Linguistic typology of motion events in visual narratives

Abstract

Languages use different strategies to encode motion. Some use particles or “satellites” to describe a path of motion (Satellite-framed or S-languages like English), while others typically use the main verb to convey the path information (Verb-framed or V-languages like French). We here ask: might this linguistic variation lead to differences in the way paths are depicted in visual narratives like comics? We analyzed a corpus of 85 comics originally created by speakers of S-languages (comics from the United States, China, Germany) and V-languages (France, Japan, Korea) for both their depictions of path segments (source, route, and goal) and the visual cues signaling these paths and manner information (e.g., motion lines and postures). Panels from S-languages depicted more path segments overall, especially routes, than those from V-languages, but panels from V-languages more often isolated path segments into their own panels. Additionally, comics from S-languages depicted more motion cues than those from V-languages, and this linguistic typology also interacted with panel framing. Despite these differences across typological groups, analysis of individual countries’ comics showed more nuanced variation than a simple S–V dichotomy. These findings suggest a possible influence of spoken language structure on depicting motion events in visual narratives and their sequencing.

The Meaning of Motion Lines?: A Review of Theoretical and Empirical Research on Static Depiction of Motion

“…1) conveying different manner information (curved, spiral, twirling, etc. ), especially for differentiating the characteristics of actions such as bouncing or spinning (Hacımusaoğlu & Cohn, 2022; Ito et al., 2010). Alternatively, regular motion lines or backfixing lines can also converge from a vanishing point rather than being parallel to the motion as mostly seen in manga (Ito et al., 2010).…”

“…Yet, cross‐cultural variance in understanding motion lines would not contradict metaphorical or lexical account since exposure of these graphic cues or devices would be necessary in both cases. In addition, cultures vary in the proportions of cues they use to convey motion (e.g., Hacımusaoğlu & Cohn, 2022; McCloud, 1993). This may also be influenced by the patterns that their linguistic systems use to convey motion verbally.…”

“…This may also be influenced by the patterns that their linguistic systems use to convey motion verbally. For instance, comics written by authors whose spoken languages conflate both path and manner information together also had more motion lines than comics from languages that separate these two semantic components in their linguistic systems (Hacımusaoğlu & Cohn, 2022). Altogether, the production of motion cues differs beyond the influence of developmental abilities, which can also suggest a difference in schemas stored in people's minds who are exposed to different cultures or spoken languages.…”

“…Also, the shape of the lines (as in Fig. 1) can convey the manner of motion (i.e., characteristics of motion), which is another component of paths, such as spiral lines indicating the manner of spinning or curved lines showing the manner of bouncing (Hacımusaoglu & Cohn, 2022). Indeed, motion lines (Fig.…”

Linguistic Relativity in Creative Thought: How Divergent Thinking in Response to Motion Events is Influenced by Satellite‐ and Verb‐Framed Languages

“…In fact, clear manifestations of typological variation in the motion domain even go beyond verbal language. The differences in lexicalization patterns of motion events between S‐ and V‐languages speakers are also reflected in gestural representations of motion events (Allen et al., 2007; Kita & Özyürek, 2003; Özyürek, Kita, Allen, Furman, & Brown, 2005), and depiction of motion events in visual narratives such as comics (Hacımusaoğlu & Cohn, 2022).…”