Abstract The Harper’s Bazaar jewellery advertisements analyzed in this paper are formed by semantic fields, parts of which are only implied by the advertisements’ authors and have to be inferred by the viewers/readers. The viewers/readers have to fill in the gaps, in other words, which helps them understand the advertisements. The viewers/readers’ effort at trying to figure out the implicit meanings generates a certain amount of pleasure which keeps their attention focused on the ads, which may help with selling the products to which the semantic fields are related. In order to conceptualize the implicit meanings, the idea of gaps is adopted from reader-response theories. Semantic field relations are similar to cohesion ones, however, in contrast with a linear analysis of cohesion by means of lexical strings, a field-like non-linear perspective is used for representing semantic field relations. This is considered to be more appropriate for analyzing multimodal texts consisting of images and language. Several advertisements are analyzed in terms of semantic fields and it is specified how both the explicit and implicit meanings can be interpreted.
Abstract The aim of this study is to explain how multimodal mediation contributes to ongoing identity production and transformation across interconnected layers of discourse when lay experience and expert knowledge enter in dialogue about climate change. By combining multimodal (inter)action analysis with empowerment analysis, this study investigates consequences of empowerment-oriented climate change communication upon identities of lay and scientist women when engaged in mobile phone conversations. The proposed methodological approach is used for qualitative analyses of videos produced by Science Moms , a group of nonpartisan climate scientists. The study clarifies how identity elements are produced and transformed when chains of lower-level actions and frozen actions build the multimodal higher-level action of a mobile phone conversation. Focusing on chains of lower-level actions constituted by social actors’ utterances, the study also discerns identity empowerment processes that are facilitated at individual, relational and collective levels through three layers of discourses. Identity elements influenced by video-produced mediational means are also explained. The study’s main contribution lies in systematically explaining how by integrating multimodal (inter)action analysis and empowerment analysis in the proposed methodology, it is possible to reveal how identities are interactionally produced and transformed, and how multimodal mediation contributes to empowering or constraining those identities.
Abstract This paper explores 50 purposively selected Internet memes utilised for identity construction and ideological representations of Bola Ahmed Tinubu’s (BAT) candidacy during Nigeria’s 2023 presidential election campaign. The memes, which were gathered from Nigerian WhatsApp platforms, were analysed qualitatively using Machin and Mayr’s multimodal critical discourse analysis. The analysis reveals that the memes are used to positively represent Bola Ahmed Tinubu as political champion, master strategist, pro-people, divine candidate, reformer and (inter)nationally endorsed. The study concludes that the memes are circulated not only to positively represent and politically advertise Tinubu’s candidacy but also to preserve his socio-political relevance as a formidable force in the Nigerian polity.
Abstract This study reveals how Asep Sunandar Sunarya, a well-known Sundanese Dalang (the puppeteer), told stories in his Wayang Golek shows. It explores how he told stories to audiences by examining the storytelling strategies through dialogue sequences, combined with two other elements used during the shows: Wayang Golek’s movements and different voice modulation. In the analysis, it utilizes Labov’s narrative elements theory (1972) to classify the sequence moves of Asep’s storytelling strategies, van Leeuwen’s social semiotics theory (2005) to analyze Asep’s Wayang Golek’s movements, and Python’s coding process to analyze Asep’s voice color modulation for each character of Wayang Golek he was playing in his 3 (three) performances videos. As a result, this study shows that Asep, when telling stories, used two rhetorical strategy types, obligatory and additional, in 6 (six) narrative moves. All the rhetorical strategies used are multimodally cohered with Wayang Golek’s movements and his different voice color modulation to tell stories to the spectators. This study is expected to contribute to a better understanding of the structural and rhetorical characteristics of Wayang Golek performances, particularly those exemplified by Asep Sunandar Sunarya. Such findings can serve as a reference for future studies or for practitioners who seek to analyze, preserve, or learn from Asep’s performance style.
Abstract This paper examines the role of Emad Hajjaj’s caricatures in critiquing negative cultural traditions in Jordan depending of Multimodal Metaphor Theory. Analyzing nine selected caricatures, sourced from various media including Hajjaj’s Instagram page, reveals that the combination of visual and textual elements, along with the use of irony, exaggeration, and satire, serves as an effective form of social commentary. Hajjaj’s strategic use of exaggerated features and imagery invites the audience to critically reflect on the irrationality and detrimental effects of certain cultural practices, fostering dialogue without alienating individuals attached to these traditions. The study highlights the resonance of Hajjaj’s work with the Jordanian public by tapping into shared cultural knowledge, creating a space for meaningful discourse on the relevance of these traditions in contemporary society. The findings suggest that humor and satire are powerful tools in prompting public reflection and challenging the status quo. The study underscores the potential of visual art as a medium for social critique and the importance of cultural context for interpretations. Hajjaj’s caricatures play a critical role in fostering discussions about cultural practices in Jordan. His use of multimodal metaphors and humor critiques negative traditions and encourages a collective re-evaluation of their place in society.
