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Interactive Text-Image Conceptual Models for Literary Interpretation and Composition in the Digital Age

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Interactive Text-Image Conceptual Models for Literary Interpretation and Composition in the Digital Age University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2010 Interactive Text-image Conceptual Models For Literary Interpretation And Composition In The Digital Age Beth Nixon Weaver University of Central Florida Part of the Graphic Communications Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Weaver, Beth Nixon, "Interactive Text-image Conceptual Models For Literary Interpretation And Composition In The Digital Age" (2010). Electronic Theses and Dissertations, 2004-2019. 1551. https://stars.library.ucf.edu/etd/1551 INTERACTIVE TEXT-IMAGE CONCEPTUAL MODELS FOR LITERARY INTERPRETATION AND COMPOSITION IN THE DIGITAL AGE by BETH NIXON WEAVER M.A. Rollins College, 2006 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2010 Major Professor: Craig Saper © 2010 Beth Nixon Weaver ii ABSTRACT This dissertation focuses on text-image conceptual models for literary interpretation and composition in the digital age. The models investigate an interactive blend of textually-based linear-sequential approaches and visually-based spatial-simultaneous approaches. The models employ Gestalt-inspired figure-ground segregation models, along with other theoretical models, that demonstrate the dynamic capabilities of images as conceptual tools as well as alternate forms of text. The models encourage an interpretative style with active participants in open- ended, multi-sensory meaning-making processes. The models use the flexible tools of modern technology as approaches to meaning-making with art strategies used for research strategies as well as a means to appreciate reading and writing in the context of an increasingly visual environment. iii ACKNOWLEDGMENTS I would like to thank my dissertation committee for their rich, varied insights that contributed to a greater whole: Dr. Craig Saper, Chair Dr. Tison Pugh Dr. Dan Jones Dr. Elizabeth Scanlon iv TABLE OF CONTENTS LIST OF FIGURES…………………………………….. ............................................................ xii CHAPTER ONE: OVERVIEW OF TEXT-IMAGE ANALYSIS ................................................. 1 Introduction ................................................................................................................................. 1 Proposal ................................................................................................................................... 1 Methodology ......................................................................................................................... 16 Conclusions ........................................................................................................................... 22 The Roles of Texts and Images ................................................................................................. 25 Multiple Teaching Approaches and Comprehensive Learning ................................................ 29 Fundamental Shift toward Spatial Teaching Methods .......................................................... 29 Balancing the Three Primary Learning Systems .................................................................. 35 Media as Extensions of the Primary Senses ......................................................................... 41 Text, Image, and New Media Taxonomy ............................................................................. 47 CHAPTER TWO: IMPLEMENTING TEXT-IMAGE ANALYSIS ........................................... 54 Text-Visual Analysis Applicable to English Instruction .......................................................... 54 Adopting the IRA and NTCE Resolution ............................................................................. 54 Exploring New Methods to Interconnect Texts and Images ................................................. 61 Familiarizing Students with Art Education Practices ........................................................... 64 Applying Visually-Oriented Interpretive Methods ................................................................... 68 v Applying Gestalt-Inspired Models to Text-Image Analysis ..................................................... 71 Comparing Aspects of Figure-Ground Segregation Models .................................................... 78 Privileging Meaning through Figure-Ground Segregation Models .......................................... 85 CHAPTER THREE: EXPLORING ALTERNATING PERSPECTIVES ................................... 91 Cognitive-Poetics and Literary Analysis .................................................................................. 91 Model 1: Alternating Aspects and Contextual Position ........................................................ 94 Model 2: Alternating Aspects and Character Perspective .................................................... 99 Exploring Figure-Ground Dynamics through Conflict ........................................................... 101 Model 3: Alternating Aspects and Visualizing Conflict ..................................................... 108 Discovering Thematic Connections through Alternating Aspects of Conflict ....................... 113 Model 4: Exploring Theme through Contrasting Symbols in Yeats‘ ―Lines Written in Dejection‖ ........................................................................................................................... 116 Model 5: Alternating Aspects and Visualizing Theme ....................................................... 118 Model 6: Creating Stories through Alternating Aspects using Visual and Textual Clues .. 120 Discovering Epiphany Moments through Alternating Figure-Ground Perspectives .............. 122 Model 7: Discovering Foreshadowing Clues in James Hurst‘s ―The Scarlet Ibis‖ ............ 125 CHAPTER FOUR: COMPARING AND CONTRASTING THROUGH JUXTAPOSITION . 127 Generating New Perspectives through Juxtapositioning ........................................................ 127 Visualizing Theme through Juxtaposed Images ................................................................. 132 vi Model 1: Visualizing Settings through Contrasting Details ............................................... 134 Understanding Character through Juxtapositioning ................................................................ 140 Model 2: Creating Foils through Visual Details ................................................................. 143 Determining Foils through Rhythmic Patterns in Hamlet .................................................. 147 Model 3: Creating Character Narratives through Juxtapositioning .................................... 149 Juxtaposing Divergent Points of View through Braided Narratives ................................... 153 Model 4: Creating Double-Braid Narratives through Visual Cues ..................................... 154 The Effect of Previous Knowledge on Perception in Foil Relationships ............................... 155 Model 5: Exploring the Dividing Line in Protagonist-Antagonist Relationships ............... 158 CHAPTER FIVE: JUXTAPOSITIONING AND DRAMATIC REVERSALS ....................... 162 Creating Irony through Juxtaposition ..................................................................................... 163 Model 1: Visualizing Comedy through Irony ..................................................................... 167 Model 2: Visualizing Social Commentary through Irony ................................................... 169 Creating Oxymorons through Juxtaposition ....................................................................... 171 Model 3: Creating Oxymoronic Titles ................................................................................ 173 Foregrounding Hidden Aspects through Figure-Ground Shifts .............................................. 175 Model 4: Making the Invisible Visible in Photographs ...................................................... 178 Visualizing Hidden Aspects of Carpe Diem ........................................................................... 180 Model 5: Visualizing Carpe Diem and ―Kennedy‘s Final Days‖ ....................................... 181 vii Photo-epigrams and Bertolt Brecht ......................................................................................... 186 Model 6: Visualizing Hidden Perspectives in Brecht‘s War Poems ................................... 188 CHAPTER SIX: VISUALIZING THE WHOLE FROM CONTEXTUAL DETAILS ............. 191 Contextual Positions and Visualizing the Overall Structure................................................... 191 Model 1: The Blind Men Who Cannot See the Elephant ................................................... 192 Exploring Theme through Clues ......................................................................................... 197 Model 2: Interpreting Theme through Visual Cues ............................................................ 198 Creating Fully-Rounded Authentic Characters from Distinct Aspects................................... 201 Model 3: Visualizing Character from Character
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