
Contents
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Introduction Introduction
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The Struggle for a Definition The Struggle for a Definition
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A Multimedial, Multimodal, Multisensory Form A Multimedial, Multimodal, Multisensory Form
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The Three Layers of Perception in Comics The Three Layers of Perception in Comics
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Layer of Spatial Understanding Layer of Spatial Understanding
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Layer of Temporal Understanding Layer of Temporal Understanding
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Layer of Actual or Suggested Sensoriality: The Five Senses in Comics Layer of Actual or Suggested Sensoriality: The Five Senses in Comics
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Aural Imagination in Comics: Preliminary Remarks Aural Imagination in Comics: Preliminary Remarks
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Seeing the Sounds Seeing the Sounds
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Hearing the Silence Hearing the Silence
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On Comics Lettering On Comics Lettering
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General Remarks General Remarks
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Lettering from Early to Modern Comics Lettering from Early to Modern Comics
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Word Balloon Word Balloon
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Graphic Onomatopoeias: The Visual Output of Noises in Comics Graphic Onomatopoeias: The Visual Output of Noises in Comics
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The Role of Onomatopoeias for Aural Imagination in Comics The Role of Onomatopoeias for Aural Imagination in Comics
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Big Noises, Small Noises, Generic Sound Effects Big Noises, Small Noises, Generic Sound Effects
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Onomatopoeias in Borderline “Comics” Onomatopoeias in Borderline “Comics”
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Music in Comics Music in Comics
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Suggesting the Sound: Visual Allusion and Auditory Illusion Suggesting the Sound: Visual Allusion and Auditory Illusion
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Conclusion Conclusion
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Notes Notes
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References References
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Further Reading Further Reading
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26 The Aural Dimension in Comic Art
Get accessLecturer, School of Journalism and Communication, Shanghai International Studies University
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Published:12 August 2019
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Abstract
Adopting a diegetic and semiotic approach to multisensoriality in comics, Marco Pellitteri discusses the aural dimension of this specific art form. The workings of comics are traced back to Aristotle’s concept of noesis; the mental activity of reading comics, Pellitteri suggests, involves a willingness to actively conceive of images and ideas in one’s mind not least of which are those belonging to the aural dimension. To argue this point, Pellitteri concentrates on the comics medium’s layers of actual or suggested sensoriality and illustrates the sensorial suggestiveness of comics’ graphics by discussing the implied aurality of lettering, fonts, word balloons, visual onomatopoeia, and the representation of music.
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