Inhaltszusammenfassung

This chapter applies theoretical constructs from cognitive linguistics to multimodal visual texts, such as comics. In particular, it discusses the concept of cognitive modes of scanning found in Langacker’s cognitive grammar. Mental scanning relates to the way we build conceptual representations of complex scenes and events. These can be apprehended either holistically (summary scanning) or successively (sequential scanning). A distinctly multimodal medium, comics feature the sequential order...This chapter applies theoretical constructs from cognitive linguistics to multimodal visual texts, such as comics. In particular, it discusses the concept of cognitive modes of scanning found in Langacker’s cognitive grammar. Mental scanning relates to the way we build conceptual representations of complex scenes and events. These can be apprehended either holistically (summary scanning) or successively (sequential scanning). A distinctly multimodal medium, comics feature the sequential ordering of images as well as their holistic configuration on the comics page. Thus they involve both summary and sequential scanning processes. The chapter uses the example of Alan Moore’s and Dave Gibbons’ graphic novel Watchmen to show how the conceptual distinction between summary and sequential scanning may provide new impulses for the analysis of graphic literature. A highly intricate text, Watchmen uses the tension of different modes of scanning to construct complex temporal configurations.» weiterlesen» einklappen

Autoren

Klassifikation

DFG Fachgebiet:
Sprachwissenschaften

DDC Sachgruppe:
Sprachwissenschaft, Linguistik