ABSTRACT
This article describes the changing linguistic landscape on the North Shore of Vancouver, British Columbia, Canada, during the first three months of the COVID-19 pandemic. I present an account of the visual representation of change along the area's parks and trails, which remained open for socially-distanced exercise during the province's lockdown. Following the principles of visual, walking ethnography, I walked through numerous locations, observing and recording the visual representations of the province's policies and discourses of lockdown and social distancing. Examples of change were most evident in the rapid addition to social space of top-down signs, characterised mainly by multimodality and monolingualism, strategically placed in ways that encouraged local people to abide by social-distancing. However, through this process of observation and exploration, I noticed grassroots semiotic artefacts such as illustrated stones with images and messages that complemented the official signs of the provincial government. As was the case with the official signs and messages, through a process of discursive convergence, these grassroots artefacts performed a role of conveying messages and discourses of social distancing, public pedagogy, and community care.
ABSTRACT
Visual representation as a means of communication uses elements to build a narrative. We propose using computer analysis to perform a quantitative analysis of the elements used in the visual creations that have been produced in reference to the epidemic, using 927 images compiled from The Covid Art Museum's Instagram account. This process has been carried out with techniques based on deep learning to detect objects contained in each study image. The research reveals the elements that are repeated in images to create narratives and the relations of association that are established in the sample. The predominant discourses in the sample do not show concern for the effects of illness. On the contrary, the impact and effects of confinement, through the prominent presence of elements such as human figures, windows, and buildings, are the most expressed experiences in the creations analyzed. © The Author(s) 2022.
ABSTRACT
Metaphors in public service advertisements, or PSAs, have played an important role in promoting the knowledge of COVID-19 and China’s anti-epidemic activities. Based primarily on Feng and O’Halloran’s visual representation of multimodal metaphor, this article examines visual and multimodal metaphors created in the online PSAs that were produced in early 2020 to publicize China’s epidemic prevention and control activities. It is found that those metaphors fall into three general groups, namely “coronavirus” metaphor, “anti-epidemic worker” metaphor, and “medical instrument” metaphor. Nearly all of them were created to serve an overarching metaphor, namely ANTI-EPIDEMIC WORK IS WAR, of which coronaviruses were depicted as enemies, anti-epidemic workers as warriors, and medical instruments as weapons. Most of the metaphors were constructed through visual or multimodal anomaly realized through strategies such as participant substitution, verbal/visual superimposition, and verbo-visual integration/fusion in the representational structure, while their metaphorical meanings became supplemented or reinforced by the deployment of compositional and interactive resources such as spatial position, color contrast, gaze, and size. Finally, the causes and implications of the findings are discussed from three aspects: social background, genre, and audience. © The Author(s) 2022.