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Mediativity, Mediageny and Modality as Discursive Strategies of the Real in Comics

Received: 9 April 2022     Accepted: 27 April 2022     Published: 31 May 2022
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Abstract

The coexistence in comics of elements such as iconic and linguistic signs allows this medium to stage its own codes. This relationship between the image and the writing is the result of a balance of power. Through this, the comic strip questions its own linguistic mechanisms, its semiotic codes or the properties of its medium. This medium, which exploits one or other of these possibilities to construct meaning, establishes the relationship between mediagenicity and mediativity. Mediativity concerns the nature of the signs mobilized by each medium, its semiotic configuration. It integrates the study of modalities and questions the sources of knowledge conveyed by an utterance as well as the modes of access of the speaker to these sources, and therefore to this knowledge. It manifests itself, therefore, through the media's ability to seize subjects or themes borrowed from other sources. Mediagenic describes the ability of a narrative project, or even of a genre, to come to fruition by choosing the media partner that best suits it. It designates the media's ability to find the "right shape". Modalization produces a mark or a set of formal marks by which the subject of the enunciation expresses his greater or lesser adherence to the content of the statement. Mediativity, mediagenics and modalisation identify the mechanisms, strategies and the way in which meaning and reality are constructed in discourse. Thus, in this work, the problem in which we are interested is that of the adequacy between the imaginary and the expressive possibilities of the media, considered in their own physicality and which participates in the construction of meaning and reality.

Published in Science Research (Volume 10, Issue 3)
DOI 10.11648/j.sr.20221003.12
Page(s) 64-68
Creative Commons

This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.

Copyright

Copyright © The Author(s), 2022. Published by Science Publishing Group

Keywords

Comics, Mediativity, Mediagenics, Modalisation

References
[1] Groensteen Thierry, 2005, “Mediativity and reflexivity, mediativity and imagination: how fables are embodied”, Dalhousie University, Vol. 04, No 2, URL http://hdl.handle.net/10222/47702
[2] Guy Gauthier, 1982, Twenty Lessons on Image and Meaning, Paris, Edilig.
[3] Marion Philippe, 1997 a, “Media Narratology and Media Engineering of Narratives”, Research in Communication, No. 7, pp. 62-88, DOI: https://doi.org/10.14428/rec.v7i7.46413
[4] Marion Philippe, 1997 b, “Do the images tell? (Concluding variations on iconic narrativity)” Research in communication, n° 8, Louvain, p. 129-148. https://doi.org/10.14428/rec.v8i8.46603
[5] Le Querler Nicole, 1996, Typology of modalities, Caen, University Press of Caen, (ISBN 978-2841330546).
[6] Ricœur Paul, 1984, Time and narrative, t. 2, The configuration of time in fictional narrative, Paris, Ed. du Seuil.
[7] Wolton Dominique, 1993, Public praise, Paris, Flammarion.
[8] Henry Hathaway, adapted from the plates of Harold Forster, 1954, Prince Vaillant, Twentieth Century Fox.
[9] Mario Puzo, David Newman, Leslie Newman, Robert Benton, (screenwriters), Dir. Richard Donner, 1978, Superman, International Films productions.
[10] Steven Moffat, Edgar Wright and loe Corish (Writers), Dir. Steven Spielberg. Adapted from Hergé, 2011, The Adventures of Tintin: The Secret of Unicorn. Pictures/Nickelodeon, DVD.
[11] Hani Georges, 2020, “Some semiotic reflections on Acting, Research in communication”, Vol. 37, no 1, https://doi.org/10.4000/communication.11476
[12] Tudor Mihaela Alexandra and Bratosin Stefan, 2021, Media coverage. New challenges for science and society, Paris, Harmattan.
[13] Lagos Camila Perez, 2020, “The case of the Cambridge Analytica “scandal”, Research in Communication, Vol. 37, no02, https://doi.org/10.4000/communication.13252
[14] Holubowicz Maria, 2020, “How a satirical hyperlocal anti-globalization newspaper demystifies NICTs and digital technology”, Recherches in Communication, Vol. 37, no01, https://doi.org/10.4000/communication.11222
[15] Longhi Julien, 2018, From discourse as field to discourse as terrain, Paris, L’Harmattan, Coll. “Digital Humanities”.
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  • APA Style

    Bénewendé Mathias NITIEMA. (2022). Mediativity, Mediageny and Modality as Discursive Strategies of the Real in Comics. Science Research, 10(3), 64-68. https://doi.org/10.11648/j.sr.20221003.12

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    Bénewendé Mathias NITIEMA. Mediativity, Mediageny and Modality as Discursive Strategies of the Real in Comics. Sci. Res. 2022, 10(3), 64-68. doi: 10.11648/j.sr.20221003.12

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    AMA Style

    Bénewendé Mathias NITIEMA. Mediativity, Mediageny and Modality as Discursive Strategies of the Real in Comics. Sci Res. 2022;10(3):64-68. doi: 10.11648/j.sr.20221003.12

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  • @article{10.11648/j.sr.20221003.12,
      author = {Bénewendé Mathias NITIEMA},
      title = {Mediativity, Mediageny and Modality as Discursive Strategies of the Real in Comics},
      journal = {Science Research},
      volume = {10},
      number = {3},
      pages = {64-68},
      doi = {10.11648/j.sr.20221003.12},
      url = {https://doi.org/10.11648/j.sr.20221003.12},
      eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.sr.20221003.12},
      abstract = {The coexistence in comics of elements such as iconic and linguistic signs allows this medium to stage its own codes. This relationship between the image and the writing is the result of a balance of power. Through this, the comic strip questions its own linguistic mechanisms, its semiotic codes or the properties of its medium. This medium, which exploits one or other of these possibilities to construct meaning, establishes the relationship between mediagenicity and mediativity. Mediativity concerns the nature of the signs mobilized by each medium, its semiotic configuration. It integrates the study of modalities and questions the sources of knowledge conveyed by an utterance as well as the modes of access of the speaker to these sources, and therefore to this knowledge. It manifests itself, therefore, through the media's ability to seize subjects or themes borrowed from other sources. Mediagenic describes the ability of a narrative project, or even of a genre, to come to fruition by choosing the media partner that best suits it. It designates the media's ability to find the "right shape". Modalization produces a mark or a set of formal marks by which the subject of the enunciation expresses his greater or lesser adherence to the content of the statement. Mediativity, mediagenics and modalisation identify the mechanisms, strategies and the way in which meaning and reality are constructed in discourse. Thus, in this work, the problem in which we are interested is that of the adequacy between the imaginary and the expressive possibilities of the media, considered in their own physicality and which participates in the construction of meaning and reality.},
     year = {2022}
    }
    

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    AB  - The coexistence in comics of elements such as iconic and linguistic signs allows this medium to stage its own codes. This relationship between the image and the writing is the result of a balance of power. Through this, the comic strip questions its own linguistic mechanisms, its semiotic codes or the properties of its medium. This medium, which exploits one or other of these possibilities to construct meaning, establishes the relationship between mediagenicity and mediativity. Mediativity concerns the nature of the signs mobilized by each medium, its semiotic configuration. It integrates the study of modalities and questions the sources of knowledge conveyed by an utterance as well as the modes of access of the speaker to these sources, and therefore to this knowledge. It manifests itself, therefore, through the media's ability to seize subjects or themes borrowed from other sources. Mediagenic describes the ability of a narrative project, or even of a genre, to come to fruition by choosing the media partner that best suits it. It designates the media's ability to find the "right shape". Modalization produces a mark or a set of formal marks by which the subject of the enunciation expresses his greater or lesser adherence to the content of the statement. Mediativity, mediagenics and modalisation identify the mechanisms, strategies and the way in which meaning and reality are constructed in discourse. Thus, in this work, the problem in which we are interested is that of the adequacy between the imaginary and the expressive possibilities of the media, considered in their own physicality and which participates in the construction of meaning and reality.
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