Augmented Reality (AR) is increasingly changing our perception of the world. The spreading of Quick Response (QR), Radio Frequency (RFID) and AR tags has provided ways to enrich physical items with digital information. By a process of alignment the codes can be read by the cameras contained in handheld devices or special equipment and add computer-generated contents – including 3-D imagery – to real objects in real time. As a result, we feel we belong to a multi-layered dimension, to a mixed environment where the real and the virtual partly overlap. Fashion has been among the most responsive domains to this new technology. Applications of AR in the field have already been numerous and diverse: from Magic Mirrors in department stores to 3-D features in fashion magazines; from augmented fashion shows, where models are covered with tags or transformed into walking holograms, to advertisements consisting exclusively of more or less magnified QR codes. Bodies are thus at the same time augmented and encrypted, offered to the eye of the digital camera to be transfigured and turned into a secret language which, among other functions, can also have that of becoming a powerful tool to bypass censorship.
Mara Logaldo beleuchtet in diesem Beitrag die unterschiedlichen sprachwissenschaftlichen Ansätze, die in der Zeitschriftenforschung zur Anwendung kommen, von Diskursanalyse und Soziolinguistik über multimodale und textlinguistische Verfahren bis hin zu Bewertungstheorie und Korpuslinguistik. Ausgehend von Fragestellungen zu den physischen und sozialen Merkmalen der Zeitschrift untersucht sie, wie die linguistische Analyse - deren Einsatz im Feld der Zeitschriftenforschung immer noch begrenzt ist - sich textuellen, kontextuellen und sozialen Praktiken annähert. Die Linguistik deckt Logaldo zufolge zwar nicht alle Aspekte der Zeitschriftenforschung methodologisch ab, hat jedoch wesentlich zu den Fortschritten innerhalb der Disziplin beigetragen. Der Beitrag macht vor diesem Hintergrund auch auf die Gefahren akademischer Fragmentierung aufmerksam.
It is generally agreed that in photojournalism pictures come first. However, also the short verbal texts that accompany them play a crucial role, as they lead readers among the different signifieds of the image. A multimodal discourse analysis of captions will aptly consider both the linguistic elements that appear within the verbal discourse and the image-text relation. The interconnectedness of captions and pictures has lately been defined as a “loop,” a view which blurs the traditional distinction between anchoring and relaying processes theorized by Barthes. The association of the relaying function with comics, however, seems to establish an interesting point of contact between photojournalism and pop art. Captions actually show the tension between “high” and “low” culture, the former being traditionally identified with the word and the latter with the image. While in the heyday of photojournalism captions were made necessary by the poor quality of the photographs, they soon began to provide an abstractive summary of the story told by the picture. This selective process involves interpretation. For this reason, captions can be ethically misleading and even legally controversial forms of discourse, for instance when they are used instrumentally to convey a specific point of view. In photojournalism dealing with crime cases, in particular, captions may display a sensationalist and populist view of justice, thus articulating the thoughts of public opinion supported by the newspaper’s stand. My case study focuses on the caption that accompanied the photo portraying Perry Smith and Richard Hickock while leaving the courtroom on March 29, 1960. The two murderers – who have become famous after the publication of the documentary novel
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