![]() ![]() Camera lucida: Reflections on photography, New York, NY: Hill and Wang. Īs a matter of fact, tourist photographs are supposed to provide testimonial evidence of a place: they are considered a scientific, objective and neutral form of site representation (Barthes, 1981 Barthes, R. A system for image-text relations in new (and old) media. and Martinec and Salway (2005) Martinec, D. In Multimodality in corporate communication: Webgenres and discursive identity, Edited by: Garzone, G., Catenaccio, P. “ The rhetoric of multimodality: The persuasive power of verbal–visual interplay”. In New directions in the analysis of multimodal discourse, Edited by: Royce, T. ![]() “ Intersemiotic complementarity: A framework for multimodal discourse analysis”. Language and image interaction in cartoons: Towards a multimodal theory of humor. In The Routledge handbook of multimodal analysis, Edited by: Jewitt, C. “ Multimodality and reading: The construction of meaning through image-text interaction”. On cross-modal interaction, see Unsworth and Cléirigh (2009) Unsworth, L. This explains why the formula MEH has been preferred to the more immediate bimodally expressed humour. Their tactile, paper-made materiality, for example, is crucially important in making meaning, even though not explicitly addressed here, and it requires the adoption of a multimodal paradigm of analysis. ![]() As a consequence, postcards cannot be simply considered as bimodal texts. Reading images: The grammar of visual design, 2, London: Routledge. Writing is undoubtedly a form of visual communication (Kress & van Leeuwen, 2006 Kress, G. Meanwhile, they allow us to develop self- and cultural awareness, since they overtly address stereotyped forms of identity and culture configuration.įor example, a conversation implies the numerous aspects of body language, while verbal language and written texts rely on the visual aspects of the paper, of layout, of typographic solutions and even on the tactile nature of paper (Santulli, 2007 Santulli, F. The analysed postcards fulfil a promotional function, enhancing both the status of the destination and of the sender. Rather than aggressive humour, MEH intertwines stereotyping and self-stereotyping, mockery and self-mockery to encode modes of perception of and response to the destination. MEH captures the readers' attention, engenders a suspension of disbelief and a pleasant psychological attitude, assists concentration, outlines the reading path, places emphasis and thus leaves a lasting mnestic trace. The paper is concerned with the communication dynamics enacted by stereotype-based MEH texts. In Image, music, text, Edited by: Barthes, R. The General Theory of Verbal Humor by Attardo and Raskin is integrated with tools for the analysis of visual texts and of cross-modal interaction 1977 Barthes, R. Since modal shift activates a script shift in the cards, the key semantic process of humour de/codification, the paper suggests a specific method of analysis. After positioning postcards as a tourism text genre, it discusses the notions of stereotypes and of humour. This paper investigates multimodally expressed humour (MEH) in illustrated comic tourist postcards targeting Scottish weather, culture, tourism and people.
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