Abstract
This article introduces the notion of heterosemiosis to describe the overt juxtaposition of different sign systems in graphic narrative texts. Using Guibert et al.'s (2009) The Photographer as an example, I argue that heterosemiosis is typically signalled through the use of ellipsis, excess, and/or some form of metadiscourse. Heterosemiosis can be used to draw attention to the problematic nature of all representation, thereby disrupting the narrative power of the author(s)/narrator(s) and opening up the possibility of alternative meanings and story interpretations. I also explain why I prefer the new term heterosemiosis to the commonly used notion of “hybridity.”
About the author
Elisabeth El Refaie (b. 1968) is a senior lecturer at Cardiff University 〈RefaieEE@cardiff.ac.uk〉. Her research interest is in new literacies and visual/multimodal forms of metaphor, narrative, and humor, with a special focus on political cartoons and graphic novels. Her publications include “Visual modality versus authenticity: The example of autobiographical comics” (2010); “Subjective time in David B's graphic memoir Epileptic” (2010); “The pragmatics of humor reception: Young people's responses to a newspaper cartoon” (2011); and “Of men, mice, and monsters: Body images in David Small's Stitches: A Memoir” (2012).
©2014 by Walter de Gruyter Berlin/Munich/Boston
