Children's picture books are complex multimodal texts. Meaning is created when modes interplay with each other. As a multimodal text, the author and the illustrator play a role in the utilization of ...semiotic resources, whether verbal or visual. The study of multimodality in translation studies acknowledges this. Yet, current translational practices remain inadequate for the description and analysis of translated children's picture books. Despite that, a call for interdisciplinary research in both fields has been established. This call expands the scope of translation by examining past and current practices and describing them. This paper aims to consolidate the translation of children's picture books from a multimodal perspective dedicated to children's picture books. Furthermore, it calls for an integration of multimodality into translation studies as translation is the transfer of meaning contained in semiotic modes.
Framed with Halliday’s (1994) systemic functional grammar and Kress and van Leeuwen’s (2006) visual grammar, the paper studies verbal and visual transitivity in the construction of characters in ...Maurice Sendak’s Where the Wild Things Are (1963). While the verbal transitivity is determined by the semantic property of a lexical verb, the visual transitivity is realized by vectors, by the shapes dominating the characters’ appearance, and by the positioning of the character on a page. The paper concludes that the dynamic relation between visual and verbal transitivity functions as an effective means of characterization that results in the formation of Max’s personality.
Based on the modern approaches to the study of multimodal pragmatics, this study focuses on its new facet, identifying the correlation between cognitive and pragmatic features of visual metaphor with ...reference to visual grammatical analysis and Optimal Innovation Hypothesis added by explanatory tools of the conceptual blending Theory and Relevance Theory along with cooperative principle. The purpose of the article is to analyze the visual message of commercial advertising while assessing its successfulness / failure in accordance with the sequentially applied criteria of “the level of metaphorical polysemanticity and ambiguity”, “the availability of the relevant context of interpretation”, “the level of optimal innovativeness”. The paper reached four principal results. First. The visual metaphor flouts one or few cooperatіve maxims, which triggers discursive implicature. Second. Depending on the level of implicitness and polysemanticity of the visual metaphor, the result of the maxim flouting can be both implicature and explicature. If the inference of the implicature is intended by an advertising message, but requires excessive efforts to process visual information in lack of relevant context, the level of the metaphor interpretation remains explicature. Third. “Explicature” and “implicature” levels of visual metaphor interpretation are associated with different stages of blending processes. Inference of discursive implicature, which constitutes the intended meaning of the metaphor, coincides with the stage of the blend elaboration; Fourth. Depending on the balance between the level of familiarity and innovativeness, the components of a visual metaphor can be ranked on the scale of “attractiveness” for the target client—from optimally innovative to pure innovative devices.
In this article, I conduct a multimodal analysis of videos of Las Tesis' performance "Un Violador En Tu Camino," posted on YouTube and Twitter, with the aim of obtaining deeper insights into how ...digital platforms encourage the creation of large-scale, transnational feminist mobilizations and how the encounter with narratives of multiple violences can enable new types of feminist radicality. Rather than locating the digital at the center point, a non-digital centric approach opens up for attending to the digital as part of something wider, and I analyze the interplay between the digital and non-digital in the building of a multifaceted feminist collectivity. I find that the variegated enactments "Un Violador" illuminate feminism as a transnational feminist collective through shared meanings and values, characterized by commonalities as well differences. These dimensions allow feminist performances to move across multiple scales and borders and become a radical, transversal social phenomenon on a macro scale.
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Based on ELAN multimodal discourse analysis software, this paper constructs a multimodal Russian translation model based on the machine translation model with visual grammar and multimodal discourse ...analysis as the theoretical basis. To address the issue of missing semantics caused by insufficient input information at the source of real-time translation, the model uses images as auxiliary modalities. The real-time Russian translation model is constructed using the wait-k strategy and the concept of multimodal self-attention. Experiments and analysis are carried out on the Multi30k training set, and the generalization ability and translation effect of the model are finally evaluated with the test set. The results show that by applying multimodal discourse analysis to Russian translation, the three translation evaluation indexes of BLEU, METEOR, and TER are improved by 1.3, 1.0, and 1.4 percentage points, respectively, and the phenomenon of phantom translation is effectively reduced.
Representations of place and space in Factual Welfare Television (FWT) are under-researched, contributing to neglect of spatial stigma in austerity culture. In this article, we combine agnotology – ...the study of manufactured ignorance – with visual grammar methods to examine Channel 5’s Britain’s Benefit Blackspots (2017) to address why FWT is spatially significant. We argue that televisual representations of the abject ‘welfare claimant’ in Britain have a spatial dimension, evident in repeated camera shots of derelict, deindustrialised, litter-strewn outside spaces and large sofas, overflowing ashtrays and dusty corners inside homes. We conclude that FWT’s representations serve two functions: first, they obscure the spatial inequalities inherent in austerity policies by reducing social problems to constructed social types and their places and ways of living and, second, they enable sets of socio-spatial assumptions that become unquestioned ways of reading and understanding disadvantaged and disadvantagised spaces of residence.
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Editing techniques used in Factual Welfare Television (FWT) in the UK undermine narratives of hardship and structural inequality in representations of the living places of welfare claimants. This ...research identifies the affects of a televisual syntax – or ‘visual grammar’ – of spatial stigma in FWT. Using original data generated in a study of Channel 5’s documentary series On Benefits (2015–2019), we conduct a visual grammar analysis to argue that cutaway editing, which inserts camera shots of toilets, canine excrement, and fly-tipping into programmes, undermines potentially sympathetic representations of poverty communicated via narrator voiceovers, and/or verbal testimonies of participants. Our findings show that cutaway editing is a significant feature in the production of On Benefits and is oppositional to the articulated narrative. The research concludes that cutaway editing in FWT generates disgust towards the living places of benefits claimants, which is productive of a powerful visual grammar of spatial stigma.
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In this article, we explore and probe the critical visual analysis framework on the ‘challenge’ illustrations of Jide Okonkwo distributed on Facebook in 2019 while considering contents, contexts and ...communication of the images. Engaging with critical visual analysis is in order to deepen our understanding of its dynamics and potential for visual semiosis. The images are visual data for this analysis, and they are relevant considering their rich visual contents. Using critical visual analysis framework as developed by Jiayu Wang, we explore and interpret these images against the backdrop of their sociocultural and communication foci. The theoretical analysis is substantiated with elements of visual grammar (VG). The article expounds the understanding regarding the theoretical tool as well as the semiosis of the social practices connected with these images.
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The study examines how gender is represented through visual signs in the paintings on honour killing, how social structures gain meaning on getting painted, how power dynamics work in the so-called ...traditional or patriarchal societies, and if and how these semiotic constructions represent, underrepresent, or misrepresent Pakistani context. The grammar of the visual design of 40 paintings on honour killing, painted by male and female Pakistani painters belonging to different areas of Pakistan, have been qualitatively studied in the light of the theoretical understanding of ideational, interpersonal, and textual metafunctions suggested by Kress and van Leeuwen (2006). The visual grammar of the paintings suggests that the women have been represented as helpless, outcaste, oppressed, and marginalized, while men have, indirectly through visual signs, been depicted as oppressors and perpetrators. On the ideational level, society has also been highlighted as extremely oppressive and debilitating. Interpersonal metafunction reveals social negligence towards honour killing and female victimhood, while the textual orientation of the paintings not only suggests social control over the female body and choices as the core issue, but also highlights the strict condemnation of female oppression and honour killing by the painters.
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