Interpreting qualitative data

The perception of the environment: Essays in livelihood, dwelling and skill

Foreword Note on graphic conventions 0. Introduction-Toward a Logic of Culture 0.1. Design for a semiotic theory 0.2. 'Semiotics': field or discipline? 0.3. Communication and/or signification 0.4. Political boundaries: the field 0.5. Natural boundaries: two definitions of semiotics 0.6. Natural boundaries: inference and signification 0.7. Natural boundaries the lower threshold 0.8. Natural boundaries: the upper threshold 0.9. Epistemological boundaries 1. Signification and Communication 1.1. An elementary communicational model 1.2. Systems and codes 1.3. The s-code as structure 1.4. Information, communication, signification 2. Theory of Codes 2.1. The sign-function 2.2. Expression and content 2.3. Denotation and connotation 2.4. Message and text 2.5 Content and referent 2.6. Meaning as cultural unit 2.7. The interpretant 2.8. The semantic system 2.9. The semantic markers and the sememe 2.10. The KF model 2.11. A revised semantic model 2.12. The model \"Q\" 2.13. The format of the semantic space 2.14. Overcoding and undercoding 2.15. The interplay of codes and the message as an open form 3. Theory of Sign Production 3.1. A general survey 3.2. Semiotic and factual statements 3.3. Mentioning 3.4 The prolem of a typology of signs 3.5. Critique of iconism 3.6. A typology of modes of production 3.7. The aesthetic text as invention 3.8. The rhetorical labor 3.9. Ideological code switching 4. The Subject of Semiotics References Index of authors Index of subjects

A Theory of Semiotics

Introduction PART ONE: THINKING ABOUT VISUAL RESEARCH The Visual in Ethnography Photography, Videos, Cultures and Individuals Planning and Practising Visual Methods Appropriate Uses and Ethical Issues PART TWO: PRODUCING KNOWLEDGE Photography in Ethnographic Research Video in Ethnographic Research Classifying and Interpreting Photographic and Video Materials PART THREE: VISUAL IMAGES AND TECHNOLOGIES IN ETHNOGRAPHIC REPRESENTATION Ethnographic Photography and Printed Text Video in Ethnographic Respresentation Electronic Text

Doing visual ethnography : images, media and reporesentation in research

English language teaching of attitude and emotion in digital multimodal composition

Billions of images are shared worldwide on the internet via social platforms like Instagram, Pinterest, Snapchat and Twitter every few days. The social web and mobile devices make it quicker and easier than ever before for young people to communicate emotions through digital images. There is a need for greater knowledge of how to educate children and young people formally in the sophisticated, multimodal language of emotions. This includes semiotic choices in visual composition, such as gaze, facial expression, posture, framing, actor-goal relations, camera angles, backgrounds, props, lighting, shadows and colour. In particular, enabling Indigenous students to interpret and communicate emotions in contemporary ways is vital because multimodal language skills are central to academic, behavioural and social outcomes. This paper reports original research of urban, Indigenous, upper primary students' visual imagery at school. A series of full-day, digital imagery workshops were conducted over several weeks with 56 students. The photography workshops formed part of a three-year participatory community research project with an Indigenous school in Southeast Queensland, Australia. The archived student images were organised and analysed to identify attitudinal meanings from the appraisal framework, tracing types and subtypes of affect, and their positive and negative forms. The research has significant implications for teaching students how to design high-quality, visual and digital images to evoke a wide range of positive and negative emotions, with particular considerations for Australian Indigenous students.

Indigenous children's multimodal communication of emotions through visual imagery

This chapter reports original research that asks the question: What are the ways of knowing, being, and communicating that are valued and practiced in Indigenous communities? Literacy curricula, internationally and nationally, typically do not take into account the multi-sensorial dimensions of non-Western forms of representation that go beyond narrow conceptions of print. For example, literacies are often conceived as drawing on print, visual, spatial, gestural, and audio modes, but the role of haptics and locomotion has typically received little attention. This chapter highlights examples of the multi-sensoriality of Indigenous literacies observed in participatory community research with an Indigenous school. It extends recent theories of sensory studies in the history and cultural anthropology of the senses, applying these principles to literacy education. Sensory literacies is a theoretical perspective that gives priority to the sensorial dimensions of the body and its role in communication in literacy practice, because without a sensing body, we cannot know about or communicate with the world. The data demonstrates how the forgotten role of the hands and feet in dominant theories of communication is central to Indigenous identity and literacies. Written by a white academic with an Indigenous researcher, the chapter problematises the privileging of narrow, logocentric, and Western forms of literacy and its implications for rethinking the role of the whole body in literacy and the literacy curriculum for Indigenous students.

Jane Dooley

Papers

Indigenous children's multimodal communication of emotions through visual imagery

Sensory ways to indigenous multimodal literacies: Hands and feet tell the story [accepted manuscript]

Sensory ways to Indigenous multimodal literacies: Hands and feet tell the story

Indigenous children's multimodal communication of emotions through visual imagery [accepted manuscript]