視覺(jué)語(yǔ)法框架下英語(yǔ)視覺(jué)詩(shī)的多模態(tài)話(huà)語(yǔ)分析及視頻網(wǎng)站付費(fèi)模式發(fā)展及現(xiàn)狀

PAGE1Visualpoetryhasundergoneabundantstudiesfromthetraditionalway,whereasmultimodaldiscourseanalysisofithasjustbegun.Thecurrentstudyconfinestothestudyofonlyoneorjustafewofvisualpoetryandthechoiceofvisualpoetryaretotallydependingonthefavorofindividualresearcher.Thatistosay,thepresentstudylacksasystematicandcomprehensivemultimodaldiscourseanalysisofvisualpoetry.Therefore,thisthesisaimsatconductingasystematicmultimodalanalysisofvisualpoetry.Insum,Thischapterconcentratesontheliteraturereview,whichincludethereviewofmultimodaldiscourseanalysisandthepreviousstudiesonvisualpoetry.chaptertwohasbeendevotedtoliteraturereviewofthestudy.Thischapterspecificallyexplainsorstatesthedefinitionsofmultimodaldiscourseanalysisandvisualgrammar,thenmakesanoverviewonthepresentresearchsituationofthewesternanddomesticstudiesaboutthemultimodaldiscourseanalysisandthevisualgrammar.Thischapterintroducestwomajortheoreticalframeworksforanalyzingvisualpoetryfromtheperspectiveofmultimodaldiscourseanalysis,namely,Halliday’ssystemicfunctionalgrammarandKressandvanLeeuwen’svisualgrammar.SystemicFunctionalGrammarisfirstlyputforwardbyHalllidayinthe1960swhoconsidersthatsymbolicsystemsareformedbyhowpeopleusethemtomakemeaning,itisnotmerelyabranchofsystemicfunctionallinguisticsbutalsoatheoreticalfoundationofmultimediadiscourseanalysis.SystemicFunctionalGrammarhasagreatinfluenceonvariouslinguisticbranches,suchasdiscourseanalysis,languageteaching,stylistics,sociolinguistics,andmachinetranslation.Hallidayrealizesthatlanguageisatoolforhumancommunicationandhasavarietyoffunctions,hesummarizesthefunctionoflanguageandclassifiedthreekindsofmetafunctionsoflanguage.Thethreemeta-functionsactandaffecteachothertomakelanguagemeaningful.Ashesays,Ideationalfunctionisalsocalledinformativefunction,itisafunctionthatspeakerinmentalactivitiescanexpresstheirfeelingsoftherealworldtocommunicatingtounknownorhearer,thatistosay,languageservesfortheexpressionofcontent.Ideationalfunctioniscomposedoftwoparts:logicalfunctionandexperientialfunction.Logicalfunctionreferstothegrammaticalresourcesforsettingupgrammaticalunitsintocomplexes,forinstance,forintegratingtwoormoreclausesintoaclausecomplex.Experientialfunctionreferstothegrammaticalresourcesthatenablespeakersinconstruingexperiencethroughthephysicalandmentalworld,both,speakerscanconstructingmeaningfromexperiencethatlanguageexpressed.Interpersonalfunctionembodiesallusesoflanguagetoexpresssocialandpersonalrelations,itisafunctionthatspeakersuselanguageasaparticipanttotakepartinsocialactivitiesandexpresshisorhermeaning.Interpersonalfunctionrelatestothefunctionoflanguagetoexchangemeaningsandinfluencetheaddressersattitudesorbehavior.Asforinterpersonalfunction,Hallidayinterpretsitasfollows:Interpersonalfunctionisconsideredtobethemostcrucialsocialapplicationoflanguage,bywhichpeopleconsolidate,establishandmaintainharmoniousinterpersonalrelationshipsandfacilitatesocialinteractionsinasociety.Textualfunctionrelatestothefactthatshowshowwritersorganizetextsandtheinternalorganizationandnaturalcommunicationruleoftext,thatistosay,howlanguageisstructuredbyspeakersorganizetheirinformationorthoughtstoexpresshisorhermeaninginaspecificcommunication,itisexecutablethespeakerorwritertobuildatext.Textualfunctionfulfillstherequirementthatlanguageshouldbeoperationallyrelevant,havingtextureinarealcontextofsituationthatdistinguishesalivingpassagefromamereentryinagrammar.Textualfunctioncanalsohighlightcertainpartsofatext.Itprovidestheremainingelementsofmeaningpotentialtobeconstructedintotheintegrationoflinguisticstructure.Textualfunctionismainlyengagedtoformingtextrealizedbyinformationstructureandthematicstructure.Withouttextualfunction,ideationalfunctionandinterpersonalfunctionareinvalidandlanguagemakesnosense.Asisshownabove,Halliday’ssystemicfunctionalgrammarpresentsaclearsysteminlinguistics.Meanwhile,threemeta-functionsareusefulmethodstoanalyzelanguageandplaycrucialrolesinsystemicfunctionalgrammar.ItisnodoubtthatHalliday’ssystemicfunctionalgrammarestablishesitshighandimportantpositioninthestudyoflinguistics.Intheprocessoftheresearch,someresearchersrealizethatsystemicfunctionalgrammarisinsufficienttoexplainthemeaningofthemodalitiesoutoftheverballanguage.Asaresult,systemicfunctionalgrammarhasbeenadoptedandextendedintoothermultimodaldiscourseanalysis.Visualgrammarcomesintobeingwhichwasformedonthebasisofsystemicgrammarandmakessomenecessarychanges.StemmingfromHalliday’ssystemicfunctionalgrammar,KressandVanLeeuwenestablishvisualgrammarinthevisualfiled,visualgrammarisnaturallyappliesintootherfieldsandchangesintonewgrammartobesuitablefordifferentfields.Inadditiontolanguagefactors,theformofdiscourseisbecomingincreasinglydiverse,andmeaningcanbeestablishedbysomeothersocialmodessuchasimages,music,dance,bodylanguage,gestureetc.Thediversityintermsofcommunicationtypeforpeopletoexchangeinformationismoreandmoreobviously,thereisanurgentneedfortheresearchonvisualimages.Asaresult,KressandVanLeeuwenadoptsystemicfunctionalgrammarandtrytogiveasystemicanalysisonthegrammarofvisualtexts,theytaketheviewthat.BasedonHalliday’ssystemicfunctionalgrammar,KressandVanLeeuwenestablishaframeworkofvisualgrammarforsocialsemioticanalysisandanalyzethegrammarofvisualdiscoursesystemically.Astovisualgrammar,inKressandLeeuwen’sopinion,ThisthesispreparestoconcentrateonthethreemeaningsofEnglishvisualpoetryandelaboratethoseseparatelyinthisthesis.Toputitclearly,therelationshipbetweenthemisfollowedasTable3.1.RepresentationalmeaninginvisualgrammarcorrespondstoideationalfunctioninHalliday’ssystemicfunctionalgrammar.Representationalmeaningreferstothefactthatvisualsymbolsarejustlikelanguagetofaithfullyrepresenttheexperientialworldandtheinnerworldofhumanbeing.BaseonHalliday’ssystemicfunctionalgrammar,asfarasKressandVanLeeuwenconcernedKressandVanLeeuwendividerepresentationalmeaningintotwoparts,thatisnarrativeprocessandconceptualprocess.Narrativeprocesspresentstheprocessofactions,events,instantaneousspacedistributionandtransformationinvisualimages,whiletheconceptualprocessisstabilization,generalandhasnotimelimitationthannarrativeprocesswhichpresentstheperspectivesofvisualimages’structure,typeandmeaning.Thedifferencebetweennarrativeprocessandconceptualprocessliesinthefactthatwhetherthereexistsavector(vectorisavariablequantitythatcanberesolvedintocomponentswhichreferstoadirectionthatiseasilydevelopedbyaneyelineasinitiatinganactiontoothersoritcanbeanactionwhenpeoplepointstoothers)intwoprocesses.Thatistosay,narrativeprocesscontainsthevectorwhereasconceptualprocessnot.Interactivemeaningisfocusesontheinteractionbetweendepictedparticipantsandviewers.Therearetwokindsofparticipantsinvolvedinvisualimages:representedparticipantsaswellasinteractiveparticipants.Representedparticipantsreferstothethings,theplacesandthepeoplethataredescribedinimages,whiletheinteractiveparticipantsrefertotheparticipants,namely,thepoetandthereadersinimages.Correspondingtotextualfunctioninsystemicfunctionalgrammar,compositionalmeaningreferstoinotherwords,compositionmeaningreferstothewholelayoutofmultimodaldiscourse.Thesethreedeterminingfactorsformaconsequentialintegrationinmultimodaldiscourseanalysis.Compositionalmeaningisrealizedbythewayofdistributionofvariouselements,evenforthesameelements,withdifferentplacementinimage.InKressandvanLeeuwen’sviewpoint,differentplacementofrepresentedparticipantssignifiesdifferentmeaning,compositionalmeaningofimageisexpressedbythewayofthreeaspects:informationvalue,salienceandframing.Withthedevelopmentofsocietyandmoderntechnology,discoursehasequippedwithlanguagesymbolsandvisualsymbols,sodiscourseanalysismustfocusonallmodalitiesandinteractwiththem.Multimodaldiscourseanalysishasemergedsothattheproblemcanbesolvedaccordingly.InKressandVanLeeuwen’sReadingandImages,theydiscussthatvisualsymbolscanalsobeenseenasaresourceforexchangeinformation,andvisualgrammarincludesvisualmodalityandverbalmodalitiesinmultimodaldiscourseanalysis.Inotherwords,Halliday’sthreemeta-functionsoflanguagecanalsobeappliedtothemultimodaldiscourseanalysisofimagesinavisualtext.Toconclude,KressandVanLeeuwentrytodemonstratethatideational,interpersonalandtextualfunctioncanberealizedinvisualmodes.KressandvanLeeuwenregardimageasaresourceforrepresentationandrealizesbythreemeta-functions,theyalsodemonstratethattheideational,interpersonalandtextualfunctioninsystemicfunctionalgrammariscorrespondingtotherepresentational,interactiveandcompositionalmeaninginmultimodaldiscourseanalysisrespectively.Therefore,thetheoreticalbasisofmultimodaldiscourseanalysisissocialsemioticsfromKressandVanLeeuwen,whileKressandVanLeeuwen’ssocialsemioticframeworkofvisualcommunicationhasbeeninfluencedbyHalliday’ssocialsemioticthought.KressandVanLeeuwenarebothfamousformultimodaldiscourseanalysisintheacademicfield.Soitisappropriatetoapplythemultimodaldiscourseanalysistheorytothemeaningmakingofthosevisualmodesinmultimodaldiscourseanalysis.Tosumup,thischapterpresentsthetheoreticalframeworkofsystemicfunctionalgrammarandvisualgrammar.Threefunctionsofsystemicfunctionalgrammar,namelyideationalfunction,interpersonalfunction,textualfunctionandthreemeaningsofvisualgrammar,namely,representationalmeaning,interactivemeaningandcompositionalmeaningareintroduced.ThischapterwillattempttomakeadetailedintroductionaboutthemeaningconstructionofEnglishvisualpoetrywithintheframeworkofmultimodaldiscourseanalysisandvisualgrammar.ThischapterwillnotonlygivesanelaborationaboutEnglishvisualpoetrycomprehensively,butalsosummarizesthecharacteristicsofEnglishvisualpoetryinthreekindsofmeaning.ThetheoreticalframeworkislabeledinTable4.1.Representationalmeaningiscorrespondingtotheideationalfunctionofsystemicfunctionalgrammarwhichisexpressedbytheshapeofvisualpoetryorthetypography.Representationalmeaningismainlyconveyedbytwoprocesses,namely,thenarrativeprocessandtheconceptualprocess.Narrativeprocessreflectstheactionsandeventsinadynamicprocess,whiletheconceptualprocesstransportsinformationinageneralway.Thewaytodistinguishnarrativeprocessandconceptualprocessisaccordingtowhetherthereexistsavectorornotinrepresentationalmeaning.Thenarrativeprocessencompassesthevectorbutthereisnotthevectorintheconceptualprocess.Narrativerepresentationpresentswhatrepresentedparticipantsdoandhowtheyact.Ifrepresentedparticipantsareconnectedbyavectorwhichshowstheyhavesomethingtodoortalkwitheachother,suchvisualimagesarecallednarrativerepresentation.Actorprocesscontainstwokindsofparticipants,namely,theactorandthegoal.Actionprocessisrealizedbytransactionalprocessandnon-transactionalprocess.Intransactionalprocess,bothactorandgoalarepresentedrespectively,andtheyareconnectedbyavector;onacontrary,innon-transactionalprocess,whenimagehasonlyoneparticipantinvolvedinactionprocess,whichissimilartonon-transitiveverbinlanguageforthereasonthatthestructurehasnogoal,andtheparticipantisnotdonetoorpointedtoanyoneoranything.Thisparticipantisalwayscalled“actor”.Inthisprocess,thereisno“goal”canbedetectedintheimage,actorandgoaldonotappeartogetherinthisprocess.TakingEasterWingsforexample,thisvisualpoemmainlypresentsthecelebrationforJesus’EasterDay.Inthisabstractpoetry,anobliquelineanddiagonallineareshapedbyclearelements.ThefirstpartdescribeshumanbeingswereendowedwithwealthandhealthwhenGodcreatedthem.ButtheylosttheGardenofEdenbecausetheirancestorshadstolenforbiddenfruitstoeat,theybecamedeclininggradually.Thesecondpartintroducesthat“I”felthurtbecauseofancestors’evilbehavior.Inthispoem,anobliquelineanddiagonallineareshapedbyclearelements.Actorprocessisrealizedbyabstractgraphicfactors,suchasanabstractsign“twooutspreadwings”withanupwardtendency,itseemslikethatthewingsareproducingtheexternalvisualimageryof“flying”.Obviouslythispoemisarepresentationofnon-transactionalprocesssincethereisnogoalinvolved,justanactor.Thereisonlyonerepresentedparticipant,apairofwingswhichareexpressthecelebrationforJesus’EasterDayinthisvisualpoetry.VectorinthisvisualpoemisrealizedbytheEasterwingsaswellasitsactionitselfgazing,theactoranditsactionsarethemostobviousparticipantsandmoresalientthananyotherelementsinthepoem.Hence,EasterWingsisakindofactionprocess.Inotherwords,“reactors”aretherepresentedparticipantsjustlikehumansorthehuman-likeanimalswhohavethecapableoffacialexpressionanddotheactionoflooking;whilethe“phenomenon”issomethingorsomeonebeinglookedat,thatistosay,theactorandthegoalintheactionprocesshavechangedinto“reactor”and“phenomenon”respectively.Similartoactionprocess,reactionalprocesscanbedividedintotwocategories:transactionalprocessandnon-transactionalprocessinaccordancewithwhetherthereisaphenomenoniscontainedintheprocessofimage.Ifthereisoneormoreparticipantspresentedintheimagelookedatbyactor,thereactionprocessistransactionalprocess;onthecontrary,otherwiseisthenon-transactionalprocess.InWind,theappearanceofthewholepoemislikethewind.Thepoemconsistsofirregularpatternandthewords’combinationseemslikethatthewindisblowing.Thiskindofwordsarrangementmakesthewindmuchmorevivid.Thereforeviewersgetanauditoryimagewithwhichthesimplepoemmakessense.Inthispoem,reactionalprocessisrealizedbytheonlyoneparticipantinthisvisualpoetrywhichistheword“Wind”,theword“Wind”andtheviewerscanberegardedasreactorsandphenomenon.Themarshalingsequenceabouttheletter“W”,“I”,”N”,“D”whichisfullofinnervationtoformsavector,reactorsandphenomenontoeachotherwiththeirgazebeingthevector.Sothispoemisconsideredasareactionalprocess.Itisobviousthattheinteractionbetweenthe“Wind”andtheviewerswhichmayestablishanidentityandimprovetheimaginationaboutwhattheviewersarelookingatorthinking.Conceptualprocesscanbefurtherdividedintotowsub-processeswhicharerespectivelycalledexistentialprocessandsymbolicprocess.Thedifferencebetweennarrativerepresentationandconceptualrepresentationisthattheelement“vector”.Ifthereisnovectorinanimage,thisimagecanbecalledconceptualrepresentation.Existentialprocessisdifferentfromactionprocess.Inactionprocessthepresentedparticipantsareconnectedbythevector.Inexistentialprocess,participantsinvisualimagearerelevantwitheachothernotbyanyvectorsbutbycircumstancesinvolvingthelocativecircumstances,circumstancesofaccompanimentandcircumstanceofmeans.“N.E.W.SOFTRAVELLERS”describestheprocessoflove.Inthetitleofthispoem,“TRAVELLERS”presentsthetravelersandeveryonethatexistsintheworldindependently,andthe“N.E.W.S”istheabbreviationsof“North”,“East”,“West”and“South”.“N.E.W.S”referstotheworld“new”whichconsidersastheencounteringbetweencouples.Fromthefourdifferentdirectionsandlayout,thetypographyofimagepresentsacrossroad.Thepoetseparatesthepoeticsectionsandrearrangesthemasanimagelikefourdirections.Representedparticipantsarerelatedtoeachotherthroughthecircumstance,whichincludesthelocativecircumstanceandtheaccompanimentcircumstance,thusitrevealsanexistentialprocess.Theshapeoffourdirectionsarelocatedinthecommonsurroundingenvironmentsothattheircertainrelationshipisshownbythecircumstance.Symbolicprocessreferstothesymbolizingormeaningoftherepresentedparticipants.Symbolicprocessincludessymbolicattributiveprocessandsymbolicsuggestiveprocess.Symbolicattributiveprocessrealizedbytwotypesofparticipants:oneofwhichisattributestothemeaningortraitoftheother,thiskindofparticipantisthecarrierwhoestablishtheidentityiscalledsymbolicattribute,theotherparticipantrepresentsthemeaningandidentityitself.Conversely,thereonlyhasoneparticipantiscalledthesymbolicsuggestiveprocess.AsKressandLeeuwenconsideredthat.Applebelongstosymbolicprocess.Inthepoem,thesymbolicattributiveprocesswhichincludestwotypesofparticipants,oneistheword“Apfel”and“Wurm”whosemeaninghasbeenestablishedandtheotheristheshapeoftheimagewhichrepresentmeaningoridentityitself.Theparticipantofwordintheimageisregardedasthecarrierwhiletheshapeofan“Apple”isregardedasthesymbolicattributive.Itisclearthatalltheparticipantsarelocatedinseparablefromeachother.Everylettertakesupthesamesizeofframeandatthesameeye-levelfromtheviewer’sperspective,itcanarousetheviewer’simaginationbyassociatingitwiththefightingandechoingthetheme.Theword“Apfel”isparticularlythethemeof“完美”andtheword“Wurm”isinsertinthemiddlewhichindicatedthattheapplehasalittlemoth,theshapeof“apple”servesasanevidencefortheviewertoconfirmthemotifmoredefinitely.Insum,thissectionanalyzestherepresentationalmeaningofEnglishvisualpoetrybyextractingimages,andgeneralizesthecharacteristicsofvisualpoetryonrepresentationalmeanings.Interactivemeaningcanbeachievedthroughvarioussystemsofchoicessuchascontact,socialdistance,andattitude.Interactiverelationisexpressedbycontactinvisualcommunication.Forimageact,researchersuseimagestodosomethingtotheviewer,attractordis-attracttheviewer’sattention.Contactincludesdemandactandofferact.Undersuchcircumstances,thiskindofactionisconsideredasdemandact.Intheimage,representedparticipantsusegaze,facialexpressionsorgesturesbymakingconnectionsandestablishingmutuallybeneficialtowardtheviewerstoacertainsituation.Meupatdoesisconsideredasarepresentationofdemandactduetotheglanceof“apoisonedmouse”lookingdirectlyat“Me”,implyingatargetparticipantexplicitly.Inthisimage,therepresentedparticipant,namely,“apoisonedmouse”,whichislookingdirectlyat“Me”withitseyeswidelyopenindicatestheactofdemand,acknowledgingtheotherparticipant“Me”explicitlywithavisual“you”,twoactorspresentthemselvesbowingtotheviewer.Theupperpartoftheirbodiesformvectorsthatpointingtotheviewer,callingfortheviewertogivesomekindofsocialresponse.Inthissense,theaffiliationbetweenthetwoparticipantsissuccessfullyestablishedandinteractivemeaningisachieved.Thevectorformedbythemouse’seyelineconnects“Me”withthetargetparticipantitislookingat.Asthisvisualpoetryisexactlypartofthevisualpoetry,themouse’sanxiousexpressionrevealstotheviewerthemutuallyadversarialrelationshipbetweenitand“Me”Theactofofferpresentedcanbeconcludedfromtheeyecontact,facialexpressionandbodylanguageofthefigureaswellastheframingoftheimage.Thiskindofactionisconsideredastheofferact,whichmaywrecktheviewer’sjudgmentandarousetheirimagination.Thepoem“40-Love”mainlydescribesthatamiddle-agedcoupleisplayingtennis.Thentheygohome,butthenetisstillbetweenthem.Itreflectsthegapbetweenmiddle-agedcouples.Evenifthehusbandandwifefinishthetennisgame,theystillhavethenet,whichstillexistsinvisibly.However,itisthisnetthattheycandependontohandletheirmarriageandhavetheresponsibilitiesnottobreaktherules.Thereisanetintennisandtherearerulestoobey.Withthenet,therearemoredifficultyandmoreinterests.Furthermore,thereisnopunctuationinthewholepoem,indicatingthatlifeofmarriageisclosedanduninteresting.Thispoemreallywanttodescribeisthenervousstatebetweenthemiddleagedcouple.Thelayoutofthepoemisjustlikeatenniscourtwithanetbeingusedtoseparatethewords.Itislikeatennisgame.Intheimageoftypography,thewholepoemhasatotalof20words,butthetwowords“tennis”and“between”areseparatedbyhyphenstobesymmetricinstructure.Themiddleblankoremptyislikeanettoseparatethetwo.Inthispoem,thecorrectorderis:Thetennisbuildabarrierbetweenthefigureandtheviewer,establishingkindofdetachmentandseparation.Theyhavenothingtodowithus,justplayingtennis.Therepresentedparticipantisanobject—atennis.Aswecansee,thetennispresentedhereisjustforprovidinginformationwithoutdemandinganyinteractionfromtheviewer,sinceitisclearlydepictedthatwecanevenreadthesmallwords.Inaddition,thenetplacedinthemiddleoftheimageasforeground,theelementscirclingitblurred,whichmakesitcomeintoprominenceasifitiseagertotellussomething.Therepresentedparticipantshavenodirecteyecontactwiththeviewers.Therefore,thispoemisregardedas“offeract”.Therepresentedparticipantsarepresentedtobe“viewed”bytheviewers.Socialdistanceisanotherdimensiontorealizetheinteractivemeaningsofimages.thatistosay,differentsocialdistanceshowsthedifferentrelationshipsbetweentherepresentedparticipantsandtheviewers.Asisknowntoallthatthesocialrelationshipbetweenrepresentedparticipantsandtheviewerdeterminesthedegreeofimaginedsocialdistanceaddressedintheimage,fromwhichitcanbeinferredthatdifferentsocialdistanceindicatesdifferentsocialrelation.Representedparticipantsarethepeople,thingsinimage,whiletheinteractiveparticipantsarepeople,theproducersandtheviewersofimageswhocommunicatewitheachotherthroughimages.Soatsomepoint,interactiveparticipantsaremoredynamicthanrepresentedparticipants.Asmentionedabove,thesocialdistancebetweentherepresentedparticipantsandtheviewersisrealizedbythesizeofthefame,itisbythechoiceoflongshot,mediumshotandclose-up.Andtheclosertheshotis,theclosertheirrelationshipwillbe.Whendepictingparticipantsfortheimage,bothhumanandobjects,theimage-producershoulddecidewhethertodepictthemfromaclosedistanceorfarawayfromthem.Inshelovesmeornot,thisvisualpoemrepresentsamanfellinlovewithaladybutrefusedfinally.Therepresentedparticipantsinthispoemis“She”and“Me”,byobservingwecaninferredthatthe“She”wantedtoacquireunderstandingwhiletheviewersastheinteractiveparticipantswereaffectedandrepresentedbyherdetermination.Thereisonlyaword“She”onthelastlinetotheextentthatweknowtheladyrefusedthemancompletely.Theviewersexperiencethecomplexemotionsandthepainofrejectiongraduallybythemselvesthatpeoplearehopingtogivecompassionandcomforttohim.Thepoeticmotifisencouragingeveryonehasarighttochooselovejustas“She”.Thepoetexplainsthattherepresentedparticipantwantsgetunderstandings,sympathiesandsupportsfrominteractiveparticipants,thustherepresentedparticipantsandtheviewersaregettingintimaterelationships.Socialdistancebetweendifferentrepresentedparticipantswithintheimagecanalsorealizetheinteractivemeaningsofimages.Theclosertheyarelocatedfromeachother,themorepersonaltheirrelationwillbe.AsisstatedbyKressandLeeuwen,closepersonaldistanceisthedistanceatwhichonecanholdorgrasptheotherpersonandthereforealsothedistancebetweenpeoplewhohaveanintimaterelationwitheachother.Suchdistancemostlyappearsbetweencharactersofverypersonalrelation.Non-intimatescannotinthiscloseand,iftheydoso,itwillbeexperiencedasanaffrontandresistance.Thedistancesuggeststheordinaryfriendshiporacquaintanceshipbetweentherepresentedparticipants.Closesocialdistancebeginsjustoutsidethisrangeandisthedistanceatwhichimpersonalbusinessoccurs.Farsocialdistanceisthedistancetowhichpeoplemovewhensomebodysays“standawaysoIcanlookatyou”.Publicdistanceisanythingfurtherthanthat,whichisthedistancebetweenstrangersor,sometimesenemies.InApollinareGuillaume’sHeart,theoriginalandcorrectwordordershouldbereadas“Myheartlikeanupside-downflame”.Inthispoem,therepresentedparticipantreferstothe“heart”whichispresentedtobeseenbyviewers.Meanwhile,readershavediscoveredthattheheartisrepresentedthereforofferwithoutanyinvolvementoftherepresentedparticipant,thepoetwantstodepictthefeelingofenthusiasmandunrestrained.Aheartispresentingonpaperbeforetheviewersexactlyandvisualmodalityrevealsthemotifandco-constructsmeaningwiththeverbalmodality.Itisdemonstratedthatvisualsignsarenotmeaninglessbutimplicated.Thepoetseparatesthelettersandrearrangedthemasanimagelike“heart”,itseemstodescribeanattractivepoemthatthemotifistheexpressionofaheart.Thetypographyoftheheartisdescribedindetailbymeansofwritingarrangements.Theshapeof“Heart”representedlove,writtenwordsandshapeechoedtopresentthemotifthatloveislikeablaze.Thedistancebetween