Personalising Crime and Crime-fighting in Factual Television:an Analysis of Social Actors and Transitivity in Language and Images

This article addresses the lack of work on media and crime in Critical Discourse Analysis (CDA), using an example of a factual television crime report. The existing research in media studies and criminology points to the way that the media misrepresents crime by distorting public understandings and backgrounding structural issues, such as poverty, which are related to crime thereby legitimising a criminal justice system that serves the interests of the powerful in society. Using social actor and transitivity analysis, this article shows how multimodal CDA can make an important contribution as it reveals the more subtle linguistic strategies and visual representations by which this process is accomplished, showing how each plays a part in the recontextualisation of social practice. This programme backgrounds which crimes are committed but foregrounds mental states and the neutrality of policing.

Introduction: Mapping Gwen John: Lives, Lines and Images

Nomadic Narratives, Visual Forces explores issues, questions, and problems emerging in the analysis of epistolary and visual narratives. This book focuses in particular on Gwen John's letters and paintings. It offers an innovative theoretical approach to narrative analysis by drawing on Foucault's theory of power, Deleuze and Guattari's analytics of desire, and Cavarero's concept of the narratable self. Furthermore, it examines the use of letters as documents of life in narrative research and highlights the dynamics of spatiality in the constitution of the female self in art. This study brings together theoretical insights that emerge from the analysis of life documents - some of them previously unpublished - combining innovative research with specific methodological suggestions on doing narrative analysis.

An analysis of students' travel motivations and images of China as a tourist destination

Despite China's rapid growth in inbound tourism, the nature of its Canadian tourist market has been insufficiently studied. In response to this need, the objectives of this study are to identify China's destination image in Canadian students' minds, their possible internal motivations for visiting China as well as examining demographic influences on people's destination image formation. The study reviews image formation process and travel motivation categorisation, discusses their relationship, and implements Baloglu and McCleary's (1999) perceptual and affective image formation model and "push and pull factors" theory as its framework. A self-administered survey was applied to 424 undergraduate students in a Canadian university in early 2004. Exploratory factor analyses were conducted to identify perceived images and travel motivation. Summated means were calculated to illustrate the affective attitudes. A series of f-test and ANOVA tests were employed to examine the influence of demographics. An open-ended question format was adopted to analyse other images, motivations and visitation barriers that students may have. Findings demonstrate that cultural and natural attractions are the predominant image which the Canadian students have of China'; some stereotypes and negative images still influence the students' perception; travel service quality is largely unknown; increasing knowledge and seeking excitement and fun are the significant motivators in the likelihood of the Canadian students choosing to visit China; and personal interests may be a factor that significantly influences an individual's destination image and travel motivation. Raising awareness and increasing familiarity through promotion are suggested as methods to create a positive destination image of China.

The Tyne Digital Library - Part 2 Maps and Images

In this section, you will find maps showing various important aspects of the River Tyne catchment area. All the maps are drawn based on Ordnance Survey data made available via the Digimap service. For the land cover maps of the catchment area, four variants are provided. Please note that the full details of the intext citations quoted in some of the following maps can be found in the full bibliographic listing.

Visual narratives in the children's picture story book : an investigation of the extent to which the formal structuring of a visual narrative retrieves a pastiche of past experiences and images which in turn shapes and redirects the story

Throughout this research, the notion that illustrators of children's books embark on two types of activity has been reinforced at every turn. On one hand the artist acknowledges the external world by organising images of actions and events in the contexts of place and time. This process involves bringing ideas into a physical form and demands the structuring of characters, settings, and story development. Planning and decisions are informed by imperatives that recognise the need for conventions of articulation and communication to a particular target audience. These then become a mayor priority of bookmaking and are constantly impacted on by publishers1 demands and ethical constraints. The other perspective sees the illustrator as expresser where the core of visual narratives for children celebrates the potency of imagination. Here dreams, fantasies, memories and the unconscious become the conduits to shaping sequential images. The artist is engaged not simply in visually telling a story, but rather telling facets of his or her own story. This exegesis traces the evolution of my own picture story book Eddie's Fantastic Fortnight published by Five Mile Press Publishers in tandem with the insights and reflections of five of Australia's most prominent illustrators. It examines whether the structure invested in a visual narrative liberates expressive response, ascribing to the premise that bookmaking plays an informing role to imagination. Equally it adopts the alternative position which asserts that the essence of children's books is indeed fantasy, memory and dreams. This proposition views imagination and inspiration as the primary catalyst around which illustrators build their narrative. In the often lengthy processes of bookmaking, these considerations constantly shift. I have attempted to explore and reveal these mobile and ever changing priorities, not only in my own work, but also through leading exponents in the field.

Women's silence : in the space of words and images

My thesis is made up of words and images. This study investigates the way in which silence operates productively within and between the two modes of communication. I suggest that in the process of changing words into images or scripto-visual art-practice, the silence in women's lives can be articulated. I argue that women draw on the generative qualities of silence to create forms of speech that override the cultural constructions of gender which have placed them within the space of ‘mute’ silence. To gain an historical perspective of this practice by women, I consider the lives of medieval nuns within religious enclosure and their work with words and images in the illuminated manuscript. I make a comparative study of original illuminated manuscripts, focussing mainly on visual language and locating aspects of the work closest to my own art-practice: the visual treatment of the space and inter-textual components of the page or folio. This project does not include an examination of miniatures or historiated initials. Rather, its aim is to identify and compare the use of other aesthetic devices available to the medieval scribe/artist through which they might have interacted with the text. I suggest links between verbal and visual performances of language and the repetition, or copying of texts by medieval nuns, as a means of female embodiment of words and their spaces. From the outcomes of my studio investigations and my consideration of other contemporary feminist art practices, I demonstrate how women artists may ‘re-write’ the text and ‘speak’ their silence through visual language and the acts of writing, drawing and painting the words of others. Through my engagement with feminist critical theory, the work of medieval scholars, original illuminated manuscripts and my studio research, I propose that scripto-visual practice remains particularly significant for women despite the differences between the medieval period and our own. As a generative practice, it negotiates some of the societal constraints on women's speech and visibility, because its language is ‘silent and disembodied’ from the image of woman constructed by male discourse. It is a form of speech that acknowledges as it defies the social and cultural conditions that shaped its necessity, articulating an alternative voice of women in the space of words and images.

Composing in words and images : a proposal for a tandem approach to written and visual composition pedagogy

This project proposes a module for teaching visual composition within the context of a written composition course. Drawing from process writing theory, critical pedagogy, and photo-elicitation, “Composing In Words And Images��� gives composition teachers a module and direct instruction for the incorporation of critical visual composition studies in their writing classes.

Bedouins : Mary Garden, Debussy, Chopin or the circus, Botticelli, Poe, Brahmsody, Anatole France, Mirbeau, Caruso on wheels, Calico cats, The artistic temperament : Idols and ambergris : with The supreme sin, Grindstones, A masque of music, and The vision malefic /

Mode of access: Internet.

Dialogue, speech and images:the companions project data set

This paper describes part of the corpus collection efforts underway in the EC funded Companions project. The Companions project is collecting substantial quantities of dialogue a large part of which focus on reminiscing about photographs. The texts are in English and Czech. We describe the context and objectives for which this dialogue corpus is being collected, the methodology being used and make observations on the resulting data. The corpora will be made available to the wider research community through the Companions Project web site.