|
BOBC |
 |
 |
 |
|
Adler, Silvia. "Silent and semi-silent arguments in the graphic novel." Pragmatics 23. (2013): 389–402. Added by: joachim (4/13/22, 7:49 PM) Last edited by: joachim (4/13/22, 7:51 PM) |
 |
| Resource type: Journal Article Language: en: English Peer reviewed DOI: 10.1075/prag.23.3.01adl BibTeX citation key: Adler2013a Email resource to friend View all bibliographic details  |
Categories: General Keywords: "Palestine", "Persepolis", "Waltz with Bashir", Folman. Ari, France, Iran, Israel, Language, Polonsky. David, Sacco. Joe, Satrapi. Marjane, USA Creators: Adler Collection: Pragmatics |
Views: 5/2162
|
| Attachments | URLs https://www.academ ... _the_graphic_novel |
| Abstract |
|
This study focuses on the iconographic channel of the graphic novel as a particular occurrence of silence. In Comics, images provide not only the data required for the development of narration; they also render available the concrete circumstances of the enunciation and often orient the reader towards the identification of language in action, or towards the selection of a particular communicative intention, a process which coincides with Saville-Troike's silences carrying illocutionary force and perlocutionary effect (1985), or with Kurzon's silences – intentional signifiers alternating with an utterable signified. Through the analysis of concrete scenes taken from three graphic novels dealing with sociopolitical contexts of conflict – Satrapi's Persepolis (2000), Folman and Polonsky's Waltz with Bashir (2009) and Sacco's Palestine (2007) – we identify two different sets of arguments: (1) semi-silent arguments resulting from the interplay between verbal and visual language & (2) silent arguments emerging within an entirely visual, extra-linguistic scene, where images alone regulate the quantity or the quality of information given at a certain point of narration with the aim of leading the addressee to a certain tacit conclusion.
|