List of Figures List of Tables Foreword Introduction Robin P. Fawcett, M.A.K. Halliday, Sydney M. Lamb and Adam Makkai 1 Language as Code and Language as Behaviour: A Systemic-Functional Interpretation of the Nature and Ontogenesis of Dialogue M.A.K. Halliday 2 Metaphors of Information John Regan 3 How Universal is a Localist Hypothesis? A Linguistic Contribution to the Study of 'Semantic Styles' of Language Yoshihiko Ikegami 4 Some Speculations on Language Contact in a Wider Setting Jeffrey Ellis 5 Ways of Saying: Ways of Meaning Ruqaiya Hasan Index

Language as social semiotic

Reading Images The Grammar Of Visual Design

This article addresses how rhythm may function in literary apps. The article has two aims: increasing the knowledge of how literary apps work as texts, by exploring their aspects of rhythm, and developing the understanding of the theoretical term of rhythm. The authors propose a rhythmanalysis in which two different types of rhythm – reading rhythm and narrative rhythm – are taken into account. The two types of rhythm may both occur at different structural levels in the text. This approach is applied to the analysis of rhythm in the popular literary app, Florence (Wong et al., 2018, Florence Tablet application software), drawing on concepts from multimodal social semiotics (Van Leeuwen, Introducing Social Semiotics, 2005), although leaning towards a more reception-oriented approach than the traditional text-oriented analysis in social semiotics. Literary apps are defined in this context as multimodal fictional narratives that can lead to an aesthetic experience for the reader (Iser, 1984, Der Akt des Lesens); however, non-narrative apps, such as poetry, may also be defined as literary apps. These apps may be read on a tablet or a smartphone. This article elucidates some of the many facets of rhythm related to the multimodal design of a literary app, which invites different forms of interactivity than the linear reading and page-turning of print-based picture books. The findings of the analysis show how rhythm not only contributes to the multimodal cohesional aspects of literary apps, but is fundamental to the meaning potential of the literary app.

https://doi.org/10.1177/14703572221078038

Rhythm in literary apps

https://www.idunn.no/file/pdf/67269280/litteraert_engasjement_og_innlevelse_i_bildebokapper.pdf

Litterært engasjement og innlevelse i bildebokapper: En empirisk studie av applesing i barnehagen

Interactions between image, written text and sound are especially prominent in children’s literature, just as children’s literature tends to be embodied in a variety of media. Accordingly, it is highly relevant to use theories of intermediality that focus on relations and interactions between different forms of expression and media, and theories focusing on the relations and interactions between texts and readers that are prompted by these conditions. However, intermedial theories have been only sparingly applied in research into children’s literature and even less as an analysis strategy. Still, in the age of digitalization the intermedial understanding and analysis of children’s literature deserve greater attention because digital literary texts for children often employ a combination of writing, pictures and sound involving film, animation and interactivity. This article aims to present an understanding of children’s literature from the perspective of intermedial theory and method, and to offer a model for intermedial analysis. Drawing on Elleström’s theory of intermediality combined with concepts relating to literary materiality and videogames, the model focuses on four intermedial and cross-aesthetic analytical levels: material, sensory, spatio-temporal and semiotic. The model will be exemplified and employed in an intermedial analysis of the born digital story NORD by Hübbe, Meisler and Olsen (2018). NORD is a coming-of-age story in the fantasy genre, as well as being a contribution to the eco-critical tradition. This will be exemplified in the article, although the main focus will be on the way NORD is positioned intermedially in-between forms of expression, content and media.

https://www.idunn.no/file/pdf/67313545/in-between_intermedial_understanding_and_analysis_of_child.pdf

In-Between. Intermedial understanding and analysis of children's literature. Exemplified by the digital story NORD (2018)

This analysis of the literary app The Fantastic Flying Books of Mr. Morris Lessmore is theoretically grounded in Wolfgang Iser’s theories of aesthetic response and multimodal social semiotics. The first part of the analysis shows how aesthetic meaning comes to the fore in different modes and in the interplay between them. The second part deals with the interactivity of the app and shows how the reader’s interaction with the tablet may influence the wandering viewpoint (Iser, 1984) and let it take different paths, transforming the reader into a real-time participant in the story. The article argues that touch interaction may enrich aesthetic experiences by evoking feelings in the reader, and that interactive tasks can prolong aesthetic experiences. In addition, the performing of interactive tasks may underline certain aspects of the story.

https://www.idunn.no/file/pdf/67200110/the_potential_for_aesthetic_experience_in_a_literary_app.pdf

The Potential for Aesthetic Experience in a Literary App: An analysis of The Fantastic Flying Books of Mr. Morris Lessmore

This article presents a close reading of the augmented reality (AR) comic Modern Polaxis , which was created by Stuart Campbell. Possible Worlds Theory was applied to discuss how fiction, which creates its own possible worlds, integrates the additional layer(s) of AR into its storyworld. The analysis additionally sheds light on the reader’s position and how the augmented layer may affect the literary experience. We also discuss how the AR interface may contribute to digital literature more generally. Augmented reality (AR) came to life for everyday users of digital technology when the game Pokémon Go took everyone to the streets with their small screens; users discovered a fictional world that could only be accessed digitally while blending with the surrounding real-life environment. In this article, we explore the alignment of worlds with different ontological statuses through digital blending in narrative fiction. AR can be defined as a system that “supplements the real world with virtual (computer-generated) objects that appear to coexist in the same space as the real world” [Azuma et al. 2001, 34]. Used as a resource in digital literature, the real-world element may be a physical object or analogue medium that works with digital media to produce an enhanced version of a story. Hence, in this fictional use of AR, questions arise about the relationship between “real” and “virtual” worlds.

Anette Hagen

Papers

The Potential for Aesthetic Experience in a Literary App: An analysis of The Fantastic Flying Books of Mr. Morris Lessmore

Rhythm in literary apps

Worlds and Readers: Augmented Reality in Modern Polaxis