scholarly journals REPRESENTATION OF THE OPPOSITION LIFE – DEATH WITH THE HELP OF ICONIC SIGNS -DIAGRAMS (BASED ON THE GOTHIC NOVELS ABOUT VAMPIRES )

2019 ◽  
Vol 5 ◽  
pp. 122-127
Author(s):  
O. O. Prykhodchenko ◽  
Keyword(s):  
Gothic Novels ◽  
Iconic Signs

Northanger Abbey, Lady Susan, The Watsons, Sanditon

2008 ◽  
Author(s):  
Jane Austen ◽  
Claudia L. Johnson
Keyword(s):  
Ordinary Life ◽  
Northanger Abbey ◽  
Gothic Novels

‘… in suspecting General Tilney of either murdering or shutting up his wife, she had scarcely sinned against his character, or magnified his cruelty.’ Northanger Abbey is about the misadventures of Catherine Morland, young, ingenuous, and mettlesome, and an indefatigable reader of gothic novels. Their romantic excess and dark overstatement feed her imagination, as tyrannical fathers and diabolical villains work their evil on forlorn heroines in isolated settings. What could be more remote from the uneventful securities of life in the midland counties of England? Yet as Austen brilliantly contrasts fiction with reality, ordinary life takes a more sinister turn, and edginess and circumspection are reaffirmed alongside comedy and literary burlesque. Also including Austen's other short fictions, Lady Susan, The Watsons, and Sanditon, this valuable new edition examines the ambitious and innovative works with which she inaugurated as well as closed her career.

Satire and Humour in Jane Austen’s ‘Northanger Abbey’

2020 ◽  
Vol 04 (04) ◽  
pp. 9-11
Author(s):  
Ashok Kumar Priydarshi ◽  
Keyword(s):  
Public Interest ◽  
Gothic Novel ◽  
Northanger Abbey ◽  
Gothic Novels

Northanger Abbey’ is a commentary on as well as satire of the popular Gothic novels of Austen’s era. She was exploiting public interest in the creaky house, creaky older man and frightened virginal young heroine tropes of the era’s popular Gothic novel. As it is in one of the hardest novels of Austen, people miss its satire. Here, we get a brilliant satire on the ridiculousness of the events, settings, and emotions of gothic novels in general.

scholarly journals Key Word Signing Has Higher Iconicity Than Sign Language

2020 ◽  
Vol 63 (7) ◽  
pp. 2418-2424
Author(s):  
Ellen Rombouts ◽  
Babette Maessen ◽  
Bea Maes ◽  
Inge Zink
Keyword(s):  
Intellectual Disabilities ◽  
Sign Language ◽  
Typical Development ◽  
Local Sign ◽  
Communication Difficulties ◽  
Key Word ◽  
Wide Availability ◽  
Manual Signs ◽  
Iconic Signs ◽  
Individuals With Intellectual Disabilities

Purpose Key word signing (KWS) entails using manual signs to support the natural speech of individuals with normal hearing and who have communication difficulties. While manual signs from the local sign language may be used for this purpose, some KWS systems have opted for a distinct KWS lexicon. Distinct KWS lexicon typically aims for higher sign iconicity or recognizability to make the lexicon more accessible for individuals with intellectual disabilities. We sought to determine if, in the Belgian Dutch context, signs from such a distinct KWS lexicon (Spreken Met Ondersteuning van Gebaren [Speaking With Support of Signs; SMOG]) were indeed more iconic than their Flemish Sign Language (FSL) counterparts. Method Participants were 224 adults with typical development who had no signing experience. They rated the resemblance between a FSL sign and its meaning. Raw data on the iconicity of SMOG from a previous study were used. Translucency was statistically and qualitatively compared between the SMOG lexicon and their FSL counterparts. Results SMOG had an overall higher translucency than FSL and contained a higher number of iconic signs. Conclusion This finding may support the value of a separate sign lexicon over using sign language signs. Nevertheless, other aspects, such as wide availability and inclusion, need to be considered.

scholarly journals Gothic elements in contemporary detective story : Matthew Gregory Lewis and Minette Walters compared

2009 ◽  
Vol 42 (1-2) ◽  
pp. 35-43
Author(s):  
Vesna Marinko
Keyword(s):  
18Th Century ◽  
Detective Story ◽  
Gothic Novel ◽  
Late 18Th Century ◽  
Matthew Gregory Lewis ◽  
Gothic Novels

One of the most shocking Gothic novels was written by Matthew Gregory Lewis in 1796. His Gothic novel The Monk contains all the typical Gothic elements such as a ruined castle, aggressive villain, women in distress, the atmosphere of terror and horror and a lot more. This article analyses and compares to what extent the Gothic elements of the late 18th century survived in the contemporary detective story The Ice House (1993) written by Minette Walters and how these elements have changed.

scholarly journals The influence of the language of new media on the literacy of young people in their school assignments and in leisure

2016 ◽  
Vol 2 ◽  
pp. 77-96
Author(s):  
Blaženka Filipan-Žignić ◽  
Vladimir Legac ◽  
Katica Sobo
Keyword(s):  
Young People ◽  
New Media ◽  
Negative Impact ◽  
Leisure Activities ◽  
Written Language ◽  
Private Language ◽  
School Students ◽  
Standard Language ◽  
Spare Time ◽  
Iconic Signs

The authors of this research study try to explore the real literacy among young people of today resulting from the influence of the language of new media (especially Facebook and the mobile phone). The impetus for this study comes from frequent complaints that the language of young people has deteriorated due to the negative impact of the language that young people are using in the new media. The authors have done this through an analysis of the way students write in their school assignments and in writings done in their spare time in the new media with regard to (non) existence of the language of new media (such as abbreviations, emoticons and other iconic signs, capitals, dialecticisms, anglicisms, vulgarisms, etc.). In their analysis, the researchers used a computer programme WordSmith Tools 6.0 (Scott 2006). The authors aimed to find out whether or not students in their private language texts use the language of new media (written language with many elements of spoken language and with many abbreviations) and whether or not the students in their school assignments consistently use the standard language without the elements that they normally use in their own language in the new media. The results have shown that secondary school students do consistently write in the standard language in their school assignments, whereas in their leisure activities they use all the elements of the language of new media.

scholarly journals A Critical and Semiotic Approach to the Wonderful, Horrible Life Cycle of the Kony 2012 Viral Video

2014 ◽  
Vol 12 (1) ◽  
pp. 214-237
Author(s):  
Fernando Andacht
Keyword(s):  
New York ◽  
New Media ◽  
Media Effects ◽  
Communication Theory ◽  
New York Times ◽  
Analytical Framework ◽  
Visual Media ◽  
Audience Response ◽  
Media Effect ◽  
Iconic Signs

Is it possible or plausible to represent horror and evil persuasively or authentically in these internet-multi-distributed times? And how can we account for a vast, belligerent reaction of public opinion when the representation of horror or evil is watched by an unprecedented, massive amount of people in North America and elsewhere in the YouTube realm? The unparalleled audience success of an unusually lengthy audiovisual narrative uploaded on YouTube whose subject matter is the quest for justice in East Africa was as remarkable as the diverse audience response of dismay, hope, joy and anger it elicited. The reaction was expressed in traditional print media (e.g. a special issue of The New York Times), in countless blogs and in YouTube – through assorted video-responses and written remarks, many of which were so disparaging that this function was disabled for the Kony 2012 video on YouTube. To try to account for the outpour of supportive viewers and of an increasingly negative response, I analyse its visual rhetoric and also some the critical remarks it triggered. The main strategy of the video consists in what I have described elsewhere as the “index appeal” of popular factuality programming (reality shows, docudramas, talk shows and documentaries), namely, the prevalence of allegedly involuntary signs aimed at producing intense emotions in viewers. Peirce’s semiotic theory of indexicality – as well as of iconic and of symbolic signs – is central to my analytical approach, as well as his critique of dualism. I also revisit a 1948 paper of two seminal figures in the pantheon of communication theory, P. Lazarsfeld and R. Merton. Their functionalist analysis of media effects posits a peculiar “narcotizing dysfunction” to account for the apathy produced in the audience despite the increasing intake of media information by the population. This paradoxical media effect posited by early functionalism, I think, is akin to what is harshly criticized over sixty years later about the significant impact produced by the Kony 2012 video on its vast public. Through the case study of a visual media narrative that gathered an audience as large as a populous nation in less than a week, and an equally impressive array of biting critical views in both traditional and new media, the article aims to account for its remarkable success and its ulterior proclaimed failure as a humanitarian campaign in the streets. I will do so by revisiting the early functionalist critique of mass media effects within the analytical framework of the action of indexical-iconic signs in the age of YouTube.

scholarly journals Pantomimic fossils in modern human communication

2021 ◽  
Vol 376 (1824) ◽  
Author(s):  
Przemysław Żywiczyński ◽  
Sławomir Wacewicz ◽  
Casey Lister
Keyword(s):  
Modern Human ◽  
The Body ◽  
Human Communication ◽  
Theme Issue ◽  
Core Component ◽  
Early Humans ◽  
Ape Communication ◽  
Iconic Signs ◽  
Human Specific ◽  
Key Innovations

Bodily mimesis, the capacity to use the body representationally, was one of the key innovations that allowed early humans to go beyond the ‘baseline’ of generalized ape communication and cognition. We argue that the original human-specific communication afforded by bodily mimesis was based on signs that involve three entities: an expression that represents an object (i.e. communicated content) for an interpreter . We further propose that the core component of this communication, pantomime, was able to transmit referential information that was not limited to select semantic domains or the ‘here-and-now’, by means of motivated—most importantly iconic—signs. Pressures for expressivity and economy then led to conventionalization of signs and a growth of linguistic characteristics: semiotic systematicity and combinatorial expression. Despite these developments, both naturalistic and experimental data suggest that the system of pantomime did not disappear and is actively used by modern humans. Its contemporary manifestations, or pantomimic fossils , emerge when language cannot be used, for instance when people do not share a common language, or in situations where the use of (spoken) language is difficult, impossible or forbidden. Under such circumstances, people bootstrap communication by means of pantomime and, when these circumstances persist, newly emergent pantomimic communication becomes increasingly language-like. This article is part of the theme issue ‘Reconstructing prehistoric languages’.

Jane Austen’s Questioning of Gender and Genres

2019 ◽  
Author(s):  
Marie-Laure MASSEI-CHAMAYOU
Keyword(s):  
Eighteenth Century ◽  
Social Order ◽  
Power Relations ◽  
Jane Austen ◽  
The Political ◽  
The Novel ◽  
Conduct Books ◽  
Northanger Abbey ◽  
Gothic Novels ◽  
Opposite View

If Jane Austen admits in her correspondence that she was eventually pleased with Thomas Gisborne’s Enquiry into the Duties of the Female Sex (1797), the Anglican theologian nonetheless endorsed the prejudices shared by most eighteenth-century moralists towards novels. Now, in Northanger Abbey, a novel filled with literary allusions, Jane Austen’s narrator bravely takes the opposite view by launching into a bold defence of the genre. Besides resorting to a biting irony to scrutinize her society’s axioms, rules and power relations, her novels notably question Manichean representations of masculine and feminine roles. Jane Austen’s choice to distance herself from the strictly gendered models inherited from conduct books, sentimental, or gothic novels, further combines with her questioning of generic conventions. This article thus aims at exploring how Jane Austen engaged with these representations while articulating her subtle didacticism. Her aim was not merely to raise the respectability of the novel genre, but also to provide a possible answer to the crisis of values that was threatening the very foundations of the political and social order.

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