narrative, language teacher educators-
their history, their beliefs, experiences, roles and practices, emotions and desires, and their moral
stance were presented in a straightforward way, dwelling on different types of language teacher
educator types, including a brief statement of prominent identity theories. Teacher Educators
Reflecting on Their Identity is the name of section 2, which mainly discusses a study that aimed
to explore the construction of teacher educator identities considering identity experiences of a
group of seven teacher educators enrolled in a doctoral program at a public university in
Colombia, South America. Barkhuizen (2021) used qualitative method and interviewed the
participants about their lived and imagined experiences avoiding direct questions. However,
before each interview excerpt, we see a short biography to introduce the teacher educator to help
readers to comment appropriately and to bridge the gap between experiences of teacher
education and their identities. Just after the author presented some examples from the interviews
exploring the experiences—reflecting their identities—of the teacher educators were given, he
discussed different dimensions encountered in the statements of the participants. Following the
discussion of the main themes related to teacher educator identity, they are re-organized and
refined, and main identity keywords extracted from the interviews are defined, and identity-
related categories are proposed in a table with brief descriptions of the categories. What Do
Language Teacher Educators Do? is introduced as section 3 in the book. In this section, what
language teacher educators do and to what extent their experiences intersect with their teacher
educator identities were introduced. After an extensive introduction, the process of becoming a
language teacher educator is overviewed, stressing the potential identity tension experienced
during the process. The importance of pedagogy education in LTE was highlighted, and
pedagogy-related 'Must-haves' of becoming a language teacher educator were elaborately

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offered. Towards the end of this chapter, the author emphasized the dynamic nature of language
teacher-educator identities, highlighting the fact that they are shaped and reshaped in the
transition process. The author also touched upon the contributions of having a seat in an
institutional or community service by the faculty along with being a researcher and their effects
on teacher educators’ identities. At the end of the section, the author presented a language teacher
identity conceptual framework that includes a discussion of aspects less frequently examined in
the literature and concluded the section with a personal narrative in which he reflected on some
of his service and leadership contributions. Section 4, Further Professional Development of
Language Teacher Educators, mainly discusses teacher educators' reasons for continuing
professional development, referencing the interview statements of the same group of seven
teacher educators enrolled in a doctoral program at a public university in Colombia. Barkhuizen
(2021) mentioned professional development preference reasons which have different focuses
such as Personal-focused development, Academic-focused development, Practice-focused
development, Research-focused development, and Student teacher-focused development, and
clarified these focuses by matching the reasons with the statements of the participants. The last
section, Future Research on Language Teacher Educator Identity, offers forty questions to
encourage further research into the identities of language teacher educators. The questions were
gathered under categories using some keywords to enlighten the path for the researcher. To-the-
point further suggestions were made putting the focus on the importance of personal experiences
and the appropriateness of the questions considering the research context, and he ended the
section with a personal narrative about his research interest and passion.

All in all, I can fairly state that this book is an engaging resource for the target readers,
especially with its narrative-based style. In my humble opinion, this book is a worthy attempt to
fill the gap that language teacher educators have neglected in the research literature on language
teaching and learning. Last but not least, the book has also highlighted the need to focus attention
on the work they do and signaled the broad scope of academic potential that exists to be
investigated, particularly in relation to the development of their identities. Although there is
nearly no room for criticism, it may not be wrong to suggest organizing the sections in a better
way to make the readers easily follow the subject matter. Also, although the author's personal
narratives clothe the book, it could have been better to give more place to the theoretical side of
language teacher-educator identity to provide a comprehensive understanding. Overall, I believe

9
the book is a notable contribution to the field and a stunning example for future works.
Considering all of these, this book deserves to be counted among the introductory books in the
field of language teacher education.

(Adapted from Language Teacher Educator Identity by Gary Barkhuizen review | Rabia İrem
Demirci.)

TEXT 2: The Complete Tales of Winnie the Pooh by A.A. Milne review by Bianca Schulze.

Readers of all ages have cherished author A.A. Milne’s enchanting tales of Winnie the
Pooh for decades. The origin story of Winnie the Pooh, intertwined with the real-life journey of a
bear named after the Canadian city of Winnipeg, sets the stage for a heartwarming and enduring
collection of stories in The Complete Tales of Winnie the Pooh.

The narrative begins with the unlikely friendship between a young boy named
Christopher Robin and the honey-loving bear, Winnie. Inspired by the author’s son, Christopher
Robin becomes the central figure in a delightful cast of characters, including the exuberant
Tigger, timid Piglet, melancholy Eeyore, intelligent Rabbit, caring Kanga and Roo, and the wise
Owl. Each character adds a unique flavor to the Hundred Acre Wood, creating a whimsical
world filled with timeless life lessons.

The charm of The Complete Tales of Winnie the Pooh lies not only in its captivating
storytelling but also in the simplicity and sincerity of the characters. With his endearing muddles
and love for honey, Pooh speaks to the heart with a wisdom that transcends age. The adventures
shared by Pooh and his friends are a delightful mix of silliness, cleverness, and wit, making them
enjoyable for readers, young and old.

A.A. Milne’s writing is complemented by charming illustrations that adorn the pages,
bringing the characters to life with every turn. The combination of heartfelt narratives and
whimsical imagery makes this collection a visual and literary treat. Whether enjoyed alone or
shared with a loved one, these tales are perfect for bedtime, offering a comforting and
imaginative escape into the Hundred Acre Wood.

One of the enduring qualities of The Complete Tales of Winnie the Pooh is its ability to
resonate with readers on a profound level. The stories are not just entertaining; they are imbued
with valuable lessons about friendship, kindness, and the simple joys of life. As Pooh wisely

10
remarks, “because the Forest will always be there … and anybody who is Friendly with Bears
can find it.” Indeed, the timeless charm of Winnie the Pooh continues to captivate readers of all
generations.

The Complete Tales of Winnie the Pooh is a masterpiece that stands the test of time.
A.A. Milne’s storytelling, coupled with the lovable characters and delightful illustrations, creates
a magical world that invites readers to revisit the joys of childhood. This collection is not just a
book; it’s a cherished companion that, like a true friend, offers comfort, wisdom, and endless
adventures.

(Adapted from The Complete Tales of Winnie the Pooh by A.A. Milne review | Bianca Schulze.)

TEXT 3: The Bigger Picture: Elements of Feature Writing edited by Ivor Shapiro review –
by Jane Johnston.

Like a great feature, this book is a compelling and seamless combination of many parts.
Editor Ivor Shapiro, an associate professor of journalism at Ryerson University in Toronto, has
brought together the work of twenty feature writing and creative nonfiction luminaries in this
tightly constructed but comprehensive feature writing text. The book comprises ten chapters,
each concluding with a previously published feature story that illustrates the chapter but is also a
stand-alone piece of excellent journalism. Shapiro points out in the preface: "Each of the ten
feature articles reprinted in these pages represents a Canadian author’s journey and invites us, the
readers, along for the ride.” Indeed, the features took this Australian reader along for the ride as
well. The stories transport you to the farthest points of Canada—from fishing for lobsters in the
Magdalen Islands to outsmarting beavers in Alberta to British Columbia and the tragic
story of the culled ‘Golden Bough’—and stay with you long after reading them. They are well
chosen for their impact, poignancy, clarity, and illumination of what Shapiro calls the “bigger
picture.” Shapiro’s book deals with feature writing, creative nonfiction, literary, and narrative
journalism synonymously. While there is some reference to journalism throughout the book, its
overwhelming approach is to position feature writing as a broader form of nonfiction, inclusive
of literary techniques, with the theme of good storytelling at its core. If we see journalism as
existing along a continuum, with news reporting at one end and literary journalism at the other,
this book positions feature writing firmly at the literary journalism end. Chapter authors are keen
to differentiate feature writing from straight reporting. For example, David Hayes explains why

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longer-form journalism is different from straight news reporting, comparing the two to travelers
(long-form features) and tourists (straight news). “The tourist experience is superficial and
glancing; the traveler develops a deep conversation with her surroundings,” he writes, citing

The New New Journalism. The selected feature articles include strong literary qualities,
are in longer form, include characterization, scene setting, use of time and sequence, point of
view, and soon, plus the chapters are inclusive of literary and creative techniques and readings. It
also draws on the ideas and suggestions of key literary journalism and creative nonfiction writers
throughout the book and includes a list of “essential reading, including the likes of Robert S.
Boynton, Roy Peter Clark, Norman Sims, Mark Kramer, Gay Talese, and Tom Wolfe.

It is, nevertheless, an extremely accessible undergraduate journalism textbook for both

feature writing and literary journalism students. The book chapters traverse the usual feature
writing textbook topics: Part One, story ideas and how to bounce back from editors' rejections;
Part Two, chapters on research, reporting and reconstructing scenes, and interviewing; Part
Three, predominantly structure; and Part Four, written by Shapiro, is a single chapter, “Truth and
Storytelling: Ethics in Nonfiction,” that wraps up the text and, in good feature-writing style,
draws the rest of the copy together, focusing on one of the book’s key themes, truth. Here,
Shapiro confesses: he told a (white) lie in an early feature story, and he has never forgiven
himself. “Tweaking” the truth, he was told, was common, and he succumbed (though it must be
noted that his editor requested the “tweak”). "I always—always!—feel a twinge of shame,” he
now says of the indiscretion. This type of firsthand experience and insights into the traps along
the path of reporting and writing help to make this book a great read, with personal experiences
such as this separating it from the more formalized style of textbook. Shapiro drives home this
key theme—“truth trumps narrativity.” Other themes he draws out include the "show, don’t tell”
rule, how technique is important but takes second place to accuracy, and the importance of
keeping promises to sources. Like Shapiro, chapter authors bring their own experiences to this
book, plus they also draw on the insights of others. This makes each chapter rich with examples
and illustrations. Paul Benedetti uses the work of Jon Franklin to explain structure in dramatic
nonfiction and then uses an article by Gay Talese to illustrate how to bring the reader into the
story. Sue Ferguson spends two pages outlining how to gather information from sources,
explaining the benefits of persuasion, the need for trust, and spending time with your sources.
She also outlines the importance of online research, but with the caveat, “while the web is an

12
amazing tool, it has limited function for journalists.” Ferguson cites John Vaillant to reinforce
her point: "The good stuff is out in the world... There’s no substitute for the power of being
there.” The result is a book that is brimming with great illustrations and wonderful anecdotes,
plus good advice from many of the best-known in the fields of feature writing, literary
journalism, and creative nonfiction. Ironically, The Bigger Picture is almost devoid of pictures—
diagrams, tables, or images, that is. But it doesn’t need them. It is so cleverly written that it
doesn’t require the elaboration or simplification that comes with images: with two exceptions.
Susan McClelland’s visual structure of the feature story, consisting of a wavy line cut through
the center by a straight line, is the most basic of diagrams but clever in its simplicity. McClelland
explains: “The part of the wave that touches the straight line known as grounding, when you
reiterate to your readers, in different words, your topic and theme.” The second image is the
wonderfully evocative front cover. Here, a small photograph of an urban street scene is
intriguing, presenting any number of narrative options: a youth with a Labrador pup is
investigating something on the ground, a bike sits against a curb, a television is abandoned on the
sidewalk, and red graffiti breaks up the blue exterior wall behind the curb. Set against a glossy
black cover, the image of the youth and pup is mirrored elsewhere on the page. This is
definitely a pick-me-up cover. (The only other image in the book is a communication triangle in
Chapter 1, which warrants no comment or elaboration). What is abundant are sidebars, used like
sidebars in feature stories, dealing with specific details and issues that are dealt with in brief.
This allows additional topics to be covered without weighing down the overall size of the book.
These are presented under the heading “Glad you asked!” with topics covering everything from
essential reading for feature writers and cures for writer’s block to working under Canadian
media law. Of course, there’s also a sidebar on sidebars.

As a book editor and a teacher of feature writing for twenty years, I find this
book impressive in many ways. If done well, edited books can bring together the best of all their
contributors. In this particular edition, the ten-chapter authors represent a massive pool
of knowledge about this genre. Each author has an impressive resume of published journalistic
works and journalism scholarship. Each feature story included at the end of each chapter is so
different, yet each chapter conforms to a uniform style while still maintaining authorial voice,
which is testimony to the adaptability and versatility of these writers and the clever editing
of Shapiro. On the second point—teaching feature writing—this book is one I would

13
readily adopt. While clearly Canadian in focus, its ideas, approaches, and knowledge base give it
global appeal and usability. Good feature writing is good feature writing, and a good book is a
good book, wherever you are. The structures, writing devices, reporting approaches, ethical
framework, and outstanding illustrations of long-form feature writing, inclusive of literary style
and techniques, have broad application for teachers of both feature writing and literary
journalism. The Bigger Picture is likely to do something far more important than teach great
feature writing—it will inspire it.

(Adapted from The Bigger Picture: Elements of Feature Writing edited by Ivor Shapiro review |
Jane Johnston.)

MOTTO-ROTH'S SCHEMATIC DESCRIPTION OF RHETORICAL SUB-FUNCTIONS

IN BRS

(Adapted from Motta-Roth, 1995, p. 142)

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15
 REFERENCES

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