Making meanings with comics : a functional approach to graphic narrative (original) (raw)

This thesis proposes that, viewed at the appropriate level of abstraction, pictures can do the work that language does; and a framework that describes the functions served by both will usefully enable discussion of graphic narrative. In the thesis, I outline such a framework, based largely on the work of Michael Halliday, drawing also on the pragmatics of Paul Grice, the Text World Theory of Paul Werth and Joanna Gavins, and ideas from art theory, psychology and narratology. This brings a complete Hallidayan framework of multimodality to comics scholarship for the first time, and extends that tradition of multimodal linguistics to graphic narrative. I owe a debt of gratitude to many who have helped and supported me through the development of this thesis. First and foremost, I must thank Professors M.A.K. Halliday and Ruqaiya Hasan for the inspiration that gave shape to the thesis. Dr J.D. Rhodes helped to shape the initial ideas and gave invaluable feedback on the early stages of exploration and writing. Dr Roberta Piazza's close commentary and advice has been crucial, especially as regards the linguistic theory, and Dr Doug Haynes has supported the project from beginning to end. The University of Sussex Doctoral School and the School of English have provided sources of funding and support throughout. Sussex Downs College staff have been gracious about time needed for academic work, and my students have provided inspiration for, and sometimes testing of, the ideas presented here. The Transitions Symposium team have provided an annual venue for inspiration, development of and feedback about comics theory, as have the editors of Studies in Comics, in particular Dr Julia Round, and of the Journal of Graphic Novels and Comics. I am indebted to reviewers at these journals for feedback on articles that share material with Chapters 2 and 3, and to Benoît Crucifix for comments on material shared with Chapter 5. Another constant through the process of exploring theory has been the membership of what became the British Consortium of Comics Scholars, including John Miers, Louisa Buck, Nicola Streeten, Dr Paddy Johnston and Dr Thierry Chessum, among many who have joined us. For their help, friendship and lively debate I am deeply grateful. The wider comics scholarship community, in particular at the International Graphic Novels and Comics Conferences, have likewise provided invigorating support and stimulus. On a more personal level, Marina supported me through the start of the process, and Claudia has supported me through to the end, and does so still. This thesis is dedicated to my family and to the memory of my father.