Photology, Morphology, and Semiotics

This page has works relating to the ways in which individual images contain or create meaning across varying levels of abstraction, style, and conventionality.

If you have any works to add, please email me.

Boling, Elizabeth, Malinda Eccarius, Ted Frick, and Feng-Ru Sheu. 2002. Perceived Meanings Relative to Intended Meanings of Common Graphical Elements in Instructional Illustrations: U.S. and Taiwanese College Students Compared. In IST Conference.

Brooks, Penelope H. 1977. The Role of Action Lines in Children's Memory for Pictures. Journal of Experimental Child Psychology. Vol. 23, p. 98-107

Clegg, Mark. 1978. Understanding Comics. B.A. in Comics Art with Honors. University of California, Santa Cruz.

Cohn, Neil. 2003. Early Writings on Visual Language. Berkeley, CA: Emaki Productions

Cohn, Neil. 2005.¡Eye græfIk Semiosis!. Emaki Productions

Cohn, Neil. 2005. A Visual Lexicon. Emaki Productions

Cohn, Neil. 2005. Cross-Cultural Space. Emaki Productions

Davies, Lewis J., Sr. 1995. The multidimensional language of the cartoon: A study in aesthetics, popular culture, and symbolic interaction. Semiotica, Vol. 104.1/2, p. 165-211

Dean, Michael. 2000. The Ninth Art: Traversing the Cultural Space of the American Comic Book. Doctoral Dissertation, University of Wisconsin-Milwaukee

Driest, Joris. 2005. Subjective Narration in Comics. Masters Thesis. Utrecht University.

Duncan, Randy. 1999-2000. Toward a Theory of Comic Book Communication. In Fudge, Keith & Lloyd, Michael R. (Eds). Academic Forum Online No. 17. Henderson State University

Eisner, Will. 1985. Comics & Sequential Art. Florida: Poorhouse Press

Fein, Ofer, and Kasher, Asa. 1996. How to do Things with Words and Gestures in Comics. Journal of Pragmatics, Vol. 26.6. Dec. 1996. Pp. 793-808

Forceville, Charles. 2005. Visual representations of the idealized cognitive model of anger in the Asterix album La Zizanie. Journal of Pragmatics, Vol. 37, pp. 69-88

Friedman, Sarah L.,and Stevenson, Marguerite B. 1975. Developmental Changes in the Understanding of Implied Motion in Two-dimensional Pictures. Child Development, Vol. 46, p. 773-778

Gross, Dana, et. al. 1991. Children’s Understanding of Action Lines and the Static Representation of Speed of Locomotion. Child Development, Vol. 62, p. 1124-1141

Hünig, Wolfgang K. 2002. British and German Political Cartoons as Weapons in WWI. Paper presented at the International Symposium of Manipulation in the Totalitarian Ideologies of the Twentieth Century.

Manning, Alan D. 1998. Scott McCloud Understanding Comics: The Invisible Art. IEEE Transactions on Professional Communication 41 (1).

McCloud, Scott. 1993. Understanding Comics: The Invisible Art. New York, NY: Harper Collins Inc

Natsume, Fusanosuke. 1997. Manga wa naze omoshiroi no ka [Why are Manga Fascinating?: Their visual idioms and grammar]. Tokyo: NHK Library

Saraceni, Mario. 2000. Language Beyond Language: Comics as verbo-visual texts. Doctoral Dissertation. University of Nottingham

Shipman, Hal. 2006. Hergé's Tintin and Milton Caniff's Terry and the Pirates: Western Vocabularies of Visual Languge. Paper Presented at the 2006 Comic Arts Conference.

Tan, Ed S. 2001. The Telling Face in the Comic Strip and Graphic Novel. In The Graphic Novel. pp. 31-46

Töpffer, Rodolphe. [1845] 1965. Enter: The Comics: Rodolphe Töpffer's Essay on Physiognomy and The True Story of Monsieur Crépin. Ellen Wiese (Editor and Translator). Lincoln, Nebraska: University of Nebraska Press

Walker, Mort. 1980. The Lexicon of Comicana. Port Chester, NY: Comicana, Inc

Site contents © 2007 Neil Cohn. All inquiries can be sent to neilcohn@emaki.net.

To find out when this site is updated, send me an email with the subject "Updates". Addresses will be used strictly for (infrequent) site information and will not be shared.