
Contents
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1. Introductory 1. Introductory
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2. The Cartoon as Genre 2. The Cartoon as Genre
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3. Blending as a Cognitive Resource 3. Blending as a Cognitive Resource
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4. Blending in Metaphoric Cartoons 4. Blending in Metaphoric Cartoons
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5. Blending by Means of Textual Source or Target Domains 5. Blending by Means of Textual Source or Target Domains
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6. Implied Narratives 6. Implied Narratives
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Notes Notes
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Works Cited Works Cited
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8 Blending in Cartoons: The Production of Comedy
Get accessMonika Fludernik is Professor of English Literature at the University of Freiburg/Germany. She is the author of The fictions of language and the languages of fiction: The linguistic representation of speech and consciousness (1993) and An introduction to narratology (2009). Her Towards a ‘natural’ narratology (1996) was the co-winner of the Barbara and George Perkins Prize of the Society for the Study of Narrative Literature. She has edited and co-edited several volumes of essays on a wide range of subjects, especial postcolonial theory. Her articles have appeared in, among others, Style, Narrative, Poetics Today, Journal of Literary Semantics, Text, Semiotica, Language and Literature, The Journal of Pragmatics, The Journal of Historical Pragmatics, Journal of Narrative Technique, New Literary History, and English Literary History.
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Published:04 March 2015
Cite
Abstract
Blends have usually been regarded as a type of metaphor. However, Mark Turner in his recent work and also in his presentations uses quite a few cartoons by way of illustration. In such examples, it is the incongruity in the blend that results in the comic reception of the cartoon. The chapter analyzes how blending combines assimilation with incongruity. It also discusses the incongruity of picture and subscript in cartoons and considers to what extent the linguistic elements of a cartoon are part of the blending mechanism or a mere juxtaposition of different media. The chapter therefore engages with the theory of the comic and with the cartoon as a genre from a cognitive perspective, but it also aims at refining our understanding of blending as a mechanism and a strategy of signification with reference to visuality and the combination of visual and textual media.
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