Multimodality and cross-modal cohesion in manga
Manga with their distinct style and symbolism represent a growing reading trend in the world. Manga use an established set of symbols to convey various emotions. Manga have generally been more experimental in layout than Western comics. They are more fragmentary and contain more panels that enhance...
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| Format: | Article |
| Language: | English |
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V. N. Karazin Kharkiv National University
2022-10-01
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| Series: | Когниция, коммуникация, дискурс |
| Subjects: | |
| Online Access: | https://periodicals.karazin.ua/cognitiondiscourse/article/view/20889 |
| _version_ | 1797645765770739712 |
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| author | Victoria Yefymenko |
| author_facet | Victoria Yefymenko |
| author_sort | Victoria Yefymenko |
| collection | DOAJ |
| description | Manga with their distinct style and symbolism represent a growing reading trend in the world. Manga use an established set of symbols to convey various emotions. Manga have generally been more experimental in layout than Western comics. They are more fragmentary and contain more panels that enhance the dynamism of the story. We aimed to outline methodological approaches to the analysis of manga; to summarize specific features of manga as a separate medium; to analyse how multimodal cohesion is created in manga; to reveal various types of relations between visual and verbal modes. Manga is a multimodal discourse, combining several modes, mainly visual and verbal. The aural mode is represented by linguistic and visual signs, e.g. jagged borders of a speech bubble or the size and boldness of letters. We applied methods originally designed for the film analysis to the analysis of manga, in particular, Tseng’s (2013) theory of cross-modal cohesion, based on tracking cross-modally realized characters, objects, actions, and settings. This analysis included building cross-modal cohesive chains. We argue that it is possible to track cross-modal cohesion in manga, based on the interaction of visual, verbal, and aural components of identity chains. Besides, the interaction between visual and verbal modes was revealed by analysing text-image relations. In this paper we have outlined manga-specific features, distinctive features of manga’s page layout, cinematic devices, which manga borrowed from films, some of which may be used as focalisation-marking devices. |
| first_indexed | 2024-03-11T14:51:42Z |
| format | Article |
| id | doaj.art-3fe4eba78cc84290875cb0e21d6ad952 |
| institution | Directory Open Access Journal |
| issn | 2218-2926 |
| language | English |
| last_indexed | 2024-03-11T14:51:42Z |
| publishDate | 2022-10-01 |
| publisher | V. N. Karazin Kharkiv National University |
| record_format | Article |
| series | Когниция, коммуникация, дискурс |
| spelling | doaj.art-3fe4eba78cc84290875cb0e21d6ad9522023-10-30T09:16:18ZengV. N. Karazin Kharkiv National UniversityКогниция, коммуникация, дискурс2218-29262022-10-012410311410.26565/2218-2926-2022-24-0820889Multimodality and cross-modal cohesion in mangaVictoria Yefymenko0Taras Shevchenko National University of KyivManga with their distinct style and symbolism represent a growing reading trend in the world. Manga use an established set of symbols to convey various emotions. Manga have generally been more experimental in layout than Western comics. They are more fragmentary and contain more panels that enhance the dynamism of the story. We aimed to outline methodological approaches to the analysis of manga; to summarize specific features of manga as a separate medium; to analyse how multimodal cohesion is created in manga; to reveal various types of relations between visual and verbal modes. Manga is a multimodal discourse, combining several modes, mainly visual and verbal. The aural mode is represented by linguistic and visual signs, e.g. jagged borders of a speech bubble or the size and boldness of letters. We applied methods originally designed for the film analysis to the analysis of manga, in particular, Tseng’s (2013) theory of cross-modal cohesion, based on tracking cross-modally realized characters, objects, actions, and settings. This analysis included building cross-modal cohesive chains. We argue that it is possible to track cross-modal cohesion in manga, based on the interaction of visual, verbal, and aural components of identity chains. Besides, the interaction between visual and verbal modes was revealed by analysing text-image relations. In this paper we have outlined manga-specific features, distinctive features of manga’s page layout, cinematic devices, which manga borrowed from films, some of which may be used as focalisation-marking devices.https://periodicals.karazin.ua/cognitiondiscourse/article/view/20889mangamultimodalitycross-modal cohesionidentity chaintext-image relations |
| spellingShingle | Victoria Yefymenko Multimodality and cross-modal cohesion in manga Когниция, коммуникация, дискурс manga multimodality cross-modal cohesion identity chain text-image relations |
| title | Multimodality and cross-modal cohesion in manga |
| title_full | Multimodality and cross-modal cohesion in manga |
| title_fullStr | Multimodality and cross-modal cohesion in manga |
| title_full_unstemmed | Multimodality and cross-modal cohesion in manga |
| title_short | Multimodality and cross-modal cohesion in manga |
| title_sort | multimodality and cross modal cohesion in manga |
| topic | manga multimodality cross-modal cohesion identity chain text-image relations |
| url | https://periodicals.karazin.ua/cognitiondiscourse/article/view/20889 |
| work_keys_str_mv | AT victoriayefymenko multimodalityandcrossmodalcohesioninmanga |