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1 Extremely Loud and Incredibly Close KEY WORDS Multimodality Transduction Linguistic Text Image Relationship Analogy Cohesion Coherence 2001: pp drawn frame air frame bleed 1980 doublespread * - 1 -
2 8 11 pp transduction Kress and van Leeuwen 2001: 50 Kress 2010: 124f cohesion /2-2 -
3 p ff p.70f 1 scene : a, b c 1/2 1/2 d
4 a. b. c. d. e. f. g. h. i. j. 2/5 1/2 d, e 2/5 f, g 4 1 1/2 1/3 h, i, j p.24f p.46f p.68f p.86f p.116f p.27f p.14f p.36f p.44f p.58 p.62 p.78f p.106f pp p.43 p.44 p.44 p.45 p
5 pp p.43 p.44 pp p.45 1/ p.32f p.84f p.91 p.114f p.143 p.135 p p p
6 p.144f p p.184f 6 p.185 p.186f p.188f cf
7 /3 3/4 30 p.51 p.85 p.101 p.80 p U p p.46f p.48f 1/2 p p
8 p p.65 9 p.97 p.98f Ende, M Die unendliche Geschichte Die unendliche Geschichte Die unendliche Geschichte 2003 S.183 p.258 S.5 p.9 S.187f p.264f S.188 p.265 S.7 p.11f S.189 p.266 hörte S.189 p beide Welten - 8 -
9 einen leisen Schreckenslaut ein Schreckensschrei mein Schrei S.70 p »Sollte es am Ende mein Schrei gewesen sein, den sie gehört hat?«dachte Bastian zutiefst beunruhigt.»aber das ist doch überhaupt nicht möglich.«die unendliche Geschichte Foer, J. S. (2005) Extremely Loud and Incredibly Close Black Black Nørgaard 2010a, b Extremely Loud and Incredibly Close Nørgaard 2010a p.45ff p.203ff - 9 -
10 Extremely Loud and Incredibly Close Corbis Black p.59 p.89 p.92 p.246 p.29 p.115 p.134 p.212 p.265 p.53 p.303 p.175 coherence p Abby Black The only thing in the whole kitchen was a photograph of an elephant on the wall next to the phone. Extremely Loud and Incredibly Close. p It looks like the elephant in that photograph is crying. Extremely Loud and Incredibly Close. p Come here, she said, and she led me to a display of ten pens. Look at this. She showed me a pad of paper that was next to the display. Extremely Loud and Incredibly Close. p.44 p.53 p.67 Stuff That Happened to Me 15 Nørgaard 2010a flip book 15 p.325 Hamlet 1948 Olivier, L. p.55 Stuff That Happened to Me p.1 p.37 p.87 p.37 p p Opening night was pretty great. We had a fog machine, so the cemetery was just like a cemetery in a movie. Alas, poor Yorick! Jimmy Snyder said, holding my face, I knew him, Horatio. I didn't have a plasma screen, because the costumes budget wasn't big enough, but from underneath the skull I could look around without anyone noticing. Extremely Loud and Incredibly Close. p.142f
11 15 15 Extremely Loud and Incredibly Close p.36 p.259p.315ff a b c d e f g h 1 7 p.28f 2 p
12 KANENDO WATANABE Ende, M Die unendliche Geschichte. Piper Verlag Foer, J. S. (2005) Extremely Loud and Incredibly Close. Penguin Books NHK Doonan, J Looking at Pictures in Picture Books. Thimble Press , , :1, M. 56:4, Kress, G. and van Leeuwen, T Multimodal Discourse. Hodder Education. Kress, G. and van Leeuwen, T Reading Images: The Grammar of Visual Design (2nd ed.). Routledge. Kress, G Multimodality: A social semiotic approach to contemporary communication. Routledge , , , Nikolajeva, M. and Scott, C How Picturebooks Work. Garland Publishing , , Nørgaard, N. 2010a Multimodality and the Literal Text : Making Sense of Safran Foer's Extremely Loud and Incredibly Close. in Page ed New Perspectives on Narrative and Multimodality. Routledge. Nørgaard, N. 2010b Modality. Commitment, Truth Value and Reality Claims Across Modes in Multimodal Novels. Journal of Literary Theory. 4:1, ,,, ,
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