I argue that emojis are essentially little pictures, rather than words, gestures, expressives, or diagrams. ???? means that the world looks like that, from some viewpoint. I flesh out a pictorial semantics in terms of geometric projection with abstraction and stylization. Since such a semantics delivers only very minimal contents I add an account of pragmatic enrichment, driven by coherence and nonliteral interpretation. The apparent semantic distinction between emojis depicting entities (like ????) and those depicting facial expressions (like ????) I (...) analyze as a difference between truth-conditional and use-conditional pictorial content: ???? depicts what the world of evaluation looks like, while ???? depicts what the utterance context looks like. (shrink)

The juxtaposition between selfie and quotation is an emerging user-generated Facebook content. This exploratory study is the first to show how Facebook users self-represent themselves through Relational Processes, based on the intertextuality between these verbal and visual modes. Relational Processes refer to the process of characterizing, identifying or describing a person or entity. In this study, 132 Facebook quotations were categorized into three types of Relational Processes based on the users’ selfies. The clauses were restated into I-expressions to center the (...) users’ multimodal experiential and egocentric positioning. The findings revealed that Attributive Relational Processes, such as “I am happy,” predominated in the self-quotation juxtaposition. These relational processes are then discussed based on the potential social projections within the Philippine cultural circuit, namely: the Filipino culture of “inggit” (envy); crab mentality; being social climbers; and the neoliberal and neocolonial status of the Philippines as channeled through the Western-driven quotations. Overall, we argue that the juxtaposition of these two semiotic modes can lead to the creation of a new persona of the Facebook users, enhancing their digital self-remodeling and self-representation. (shrink)

This study examines the visual representation of diegetic time in visual narrative stories, and explores why the invisible diegetic time flow could be expressed through visible elements, and how patterns and textures could be used to specify states of happenings. The study demonstrates that metaphorical relations between time and space are visually realized in visual narratives, leading to the representation of diegetic time and its related concepts on different levels of two-dimensional space. The segmentation of page space and the visual (...) components within panel space are employed to build a diegetic timeline as well as specify temporal aspects of actions and states in visual narrative stories. Neuroscientific evidence which suggests that a common metric is used to compute magnitudes of time and space in the human brain might help explain why time as an abstract concept could undergo visual materialization in visual narratives. (shrink)

Intersemiotic projection is one of the most common configurations in the knowledge construction process of academic comics. Although previous studies address some general features of intersemiotic projection, further research on interdependency relations of intersemiotic projection is needed in order to map out the whole system. This study, based on the social-semiotic approach to multimodal studies, proposes a systemic framework of image-text paratactic and hypotactic projection in academic comics. This framework identifies three sub-categories of paratactic projection and hypotactic projection, respectively: Emergent, (...) Adjoined, Sequential, Compound, Subsumed, and Fused. The use of these projection configurations contributes to the realization of the communicative purposes of academic comics to evidence, exemplify, emphasize, explain, elaborate, and visualize the discussed knowledge. This research attempts not only to contribute to the theoretical development of multimodality from the social-semiotic perspective by refining and enlarging the multimodal hypotactic projection framework but also to provide an effective and applicable tool for comics analysis. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 207 Seiten: 583-606.