https://doi.org/10.59132/viz/2023/3/18-24
Izvleček
Članek se s pregledom ključne teorije osredotoča predvsem na sodobni stripovski jezik. V mnoštvu razpravljanj o stripu in notranjih lastnostih forme v zadnjem desetletju med avtorji izstopa Neil Cohn, ki je za obravnavo specifičnih lastnosti podob v stripih uvedel teorijo vizualnega jezika (Visual Language Theory). Tudi njegovi predhodniki so pogosto primerjali jezik podob z verbalnim jezikom in ga razumeli kot manj sistematičnega in urejenega s pravili ter se razlag lotevali z analogijami (npr. stripovski okvirček je v enaki vlogi kot stavek v besedilu). Cohn z uporabo jezikoslovnih metod obravnava stripovske podobe kot ikone, indekse in simbole, med katerimi so podobe po delovanju najbolj podobne besedam, ker je njihov pomen določen s konvencijo (podoba ne pomeni tistega, čemur je »podobna«).
Abstract
Visual Language of Comics
This article reviews the key theory and focuses primarily on the language of contemporary comics. In the many discussions on comics and the intrinsic properties of the form, Neil Cohn stands out among the authors of the last decade. His Visual Language Theory addresses the specifi c properties of images in comics. His predecessors, too, frequently compared the language of images to verbal language, seeing it as less systematic and rule-governed, and approached explanations through analogies (e.g., the comic frame serves the same function as a sentence in the text). Cohn employs linguistic techniques to treat comic book images as icons, indices, and symbols. The latter function most similarly to words because their meaning is determined by convention (an image does not mean what it “resembles”).