Show Less
Restricted access

Metaphoricity of Conventionalized Diegetic Images in Comics

A Study in Multimodal Cognitive Linguistics


Michał Szawerna

This book offers a cognitive-semiotic approach to metaphoricity of visual representations in static visual narratives referred to as comics. It implements this approach in an exploration of conventionalized visual signs depicting diegetic situations, motion events, sound events, and diverse psychological experiences in such narratives. With his focus on the intersection of comics studies, conceptual metaphor theory, and Charles Sanders Peirce’s theory of signs, the author analyzes a broad array of attested data retrieved from comics exemplifying various publication formats, generic conventions, and cultural traditions. His exploration situates the metaphoricity of the analyzed visual signs against the backdrop of their overall semiotic makeup and in relation to the metaphoricity of their linguistic counterparts.

Show Summary Details
Restricted access

5.9. Discussion


In the foregoing discussion, I explored a range of conventional representations deployed by creators of comics to visualize three varieties of diegetic psychological experience: meanings of externalized diegetic utterances, inner diegetic speech, and diegetic emotions. On the whole, I have demonstrated that these conventional representations of diegetic psychological experience are no different than the representations of diegetic situations, diegetic motion events, and diegetic sound events which I looked into in the preceding analytical chapters of this study in that they constitute semiotically diverse static planar objects — that is, visual signs combining symbolic, indexical, and iconic characteristics in a unique manner — whose visual structure is to a certain degree motivated by conceptual metaphor, but also conceptual metonymy. In certain respects, however, in this chapter I have shown more explicitly than I did in the preceding chapters that any attempt at a comprehensive characterization of the metaphorical underpinnings of conventional static ← 414 | 415 → planar signs making up the expressive repertoire of the narrative medium of comics must be informed by a broad-based account of the overall semiotic makeup of these visual representations.

Let me expand on this point by mentioning one pertinent example. The early sections of this chapter, in which I explored the cognitive-semiotic makeup of speech balloons and stand-alone written texts in their capacity as visual signs of linguistic meanings communicated by externalized diegetic utterances, are a direct continuation of the discussion initiated in the previous chapter, in which I looked at the same range of...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.