The Semiotics of Typography in Literary Texts. A Multimodal Approach

Abstract

This article explores from a multimodal perspective the extent to which the visual aspect of printed verbal language is meaning‐making in its own right, and how it interacts with other modes of meaning in a complex process of semiosis. To this end, the article deploys and examines the approach to multimodal discourse proposed, for instance, by Kress and Van Leeuwen (2001) and Baldry and Thibault (2006), and, more specifically, the multimodal approach to typography suggested by Van Leeuwen (2005b; 2006), in order to sketch out a methodological framework applicable to the description and analysis of the semiotic potential of typography in literary texts.

Index in Alexandre Dumas’ Novel the Man in the Iron Mask: A Semiotic Analysis

“…Another example like the existence of the wet ground is caused by the rainfall. It is in line with Norgaard statement that the meaning-potential of the index resides in a basically physical and causal relation between the signifier and the signified, as in the archetypical examples of the relation between smoke and fire, and between a footprint and the person who made the footprint (Norgaard, 2009). …”

“…The study of semiotic especially by using literary work as object had been done by Masters as cited in Norgaard (2009) that as part of its meaning-making, novel contains facsimile reproductions of a number of entries from Stuart's private diary in the novel Stuart. A Life Backwards.…”

The Other Side of the Looking Glass: Absence in Chains of Signifiers as a Vehicle of Autoreferentiality

“…Takav način uporabe različitih kanala komunikacije u posljednjim se istraživanjima naziva višemodalnošću (usp. Gibbons 2008, Hallet 2009, Nørgaard 2009). Alison Gibbons definira višemodalnu književnost kao "književnost koja se koristi više nego jednim semiotičkim modusom u izražavanju svoje pripovijedi" (2008: 107).…”

Typography and Its Significant to Memorizing a Logo

“…Other than appearing soft and smooth, that light typeface provides a positive impression on the mind. Referring to Norgaard [27] and Leeuwen [18], bold typeface will be more pronounced when used with light typeface.…”

“…This is quite expected, as regular typeface is more average and appropriate to be used in numerous occasions. Norgaard states that regular weight typeface is the common choice due to its modest characteristics that are not too intense [27].…”