Halliday & Matthiessen (2014: 522, 523):
In addition to the verbs listed in Table 7-23, we also find a pattern with verb: express + a noun of sensing such as belief, confidence, suspicion; hope, desire; apprehension, concern, disappointment, frustration, fear(s), anger, outrage, regret (+ to nominal group) + that-clause.
This pattern could be analysed as a ranged ‘verbal’ clause: Process: express + Verbiage: [nominal group: Head: fear, etc. + Qualifier: that-clause]; we also find such nouns of sensing (often nominalisations of verbs of sensing) serving as Head and configured with phrases as Qualifier, as in express + fear of attack / childbirth / for safety / about labour unrest.
However, looked at ‘from above’, this pattern can be interpreted as a strategy for construing processes of saying externalising processes of consciousness. They may be configured with an element that can be interpreted as Receiver, and they often occur in the environment of hypotactically projecting verbal clauses; for example:Assange expressed fears that cyberspace had its limits.
The coach of the Peruvian Football, Sergio Markarian, expressed confidence that their pupils achieve a victory over Colombia and said it is in the semi-finals of the Copa America.
Many viewers have expressed frustration that the supposedly feminist Joss Whedon would create a story about a glorified, high-tech form of prostitution. However, I argue here that in his feminist repertoire, Dollhouse gives us just as much fodder for thinking about gender, feminism, and power as Buffy the Vampire Slayer, which drew its appeal by resisting the very forms of systemic oppression, both male and female disempowerment, that Dollhouse sought to make explicit.
After Warren died from HIV in 1995, I expressed regret to Kirk that I hadn’t seen more of Warren in his last years, and Kirk suggested that one way I could respond would be by seeing more of him – which I did, and was glad to do.
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