Foreword |
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xi | |
Acknowledgments |
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xiii | |
Preface |
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xv | |
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Introduction: multimodal texts and genres |
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1 | (56) |
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1 | (3) |
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Multimodal texts and the resource integration principle |
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4 | (17) |
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Resource integration and the transcription of printed cartoons |
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7 | (9) |
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Multimodal transcription of cartoon narratives and the question of the metafunctions |
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16 | (1) |
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Sources of meaning in multimodal texts |
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17 | (4) |
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Cluster analysis and the transcription of static multimodal texts |
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21 | (13) |
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Multimodal transcription and questions of genre |
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30 | (4) |
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Textual properties of short printed cartoons |
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34 | (4) |
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Printed advertisements and their exemplification of the metafunctions |
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38 | (6) |
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Metafunctions in relation to genre |
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38 | (6) |
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Web pages and their transcription |
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44 | (2) |
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Film texts and their transcription |
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46 | (8) |
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51 | (3) |
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54 | (3) |
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57 | (46) |
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57 | (1) |
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The printed page and its evolution |
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57 | (4) |
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The resource integration principle in the scientific page |
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61 | (9) |
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How can we study tables systematically? |
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64 | (4) |
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How does the page communicate? |
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68 | (2) |
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Science textbooks and multimodal meaning making |
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70 | (1) |
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Visual, verbal and actional semiotic resources in a table |
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71 | (7) |
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Visual and verbal resources |
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71 | (3) |
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Thematic development of the page: hierarchies of textual periodicity |
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74 | (4) |
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Actional semiotic resources |
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78 | (1) |
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Blood under the microscope: multimodality in a photographic display |
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78 | (2) |
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Integration of scientific photographs and verbal text |
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80 | (11) |
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80 | (2) |
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The ideational (experiential and logical) metafunctions |
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82 | (7) |
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The interpersonal metafunction |
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89 | (2) |
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The Italian texts: differences with respect to the Australian texts |
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91 | (2) |
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91 | (1) |
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92 | (1) |
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Expertise and authority vs. comprehensibility and accessibility |
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93 | (9) |
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96 | (3) |
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99 | (3) |
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102 | (1) |
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103 | (62) |
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103 | (2) |
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105 | (4) |
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Decoupling of material support and information on the computer screen |
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109 | (4) |
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The relationship between web page, website, web users and web genres |
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113 | (5) |
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118 | (2) |
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120 | (6) |
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Creating a hypertext pathway |
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126 | (4) |
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The British Museum Children's Compass website |
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130 | (6) |
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Children's Compass home page: description of multimodal objects |
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130 | (6) |
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A multimodal hypertextual thematic formation: daily life in Asia |
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136 | (10) |
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Thematic system analysis: preliminary observations and an example |
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136 | (4) |
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Multimodal thematic system development along a hypertext pathway |
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140 | (6) |
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The action potential of hypertext objects |
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146 | (10) |
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147 | (1) |
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148 | (5) |
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153 | (3) |
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The virtual world of hypertext |
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156 | (5) |
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Community or social network of users and practices? |
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161 | (1) |
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The WWW as technological infrastructure and meaning-making resource |
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162 | (2) |
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164 | (1) |
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165 | (86) |
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165 | (2) |
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The Eskimo text: a macro-analytical approach to transcription |
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167 | (7) |
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The Westpac text: an integrated approach to transcription |
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174 | (7) |
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Etic and emic criteria in multimodal transcription |
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181 | (3) |
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Phases, subphases and transitions |
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184 | (2) |
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Column 1: Row number and time specification |
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186 | (1) |
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Column 2: The visual frame |
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187 | (4) |
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187 | (2) |
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Information structure: Given and New |
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189 | (1) |
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Sequencing and relations of interdependence' between shots |
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190 | (1) |
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Column 3: The visual image |
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191 | (11) |
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Specifying visual information |
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191 | (4) |
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195 | (1) |
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195 | (3) |
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198 | (1) |
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199 | (1) |
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199 | (1) |
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200 | (1) |
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Visual focus or gaze of participants |
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200 | (2) |
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202 | (7) |
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202 | (4) |
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Interpersonal modification of movement |
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206 | (3) |
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General observations on the notation of movement |
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209 | (1) |
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209 | (13) |
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Integrating auditory phenomena |
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209 | (1) |
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Sound acts and sound events |
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210 | (1) |
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Dialogic relations among sound events |
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211 | (3) |
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A brief comment on the notation of the soundtrack |
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214 | (1) |
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The rhythm of sound events |
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214 | (2) |
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216 | (1) |
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216 | (1) |
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217 | (1) |
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Duration of syllable, musical note, sound event |
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218 | (1) |
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219 | (1) |
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220 | (1) |
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Dyadic relations among auditory voices: sequentiality, overlap, turntaking |
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220 | (1) |
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221 | (1) |
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Column 6: Metafunctional interpretation |
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222 | (1) |
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Metafunctional notation in relation to Column 6 |
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222 | (1) |
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Display and depiction: two sides of the same semiotic coin in visual texts |
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223 | (25) |
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Multimodal discourse analysis: the Mitsubishi Carisma advertisement revisited |
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223 | (1) |
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From delimited optic array to visual text: the stratification of the visual sign |
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223 | (5) |
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Transformations in the optic array: some examples from the Mitsubishi Carisma text |
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228 | (2) |
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Visual transitivity frames and experiential meaning |
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230 | (2) |
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Identity chains in visual semiosis |
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232 | (2) |
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Dependency relations in the Mitsubishi Carisma text: implications for visual texts |
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234 | (5) |
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Some sources of coherence in the Mitsubishi Carisma advertisement: Phase 1 |
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239 | (3) |
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Counter-expectancy and hypertext in the Mitsubishi Carisma advertisement |
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242 | (6) |
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Conclusion: the shape of things to come |
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248 | (3) |
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251 | (14) |
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1 | (260) |
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261 | (4) |
Index |
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265 | |
List of Insets relating to Keypoints |
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