| Introduction |
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13 | (20) |
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Chapter 1 Theoretical orientation |
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33 | (82) |
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33 | (1) |
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1.1 An overview of the current research into the meaning-making potential of comics |
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33 | (24) |
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1.1.1 The origins and early stages of comics scholarship |
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35 | (2) |
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1.1.2 The new comics scholarship |
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37 | (1) |
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1.1.2.1 Seminal contributions from practicing cartoonists |
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38 | (5) |
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1.1.2.2 Internationalization of the new comics scholarship |
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43 | (4) |
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1.1.2.3 Popularization of research into comics |
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47 | (4) |
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1.1.2.4 The formalist strand of the new comics scholarship |
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51 | (6) |
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1.2 An outline of Peirce's sign theory |
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57 | (10) |
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1.2.1 The correlates of the sign and continuous semiosis |
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58 | (2) |
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1.2.2 Classification of signs |
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60 | (1) |
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1.2.2.1 The first trichotomy: qualisigns, sinsigns, and legisigns |
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61 | (1) |
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1.2.2.2 The Second Trichotomy: Icons, Indexes, and Symbols |
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62 | (4) |
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1.2.2.3 The third trichotomy: rhemes, dicisigns, and arguments |
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66 | (1) |
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1.3 An outline of conceptual metaphor theory |
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67 | (34) |
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1.3.1 The origins of conceptual metaphor theory |
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67 | (6) |
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1.3.2 Main elements of conceptual metaphor theory |
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73 | (1) |
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1.3.2.1 The principle of unidirectionality |
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74 | (1) |
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1.3.2.2 The dichotomy between source and target domains |
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75 | (3) |
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1.3.2.3 Orientational, ontological, and structural metaphors |
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78 | (4) |
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1.3.2.4 Conceptual metaphors and image schemas |
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82 | (3) |
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1.3.2.5 Image-schematic metaphors and other kinds of conceptual metaphor as overlapping categories |
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85 | (1) |
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1.3.2.6 Other characteristics of conceptual metaphors |
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86 | (3) |
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1.3.2.7 The invariance hypothesis/principle and its limitations |
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89 | (3) |
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1.3.3 Primary metaphor theory |
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92 | (3) |
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1.3.4 Objedification theory |
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95 | (2) |
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1.3.5 Interaction of metaphor and metonymy |
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97 | (2) |
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1.3.6 Linguistic and nonlinguistic manifestations of conceptual metaphors |
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99 | (2) |
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1.4 On the compatibility of Peirce's conception of metaphor with conceptual metaphor theory |
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101 | (6) |
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1.5 An outline of a cognitive-semiotic approach to the study of metaphorical signs in comics |
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107 | (8) |
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Chapter 2 Metaphoricity of individual comics panels and multi-panel complexes |
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115 | (68) |
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115 | (2) |
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2.1 A General characterization of panels and multiframes |
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117 | (13) |
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2.1.1 Ontology of the panel |
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117 | (5) |
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2.1.2 Formal parameters of panels |
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122 | (2) |
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2.1.3 Panels as units of increasingly inclusive formal structures |
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124 | (1) |
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2.1.4 Spatial and temporal interrelatedness of panels |
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125 | (3) |
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2.1.5 Fragmentariness of multi-panel structures and their interpretation |
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128 | (2) |
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2.2 A Peircean semiotic characterization of panels and multiframes |
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130 | (7) |
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2.2.1 Imaginal and diagrammatic hypoiconicity of panels |
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130 | (1) |
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2.2.2 Indexicality of panels and multi-panel complexes |
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131 | (2) |
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2.2.3 Symbolicity of panels and multi-panel complexes |
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133 | (3) |
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2.2.4 Metaphorical hypoiconicity of panels and multi-panel complexes |
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136 | (1) |
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2.3 Metaphors characterizing individual panels and their verbal manifestations |
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137 | (33) |
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2.3.1 Metaphorical reifications of episodic situations in comics and language |
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138 | (1) |
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2.3.1.1 Metaphorical reification of episodic situations as objects in comics and language |
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138 | (4) |
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2.3.1.2 Metaphorical reification of episodic situations as containers in comics and language |
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142 | (15) |
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2.3.2 Metaphorization of visual fields as containers in comics and language |
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157 | (9) |
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2.3.3 Metaphorization of the means of accessing information as windows in comics and language |
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166 | (4) |
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2.4 Metaphors characterizing multi-panel structures and their verbal manifestations |
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170 | (6) |
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176 | (7) |
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Chapter 3 Metaphoricity of conventional representations of diegetic motion in comics |
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183 | (68) |
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183 | (3) |
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3.1 Principal varieties of visual representations of diegetic motion used in comics |
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186 | (6) |
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3.2 Representational conventions included in the scope of this chapter and terminological matters |
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192 | (2) |
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3.3 A Semiotic characterization of motion-cueing images of bodily configurations |
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194 | (10) |
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3.3.1 The semiotic makeup of pictorial representations of characters in comics |
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195 | (4) |
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3.3.2 The semiotic makeup of motion-cueing images of gestures |
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199 | (1) |
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3.3.3 The semiotic makeup of motion-cueing images of whole body actions |
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200 | (2) |
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3.3.4 The semiotic makeup of motion-cueing images of facial expressions |
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202 | (2) |
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3.4 A Conceptualist characterization of motion-cueing images of bodily configurations |
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204 | (1) |
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3.5 Ontology of polymorphic motion signs |
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205 | (9) |
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3.6 A Semiotic characterization of polymorphic motion signs |
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214 | (2) |
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3.7 Polymorphic motion signs as metaphorical reifications of episodic motion events |
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216 | (5) |
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3.8 Metaphor-metonymy interaction in polymorphic motion signs |
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221 | (2) |
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3.9 Ontology of polyptychal motion signs |
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223 | (4) |
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3.10 A Semiotic characterization of polyptychal motion signs |
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227 | (2) |
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3.11 Polyptychal motion signs as metaphorical reifications of episodic motion events |
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229 | (1) |
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3.12 Metaphor-metonymy interaction in polyptychal motion signs |
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230 | (1) |
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3.13 Ontology of motion signs comprising an image of the moving body and one or more motion lines |
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231 | (5) |
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3.14 A Semiotic characterization of motion signs comprising an image of the moving body and motion lines |
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236 | (3) |
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3.15 Motion signs comprising an image of the moving body and motion lines as image-schematic reifications of episodic motion events |
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239 | (6) |
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245 | (6) |
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Chapter 4 Metaphoricity of conventional representations of diegetic sound in comics |
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251 | (90) |
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251 | (2) |
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4.1 An overview of the major kinds of visual signs representing diegetic sound in comics |
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253 | (13) |
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4.1.1 Structural heterogeneity of visual signs representing diegetic sound in comics |
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255 | (1) |
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4.1.2 Expressive potential of visual signs representing diegetic sound in comics |
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256 | (5) |
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4.1.3 Contextual situatedness of visual signs representing diegetic sound in comics |
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261 | (5) |
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4.2 Representational conventions included in the analytical scope of this chapter |
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266 | (2) |
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4.3 Conventional representations of speech sounds produced by characters in diegetic worlds of comics |
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268 | (29) |
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4.3.1 Ontology of speech balloons |
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268 | (2) |
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4.3.2 A Semiotic characterization of the speech balloon conceived of as a sound sign |
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270 | (3) |
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4.3.3 A Semiotic characterization of the components of the speech balloon conceived of as sound signs |
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273 | (1) |
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4.3.3.1 Balloon-internal writing as a visual representation of the acoustic/auditory form of speech |
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273 | (3) |
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4.3.3.2 Non-standard typography of balloon-internal writing as a representation of the acoustic/auditory form of speech |
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276 | (6) |
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4.3.3.3 Balloon-internal pictograms as representations of the acoustic/auditory form of speech |
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282 | (2) |
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4.3.3.4 Interaction of the linguistic and non-linguistic contents of speech balloons conceived of as sound signs |
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284 | (2) |
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4.3.3.5 The shape of the speech balloon as a representation of the acoustic/auditory form of speech |
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286 | (4) |
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4.3.3.6 The color of the speech balloon as a representation of the acoustic/auditory form of speech |
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290 | (2) |
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4.3.4 A Semiotic characterization of speech balloon complexes conceived of as sound signs |
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292 | (2) |
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4.3.5 A Semiotic characterization of stand-alone writing conceived of as a representation of the acoustic/auditory form of speech |
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294 | (3) |
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4.4 Conventional representations of non-speech sounds produced by characters in diegetic worlds of comics |
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297 | (10) |
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4.4.1 A Semiotic characterization of written representations of non-speech vocalizations |
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298 | (3) |
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4.4.2 A Semiotic characterization of stand-alone punctuation marks representing non-speech vocalizations |
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301 | (2) |
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4.4.3 A Semiotic characterization of visual representations of non-speech vocalizations featuring elements of musical notation |
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303 | (4) |
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4.5 Conventional representations of sounds belonging to the sonic environment of diegetic worlds of comics |
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307 | (4) |
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4.5.1 A Semiotic characterization of written representations of sounds belonging to the sonic environment |
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307 | (3) |
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4.5.2 A Semiotic characterization of (para)balloonic representations of sounds belonging to the sonic environment |
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310 | (1) |
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4.6 Metaphors characterizing conventional representations of diegetic sound in comics and their verbal exemplifications |
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311 | (23) |
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4.6.1 Balloons as metaphorical reifications of diegetic sound events |
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311 | (6) |
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4.6.2 Metaphoricity of the outlines of balloons representing diegetic sound events |
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317 | (4) |
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4.6.3 Written texts as metaphorical reifications of the audible form of diegetic sound events |
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321 | (4) |
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4.6.4 Metaphoricity of non-standard typography in written representations of diegetic sound events |
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325 | (5) |
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4.6.5 Metaphoricity of multi-balloonic representations of the audible form of sequences of diegetic utterances |
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330 | (4) |
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334 | (7) |
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Chapter 5 Metaphoricity of conventional representations of diegetic mental experience in comics |
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341 | (78) |
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341 | (3) |
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5.1 An overview of prior research on conventional representations of diegetic mental experience in comics |
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344 | (14) |
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5.1.1 Representations of the meaning of externalized diegetic utterances |
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345 | (1) |
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5.1.2 Representations of diegetic thought |
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346 | (2) |
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5.1.3 Representations of diegetic emotions |
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348 | (10) |
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5.2 Representational conventions included in the scope of analysis |
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358 | (1) |
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5.3 A Semiotic characterization of balloonic representations of the linguistic meaning of diegetic utterances |
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358 | (15) |
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5.3.1 Written text as a representation of the linguistic meaning of diegetic utterances |
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359 | (3) |
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5.3.2 Balloon-internal pictograms and pictorial runes as representations of the linguistic meaning of diegetic utterances |
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362 | (10) |
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5.3.3 Speech Balloons Conceived of As Indexical Representations Of the Sources and Goals of the Meanings Communicated By Diegetic Speech Events |
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372 | (1) |
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5.4 Speech balloons as visual exemplifications of the metaphor whereby linguistic communication is construed as physical transfer |
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373 | (10) |
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5.5 A Semiotic characterization of visual representations of direct thought and their components |
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383 | (3) |
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5.6 Metaphorical underpinnings of thought balloons |
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386 | (7) |
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5.6.1 Thought balloons as metaphorical reifications of inner diegetic utterances |
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386 | (2) |
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5.6.2 Metaphoricity of the outline of thought balloons representing inner diegetic utterances |
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388 | (1) |
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5.6.3 Written texts as metaphorical reifications of the non-externalized form of inner diegetic utterances |
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389 | (1) |
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5.6.4 Metaphoricity of non-standard typography in written representations of inner speech |
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390 | (2) |
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5.6.5 Metaphoricity of multi-balloonic representations of the non-externalized form of sequences of inner diegetic utterances |
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392 | (1) |
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5.7 A Cognitive-semiotic characterization of thought balloons conceived of as representations of the semantic poles of inner diegetic utterances |
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393 | (3) |
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5.8 Representations of emotions in the narrative medium of comics |
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396 | (18) |
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5.8.1 A Conceptualist characterization of linguistic representations of emotions |
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397 | (4) |
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5.8.2 A Cognitive-semiotic characterization of representations of emotions in comics |
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401 | (1) |
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5.8.2.1 Mimetic visual images depicting physiological and behavioral responses to the signified emotions |
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402 | (4) |
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5.8.2.2 Non-mimetic visual images depicting expressive responses to the signified emotions |
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406 | (2) |
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5.8.2.3 Non-mimetic visual images depicting metaphorical responses to the signified emotions |
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408 | (4) |
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5.8.2.4 Non-mimetic visual images depicting emotions via metaphor |
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412 | (2) |
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414 | (5) |
| Conclusion |
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419 | (18) |
| References |
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437 | (38) |
| Index |
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475 | |
Lisainfo e-raamatute kohta