Videos by Charles Forceville
Sperber and Wilson's relevance theory can develop into an inclusive theory of communication. In m... more Sperber and Wilson's relevance theory can develop into an inclusive theory of communication. In my book I take a step towards realizing this by showing how their model, which hitherto has focused on spoken exchanges between two individuals, can be expanded to mass-communicative visuals, whether or not accompanied by brief texts. 39 views
Book Chapters by Charles Forceville
In: Manuela Romano (ed.), Metaphor in Social-Political Contexts: Current Crises, 2024
Metaphors abound in political cartoons. This is unsurprising, as visual metaphors are excellent r... more Metaphors abound in political cartoons. This is unsurprising, as visual metaphors are excellent rhetorical tools to provide, in one glance, an evaluation of a newsworthy person or state of affairs in the world. Analysts of cartoons, however, are faced with the challenge of examining and categorizing any visual metaphors in a systematic and replicable manner. In this chapter I revisit my own earlier, co-authored work on metaphor in political cartoons (Bounegru and Forceville 2011; Forceville and Van de Laar 2019; Zhang and Forceville 2020), rooted in Black (1962, 1979), to zoom in on possible criteria for identifying and interpreting metaphors in them. The chapter, which includes a critical discussion of the visual metaphor identification procedure (VISMIP) proposed by Šorm and Steen (2013, 2018), ends by giving some practical advice to aspiring analysts of corpora of discourses featuring visual metaphors.
In: István Kecskés (ed.), The Cambridge Handbook of Intercultural Pragmatics, 2022
Successful communication – whether relayed verbally, visually, or in any other mode or mode-combi... more Successful communication – whether relayed verbally, visually, or in any other mode or mode-combination – crucially depends on cooperation between sender and recipient. Relevance theory assumes that, ceteris paribus, humans are naturally inclined to help each other and therefore attempt to optimize the chance that their fellow creatures understand them. Given the folk wisdom that “a picture tells more than a thousand words,” we may be forgiven to think that visual communication, when possible, is always preferable to its verbal variety. We should not underestimate, however, how much background knowledge is presupposed in communication via pictures or other visuals. A visual message may thus misfire because its sender misjudges the background knowledge and values of the envisaged audience. A further complicating factor is that visual (and all other) messages come with varying degrees of commitment to the meaning conveyed, this meaning ranging from being fully explicit, via being strongly or weakly suggested, to being unintentionally transmitted. Unsurprisingly, visual communication is even more challenging when it straddles different cultures. After presenting a bare-bones introduction to relevance theory, I discuss a number of exclusively or partially visual messages that involve, in one way or another, intercultural communication.
In: Herbert L. Colston, Teenie Matlock & Gerard J. Steen eds, Dynamism in Metaphor and Beyond (Amsterdam: Benjamins), 2022
Cognitivist approaches are in need of an inclusive theory of communication. Relevance theory (RT)... more Cognitivist approaches are in need of an inclusive theory of communication. Relevance theory (RT) is well-equipped to develop into such a theory, but to fulfill its promise it should be able to accommodate digital-platform-based exchanges. Since communication via digital platforms often takes place between people who do not, or hardly, know each other personally, the issue of trustworthiness becomes much more important than in the face-to-face variety that is RT's paradigmatic type of communication. Using TripAdvisor as an illustrative example, we make suggestions for how RT can handle, and provide useful perspectives on, communication via digital platforms, paying specific attention to the creation of trust.
A Multimodal Approach to Challenging Gender Stereotypes in Children’s Picture Books (eds: Jesús Moya Guijarro and Eija Ventola), 2022
We analysed 30 English awarded and non-awarded picture books for children depicting families and ... more We analysed 30 English awarded and non-awarded picture books for children depicting families and gender roles, combining an intra-and intertextual corpus-driven approach. Focusing on the pictures, we systematically attempted to answer the following questions: What can be said about the child protagonist in terms of sex, skin colour, and gender preferences? Which persons in and outside of the family are depicted, and what can be said about them in terms of these variables and roles? Do we see instances of positive and negative physical contact? Where do activities take place? Do "arts" and "sports" play a role in the stories? Is the child's imagination stimulated? In the final part we briefly discuss other themes that deserve systematic research in this genre.
“Multimodality.” Chapter 40 in: Xu Wen & John R. Taylor, eds, The Routledge Handbook of Cognitive Linguistics (676-687). London/New York: Routledge, 2021
While it is crystal clear that communication can draw on many semiotic resources, research in the... more While it is crystal clear that communication can draw on many semiotic resources, research in the humanities has hitherto strongly focused on its verbal manifestations. "Multimodality" labels a variety of approaches and theories trying to remedy this bias by investigating how for instance visuals, music, and sound contribute to meaning-making. The contours of what is developing into a new discipline begin to be discernible. This chapter provides a brief survey of various perspectives on multimodality, addresses the thorny issue of what should count as a mode, and makes suggestions for further development of the fledgling discipline.
Visual and Multimodal Communication: Applying the Relevance Principle, 2020
This is a preprint of the introduction to my monograph Visual and Multimodal Communication: Apply... more This is a preprint of the introduction to my monograph Visual and Multimodal Communication: Applying the Relevance Principle.
In: Ignasi Navarro i Ferrando (ed.), Current Approaches to Metaphor Analysis in Discourse, 2019
This chapter discusses and reflects on the contributions in the “metaphor analysis in multimodal ... more This chapter discusses and reflects on the contributions in the “metaphor analysis in multimodal discourse” part of the current book, and sketches developments and challenges in CMMT (Conceptual Metaphor & Metonymy Theory). Specifically, aspiring multimodality scholars are exhorted to invest time and energy in learning about other modes and media than the one they have been trained to analyze; to familiarize themselves with other theoretical paradigms; to investigate other tropes besides metaphor and metonymy; and to be aware of the crucial importance of genre.
In: András Benedek and Kristóf Nyíri (eds.), Image and Metaphor in the New Century (Perspectives on Visual Learning vol. 3) -- pp. 103-113 [draft version], 2019
To help visual studies (and multimodal studies with a visual component) mature into a serious hum... more To help visual studies (and multimodal studies with a visual component) mature into a serious humanities discipline, it is crucial to be able to unveil patterns in the way visuals can communicate. Finding patterns requires first of all that it should be possible to identify recurring “building blocks” in visuals. Only if any recurring elements are found, it is sensible to ask whether any “rules” or “conventions” exist that prescribe how these elements can interact to create meaning – and how they cannot. In this chapter it is argued that since traffic signs constitute coded information, it is possible to use and adapt traffic signs' templates as a kind of visual "speech acts" to convey novel meanings, whose interpretation is steered and constrained by this speech act character.
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Populist Discourse: Critical Approaches to Contemporary Politics (eds: Encarnación Hidalgo-Tenorio, Miguel Ángel Benítez-Castro, and Francesca De Cesare), 2019
In this chapter, we analyse political cartoons that depict Geert Wilders metaphorically, expectin... more In this chapter, we analyse political cartoons that depict Geert Wilders metaphorically, expecting thereby to chart this politician’s image in a highly visible media genre. We aim to formulate answers to the following questions:
(a) How often is Geert Wilders represented in political cartoons?
(b) Which visual (and multimodal) metaphors are used in political cartoons to portray him?
(c) Can any pattern be detected in this portrayal?
Specifically, we will chart to which entities (things, animals, people – the source domains) the target domain “Geert Wilders” is metaphorically compared. Moreover, we will zoom in on which features/ emotions/ attitudes inhering in these source domains are mapped onto “Geert Wilders”, since this is where the interpretation of the metaphors becomes manifest. In this way, we hope to sketch the contours of Wilders’ image and reputation as transpiring from his portrayal
in Dutch political cartoons.
The chapter’s structure is as follows. We first sketch Wilders’ position in Dutch politics. Then, we briefly explain the concept of visual and multimodal metaphor, with specific reference to political cartoons. Subsequently, we describe our corpus and method of analysis. Finally, we present our findings, ending with some concluding remarks.
In: Assimakis Tseronis and Charles Forceville (eds), Multimodal Argumentation and Rhetoric in Media Genres. Amsterdam: Benjamins, 2017
Metaphor: Embodied Cognition and Discourse, Beate Hampe (ed.), pp. 239-256.
Moving towards a place and manipulating objects are probably the most important manifestations of... more Moving towards a place and manipulating objects are probably the most important manifestations of goal-oriented actions. Both SELF-PROPELLED MOTION TOWARD A DESTINATION and MAKING AN OBJECT are thus profoundly embodied source domains for the metaphorical conceptualization of PURPOSIVE ACTIVITY. Of these metaphors, only the former—popularly known as LIFE IS A JOURNEY— has received a large amount of attention. Focusing especially on the role of the various FORCE schemas (Johnson 1987), this chapter investigates metaphors from both source domains in three short wordless animation films. Animation provides a perfect medium to express these metaphors in a condensed, aesthetically appealing, and emotion-generating manner. In line with Conceptual Metaphor Theory, it is argued that viewers' understanding and appreciation of these metaphors critically depends on image schemas. Stressing that the body is the beginning but not the end of meaning-making, the chapter also shows that this understanding cannot be reduced to them and that cultural and contextual factors qualify and fine-tune embodied schemas.
A central claim of Lakoff and Johnson's Conceptual Metaphor Theory (CMT) is that human beings sys... more A central claim of Lakoff and Johnson's Conceptual Metaphor Theory (CMT) is that human beings systematically understand abstract and complex phenomena in terms of concrete phenomena, the latter being phenomena that pertain to sensory perception and bodily behaviour. For this reason CMT is also known as the embodied cognition theory of metaphor. One such deeply embodied metaphor is LIFE IS A JOURNEY or, more technically, LONG-TERM PURPOSIVE ACTIVITY IS SELF-PROPELLED MOTION TOWARD A DESTINATION. Human beings often understand achieving goals in life in terms of undertaking a journey. Since metaphor is " not a figure of speech, but a mode of thought " (Lakoff 1993, 210), this metaphor should appear in non-verbal forms no less than in language. Expanding on my earlier work pertaining to the JOURNEY metaphor in animation films, I here focus on two of its specific dimensions: the FORCE and the BALANCE schemas, demonstrating that
Mixing Metaphor, Raymond W. Gibbs, Jr. (ed.), pp. 223-240, 2016
“Mixed metaphors” in language use two or more different source domains to predicate something abo... more “Mixed metaphors” in language use two or more different source domains to predicate something about the same target domain in a short stretch of discourse. This often leads to unintendedly humorous results and is usually considered bad style. Given that metaphors may be expressed pictorially or multimodally as well as verbally, one may ask whether non-verbal modalities can also give rise to metaphors of the “mixed” kind. If so, would such instances be considered odd, humorous, or stylistically awkward? And what, if anything, would make such “mixed metaphors” different from metaphoric blends with three input spaces (one target and two sources)? The provisional conclusion is: we should, for the time being, not adopt “pictorial/multimodal metaphor” as a technical term; but the discussion provides leads for further research from which both metaphor theory and multimodal discourse analysis will benefit.
In: Kathrin Fahlenbrach (ed.), Embodied Metaphors in Film, Television and Video Games: Cognitive Approaches (pp. 17-32).
The Visual Narrative Reader, 2016
In this chapter I will report on cognitivist-oriented work done in the area of comics and cartoon... more In this chapter I will report on cognitivist-oriented work done in the area of comics and cartoons – the latter here considered as standalone varieties of comics that humorously criticize people (often politicians) and events in the world. No claim to exhaustiveness can be made; I will simply discuss a number of publications I am aware of that analyze comics and cartoons from a perspective inspired by Cognitive Linguistics (CL), specifically by Conceptual Metaphor Theory (CMT) and Blending Theory (BT).
The chapter has the following structure. In section 2 the bare bones of Conceptual Metaphor Theory and Blending Theory will be sketched in what, for reasons of space, cannot be more than mere sound bites – just enough to help understand the use that cartoon and comics scholars in the ensuing sections (3 and 4), make of these theories. Section 5 briefly suggests how other cognitive approaches may benefit cartoons and comics research and vice versa, and in the final section some concluding remarks are made.
![Research paper thumbnail of Pictorial and multimodal metaphor. In: Nina-Maria Klug and Hartmut Stöckl, eds, Handbuch Sprache im multimodalen Kontext [The Language in Multimodal Contexts Handbook].](https://attachments.academia-assets.com/37883571/thumbnails/1.jpg)
Nina-Maria Klug and Hartmut Stöckl, eds, Handbuch Sprache im multimodalen Kontext [The Language in Multimodal Contexts Handbook]. Linguistic Knowledge series, pp. 241-260. , 2016
Over the past decades, metaphor has come to be seen as a trope that governs thought, not just lan... more Over the past decades, metaphor has come to be seen as a trope that governs thought, not just language. A consequence of accepting this view is that its mani-festations should be examined in semiotic modes other than language alone. Re-search of non-verbal metaphor has hitherto mainly focused on its role in gesturing and in visuals. This chapter provides an overview of issues that deserve attention in the investigation of pictorial (or: visual) metaphor, and of multimodal metaphor involving visuals. These issues include: monomodal versus multimodal metaphor; identifying non-verbal metaphor; creative versus structural metaphor; diegetic versus extradiegetic source domains; metaphor in static versus dynamic discourses; metaphor and genre; metaphor and other tropes.
Chapter in: The Routledge Handbook of Stylistics (ed. by Michael Burke), 2014
Our main goal is to provide a survey of the various categories of stylistic devices – be they ver... more Our main goal is to provide a survey of the various categories of stylistic devices – be they verbal, visual, or multimodal – that are available to the medium of comics for communicating information and telling stories. This should help comics and multimodality scholars to detect stylistic patterns and idiosyncrasies.
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Videos by Charles Forceville
Book Chapters by Charles Forceville
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(a) How often is Geert Wilders represented in political cartoons?
(b) Which visual (and multimodal) metaphors are used in political cartoons to portray him?
(c) Can any pattern be detected in this portrayal?
Specifically, we will chart to which entities (things, animals, people – the source domains) the target domain “Geert Wilders” is metaphorically compared. Moreover, we will zoom in on which features/ emotions/ attitudes inhering in these source domains are mapped onto “Geert Wilders”, since this is where the interpretation of the metaphors becomes manifest. In this way, we hope to sketch the contours of Wilders’ image and reputation as transpiring from his portrayal
in Dutch political cartoons.
The chapter’s structure is as follows. We first sketch Wilders’ position in Dutch politics. Then, we briefly explain the concept of visual and multimodal metaphor, with specific reference to political cartoons. Subsequently, we describe our corpus and method of analysis. Finally, we present our findings, ending with some concluding remarks.
The chapter has the following structure. In section 2 the bare bones of Conceptual Metaphor Theory and Blending Theory will be sketched in what, for reasons of space, cannot be more than mere sound bites – just enough to help understand the use that cartoon and comics scholars in the ensuing sections (3 and 4), make of these theories. Section 5 briefly suggests how other cognitive approaches may benefit cartoons and comics research and vice versa, and in the final section some concluding remarks are made.
… Read more
(a) How often is Geert Wilders represented in political cartoons?
(b) Which visual (and multimodal) metaphors are used in political cartoons to portray him?
(c) Can any pattern be detected in this portrayal?
Specifically, we will chart to which entities (things, animals, people – the source domains) the target domain “Geert Wilders” is metaphorically compared. Moreover, we will zoom in on which features/ emotions/ attitudes inhering in these source domains are mapped onto “Geert Wilders”, since this is where the interpretation of the metaphors becomes manifest. In this way, we hope to sketch the contours of Wilders’ image and reputation as transpiring from his portrayal
in Dutch political cartoons.
The chapter’s structure is as follows. We first sketch Wilders’ position in Dutch politics. Then, we briefly explain the concept of visual and multimodal metaphor, with specific reference to political cartoons. Subsequently, we describe our corpus and method of analysis. Finally, we present our findings, ending with some concluding remarks.
The chapter has the following structure. In section 2 the bare bones of Conceptual Metaphor Theory and Blending Theory will be sketched in what, for reasons of space, cannot be more than mere sound bites – just enough to help understand the use that cartoon and comics scholars in the ensuing sections (3 and 4), make of these theories. Section 5 briefly suggests how other cognitive approaches may benefit cartoons and comics research and vice versa, and in the final section some concluding remarks are made.
for making abstract and complex phenomena comprehensible. Cancer, one of the deadliest diseases in the world, is one such complex phenomenon. Hitherto, metaphors pertaining to the nature and treatment of cancer, and to coping with it, have been analysed almost exclusively in verbal communication. Cancer metaphors, however, are also often audio-visualized in animations. In this article, the authors analyse the metaphors in 30 short medical animation films. Their purpose is twofold: (1) to assess whether these animations feature the same metaphors as those prevailing in the verbal texts analysed in earlier research; and (2) to show how animation provides medium-specific ways to present metaphors related to ‘dealing with cancer’. They end the article with reflections on challenges with respect to the identification and categorization of metaphors in animated films to help future researchers, and with some cautious recommendations for possible practical uses of understanding cancer metaphors in animations.
Keywords: animation film • depression • conceptual metaphor theory • location–object duals • non-verbal communication • visual metaphor
In this book, Charles Forceville refines and adapts RT's original claims to show its applicability to static visuals and multimodal discourses in popular culture genres. Using colorful examples, he explains how RT can be expanded and adapted to accommodate mass-communicative visual and visual-plus-verbal messages. Forceville addresses issues such as the difference between drawing prospective addressees' attention to a message and persuading them to accept it; the thorny continuum from implicit to explicit information; and the role of genre. Case studies of pictograms, advertisements, cartoons, and comics provide contemporary and accessible examples of the importance of genre and of how the RT model can be connected to other approaches.
By expanding the application of relevance theory to include mass-communicative messages, Visual and Multimodal Communication reintroduces a central framework of cognitive linguistics and pragmatics to a new audience and paves the way for an inclusive theory of communication.
In this series of eight lectures, the focus will be on appearances of metaphor that are not, or not exclusively, verbal. The emphasis will be on visual manifestations of metaphor, but since pictures, in whatever form, are more often than not accompanied by words, many "pictorial" metaphors are in fact hybrids involving language as well. Moreover, once the discussion shifts to moving images (films, videoclips, commercials), a third channel of information must often be taken into consideration: the aural, a heading under which both (non-verbal) sound and music will be considered. In effect, therefore, this course gradually broadens from verbal, via pictorial, to multimodal metaphor.
discipline in its own right, mainly because of the
cognitive linguistic claim that metaphors characterize
thought, not just language. But most metaphor scholars
hitherto focus exclusively on its purely verbal expressions.
Since both persuasive and narrative discourses in
contemporary society increasingly draw on modalities
other than language alone, sustained research into a
broader range of manifestations of metaphor is imperative.
This volume is the first book-length study to investigate
multimodal occurrences of metaphor, and is of
interest to scholars interested in metaphor as well as in
multimodal discourse. Each chapter investigates metaphors
whose identification and interpretation depend
on the co-presence of at least two of the following
modalities: language, visuals, gestures, sound, music.
On the basis of case studies in a variety of discourse
genres (advertising, cartoons, films, comics, conversation,
music, amply represented in photographs, logos,
drawings, film stills, and musical scores), the contributors
demonstrate that, and how, metaphor can occur
multimodally, providing ideas and methodological
angles enabling further theorizing and testing in this
rapidly expanding field. Covering creative as well as
conceptual metaphors, and where appropriate evaluating
cultural factors governing metaphor interpretation,
the contributors provide a wealth of material for
studying the conceptual and rhetorical force of metaphor
in contemporary society.
The theoretical insights are applied to thirty advertisements and billboards of British, French, German, and Dutch origin. Apart from substantiating the claim that it makes sense to talk about 'pictorial metaphors,' the detailed analyses of the advertisements suggest how metaphor theory can be employed as a tool in media studies. The final chapter looks at ways in which the insights gained can be used for further research.
http://dx.doi.org/10.1016/j.pragma.2016.10.002