The Handbook of Visual Analysis
... There are different types of stereotypes that usually target minority groups based on different characteristics such as race, ethnicity, gender, religion, and social class (Pratto & Pitpitan, 2008;Quinn, 2020). Visual stereotypes emphasize cultural traits rather than individual characteristics, overshadowing individuals' unique qualities to depict them as "social categories" (Leeuwen & Jewitt, 2001). These visual stereotypes can be subtle and unnoticed at first, but they gain strength through consistent repetition in different contexts (Özcan, 2015). ...
... International Journal of Communication 19 (2025) contact can factor in subjects' representation (Fahmy, 2004); when a subject in a photograph is looking directly at the viewer, it conveys honesty (Coleman, 2010). Also, emotions conveyed through images, through smiling, or through frowning play an important role in humanizing image subjects (Leeuwen & Jewitt, 2001). ...
... Therefore, our most important revelation is that the visual representation of hijab in memes/GIFs challenges these stereotypes. Most visuals analyzed showed hijabis International Journal of Communication 19 (2025) Unveiling the Veil 689 in the foreground, communicating importance (Leeuwen & Jewitt, 2001), in close-up shots, from the front, and using an eye-level angle, suggesting a level of respect (Kress & Leeuwen, 2006). A relatively higher percentage of GIFs showed women physically active (playing sports, running, playing an instrument), and no women were seen with any type of weapons or guns in either visuals. ...
This study uses a quantitative content analysis of memes and GIFs to contribute to the visual communication literature on digital user-generated visuals. To explore whether these digital user-generated artifacts reinforce or challenge common stereotypes of Muslim women and hijab compared with nonuser-generated media, the researchers analyzed 1,000 Internet memes and GIFs shared using the hashtag #Hijab following the 2019 Christchurch mosques attacks in New Zealand. The analysis reveals significant differences between memes and GIFs, both demonstrating general support for the hijab. Memes often employ humor and sarcasm, whereas GIFs focus on conveying positive emotions and direct engagement with viewers. In contrast to nonuser-generated media, which frequently presents Muslim women as oppressed, exotic, or radical, user-generated content predominantly depicts hijabis in more progressive, empowering ways. The findings suggest that user-generated visuals on digital media could significantly influence public perceptions of Muslim women by providing more nuanced portrayals. The study underscores the importance of examining memes and GIFs separately because of their distinctive content and communicative approaches, advocating for further exploration of their impact on societal discourse.
... Historically, visual language is a deliberate process of rendering thoughts as a creative approach in art and literature. The visual language enabled artists to reproduce characteristic social situations as historical and grand narratives in their creative oeuvres with advanced expressive qualities (Leeuwen & Jewitt, 2001;Mitchell, 2005;Sullivan, 2005). ...
... Therefore, the methodology in this paper is qualitative and focuses on the aesthetical critique. It concentrates on the multimodal visual language framework presented in Kress and van Leeuwen (2006) and van Leeuwen and Jewitt (2001). Images, texts and languages compose signs, flags, fashions, and films in the human visual ecology, which provide a visual oeuvre for aesthetic analysis in art research. ...
... The question of social identity through personal displacement, diaspora, communal memory, and nostalgia evokes different perspectives, from collective conceptions to individual perceptions. It is how individual creativity deals with the popular iconographies of society's visual culture and how the intellectual, creative person challenges the collective or mainstream thoughts within community intrinsic and extrinsic constructions (Kress & Van Leeuwen, 2006;Leeuwen & Jewitt, 2001;Suvakovic, 2017). ...
This conceptual paper aims to present a multimodal critique of the visual language in the short film Ismail. It analyses the social semiotics represented in the film's composition of image and language, which portrays a day story from the Palestinian visual artist Ismail Shammout (1930-2006) in the diaspora. From an aesthetic perspective, the research focuses on the social construction of an artist's identity through visual language. Such film transforms the artist's narrative into a communicational oeuvre in Arabic to represent an individual description of the Palestinian diaspora, which constructed one of the prominent grand narratives in the modern history of Arab Art. The main character in the film is Ismail, a Palestinian painter who performs his daily job as a candy seller in the streets. The argumentation in this critique depends on the aesthetic manifestations of the social semiotics of Arab Art in the film. Throughout the film's visual language, Ismail keeps representing his thoughts about the characteristics of Arab Art. He is a travelling aesthetician who walks through the desert and sells candy to strangers while talking to a younger kid escorting him through the film. The research's problem corresponds to the need for more investigation into language study, which this research advances to render. The methodology dedicated the aesthetic critique to produce aesthetic research on the film's visual language. Introducing an aesthetic review of visual language and connecting it with sociopolitical semiotics is significant. This research raises awareness of the importance of visual language knowledge in education systems.
... According to Van Leeuwen and Jewitt (2001), the images portrayed between people, places, and things can be identified according to their syntactic relations through social semiotic visual analysis. Van Leeuwen and Jewitt added that the meanings are not only representational but also interactional. ...
... Interactional meanings are visual and textual meaning is formed through the social interaction between the receiver and the message. Van Leeuwen and Jewitt (2001) shared previous research on media-circulated content on Cleo magazine with a well-known model appearing to be a front cover 'image' in 1997 that was compared to the previous front covers of the magazine 25 years ago. The observations from the dimensions of the images in comparison to previous covers with various visual features on the models who depicted older models and were differently dressed. ...
In 2020, two of the biggest news stories in the United States were the Black Lives Matters protests and the COVID pandemic. The current study is an investigation into how one large American retail company, Adidas, acted as a brand activist as it reacted to these events through social media. First, a quantitative study was conducted on five Adidas Twitter accounts, and it was found that in 2020, the account that made the most posts supporting social causes was the main @adidas account. Next, systemic functional linguistic multimodal analysis was conducted on the images found in the main @adidas Twitter account. It was found that Adidas supported social movements and issues such as Black Lives Matter through the use of textual images, promoted both successful athletes and frontline health workers as heroes, and advocated for a fair and just society where everyone is treated equally.
... The picture Figure 9, the stone lion is back to the viewers, and a bus and an oxcart take passengers away from the town. From the text, "孩子们长大了就会离开 P. 21 When children grow up, they will leave...", the verbal leaving is represented with the picture of back on to each other, so the metaphor LEAVING IS BACK VIEW is identified, which also confirms Leeuwen and Jewitt (2001), and Feng (2011) statement of the relation between involvement and horizontal angle: IN-VOLVEMENT IS FRONTAL VIEW and DETACHMENT IS BACK VIEW [4,16]. ...
... The picture Figure 9, the stone lion is back to the viewers, and a bus and an oxcart take passengers away from the town. From the text, "孩子们长大了就会离开 P. 21 When children grow up, they will leave...", the verbal leaving is represented with the picture of back on to each other, so the metaphor LEAVING IS BACK VIEW is identified, which also confirms Leeuwen and Jewitt (2001), and Feng (2011) statement of the relation between involvement and horizontal angle: IN-VOLVEMENT IS FRONTAL VIEW and DETACHMENT IS BACK VIEW [4,16]. ...
Little Stone Lion stands out as a member of Xiong Liang's "Chinese Illustrated Book" series. This work tells the story from the perspective of the stone lion at the bridgehead of the town, recounting its observations, experiences, and feelings. This book integrates traditional Chinese ink painting techniques with cultural elements, presenting a Chinese-style visual creation. Drawing upon a qualitative research approach, the study employed a comprehensive analysis of Little Stone lion, focusing on identifying and interpreting the verbal, pictorial, and multimodal metaphors employed in the illustrations and their relation to the accompanying text. The study delved into the interplay between visual and textual elements, examining how they contribute to the creation of metaphoric meaning and literary depth in the picturebook. This research sought to uncover metaphorical meanings derived from the situational and conceptual-cognitive contexts as well as the underlying thematic and emotional layers embedded within the picturebook. As the only guardian deity of the town, the little stone lion has witnessed the growth and departures of countless generations, silently guarding this land and its people. Multimodal metaphors identified from camera angles, colors, and its plain monologue are enough to touch the heartstrings and evoke a deep sense of nostalgia for one's hometown and loved ones.
... Furthermore, the art of cinema represents a grand narrative of modern human communication. It is a multimodal medium that assembles images, texts, sounds, fashions, social critique, histories, aesthetics and semiotics (Kress & Van Leeuwen, 2006;Leeuwen & Jewitt, 2001;Mitchell, 1986Mitchell, , 2005Mitchell, , 2015Suvakovic, 2017). Consequently, the multimodal criticism in this study provokes further possibilities. ...
... In this multimodal context, iconology is an aesthetic tool that studies images across creative media, especially the constructions of cinematic language and pictorial representation. Media aesthetics connects the cinematic dialogue to image, social, political, and artistic displacements of expressive components (Kress & Van Leeuwen, 2006;Leeuwen & Jewitt, 2001;Mitchell, 2015). Furthermore, the aesthetic qualitative approach identifies visual and semiotic messages in creative human practices across arts (Al-Abbas, 2016,2022,2023). ...
The current investigation aims to explore the multimodality of the visual language in cinema, which articulates pictures and words into a creative medium of contemporary aesthetics and criticism. This multimodal discourse analysis focuses on Al-Akhar (The Other, 1999), a film that renders the postcolonial philosophy of Edward Said (1935-2002), the Palestinian-American critic. Youssef Chahine (1926-2008), the Egyptian cinematic artist, produced this film. The present creativity of multimodal cinematic visual language is significant in articulating form and content, where expressive components manifest through graphic, aesthetic, and semiotic symbolisms overlapping with local/global cinematographic ecologies. Three decades ago, Al-Akhar imagined today's media dominance when it criticised the sociopolitical landscape of the 1990s, which led to a series of inhumane incidents across different geographies at the beginning of the new millennium. It investigates the impacts of media and globalisation on Arabic social systems, discussing economies and cultural heritage with imperialism, colonialism, and capitalism. This paper aims to identify Youssef Chahine's cinematic art as a medium of Edward Said's criticism. Methodologically, it adopted the aesthetic analysis as a qualitative research method to explore the visual language in the cinematic medium. The research's question corresponds to the critical role of media in rendering the cultural issues of identity from aesthetic perspectives. This paper is significant because it explores the impact of critical thinking on multimodal media, which aesthetically incorporates language, fashion, architecture, sociology, philosophy and education. Furthermore, it identifies a significant dualism in art resembling a multimodal articulation of Edward Said's criticism and Youssef Chahine's cinema.
... Visual and art-based materials were analysed through qualitative visual content analysis. Qualitative visual content analysis allows to evaluate the material systematically by assigning codes to different elements of the art-based output (Bell, 2004). After coding, the visual and textual data was interpreted to understand the logic of the data and to put the data into context. ...
... Wykorzystano ankietę internetową wraz z elementami eksperymentu społecznego w grupach dyskusyjnych o tematyce politycznej na Facebooku. Analizowano, w jaki sposób uczestnicy oceniali przekazy wielomodalne pod względem ich atrakcyjności komunikacyjnej (Jewitt, 2013). Ocena mogła być dokonywana przez respondentów za pomocą następujących kategorii ilustrujących charakter przekazu medialnego: rzetelny (wiarygodny, godny zaufania), atrakcyjny wizualnie, zrozumiały, przyciągający uwagę, wartościowy i przekonujący (charakterystyka tych kategorii: Kress, 2010;Rose, 2015). ...
Celem artykułu jest analiza roli elementów wizualnych i dźwiękowych w sfabrykowanych przekazach multimodalnych dotyczących zagadnień politycznych oraz zbadanie ich wpływu na atrakcyjność i percepcję odbiorców. Skoncentrowano się na ocenie preferencji komunikacyjnych użytkowników grup na Facebooku w kontekście polskich wyborów parlamentarnych w 2023 r. W badaniu wykorzystano podejście kognitywno-medialne, tak aby lepiej zrozumieć mechanizmy wpływu treści na odbiorców. Wyniki i wnioski: analiza wykazała, że treści wideo na platformie TikTok były uznawane za najbardziej angażującą formę przekazu. Wyniki wskazują na istotne preferencje komunikacyjne, które mogą wpływać na projektowanie przekazów. Metodologia: w badaniu zastosowano ankietę internetową wzbogaconą o elementy eksperymentu społecznego. Metoda ta pozwoliła na identyfikację elementów wizualnych i dźwiękowych w sfa- brykowanych przekazach. Wartość poznawcza: artykuł stanowi wkład w zrozumienie wpływu elementów wizualnych i dźwiękowych na odbiór sfabrykowanych przekazów. Uzyskane wyniki mogą być przydatne dla badaczy mediów, szczególnie w kontekście strategii komunikacyjnych podczas kampanii wyborczych.
... Multimodal discourse analysis (Kress & van Leeuwen, 2021) is largely founded on social semiotics, which aims to identify signs and interpret different layers of meaning (Hunter, 2016;Rose, 2016;Van Leeuwen, 2011). As Rose (2016:121) indicated, semiology considers signs as denotive or connotative. ...
... "In visual semiotics, visual signs have more direct meaning than in language. Such representation not only shows the world, but also the interaction in it, which may or may not be accompanied by text, and will then constitute a kind of familiar text (painting, poster, magazine, newspaper, etc.)" [Leeuwen, Carey 2004]. ...
The decoding and interpretation of the meaning of the sign as a code located in the left corner of the newspaper and the function of the message given in that communication with the reader, is the subject of this research study. The study covers all aspects of the ideational/ representative function, revealing the meaning of the figures or photographs displayed in the left corner of six Western Balkan newspapers. The signs are decoded and clarified, revealing their meaningful messages. The analysis is done not only on the narrative process, but also on
the conceptual process. To achieve this objective, an attempt has been made to respond to the semiotic resources used by newspaper designers in the compilation of the newspaper sign, as well as by interpreting the meaning they present and their objectives. The study is based on the case study method. Several different methods have been used in the study, such as: The method of analysis, of decomposition, and interpretation and the qualitative method, from which the research method is included in the analysis and the research instrument is defined focusing on the signs of the names of the newspapers as the object of this research. The study is channeled in analyzing the semiotic signs that appear in the names of online newspapers of the Western Balkans, and through these semiotic signs the cultural and regional diversity of this region is understood in a way. The findings show that the signs of the online newspapers of the Western Balkans mainly have red color, black letters and white background, which are related to their goals, that the writings are current and relevant to the public.
... If the motifs within an image type were heterogeneous, additional contrasting im ages were chosen for analysis. Many approach es to qualitative image analysis are suitable for this last step of detailed visual analysis (Margolis & Pauwels, 2011;Rose, 2014;Van Leeuwen & Jewitt, 2001), such as the iconographic-iconological approach (Grittmann & Ammann, 2009;Panofsky, 1979). We based our in-depth analysis on various approaches (Breckner, 2007;Grittmann & Lobinger, 2018;Mayrhofer & Schachner, 2013), considering visual design features, as well as contextual information, e. g., context of production and use. ...
In visual communication research there are already several methodological approaches for creating image types. These approaches work with creating typologies based on the representational features of visuals / image motifs, reducing the complexity of extensive visual material. However, we argue that in everyday visual communication, the meaning of images depends largely on the practices in which they are embedded and not on the motif. This paper’s aim is to propose a methodological design for an image type analysis that considers both the representational and the artifact-related component of images, following a texto-material understanding of images. We illustrate the procedure step by step through an empirical study that explores visuals in couple relationships in Switzerland. The method enables a qualitative analysis of a large number of visuals that combines a) the creation of image types and b) a dynamic approach to in-depth visual analysis. Image types resulting from this procedure are more heterogeneous in motifs compared to previous traditions of image type analysis but allow for considering both the visual and the material dimensions of visuals, e.g., practices in which images are embedded. The approach builds on existing methods and contributes to the advancements of methods within visual communication research.
... According to psychological and sociological studies (Bleiker et al., 2013), close-up images are the ones that can evoke compassion from viewers, whereas wider shots tend to create emotional distance between the observers and the observed. The fewer people in the image, the more likely the viewer is to identify with them (Kogut and Ritov, 2005;Small and Verrochi, 2009;Van Leeuwen and Jewitt, 2004). As we have seen in the results presented, the widest shots (group, 43.1%, and overall, 30.1%, totalling 73.2%) dominated, as opposed to the closest shots (short, 8.5%, and medium ranges, 18.3%). ...
The public’s understanding of the situation of refugees largely depends on how they are represented by the media. This article analyses this representation by studying photographs that appear in four mainstream Spanish newspapers of varied political orientation, comparing two paradigmatic examples: that of Afghan refugees versus Ukrainian refugees. The objective of this analysis is to determine the differences and similarities between how each case is covered, using a mixed quantitative and qualitative content analysis method to determine the images’ denotative and connotative aspects, based on ‘framing theory’. Findings show that, although all the refugees are presented primarily from a human-interest angle, there is a significant degree of depersonalization in their photographic presentation due to the framing and stylistic elements employed. Also, Afghans are viewed with greater suspicion than Ukrainians, with a quarter of their images being associated with the idea of conflict.
... MCDA not only results in a better understanding of media texts (Coskun 2015), but it has also been shown to be particularly productive in the analysis of reality television (Monson et al. 2016;Mbuyani-Memani 2017). This is because at the heart of MCDA is an attempt to analyse how both the linguistic and the visual choices in a given text may convey a particular ideological meaning to audiences (O'Halloran 2004;Van Leeuwen & Jewitt 2008). In other words, MCDA seeks to go deeper than manifest meanings to uncover the latent meanings in media texts (Coskun 2015). ...
Calls have resonated within media scholarship and practice for more ethical oversight in the production and distribution of media content by producers through ethical frameworks. This article intervenes in the literature on the global debate around media ethics frameworks by focusing on the under-explored value of human dignity in the context of television reality shows. The article makes two interventions in relation to the value of dignity, one theoretical and another applied. The theoretical intervention, contrary to the tendency to rely on Western cultures and theories to conceptualise human dignity, draws from a Global South perspective, specifically from the African ethical idea of Ubuntu that proffers a relational (as opposed to an individualist) conception of human dignity. The applied ethics intervention responds to the scant literature focusing on the representation of human dignity in media ethics. The article uses Ubuntu's theory of human dignity to compare the representation of participants on similar factual television shows from the United States of America (USA) and South Africa depicting relational infidelity. Multimodal critical discourse analysis from three episodes of Cheaters and three episodes of South Africa's Uyajola 9/9 (n=6) reveal that human dignity in the representation of the participants in these two shows is often neglected in the media production process, leaving many questions about the global and local media ethics of these two reality shows.
... Indexical signs imply the existence of something--smoke offers evidence of fire (Moriarty, 2005). Symbolic signs-the focus of our study-stand for something else and are understood as a matter of convention, such as the cross to indicate religion (Van Leeuwen & Jewitt, 2001), a flag standing for a country or patriotism, or a mascot for a team (Moriarty, 2005). Because symbols have deep roots in the cultures that produce them, they evoke stronger responses than indexical or iconic signs (Peirce, 1868), and require more interpretations based on prior knowledge (Neuman et al., 1992). ...
... Nowadays, citizens live immersed in a visual culture, with images present in daily lives. Nonetheless, daily exposure to images, which can be broadly defined as visual representations of objects, scenes, or phenomena linked to particular meanings (Van leeuwen & carey, 2001), does not necessarily make people competent to understand and use them (García Fernández & Ruiz-Gallardo, 2023). hence, formal education has a challenge making students (the future citizens) competent to use images critically, what is a main skill for 21st century learners (hattwig et al., 2013). ...
... Bishop (Bishop, 2022: 8) suggests a "strategic collection of published influencer social media content" is an ideal technique for studying influencers. This qualitative digital ethnographic approach captures the meanings produced and consumed through imagery (e.g., videos and photos on Instagram) and concurrently contextualizes visual content through text-based data (e.g., captions, Leeuwen and Jewitt, 2001). Prior to formal data collection, we immersed ourselves in the natural setting to become familiar with the context, and to "question [our] own assumptions and act like strangers to the setting as 'naïve' observers" (Flick, 2009: 12). ...
The idea of the armed American woman – a woman in the United States who owns and uses a firearm – appears to have gained legitimacy in recent years. We investigate one aspect of this increased legitimacy by focusing on how she is depicted in gun advertising, which reflects and shapes legitimacy. Using a novel dataset of a sample of gun manufacturers’ advertisements in a publicly available gun magazine from 2001–2020, we conduct a content analysis to identify trends and differences between ads featuring men versus women. Next, focusing on ads in the sample featuring armed women, we identify phases of general framing strategies. Finally, analyzing all ads featuring armed women during the final phase, 2016–2020, which coincides with increased legitimacy, we identify specific frames of the armed American woman: the Serious Student, Capable Carrier, Domestic Defender, and Action Hero. Findings contribute to literature on gun advertising, discourses in American gun culture, and market legitimation.
This article examines meaning-making in a governmental technology demonstration, and its significance in the production of a durable artifice of innovation. STS literature has largely engaged with technology demonstrations in the context of commercial technology products, and through the lens of public knowledge-making: as events that elicit credence in matters-of-fact. I contribute to this discussion by turning attention towards a new context, governmental innovation, and approaching the format, not through its epistemics, but rather its aesthetic and affective registers. Over the course of a project aimed at building a governmental software system called the AuroraAI Network, to be used for the empowerment of welfare subjects, the Department of Government ICT at the Finnish Ministry of Finance produced a series of four highly theatrical events that sought to demonstrate the development of the AI system. Using social-semiotic performance analysis, I analyse these events as a kind of façade, one that presents the trappings of technology demonstration, but rather than advancing specific technical matters-of-fact, produces an affective and aesthetic sensibility of government innovation. By mobilizing the metaphor of façade, this research shows how empty innovation is made durable and successful.
Dieser Beitrag erforscht Praktiken der Nicht-/Behinderung im institutionellen Kontext professioneller Demenzpflege. Behinderung wie auch Nichtbehinderung werden dabei als soziale Praktiken betrachtet, die durch wechselseitige Bezugnahmen situativ von den Interaktionsteilnehmer*innen selbst hervorgebracht werden. Aus einer interaktionssoziologischen Perspektive werden sprachliche, affektive, haptische und zwischenkörperliche Praktiken der Nicht-/Behinderung betrachtet, die den konkreten Umgang mit unbelebten Objekten, Tieren und Robotern mitgestalten und zugleich von den Interaktionsteilnehmer*innen als Ressourcen zur Initiierung und Fortführung ihrer Interaktionen genutzt werden. Auf der empirischen Grundlage von videobasierten Interaktionsanalysen wird gezeigt, wie sprachlich-reflexive Praktiken Handlungskoordinationen mit Menschen mit Demenz behindern, während haptische, affektive und zwischenkörperliche Praktiken die Koordination gemeinsamer Handlungen ermöglichen. Auch Objekte, Tiere und Roboter können in unterschiedlichen Graden an diesen Interaktionen teilnehmen, wenn sie spezifische materielle, haptische und zwischenkörperliche Qualitäten besitzen, die für menschliche Interaktionspartner*innen mit und ohne Demenz gleichermaßen interaktional anschlussfähig sind und zum Beispiel basale Formen von Emotionalität, Reziprozität und Verständigung ermöglichen.
This chapter presents the theoretical and methodological foundation that supports this research and introduces some of the challenges entailed in the translation of comics. It provides an overview of research on the translation of comics, highlighting how several studies have disregarded the multimodal nature of this medium. In this respect, the general contribution of multimodal studies to translation is discussed, by tackling concepts such as transduction (Kress 2003; Kress 2010) and resemiotisation (Iedema 2003). It is argued that the multimodal approach can be successfully applied to the study of comics (Dunst et al. 2018; Asimakoulas, 2019) and comics in translation (Kaidl 2000, 2004; Borodo 2014, 2023a). The notion of ‘isotopy’ is foregrounded in the analysis, as a potential tool guiding the interpretation and translation of comics. Isotopy refers to the iterative nature of units of signification—both verbal and visual—which provides semantic cohesion and consistency of a discourse. The notion was first introduced in semiotics by Greimas (1995[1966], 2012[1970]) and further explored as an interpretative category by semioticians such as Eco (1979), Rastier (2009[1987]), Fontanille (2003), Bertrand (2000), and Binelli (2013a). Though research on isotopies traditionally focused on literary texts (e.g., Mudersbach and Gerzymisch-Arbogast 1989; Nord 2005; Binelli 2013b), it is argued that its study may be extended to multimodal texts such as comics (Groensteen 2007), in which non-verbal items participate in meaning-making processes, and thus to the creation of isotopies. The translation of comics may benefit from the application of a tool to study the relations of signification of both verbal and graphic devices without assigning an a priori privileged position to either of them. Subsequently, this chapter illustrates how this methodological framework can tackle the challenges that the translation of comics entails. For example, translators often tend to look only at the verbal dimension of comics, thus disregarding the meaning-making processes of the word-image interplay. In addition to the issues related to the multimodal nature of comics, potential problems connected to the translation of culturemes, the differences in comics traditions, audience expectations, and frames of interpretation is investigated.
The burgeoning market for wearable technologies with surveillance capabilities is reorienting our relationship with our bodies, privacy, and digital data. This expanding sector has prompted an exploration into how the surveillance of the individual body has been normalized more broadly in the fashion sphere through its visual communications practice. To this end, a multimodal critical discourse analysis following an adapted framework examined a series of photographic editorials and identified two overarching trends that characterize the representation of surveillance in female-focused fashion consumption contexts. Firstly, by adopting a visual style that uses analog aesthetics and obsolescent technology, contemporary surveillance’s obtrusive and expansive reality is obscured and replaced with hauntological nostalgia. Secondly, by framing the act of self-surveillance via screen technologies as erotically charged and potentially empowering, the body’s surveillance is celebrated rather than scrutinized. With close reference to two specific case studies, I demonstrate how these visual treatments can be interpreted as downplaying concerns about privacy and assisting in accelerating the collapse between public and private spheres. I argue that the fashion media’s aesthetic softening of surveillance has culturally foreshadowed an expansion of surveillance capitalism manifesting in the current interest in, and demand for, fashionable wearables.
Multimodal literacy, the ability to interpret and engage with multiple forms of communication, including visual, textual, digital, and auditory has become an essential competency in higher education. This paper explores the interface between multimodal literacy and digital humanities in contemporary learning environments, emphasising its significance in preparing students for the modern workforce. The study applies key theoretical frameworks such as semiotics, transformative learning theory, multiliteracies framework, and multimodality, arguing that multimodal literacy enhances critical thinking, creativity, technological competence, and overall learning outcomes. Using the Digital Humanities (DH) course for Arts disciplines as a case study, this research examines student experiences, instructional challenges, and successes in multimodal learning. Findings reveal that while DH fosters intellectual engagement with digital tools, challenges such as digital literacy gaps, infrastructure limitations, and faculty readiness hinder its full potential. The paper concludes with recommendations for integrating multimodal literacy into the Nigerian higher education system to enhance student engagement and career readiness.
Photojournalism with social and environmental issues (Sosial dan Lingkungan) used by photographers as a tool to convey stories and messages about the social life of the community and river pollution. One example is the indiscriminate dumping of garbage into the river in the Jati Bunder area, Tanah Abang, Central Jakarta, which depicts the reality of the condition of residential areas surrounded by garbage. Based on this background, Garry Andrew Lotulung documented the description and situation and environmental conditions in the area. The purpose of this study is to determine the semiotic meaning of the photojournalism of the river "A Million Trash". This study uses a qualitative approach with a descriptive method. Data were obtained from documentation and non-participant observation. In this study, the photographs studied used Roland Barthes' semiotic analysis method, which emphasizes the meaning of signs in works of art (photography) through three stages, namely: denotation, connotation (Trick Effect, Pose, Object, Photogenia, Aesthetic, Syntax), and myth. These stages are interpreted or given meaning by researchers according to their background and abilities. The results of this study indicate that these photographs depict the condition of a river filled with garbage. The denotative meaning shows the condition of the river environment that is scattered without engineering, while the connotative meaning describes the condition of the residents' settlements that reflect poverty and a lack of awareness and attention to environmental cleanliness. From the analysis of the meaning of myth, the dirty and garbage- filled environmental conditions are the result of human actions themselves. This study found that the photographs effectively convey a strong message about pollution. The significance of this study lies in increasing public awareness of the impact of pollution on quality of life. The suggestions produced include the need for environmental education programs to increase awareness and preventive measures against pollution.
Chronic disease management requires numerous family-based activities. Although HCI has investigated family-based chronic disease management, there is no systematic basis for technology design. Routines support adherence; thus, we used routines theory to investigate chronic disease management activities in families; the roles of family, patients, and artifacts; activity routinization; and routine interrelationships. The two-year study included 38 families managing type 2 diabetes and/or HIV/AIDS. Data collection involved individual and family group interviews, surveys, and home tours. Families performed 14 chronic disease management activities within five interrelated cycles, and one less-connected activity. Most families included both family members and patients in activities—although this could be problematic. Most activities were only moderately routinized and followed cyclical activity patterns joined by sequential or concurrent interdependence. A medication-taking routine ecology had coordination difficulties. Results surface design implications for a potentially powerful new class of technologies to support family-based chronic disease management routines.
In today’s ocular-centric era, vision and visuality play a significant role in representing ideas. This article analyses anthropomorphism as a communicative mode that helps readers comprehend a story’s underlying meaning, using a socio-semiotics metafunction as a lens. The study focuses on Samit Basu and Ashish Padlekar’s adaptation of the famous Panchatantra collection, The Tall Tales of Vishnu Sharma: Panchatantra (published in 2015), where creatures with the ability to speak are the central characters. This story emphasises a diverse group of characters from the world of Panchatantra who communicate their problems to Vishnu Sharma, their chosen guardian, through the transformation of animals into humans. Through the use of animated letters, mascots, and anthropomorphic parameters, barriers can be eliminated in a creative approach. The paper underscores the significance of studying signs and interpreting visually represented social phenomena in order to articulate culture, society, and historical context. The research is divided into two sections: the first section explores the function of images by analysing image artefacts that question the presence of anthropomorphism. In contrast, the second section introduces the four degrees of anthropomorphism and their characteristics. The hypothesis posits that anthropomorphism can effectively convey meaning, especially in stories aimed at children. This study seeks to contribute to a greater comprehension of the use of anthropomorphism as a creative mode of communication in contemporary literature.
Mexican drug cartels have become some of the most powerful organisations in the world. Contrary to most scholarship, I argue that drug cartels are not political organisations but rather function as criminal enterprises like private companies, as their main objective is a quest for profit. Like any profit-led enterprise, cartels have specific objectives, strategies, actions, and actors that help augment their profit and power. To achieve their objectives, cartels utilise branding strategies, referred to throughout this dissertation as narco branding. Narcobranding can consist of in-person strategies carried out by cartel members or others related to their activities or online content through posting videos, creating digital communities, or using social media. This dissertation focuses exclusively on the use of social media, specifically TikTok, by Mexico's two most important cartels: the Sinaloa Cartel and the Cartel Jalisco Nueva Generación. This research found that through using TikTok, cartels intend to garner legitimacy, recruit new members, and demonstrate their power to achieve greater objectives. The most popular actions and actors within social media that contribute directly or indirectly to cartels' strategies are known as narco-influencing. I analysed 250 TikTok videos and the elements that integrate their visual composition and overall branding purpose. Resumen Los cárteles de drogas mexicanos se han convertido en algunas de las organizaciones más poderosas del mundo. Contrario a la mayoría de las investigaciones, argumento que los cárteles de drogas no son organizaciones políticas, sino que funcionan como empresas criminales similares a compañías privadas, ya que su principal objetivo es la búsqueda de beneficios económicos. Como cualquier empresa dirigida por el lucro, los cárteles tienen objetivos específicos, estrategias, acciones y actores que ayudan a lograr el gran objetivo de aumentar sus ganancias y poder. Para alcanzar sus objetivos, los cárteles utilizan estrategias de marca, lo que en esta tesis se denomina "narcobranding". El narcobranding puede consistir en estrategias llevadas a cabo en persona por miembros del cártel u otras personas relacionadas con sus actividades, o en contenido en línea a través de la publicación de videos, la creación de comunidades digitales o el uso de redes sociales. Esta investigación se centra exclusivamente en el uso de las redes sociales, específicamente TikTok, por los dos cárteles más importantes de México: el Cártel de Sinaloa y el Cártel Jalisco Nueva Generación. Este estudio encontró que a través del uso de TikTok, los cárteles tienen la intención de obtener legitimidad, reclutar nuevos miembros y demostrar su poder para lograr sus objetivos mayores. Las acciones y actores más populares en las redes sociales que contribuyen directa o indirectamente a las estrategias de los cárteles se conocen como "narco-influencers". Para ello, analicé 250 videos de TikTok y los elementos que integran su composición visual y propósito general de marca. Para Rhys, por sus invaluables comentarios y enseñanzas. Muchas gracias por ser mi supervisor, sin duda alguna me ayudaste como no tienes una idea. Agradezco que incluso después de tener a un nuevo hijo, me hayas apoyado en cada paso. Para Oscar Balderas y Baruch Ávila, muchísimas gracias por todos y cada uno de sus comentarios. Sin ustedes, mi entendimiento de la narcocultura simplemente no existiría. Para Juan porque sin cada llamada gritándonos (pero sobre todo por tu cariño y apoyo) esto no sería posible. Para mi familia y amigos, porque sin su cariño, apoyo y abrazos (aunque sea a la distancia) no podría haber llegado hasta acá y salir adelante. Para mi mamá, por cada vez que te hice enojar porque no recogía mi cuarto. Por cada vez en que no fui un buen hijo. Por llevarme a la escuela a 1000 km por hora porque no me había levantado. Por cada beso y abrazo. Por cada momento a tu lado. Por dejarme ser quien soy y ayudarme a cumplir mis sueños. Por ser la muestra más grande de amor, compasión y ternura. Por cada vez en que pienso en ti. Para mi papá, por cada vez que nos quedamos a jugar en la canchita después de los partidos para que mejorara. Por cada película y canción que me has enseñado. Por cada colegiatura para que pudiera salir adelante. Por cada regaño por ser inmaduro. Por todas esas veces en que me demostraste que en la vida hay que ser fuerte y no dejarse vencer por absolutamente nada. Por cada vez que quiero abrazarte. Y sobre todo, para mi cómplice, mi compañera, mi changuita. Porque agradezco el haberte visto con ese vestido rojo. Porque te agradezco el haber caminado juntos hacia el Starbucks. Por decirme que no querías mi saco. Por ese plato de pozole y su caguama. Por cada cumpleaños. Por cada ida al cine. Por cada jalón de orejas. Por cada vez que soñamos. Por cada vez que nos perdimos en Cartagena buscando Boca Grande. Por cada vez, que hemos conocido el mundo. Por cada beso. Por cada pizza. Por cada sushi los viernes. Por cada comida en el piso. Por esto y porque sin ti no soy nada. Te amo. 4
27 Steps of May is an Indonesian film directed by Ravi Bharwani that centers around the life of May and her father. Throughout this 112-minute film, the two of them continue to repeat the same routine for eight years following May’s traumatic experience as a sexual assault survivor. This film is important to be analyzed because it highlights a marginalized issue of sexual assault. This study aims to uncover the visual narrative of the film to see how the film 27 Steps of May portrays grief and acceptance in living as a sexual assault survivor. Using visual methodologies with Peircean semiotics approach, this study will analyze whether the film further popularized the Kübler-Ross model of grieving stages or tried to present another perspective through its dominant visual images. The result shows that the film portrays different stages of grief by focusing on the process of grieving for May using the medium in the form of the hole in the wall. This finding shows that the film took a different approach by breaking through the popular model known as the five stages of grief. This study implies that there is a need to redefine the stages of grief so that personal emotions and actions experienced in grieving can be accommodated.
The study examines the impact of digital transformation on photograph visuals using Photo Elicitation Interview (PEI) as a method of persuasion for participant. 30 participants were participated in the study, they were given random 100 digital images, in online platform. Participants selected one images and answer one simple questions of how the pictures reflect them. The objective of the study to seek visual analogies are beneficial not only on the visual surface, but also in indicating the deeper meaning behind the image. The study discusses a vital indicator in comprehending photography mentally. Persuade the audience to grasp the image and explain it by using Connotative indirect message and Denotative, which frequently offers direct communication. Certainly, the faculty of picture reaction to auto recognition machine learning is parallel to image analysis on who and where the image was taken as a guidance to recollections, while the system will set it to remind and recall the memory. The data analysis from the study recommends additional investigation and provides the present spectrum of visual investigations. Additionally, it is encouraged to participate as a data provider to provide details on national proposals, alternative solutions, and improved knowledge to support the United Nations 2030 Agendas, namely the Sustainable Development Goals.
Fruto de una década de cooperación interdisciplinaria en ciencias sociales y humanidades entre la Universidad Nacional de La Plata y la Universität Rostock, este libro presenta una serie de contribuciones y avances de investigaciones doctorales –en curso y finalizadas– que aportan claves para responder a estas problemáticas contemporáneas.
This chapter presents an in-depth semiotic analysis of drone visuals, exploring their unique meanings and aesthetic characteristics. It discusses the distinctive visual perspectives, shapes, and patterns these aerial images offer, distinctly different from traditional photography. Drawing from an organised drone visuals exhibition, ‘Views from the Blue’, this analysis provides a detailed interpretation of eleven selected drone images that showcase the groundbreaking potential of drones in capturing unprecedented visions. These visuals enhance our perception and broaden our understanding of the world by demonstrating how our visual capabilities are evolving. The semiotic approach adopted in the chapter is supported by a solid theoretical framework and an extensive review of literature in visual research methods (including, Kress, G., & Van Leeuwen, T., Reading images: The grammar of visual design. Routledge, 2006; Ledin, P., & Machin, D., Introduction to multimodal analysis. Bloomsbury Academic, 2020; and Margolis & Pauwels, The SAGE handbook of visual research methods. SAGE Publications Ltd., 2011). Additionally, the chapter integrates insights into how new media and digital technologies influence the development of meanings (Aiello, G. & Parry, Kate, Visual communication: Understanding images in media culture. SAGE Publications, 2019; Rose, G., The Sociological Review, 62, 24–46, 2014; and Pink, Doing visual ethnography (4th ed.). SAGE Publications, 2021). Through these analyses, the chapter illustrates how drone technology changes the landscape of visual data and enriches our interpretative frameworks, offering new insights into the construction of visual meaning in contemporary digital culture. This exploration is critical in understanding the transformative impact of drone visuals in expanding our sensory experiences.
Prehistory has always been of great fascination to children. As funny and amusing as educational media might be, it often carries contemporary stereotypes and biases since the deep past provides ‘forms of critical imagination’ that are products of present capitalist culture ( Pitcher 2022 :18). Once absorbed, these stereotypes are difficult to change or correct. Communicating the past to younger generations is both challenging and crucial for historians and archaeologists. This study focuses on how the Stone Age is conveyed to primary school children (6–12 years old), with a focus on Palaeolithic and Mesolithic hunter-gatherer societies. It explores English and Italian materials, examining differences and similarities between these cultures and languages. More specifically, the paper includes children’s books from Italy, the United Kingdom and Ireland (2013–2023) as well as educational resources from museums, schools and universities of these countries.
Quantitative and qualitative analyses were undertaken of visual and textual media. The research is framed within a feminist theoretical framework, exploring depictions of gender roles in the analysed material. Even if the Stone Age is such a distant period, the way it is portrayed to children is of great importance, and a better dissemination of it means that a better understanding of the present could play a role in creating a better world ( Henson 2016a :2).
Similarities between Italian and English sources were identified in the depiction of male dominance, occasional female empowerment, hunting prominence and climate change. However, Italian sources tended to emphasise stereotypical depictions of gendered division of labour. In contrast, English sources included post-humanist theories and presented prehistoric times as a survival challenge. Overall, the discussion has highlighted the interdependence of archaeological interpretations and contemporary issues.
The paper explores and analyzes the multiple realities underneath the remittance culture in the post-1990 Nepal in Mann Gurung’s painting “Lost in Transition # 6.” Several facets of ambivalence and pain; separation and insecurity; dilemma and loneliness; and dependency and cultural decline are comprehensively portrayed in the paintings exhibited under the title Lost in Transition (2019). Moreover, it highlights the tension between tradition and modernity. When the people of rural Nepali villages are exposed to the global labor market in 1990s, there started an influx of capital. Most of the villagers, who used to produce numerous cash crops and cereals themselves, started buying food and vegetable while totally depending upon market imports along with the flow of remittance. The chosen painting exposes the pervasive remittance culture through the image of a Gurung woman whose traditional attire has been haloed by the bright logos of remittance companies. The indigenous-ethnic community in Khorla village of Gorkha district remains torn between tradition and modernity not necessarily because of their choice but an immensely increasing globalization of the market products. To critically analyze the widespread influence of the global corporate world upon the indigenous people in developing countries like Nepal, I have employed Gunther Kress and Theo Van Leeuwen’s ideas and strategies of visual semiotics and the concept of Nicholas Mirzoeff related to the visual rhetoric and visual culture.
This scientific article analyses the link between creativity, fashion, art, and marketing in the construction of the discourse of contemporary fashion brands, with an emphasis on the influence and contributions of the Miu Miu brand. The integration of these areas - art, fashion, photography, film, technology, and design - enables them to exchange and collaborate, diluting borders and expanding horizons. One of the great challenges of this alliance is finding a balance between creative innovation and what the consumer is looking for. Through a literature review and in-depth analysis of a case study, the challenges, and advantages of this strategy in the context of the fashion industry are investigated. The research reveals that the association of creativity, fashion, art, and marketing offers brands the opportunity to differentiate themselves in the market, allowing them to express their identity authentically and create visual impact as well as notoriety. This link also allows them to create unique experiences for consumers and establish lasting emotional connections. On the other hand, however, challenges are identified, such as finding a balance between creative innovation and what the consumer is looking for. In the light of the Miu Miu brand’s journey, this research highlights the importance of bringing together fashion, arts and marketing professionals and academics, providing relevant information on how to use creativity and art as optimised tools for building successful contemporary fashion brands.
This study analyzes how ChatGPT portrays and describes itself, revealing misleading myths about AI technologies, specifically conversational agents based on large language models. This analysis allows for critical reflection on the potential harm these misconceptions may pose for public understanding of AI and related technologies. While previous research has explored AI discourses and representations more generally, few studies focus specifically on AI chatbots. To narrow this research gap, an experimental-qualitative investigation into auto-generated AI representations based on prompting was conducted. Over the course of a month, ChatGPT (both in its GPT-4 and GPT-4o models) was prompted to “Draw an image of yourself,” “Represent yourself visually,” and “Envision yourself visually.” The resulting data (n = 50 images and 58 texts) was subjected to a critical exploratory visual semiotic analysis to identify recurring themes and tendencies in how ChatGPT is represented and characterized. Three themes emerged from the analysis: anthropomorphism, futuristic/futurism and (social)intelligence. Importantly, compared to broader AI imaginations, the findings emphasize ChatGPT as a friendly AI assistant. These results raise critical questions about trust in these systems, not only in terms of their capability to produce reliable information and handle personal data, but also in terms of human–computer relations.
Artificial Intelligence (AI) has rapidly become a widespread design aid through the recent proliferation of generative AI tools. In this work we use generative AI to explore soft robotics designs, specifically Soft Biomorphism, an aesthetic design paradigm emphasizing the inherent biomorphic qualities of soft robots to leverage them as affordances for interactions with humans. The work comprises two experiments aimed at uncovering how generative AI can articulate and expand the design space of soft biomorphic robotics using text-to-image (TTI) and image-to-image (ITI) generation techniques. Through TTI generation, Experiment 1 uncovered alternative interpretations of soft biomorphism, emphasizing the novel incorporation of, e.g., fur, which adds a new dimension to the material aesthetics of soft robotics. In Experiment 2, TTI and ITI generation were combined and a category of hybrid techno-organic robot designs discovered, which combined rigid and pliable materials. The work thus demonstrates in practice the specific ways in which AI image generation can contribute towards expanding the design space of soft robotics.
In the emotional narrative of sports event tourism, visual communication is key to persuading media consumers. Our aim is to examine the interplay between context (sports tourism) and text (visual and written) to shed light on the storytelling of blogs and online articles regarding sports tourism. Results show that the narrative sequence of the images, supported by text, highlights central values of sports, such as leadership, teamwork, and respect, in which the host city integrates. The emotions reflected in the corpus images point to the construction of a well-defined national identity in tourism social media when applied to sports events.
This article investigates the semiotic strategies employed in Indonesian presidential campaign posters, utilizing semiotics as a powerful tool to decode symbols and signs in political communication. The study focuses on the verbal and visual aspects of the posters, aiming to uncover their intended meaning, myth, and ideologies. Through a comprehensive analysis of the visual elements, symbols, and textual cues, the research examines the semiotic strategies employed to convey messages and influence voter perceptions. Drawing on theoretical frameworks of semiotics and political communication, the findings reveal how subtle visual and textual choices shape the interpretation and reception of political messages. The implications extend beyond this specific campaign, offering valuable insights for future electoral discourse and visual communication strategies. Understanding the semiotic strategies in political campaigning enhances our comprehension of the complex dynamics of political communication, facilitating a more nuanced understanding of how political messages are constructed and perceived. This study contributes to a deeper understanding of the role of semiotics in political communication and provides a foundation for further research in the field.
In the exploration of the representation of children and the influence stemming from the dominant ideology in Chinese cinema, I attempt to conduct this research using “semiotics”. The method in question is pretty useful in mirroring the meanings of my chosen stills from the Fifth Generation cinema and is able to set up some linkages with the social environment. The mainstream semiology works in the aspect of single elements and the social semiotics is in operation in the arena of interactive meaning-making among components as a whole. The Syntagmatic comparison keeps track of any slight changes happened to the children, the props serve as the signifiers of interpersonal relationships and power relations, the metaphor between the Tiananmen Square and the class in power acts as a shared code to take into account the external environment. However, semiotics is too dependent on the interpretative practice, and will not be strong enough without the participation of existing theories and Foucaultian analysis to take into account the particular historical discourse and power relations.
The current research examines children’s environmental awareness through their drawings. The study involves 59 students aged 5–6 years from two different schools. The students were asked to draw pictures of nature. The data analysis was carried out using quantitative and qualitative approaches. The quantitative analysis was done by analyzing the objects present in the drawing, which were grouped into four categories: humans, animals, the environment, and artificial objects. Then, the qualitative analysis was carried out to provide a descriptive analysis of the students’ drawings. The results show that all students drew environment drawings, 56.9% drew human beings, 18.6% drew animals, and 71.1% drew objects. This indicates that most of the students are aware of inanimate environmental entities, such as mountains and the sun but have less awareness of animate entities, such as animals. The results also indicate that most students view themselves as environmental entities, reflecting inclusiveness.
With the growing popularity of visual-centred social media, authoritarian populist parties are provided with more platforms and devices to position themselves as key securitising actors by engaging in the visual securitisation of issues related to immigration, law and order. This paper uses the 2022 Swedish electoral campaign as a case study to explore the securitisation in the visual discourse of authoritarian populist actors by comparing the Sweden Democrats to the mainstream right. Through a combination of thematic and multimodal critical discourse analyses, this study examined a total of 639 Instagram posts. It shows how the Sweden Democrats use semiotic strategies to represent social actors in a way that conveys the message of securitisation. The findings reveal that the authoritarian populist party adopts a visual securitising style that not only includes apparent populist aspects and relies on the linguistic elements to counterbalance the ambiguity of the image, but it is also distinct from the discursive style of the mainstream right.
Este trabalho tem por objetivo apresentar as contribuições dos estudos lexicais para registros de sinais da área da saúde, em videográficos bilíngues Libras/Português, no campo temático da pandemia da Covid-19. Para isso, apresentamos uma revisão acerca dos principais conceitos da dupla articulação da linguagem humana (MARTINET, 1964), dos estudos lexicológicos (BASÍLIO, 1987; CORREIA & ALMEIDA, 2012), suas relações com os estudos lexicográficos (BORBA, 2003; CARVALHO & MARINHO, 2007) e (socio)terminológicos (BOULANGER, 1991 e 2001; FAULSTICH, 2003; KRIEGER, 2011); bem como apresentamos a base paramétrica para o entendimento da constituição e da construção do léxico da Libras (FARIA-NASCIMENTO, 2009). Além disso, os estudos da Teoria da Gramática Visual (KRESS e van LEEUWEN, 1996) também foram aplicados, pois a utilização das imagens facilita a compreensão na construção dos sentidos dos sinais. Por fim, os destaques deste estudo são o registro e a descrição dos sinais especializados em forma de videográficos imagéticos bilingues com vistas a elaboração de glossário de sinais-termo como forma de difusão dos sinais técnico-científicos e ampliação do conhecimento lexical dos sinalizantes e aprendizes de Libras, bem como a difusão entre os profissionais da saúde a fim de que seja realizada a prática médica acessível.
Globally, people have always had to deal with climate-related hazards, and in the majority of places, they have adapted gradually. However, these gradual adaptations may not be enough to withstand the expected intensity of climate-related hazards in the future. In this paper, our focus is on the effect of storms in the Faroe Islands. The islands are highly exposed to storms, which are projected to increase in intensity and potentially also in frequency in this region. The islands are characterized by being small, remote, and with a rough terrain, which makes it difficult for external actors to provide assistance. As a result, the civilian population—especially in the outer regions—often have to deal with storms and their consequences themselves. The geographical focus in this paper is the Northern Islands, and in particular the communities of Viðareiði and Hvannasund. The approach applied is qualitative, and the central question this paper tries to answer is how aspects of place attachment (social, physical, functional) affect the way in which the local population handle storms. The findings show communities that are impacted by storms, but also that their previous experiences with storms have led to an improved adaptation level, which today enables them to cope with more severe storms. The attachment they have to where they live will assist them in coping with future storms, although it can also be a hindrance to the implementation of the necessary adaptation and preparedness measures, since they presume that they are already safe.
تهدف هذه الورقة إلى دراسة تحليل الخطاب الإعلامي للأمين العام لحزب الله السيد حسن نصرالله في ما يتعلق بفيروس كورونا المستجد كوفيد-19. ولذلك، فإن هذه الدراسة تسعى إلى الإجابة عن السؤال المتعلق بأبعاد خطاب السيد نصرالله وأهدافه لتبيان الاستراتيجية الإقناعية والوسائل المستخدمة لتحقيق الغايات المنشودة منه على مستوى التثقيف الصحي والامتثال للإجراءات الوقائية المعتمدة.
وبناء عليه، تستخدم هذه الورقة مقاربة التحليل النقدي للخطاب ضمن استراتيجية البحث النوعي، خصوصاً أن هذه المقاربة الحديثة تسهم في عمليتي التحليل الكلي والتحليل البسيط للخطاب وبالتالي استخراج المعاني المتضمنة في خطاب السيد.
وتغدو أهمية الدراسة في جدتها كونها تسلط الضوء على خطاب السيد نصرالله الإعلامي والمرتبط بالبعدين الصحي والإنساني. وهذان البعدان يبدوان غائبين في الدراسات السابقة.
الكلمات المفتاحية: السيد حسن نصرالله؛ الخطاب الإعلامي؛ كوفيد-19؛ الإعلام الصحي
ABSTRACT
Distance education design and management is an education model that
realizes education processes through online platforms and other technological
tools. This model eliminates the geographical distance between the student and
the educator, allowing educational services to be accessible from any location.
This research is prepared for an academic article based on interviews with
experts to explore the processes of distance education design and management.
A qualitative approach was adopted in the study, and semi-structured interviews
were conducted with five experts specializing in distance education. Interviews
reveal important issues and strategies to consider in the design and management
of distance education programs. The findings emphasize that effective
instructional design, learner participation, technological infrastructure, teacher
training and assessment methods are important in ensuring the success of
distance education initiatives. In addition, the study sheds light on the
challenges faced by institutions and educators in implementing and managing
distance education, maintaining student motivation, encouraging interaction and
collaboration, and ensuring quality. The research contributes to the existing
literature by providing practical information and recommendations for
educational institutions and policy makers offering distance education. The
findings highlight the importance of a holistic and well-planned approach in
distance education design and management that takes into account the unique
characteristics and needs of learners in the digital learning environment. Further
research can be structured based on these findings to explore further
perspectives and experiences in the field of distance education.
Keywords – Distance Education, Learning Methods,, learning Activities,
Teaching Methods
ResearchGate has not been able to resolve any references for this publication.