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Adler, Silvia: "Silent and semi-silent arguments in the graphic novel." In: Pragmatics 23.3 (2013), S. 389–402. Added by: joachim (09/03/2013 12:32:36 AM) Last edited by: joachim (04/27/2018 11:40:29 AM) |
| Resource type: Journal Article Languages: English Peer reviewed DOI: 10.1075/prag.23.3.01adl BibTeX citation key: Adler2013 Email resource to friend View all bibliographic details  |
Categories: General Keywords: Language, Wordless comics Creators: Adler Collection: Pragmatics |
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| Abstract |
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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.
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