政治讽刺漫画的多模态话语分析

Multimodal Discourse Analysis of Political Ironical Cartoons

By lv Mengting

In partial fulfillment of the requirement

For the B. A. degree

Department of English

School of Language and Culture

Nanjing University of Information Science amp; Technology

June, 2017

Acknowledgements

First of all, I owe a big debt of gratitude to my supervisor, professor Zheng who is always so patient with me and has given me precious advice. Without his support, I would not finish my essay so quickly.

Meanwhile, I want to show a great gratitude to my school, Nanjing University of Information Science and Technology. It provided me a great environment to study.

Contents

1. Introduction 1

2. Overview of Literature 1

3. Multimodal Discourse Analysis 2

3.1 Definition 2

3.2 Theoretical Foundation 3

4. The Analysis of a Political Ironical Cartoon 3

4.1 Analysis of Image Mode 5

4.1.1 The Representational Meaning 5

4.1.2 The Interactive Meaning 5

4.1.2.1 Contact 6

4.1.2.2 Social distance 6

4.1.2.3 Attitude 7

4.1.2.4 Modality 7

4.1.3 The Compositional Meaning 8

4.1.3.1 Information Value 8

4.1.3.2 Salience 9

4.1.3.3 Framing 9

4.2 Analysis of Text Mode 10

5.Conclusion 11

References 13

Multimodal Discourse Analysis of Political Ironical Cartoons

lv Mengting

Department of English

School of Language and Culture

Nanjing University of Information Science amp; Technology

Abstract: The multimodal discourse analysis was put forward in 1990s, which is based on the study of language. The image, color, sound, action and other forms of expression are also included in the discourse analysis. This paper takes the Kress and van Leeuwen's visual grammar (1996) as the theoretical basis, using the method of qualitative analysis to explain the political caricature, including the representational meaning, interactive meaning and compositional meaning. Therefore, it can be concluded that the multimodal interpretation of comics plays an important role in understanding the meaning of the comic correctly and can improve people’s reading ability of the multimodal discourse.

Key words: political ironical cartoon; multimodal discourse analysis; visual grammar

摘要: 多模态话语分析兴起于20世纪90年代，它在研究语言的基础上，把图像、颜色、声音和动作等其他意义表现形式也纳入话语分析。本文以Kress和van Leeuwen的视觉语法作为理论基础，运用定性分析的方法，对政治讽刺漫画的再现意义、互动意义和构图意义进行解读。从而说明漫画的多模态解读对正确理解漫画意义有着不可忽视的作用，同时可以提高人们对多模态语篇的识读能力。

关键词: 政治讽刺漫画；多模态话语分析；视觉语法

1. Introduction

In modern times, words is not only reflected by the style of text, but also complemented by images, colors, sounds, movements, and other modes. The multimodal discourse is changing in the new century, multimodality of social semiotic is widely used. We should pay more attention to improving the reading ability of multimodality. Cartoon is the multimodal discourse, including many modalities, such as image and text. In this paper, the grammatical framework of visual image analysis of Kressamp; van Leeuwen (1996) is taken as the theoretical basis. One political ironical cartoon is chosen to be the object of multimodal discourse analysis. In order to explain that kind of cartoon, it is necessary to using the multimodal. It cannot be ignored to understand the meaning of cartoons correctly. It makes a great benefit for readers to improve their reading ability of multimodal though this text.

2. Literature Review

Cartoon is loved by many people because of its humorous style of painting, unique perspective and sharp explicit disclosure. So far, it is researched by many scholars at home and abroad because of its strong attraction. There are some research findings as follows.

There are some internal research findings. Wang Yuzhu (2015), from the school of foreign languages in Southwestern University, combined integration theory from the perspective of systemic functional grammar and cognitive grammar. In addition, he proposed the functional cognitive stylistic analysis model of multimodal discourse from the point of view of author and reader and made an analysis of the stylistic features of a political caricature. Wang Shaoqing (2006) pointed that it is very important to grasp the "accurate”, "new”, "degree". The key is to improving the author's own quality, including political quality, moral quality and cultural quality. Only these qualities are available and the ability to improve, creating a worthy of the political satire comics cut into the present day evils can be achieved. Sun Feng (2014) thinks that caricature is declared as a powerful art form. It can reflect the dark side of society, exposing corruption to alert people. For many political satire cartoonists, their "weapons" are just pens and paper. For this kind of artists, the art of painting is a mission. And caricature without passion, comment, opinion or purpose will lose its rightful power. Fang Cheng (1965) pointed, the key to draw a good comic is to make a specific analysis of the problem and seize this quality. Others are more tolerant and easy to make changes to the views if the author can grasp the essence of a thing and have their own views. If only having the general view, lacking of concrete analysis, the painting is inevitable to be general. For this painting, it is difficult for others to propose any opinions to change it. Sun Yunfen (2005) explained some questions about cartoons. Chinese contemporary comic was taken to be the main object. He explained the historical change of aesthetic characteristics of Chinese cartoon, the cause of the rise of new comic books and existing problems in the development prospect.

In addition, there are some external research findings. Juana I Marín-Arrese (2008), revealed some the common or contrasting features of cultural models in political cartoons between English and Spanish. The analysis reveals the ways in which humor is used as a form of criticism against the dominant ideology of French political elite. Douglas, Roy (2009) think, the essence of a political cartoon is that it not meant to portray an actual event, but designe to bring out points which are not adequately made by textual descriptions. What eventually put a stop to that sort of thing was not the law, but changing public tastes. British political cartoons were usually one-off efforts, much too expensive for most people’s pockets. Josh Greenberg (2008) think, political cartoons are a form of visual news discourse. It through comedic conventions that cartoons seize upon and reinforce common sense and thus enable the public to actively classify, organize and interpret in meaningful ways what they see or experience about the world at a given moment.

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