.

0 (hodnocen0 x )

(9) Půjčeno:7x 

BK

Berlin ; Boston : De Gruyter Mouton, [2017]

viii, 415 stran : ilustrace (převážně barevné), mapy ; 24 cm

ISBN 978-3-11-047942-3 (brožováno)

De Gruyter Mouton textbook

Obsahuje bibliografii na stranách 383-410 a rejstřík

001463589

Contents // How to use this book---1 // Part I: Working your way into ‘multimodality’ // 1 Introduction: the challenge of multimodality-7 // 1.1 First steps ... a multimodal turn?-9 // 1.2 The journey ahead---15 // 1.3 What this chapter was about: the ‘take-home message’---21 // 2 Recognising multimodality: origins and inspirations--22 // 2.1 The ‘problem space’ of multimodality as such--23 // 2.2 Materiality and the senses: sound-26 // 2.3 Materiality and the senses: vision and visuality-30 // 2.4 Language---38 // 2.5 Systems that signify: semiotics--51 // 2.6 Society, culture and media--64 // 2.7 What this chapter was about: the ‘take-home message’---71 // 3 Where is multimodality? Communicative situations and their media — // 3.1 Stepping beyond the terminological jungle--74 // 3.2 Communicative situations---77 // 3.3 Medium (and media)---101 // 3.4 What this chapter was about: the ‘take-home message’---110 // 4 What is multimodality? Semiotic modes and a new ‘textuality* —112 // 4.1 Semiotic mode---112 // 4.2 Modes and media---123 // 4.3 Genre, text, discourse and multimodality-128 // 4.4 What this chapter was about: the ‘take-home message’---135 // Partii: Methods and analysis // 5 The scope and diversity of empirical research methods for // multimodality---139 // 5.1 What are methods? What methods are there?---139 // 5.2 Getting data?---141 // 5.3 Corpus-based methods to multimodality---152 // VI // Contents // 5.4 Eye-tracking methods for multimodality---159

// 5.5 Computational methods in multimodality research---162 // 5.6 Summary and conclusions: selecting tools for the job —166 // 5.7 A word on good scientific practice: quoting multimodal artefacts — // 6 Are your results saying anything? Some basics —169 // 6.1 Why statistics?—and how does it work? 171 // 6.2 What is normal?---175 // 6.3 Assessing differences---178 // 6.4 Assessing similarities---184 // 6.5 How much is enough?---188 // 6.6 Refinements and restrictions---190 // 6.7 Inter-coder consistency and reliability--198 // 6.8 What affects what? Looking for dependencies---204 // 6.9 Summary: many types of tests and possibilities---209 // 7 Multimodal navigator: how to plan your multimodal research — 211 // 7.1 Starting analysis---211 // 7.2 Undertaking multimodal investigations of phenomena---226 // 7.3 The basic steps in multimodal analysis reviewed--229 // 7.4 Conclusions and lessons for effective multimodal research---230 // Partili: Use cases // Use case area 1: temporal, unscripted — 238 // 8 Gesture and face-to-face interaction — 239 // 8.1 Previous studies---240 // 8.2 Describing gesture and its functions--243 // 8.3 Conclusions---248 // Use case area 2: temporal, scripted — 250 // 9 Performances and the performing arts — 251 // 9.1 Performance and scripted behaviour---252 // 9.2 Previous studies---253 // 9.3 Example analysis: theatre and its canvases--254 // 9.4 Example analysis: Berlin Philharmonic concerts ‘live’-258 // 9.5 Conclusions---260

// 168 // Use case area 3: spatial, static — 262 // Contents — VII // 10 Layout space — 263 // 10.1 Perspectives from graphic design---263 // 10.2 Example analysis: school textbooks — 268 // 10.3 Example analysis: posters---273 // 10.4 Summary---278 // 11 Diagrams and infographics---279 // 11.1 Aspects of the diagrammatic mode-281 // 11.2 Example analysis: assembly instructions--286 // 11.3 Example analysis: information graphics---289 // 11.4 Summary---294 // 12 Comics and graphic novels---295 // 12.1 Comics: basic ingredients---297 // 12.2 An aside on the notion of‘narrative*-314 // 12.3 Beyond narrative: comics as non-fiction and metacomics---315 // 12.4 Issues of literacy-321 // 12.5 Moving onwards: empirical multimodal comics research---322 // 12.6 Summary---324 // Use case area 4: spatial, dynamic — 326 // 13 Film and the moving (audio-)visual image 327 // 13.1 The technical details of the virtual canvas of film 329 // 13.2 Multimodal film analysis: an example 332 // 13.3 Films and comics: adaptation and convergence 336 // 13.4 Summary 338 // 14 Audiovisual presentations 340 // 14.1 Characterising the medium 340 // 14.2 Exploring the canvases 342 // 14.3 Summary 343 // Use case area 5: spatiotemporal, interactive — 346 15 Webpages and dynamic visualisations---347 // 15.1 Challenges and difficulties: determining objects of analysis---348 // 15.2 Example analysis: dynamic data visualisations---350 // 15.3 Summary---354 // 16 // 16.1 // Social media---355

// Previous studies---356 // Vlil // Contents // 16.2 Communicative situations in social media--358 // 16.3 Social media analyses and possible methods: Instagram--362 // 16.4 Summary---365 // 17 Computer and video games---366 // 17.1 Example analysis: turn-based strategy games--367 // 17.2 Example analysis: first-person, real-time games-372 // 17.3 Summary---377 // 18 Final words--379 // 18.1 Lessons learned: the take-home messages---379 // 18.2 Our goals in the book---381 // 18.3 Be a multimodalist: have fun and explore!-382 // Bibliography---383 // Index---411