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Discourse and Pragmatics

Discourse and Pragmatics. Lecture 11 Multimodal Discourse Analysis. The changing face of texts. Multimodal Discourse Analysis. Two Strands. Analysis of Interaction Influence of Conversation Analysis, Interactional Sociolinguistics, Mediated Discourse Analysis Kendon, Goodwin, Norris.

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Discourse and Pragmatics

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  1. Discourse and Pragmatics Lecture 11 Multimodal Discourse Analysis

  2. The changing face of texts

  3. Multimodal Discourse Analysis Two Strands Analysis of Interaction Influence of Conversation Analysis, Interactional Sociolinguistics, Mediated Discourse Analysis Kendon, Goodwin, Norris Analysis of Static Texts Influence of ‘Textual Analysis’ (Halliday-- Systemic Functional Grammar) Kress and Van Leeuwen Reading Images

  4. Strand I: MULTIMODAL ANALYSIS OF STATIC TEXTS

  5. Reading Images • http://personal.cityu.edu.hk/%7Eenrodney/LCC/readingfour.htm • Social Semiotics • Halliday’s three ‘metafunctions’ of language • Ideational • What’s happening? (processes and participants) • Interpersonal • Relationship between text and reader • Textual • How the text is organized

  6. Typography

  7. Ideational Kinds of Images • Narrative Image • “presenting unfolding actions and events, processes of change, transiting spatial arrangement” • (Kress & van Leeuwen 1995, p.79) • Conceptual Image • “representing participants in terms of their more generalized and more or less stable and timeless essence” (ibid.) • Analytical Process • “relate participants in terms of a part-whole structure” (p.89) • Classificational Process • “relate participants to each other in terms of a ‘kind of’ relation, a taxonomy” (p. 81)

  8. Ideational Narrative Image

  9. Ideational Analytical Image Parts whole: the earth

  10. Ideational Classificational Image

  11. Classification + Narrative

  12. Ideational Perspective/ Point of View

  13. Interpersonal(Gaze)

  14. Interpersonal Demand “the participant’s gaze (and the gesture, if present) demands something from the viewer, demands that the viewer enter into some kind of imaginary relation with him or her.” (p.122)

  15. Interpersonal “The viewer’s role is that of an invisible onlooker” (p.124)

  16. Distance

  17. Textual Visual Space

  18. Left-Right L Given R New

  19. Top-Bottom T Ideal B Real

  20. Intertextuality

  21. Questions to Ask • Rhetorical Purposes • Where does the image appear? • What is the image's purpose? • Ideational Function • Does it document a  situation, event or condition? • Is it conceptual? If so, what is its point? • Who is portrayed? Describe your inferences from each feature of the person(s) - age, details of dress, gender, ethnicity, class, posture and stance, portions of the body shown, tilt of head, facial expression, gesture of hands. • What is the person looking at? Follow her gaze or eyeline. Does she look toward something else in the image? or out of the picture? What do you make of the direction of the gaze? .

  22. Questions to Ask • If there are two or more people, what features suggest their relationship to each other? • If there are two or more people, does one seem dominant? How is this expressed? • If the image has a distinct background, describe it. How does it relate to the dominant focus of the images, especially people, if any? • What is the story being told in the image? Consider the people and objects in the image and their relationships to each other, the viewer, the setting and the text. • Who or what is excluded from the image? Why? • What time and place does the image suggest? What is the effect of this setting? • Is anything "out of place" in the image? What do you make of the incongruity? • Are there items or features in the image that might mean more than themselves? Consider connotations and associations of particular objects or features in the image. Relate them to the rest of the image

  23. Questions to Ask • Interpersonal Function • From what angle are the people shown? Do you seem to look down on them, as if they were below the viewer? Look up at them? Look right at them? • Are people shown close up or far away? What emotional effect does this have? • What do you consider to be your relationship as viewer to the person or people shown? Do you empathize with them or not? Explain why. • If there is no one represented, imagine what sort of person would be at home in this image. Explain why?

  24. Questions • Is the image realistic, like a photograph or more stylized, like a cartoon or caricature? • If the image is realistic, do you detect any types of distortion? Describe any features that may be distorted. • How polished or "professional" is the image?What tone does the image project? • How seriously are we to take this image? Explain why. • Who do you think are the intended viewers of the image? What features or context suggest this audience? • Who do you think produced the image? Is the creator/photographer stated? • What would you say your relationship is to the producer or producers? Do you think they understand you, as a viewer? • What attitudes - - social, political, economic, cultural - - are suggested in this image? Who benefits from the attitudes shown? Who does not? • Who can relate to the story that the image tells? Who may not find it believable or interesting?

  25. Questions to Ask • Textual Function: Overall Design • What draws your eye first? • What does the dominant part of the image portray? • What is in the center of the image? • What is shown in front and larger? What is behind and smaller? • What is shown in the upper half? the lower half? • Are portions more blurred? Are there very distinct parts in sharp focus? • Is there "empty" space? What does the empty space frame?Are some areas or shapes very large? Are others very small? • Describe the major shapes and lines created. Consider what effect the shapes and lines create. • Describe the overall arrangement of parts. Are they ordered symmetrically or otherwise balanced against each other?

  26. Questions to Ask • Color • Describe the colors, or absence of color, in the image. • Where is color applied? • Is the color realistic, in your view? If not, describe why you think it is not. • How does color, or its absence, make you feel about the image? • What previous associations do you have with the colors used? How do those affect your understanding of the image? • Text • If the image includes text, such as headlines, labels, captions, or paragraphs of explanation, relate the text to the image. • In what ways does the text help you make sense of the image? Does it answer questions about the image, or only raise more questions? • What is the personality and tone of the typography, or the fonts that the text uses?

  27. Strand II: MULTIMODAL ANALYSIS OF INTERACTIONS

  28. Proxemics and Posture Written Text Gaze Multimodality Gesture Object Handling

  29. Multimodal Interaction Analysis(Norris 2004, Norris and Jones 2005) All communicative actions are mediated though one or more semiotic modes Affordances Mediational Means Action Actor Semiotic modes Semiotic modes come with different sets of affordances and constraints Constraints Modal Density Modal Complexity

  30. Modal Density: Leena Body/Head Position Spoken Language Body/Head Position Gaze Gaze Written Text Written Text Object Handling

  31. Modal Density: Derek Body/Head Position Body/Head Position Gaze Gaze Spoken Language Body/Head Gesture Gesture

  32. Modal Density: Leena Body/Head Position Spoken Language Gaze Body/Head Position Gesture Gaze Object Handling Written Text Written Text

  33. Modal Complexity The use of one semiotic mode affects all the other modes that are used along with it Gesture Media Gaze Rhythm and Timing Object Handling

  34. Gaze • Relationship to Speech • Kendon (1990) • Hearers gaze at speakers more than speakers gaze at hearers • Speakers typically look towards hearers at the end of phrases • Goodwin (1981) • Mutual gaze occurs more typically at turn beginnings • Cultural Practices of Gaze • Gaze and power among East Asians • Gaze and Attention/Awareness • Modal Density (Norris 2004)

  35. Relationship to Media

  36. Leena and Derek

  37. Mutual Gaze

  38. Conversational Synchrony Birdwhistle, 1970 Postural Echo

  39. Asynchrony

  40. Parallel and Sequential Synchrony • Gill, Kawamori, Katagiri, Shimojima, 2000; Gill, 2001; Gill, 2002; Gill and Borchers, 2003; Gill, 2003a; Gill, 2003b • Sequential Synchrony: action-reaction • Parallel Synchrony: parallel motion • Interaction tends to move from sequential to parallel synchrony • Sequential Synchrony • Serves to maintain the interaction • Parallel Synchrony • Serves to ‘transform’ the interaction • ‘Grounding’

  41. Leena

  42. so...ummm

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