英语论文哪里有？本文以韩礼德的系统功能语言学、克雷斯和范·列文的视觉设计语法和马丁的评价体系为基础，运用多模态话语分析（MDA）和批评性话语分析（CDA），以及这两种话语分析的结合，探讨《时代》杂志Lightbox中视觉语言展示的立场，现在流行的新闻媒体都有这种类型。本文不仅分别考察了语言和视觉中的态度意义，还考察了整个展示中的累积意义和整体立场。
Chapter One Introduction
1.1 Research Background
Over the last twenty years or so, two strands of discourse studies, multimodal discourseanalysis (MDA) and critical discourse analysis (CDA), have emerged and attractedconsiderable attention. The former, multimodal discourse analysis (MDA) “explores themeaning-making potential of different communication modes and media and their actual useand dynamic interaction with each other and with the socio-cultural context in which theyoperate.” (Djonov & Zhao, 2014: 1) The latter, critical discourse analysis (CDA) is concernedwith “the relationship between language and power by studying how communication concealsand legitimizes, or reveals and even subverts social boundaries, inequality, and political orcommercial agendas.” (ibidem)
The media has long been a focus among researches of these both strands, which offers afertile ground to explore “how different semiotic resources can be employed to perpetuate orchallenge prevailing sociocultural beliefs, stereotypes, and norms” (Djonov & Zhao, 2014: 2).And Van Dijk (1988) points out that media discourse is the main source of people’sknowledge, attitudes and ideologies, both of elites as well as of ordinary citizens. As aparticular genre of media discourse, news report is complex blend of national, social,economic and linguistic tradition and it is now becoming more and more popular to use textswith photos to attract and hold wider readership among news publication industry, which callsfor sophisticated and more comprehensive analysis on both meanings of photos and theirinteractions with accompanying verbiages.
Chapter Three Theoretical Framework
3.1 Theoretical Framework
3.1.1 Framework
3.1.1.1 Visual
Visual structures do not simply reproduce the structures of ‘reality’. On the contrary, theyproduce images of reality which are bound up with the interests and stances of the socialinstitutions within which the images are produced, circulated and read. They are ideological.Visual structures are never merely formal: they have a deeply significant semantic dimension.
In images (e.g. naturalistic photos), there are many ways that images producers (e.g.photographers and photo editors) can adjust or graduate visual ideation, with the effect ofraising or lowering its force or impact. Such choices are described in the visual graduationsystem of “force”, presented in Figure 1.1, where the main choices are “quantification”,“intensification”, and “repetition”.
In the dimension of ‘quantification’, the force can be realized by means of producingmany or few of the same item, called ‘number’; or/and making an item big or small, known as‘mass/amount’; or/and placing the item close to or far away from the viewer as well as lettingit take up more or less spaces in the image (photo), by the name of proximity and distribution,which relate to the ‘size of frame’, to the choice between close-up, medium shot and long shot,and so on.
Chapter Four Stance in Visual-verbal Displays
4.1 Analytical Orientation
These four displays here each place a very large photo in the center, sandwiched by thecolumn title above and the headline as well as the caption below, and endow it a lead role in“ideologically foregrounding the meanings” (Kress and van Leeuwen, 2006) taken up by theverbiage below.
4.1.1 Visual (Photo) and Verbal (Headline and Caption)
The display is a verbal-visual unit given careful consideration by producers in respectboth to pulling readers in and making sense at a glance, which deploys strategies (Economou,2009) commonly used to attract and quickly engage a mass readership in displays:
Striking design, most significantly comprising a large, prominent color photographand a large, bold headline above or below it
An image depicting a recognizable and controversial social actor likely to trigger astrong attitudinal response from readers, and a headline featuring a relatively explicit(inscribed or provoked) attitudinal meaning
An easily accessible verbal-visual ‘figure’ (Halliday & Matthiessen, 2004) in whichone or more missing grammatical elements in the headline is readily identifiable inthe photo
4.2 Faces of Resilience Display
The overall stance constructed in this display in Figure 1.4 targets the children, who arethe only social actor in the photo and the only one to form a semantic chain across both visualand verbal components, and with whom attitude values are associated across the display. Thesocial actor chains are shown in Figure 1.5. The other key social actor is realized explicitly inone instance, “decades of war” in the caption. For ease of reference, the display text ispresented in Table 1.1, with the verbal text in italics and a brief summary of the visual contentof the photo.
4.2.1 Visual: Accumulating Meaning in the Photo
The represented participants in the photo are eight children with a baby in one girl’s arms.The photo is a cropping of children’s head and shoulder. The attributes clearly shown here arebiological and psychological --- their age, their skin color, appearance and emotional state.
From the photo, they seem to be at the age around 10 while the baby in the girl’s armsseems to be about only 8 or 9 month old. Their skin color tells that they are from Asiancountries. The visible attribute of their clothing or dressing suggests their Moslem attire, withthe four girls among them wearing hoods or coifs of Middle Eastern style while the three boysare wearing Moslem caps. Inside the photo, the children are not involved in any processbeyond looking. According to Kress and van Leeuwen (2006), rather than a narrative image,the photo is classified as a conceptual one as there is not any strong indication of a process as part of a sequence in which the represented participants here are involved.
Chapter Five Conclusion
5.1 Summary of Major Findings
Based on Halliday's systemic functional linguistics, Kress and Van Leeuwen’s thegrammar of visual design, and Martin’s appraisal system, this thesis draws on multimodaldiscourse analysis (MDA) and critical discourse analysis (CDA), as well as combination ofthese two strands of discourse analysis, to explore stance in visual-verbal displays inLightBox of Time Magazine, a genre now found across the popular news media. This papernot only examines attitudinal meanings in the verbal and in the visual separately, but alsoinvestigates the accumulated meanings and overall stance in the whole display. And the majorfindings yielded in the present study are as follows:
Firstly, speakers or writers have indefinitely many ways of expressing their opinions ---or rather, perhaps, of dissimulating the fact they are expressing their opinions (Halliday, 1985).Through the analysis of these displays, a genre like this kind of visual-verbal displays can beone of “indefinitely many ways” to do the job. The display, compositionally, placing aprominent photo in the middle, which makes it a salience and a Macrotheme of the wholedisplay, interacting with verbiage immediately under it, not only can attract and hold a widerreadership base, but also has consequences for the presentation of ‘objective’ stories.
Secondly, the application of verbal and visual appraisal system to displays in this paperreveals that choices made in the image and the verbiage can inscribe or provoke attitudinalorientations and evaluative meaning towards the participants they depict.
Thirdly, the realization of stance or attitudinal meanings in verbal and visual formsdifferentiates from each other. Attitude (Affect and Judgment) in verbal is encodedlexico-grammatically, varying from explicit way to implicit way, by Epithet, Attribute,Circumstance, Mental and Behavioral Process, and Nominalization. On the contrary, stance invisual is realized through visual message elements (VMEs) (participants & circumstances) asideational tokens in respectively implicit ways that include color saturation, colordifferentiation, angle, proximity, etc., however trigger even stronger attitudinal response from the audience.
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