By Duncan Fegredo
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Extra resources for Hellboy The Fury #1 Mike Mignola Cover
Sample text
Motion lines encourage the reader to ‘[call] up personal references to action – blurred mental pictures of objects in motion’ (Taylor 2001: 46) or, more properly, of the background scenery in motion when focusing on an object moving with the viewer through space. In comics, motion lines lead the reader’s eye to the focal object, precluding perception of a background. In these respects, motion lines are a visual metaphor for a first-person embodied perspective, supporting the link between real-world experiences of motion and their depiction on the comics page, thus ‘imitating [and] exaggerating reality’ (Eisner 1996: 1–2).
This chapter will investigate the roles of the interpersonal and textual metafunctions in creating humor, and thus we need to examine the metafunctions more closely. Language use involves all three metafunctions simultaneously; in fact, some models also include a fourth metafunction, the poetic (see Finch 1998). Each metafunction may be expressed through different resources; however, particular communications may emphasize one of the metafunctions over the others. Incongruity theories of humor, for instance, suggest that the ideational metafunction is stressed in jokes.
And Lakoff, G. (2005) Image schemas: from linguistic analysis to neural grounding. In B. Hampe with J. E. ) From Perception to Meaning: Image Schemas in Cognitive Linguistics, pp. 57–92. Berlin: Walter de Gruyter. Eisner, W. (1985) Comics & Sequential Art. Tamarac, FL: Poorhouse Press. Eisner, W. (1996) Graphic Storytelling and Visual Narrative. Tamarac, FL: Poorhouse Press. Evans, V. and Green, M. (2006) Cognitive Linguistics: An Introduction. Edinburgh: Edinburgh University Press. Forceville, C.