语言学论文哪里有？本研究以视觉叙事理论为基础，参考学者提出的分析框架，构建了本文的研究框架，并通过多模态标注软件ELAN进行编码、建层、分层标注和数据统计等，以《小妖怪的夏天》为例进行研究。
Chapter One Introduction
2.1 Definition of Multimodal Discourse Analysis
Typically, both visual and verbal discourse exhibit distinct communicative intentions and serve as mediators for the exchange of information. Information transmission involves the continual evolution of the message as it passes between interacting participants, traversing from one side to the other, utilizing different modes (O’Halloran, 2011).
The term multimodality refers to the observation that discourse inherently incorporates multiple modes of communication. According to Jewitt (2008), “multimodality” explores how meaning is constructed through various elements like images, gestures, sounds, and writing. These elements, termed “modes”, are organized sets of resources used to convey meaning. Zhu Yongsheng (2007) also distinguishes between modes and moods, noting that while both are termed “modality” in English, they represent distinct concepts. Mood operates within language systems, involving the evaluation of probability, necessity, and expression of attitudes. Conversely, modality encompasses various channels and mediums of communication, including language, technology, images, color, music, and other symbolic systems. Consequently, multimodality denotes the integration of diverse semiotic modes within a given discourse. For instance, spoken discourse integrates language with intention, voice quality, facial expression, gesture, posture, and elements of self-presentation (van Leeuwen, 2015). The multiplicity of modes significantly alters the nature of discourse. Therefore, discourse transcends being solely a unit of communication defined by language, whether written or spoken. Instead, it evolves into a meaningful construct shaped not by a singular symbol but by a combination of multiple symbols identifiable within a particular community (Wang Yanhua, 2010).
Chapter Three Theoretical Framework
3.1 Theoretical Basis of Visual Narratives
Multimodal discourse analysis represents an emerging paradigm within the discourse studies which extends the study of language per se to the study of language in combination with other resources, such as images, scientific symbolism, music, and sound (O’Halloran, 2021). It is inherently interdisciplinary and frequently applied in film analysis. Visual narratives, rooted in systemic functional grammar, represents a recent advancement within visual grammar (Feng Dezheng, 2015). Consequently, this section will provide a brief introduction to the meta-functions of systemic function theory and visual grammar.
3.1.1 Systemic Functional Theory
M.A.K. Halliday focuses on the relationship between the linguistic system and the social structure within the theory of “social semiotics” (Halliday, 2014). It is acknowledged that all modes, including but not limited to speech and writing, have specific parts to play in the process of meaning construction (O’Halloran, 2008). As noted by Danesi (2017), whenever humans are living in groups, there are languages. The nature of language is closely related to the functions in response to the specific demands of the society. Halliday’s theory of systemic functional grammar is constructed on the concept of “meta-function” (Hoang, 2021). The functions that language is used to provide are divided into three different meta-functions, namely, ideational function, interpersonal function, and textual function (Halliday, 2008).
Chapter Five Results and Discussion
5.1 Statistic Results
Halliday (1978) argues that linguistic and non-linguistic semiotics should not be regarded as immutable “codes” of meaning but rather as “resources” constructed within specific contexts. Similarly, the visual grammar proposed by Kress and van Leeuwen provides valuable guidance for conducting multimodal analysis using linguistic theories and further contributes to the establishment of a comprehensive framework for multimodal theories (Feng Dezheng, et al., 2014). Consequently, on the basis of visual narratives and the proposed analytical framework, the visual information is coded using the annotation tool ELAN, and the statistic results are automatically collected. Table 5.1-1, Table 5.1-2, and Table 5.1-3 present the conclusive outcomes of the annotation, revealing a notable variance in the occurrence rates among the diversified meaning options.
5.2 Enacting Social Relations
In enacting social relations, this study explores the interpersonal meaning of meta-functions. Subsequently, it delves into the analysis of the focalization system, the pathos and affect system, and the ambience system, providing with examples.
5.2.1 Interpersonal Meaning
The interpersonal significance within the first episode of Yao Chinese Folktales series equates to the interpersonal role delineated in systemic functional grammar and the interactive meaning of visual grammar, facilitating a relational dynamic between the creator of the visual representation and the observer. This interaction allows the depicted image to engage with the viewer, eliciting the viewers’ response and fostering attitudes towards the depicted content. This interaction encompasses three key systems: the focalization system, the pathos and affect system, and the ambience system.
Chapter Six Conclusion
6.1 Major Findings
As a multimodal discourse, Episode 1, Nobody showcases rich Chinese styles. Such animations are deeply rooted in the essence of Chinese culture, aiming to evoke diverse aesthetic experiences with audience of different ages, nationalities, and regions. On the basis of the theoretical framework of visual narratives, this research delves into the highly popular narrative story of Nobody, conducting a multimodal discourse analysis on meaning construction. The major findings can be summarized as follows.
Initially, according to visual narratives, three meta-functions of ideational meaning, interpersonal meaning, and textual meaning are identified as construing representations, enacting social relations, as well as composing visual space. Analyzing the distribution of these meta-functions within the visual narratives reveals intriguing insights. The data suggests a predominant focus on construing representations, accounting for 586 annotations out of the coded data. This underscores a significant emphasis on utilizing visual elements to convey ideational meaning, prioritizing the visual representation of concepts and ideas in the narrative story. Following closely, enacting social relations occupies 415 annotations of the coded data, indicating a substantial but comparatively lesser emphasis on the portrayal of social interactions within the visual narratives. Composing visual space constitutes the smallest proportion, with 372 annotations, indicating a relatively lower emphasis on the structural and spatial aspects of visual composition in the analyzed narratives. Despite the varying proportions, the differences are not substantial, reflecting a coordinated use of visual elements in meaning construction. These proportions provide valuable insights into the strategic deployment of visual elements to convey meaning and establish connections within the analyzed narrative context.
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