Understanding Multimodality In Relation To Genre And Discourse In Applied Linguistics

What is multimodality? How can it be understood in relation to established approaches to genre and discourse in Applied Linguistics?

Multimodality is identified as an interdisciplinary approach which comprises of communication and representation more specifically than about language. Such an approach has been developed over the past decades to methodically address much debated queries related to changes in society such as in relation to new media and technologies (Fredlund, Linder & Airey, 2015). Multimodal approaches have further provided conceptualizations ideas and methods for the collection and evaluation of visual aural as well as spatial facets of interaction and environment and further emphasising on the relationships between these factors. Since the past decades there has been witnessed a distinctive inclination towards monomodality especially in the western culture (Hüttner, 2015). However in recent times such dominance monomodality has begun to lose its ground not only in mass media but also in the documents which are produced by government, corporations and universities. The following paper will evaluate the conceptualization of multimodality and the way it has been comprehended in relation to applied linguistics.

Kress & Van Leeuwen, (2001) in the book “Multimodal Discourse the Modes and Media of Contemporary Communication” denoted that the desired for surfacing limitations have been highly inspirational in the realm of 20th century semiotics. The fundamental Institutions of semiotics primarily focused on the development of a theoretical framework relevant to all symbiotic modes. These modes however ranged from folk costume to poetry and further from fashion to theatre along with traffic signals to the genre of classical music. Radford & Sabena, (2015) observed that different modes in multimodal text have strictly constrained and framed specialist tasks such as in films whereby images of visuals may provide the action, and music provide a layer of emotion with the editing procedure which supplies the integration code which intense for the harmonization of the elements through a universal rhythm. However the authors have shifted their perspective towards multimodality whereby universal semiotic principles function in and across various modes which enhances its potential for music to encode action or visuals to successfully encode emotion (Fredlund, Linder & Airey, 2015).

The past decades have witnessed which multimodal texts such as films or newspapers had been organised in hierarchical form comprised of specialist boards incorporated by and editing procedure (Presmeg et al., 2016). However these were produced in such an approach with varied hierarchically organised prominence in charge of diverse modes along with an editing process generating the work in utmost collaboration. The customary linguistic account has been identified as one of the significance approach whereby meaning is made once so to in contradiction it can be perceived that multimodal resources which are accessible in a culture that is used to denote connotations in any and every possible indication at every stage and in any form of modes (Hüttner, 2015). Where conventional linguistics had been signified language as a system which perform through double articulation and where an information or message has been recognised as an articulation as a form and as a comprehensive meaning it can be viewed that multimodal textual concepts as developing connotations in wide-ranging articulations.

Pedagogic Models of Multimodality

Multimodality had further been comprehended through the discourse, implementation and production of ‘children's bedrooms’ and of textual concepts associated to ‘children’s bedrooms’ (Jewitt, 2012). There had been other forms of discourses related to the concept of various social classes or cultural groups specifically in the realm of Australian middle class families that have established a certain space especially for entertainment purposes or had been relied upon deviant practices or unconstructive approaches of living in a family home resulting to impose threats on other families (Presmeg et al., 2016). The ‘children's bedroom’ has been distinctly identified as a pedagogic tool especially an efficient medium for establishing communication with children in the language of interior and homely design along with the kind of potential the parents desire for their children (Simpson & Archer, 2017). However the pedagogic children's bedroom concept had further been comprehended in various ways where a constructive children's room through the course of multimodal approach of interior design facilitated the meanings by spatial organisations interest and colour schemes towards which the children's show their inclination.

Hyon, (1996) drawing significance on social semiotics pedagogy has been organised through textual realisation and comprehension of interpersonal connotations that relies on social associations within the classroom domain as well as the ideational modification of knowledge that is curriculum content. These forms of connotation factors of providing knowledge typically appear in an amalgamation within the classroom (Zhang, 2016). Thus it has been identified as highly constructive to query about the way the visual determinants of a textual concept considered ideational meaning while identifying typically appeared as a form of complex multimodal ensemble that considers into relational Ideational as well as textual explanations.

Jewitt, (2012) in his book ‘Technology literacy and learning’ has emphasized the way social relations have supported resources which were utilised in classroom scenarios and has further maintained the role of an expert as epitomizing the qualified English sensibility and the learners as novice in need of training into such forms of sensibility. He draws significance on one of the teacher engaged in English project that signifies the other end of the continuum after pedagogic framework of social associations. However the various approaches offered by several teachers have significantly modified the pedagogy design by the individualistic institution, biographies and theoretical aspects of learning as well as teaching (Presmeg et al., 2016). These various pedagogical frameworks associate with diverse range of values traditions and periodic records of English subject and the contemporary consideration at the initial phase of the 21st century. Furthermore it has been stated that the implementation of advanced technology in 21st century classroom context is identified as immensely critical in perceiving ideas about pedagogy as a framework that is distinctive due to its reconfiguration of performance which needs to be done (Radford & Sabena, 2015).

Multimodality in the Classroom Context

The pedagogic model within the conventional classroom domain has been identified as a proficient factor which posits itself at the front of the class and delivers a highly extensive multimodal monologue (Goodman & Graddol, 1996). However in the digitized classroom the pedagogy model can be signified as unifying discovery learning along with dialogue it interactive pedagogies whereby students perform in individualistic manner and the educator delegates his role to the CD-ROM used to deliver and listen to the learners. However in the conventional science classrooms the educator engages himself in the multifaceted work of designing a multimodal textual concept for the classroom (Zhang, 2016). Traditionally verbal English was recognised as form of significant and real information. However in recent times print media expanded to such an extent where it is nearly impossible for humans to imagine the life without graphic demonstration resulting them to incline towards visual codes in order to interpret any form of information.

It has been noticed by Hyon, (1996) that due to the increase in design software along with high-level of advanced technological accessibility traditional forms of literacy have lost its significance in the era where messages communicate in various ways such as through graphical illustration visuals and layout techniques as well as true words and figures. As a result it has become immensely difficult to seek single message or text which utilizes exclusively verbal English language (Simpson & Archer, 2017). Newspaper in recent times primarily comprise of various forms of photography, diagrams and transformation of typeface such as logos and borders resulting text in English to be highly multimodal. These multimodalities implement devices from more than one symbiotic mode of communication such as a letter on company note paper for instance typically comprises corporate logo, the name of the company and the verbal documentation of the letter itself (Goodman & Graddol, 1996).

Discourses based on modality are comprehensively relevant to moving visuals however in the case of moving images a more inclusive factor is required to be incorporated that is related to movement (Hüttner, 2015. Fredlund, Linder & Airey, (2015)observed that major proportion of moving visuals tend to use the naturalistic determinant which may further have the propensity to transform as the utilisation of animation elevates along with the empirical determinant of commitment to reality loses its significance and prominence within the domain of applied linguistics. These visuals however can further create contradictions in modality between the present form of mortality that is based on colour and the traditional mortality forms which presented black and white visuals (Presmeg et al., 2016). However as several modality configurations are significant modality is recognised as a persistent sources of innovation and creativity within the realm of visual arts.

Conclusion

Therefore from the above discussion it has been noted that in Australia there has been witnessed a movement among so then journal searches to stimulate critical pedagogy Framework that tends to modify and further contest customary texts which learn those are required to read and write in educational domain. However in new rhetoric investigations certain indications have been identified which are immensely reflexive and Critical in the making of multimodality framework which possess ethical as well as political implications and tend to challenge prospective genre investigations in order to recognise the potential of certain mainstream genres to segregate certain groups.

References

Arzarello, F., Paola, D., Robutti, O., & Sabena, C. (2009). Gestures as semiotic resources in the mathematics classroom. Educational Studies in Mathematics, 70(2), 97-109.

Fredlund, T., Linder, C., & Airey, J. (2015). A social semiotic approach to identifying critical aspects. International Journal for Lesson and Learning Studies, 4(3), 302-316.

Goodman, S., & Graddol, D. (Eds.). (1996). Redesigning English: new texts, new identities (Vol. 4). Psychology Press.

Hüttner, J. (2015). Communicative purpose in student genres: Evidence from authors and texts. Fremdsprachen Lehren und Lernen, 44(1), 29-43.

Hyon, S. (1996). Genre in three traditions: Implications for ESL. TESOL quarterly, 30(4), 693-722.

Jewitt, C. (2012). Technology, literacy, learning: A multimodal approach. Routledge.

Kress, G., & Van Leeuwen, T. V. (2001). Multimodal discourse: The modes and media of contemporary communication.

McCarthy, M. (1992). Discourse analysis for language teachers. Child Language Teaching and Therapy, 8(1), 96-100.

Presmeg, N., Radford, L., Roth, W. M., & Kadunz, G. (2016). Semiotics in mathematics education. Springer.

Radford, L., & Sabena, C. (2015). The question of method in a vygotskian semiotic approach. In Approaches to qualitative research in mathematics education (pp. 157-182). Springer, Dordrecht.

Simpson, Z., & Archer, A. (2017). Combining autoethnography and multimodal social semiotics: potentials for theory and method. Social Semiotics, 27(5), 656-670.

Zhang, Y. (2016). Multimodal teacher input and science learning in a middle school sheltered classroom. Journal of Research in Science Teaching, 53(1), 7-30.