Abstract
The present paper is part of an MA thesis; it aims at quantitatively and qualitatively analyzing the objective of the study which reads: examining the impact of the number and type (strip or comprehensive) of figures’ identification on accessing caricatures’ meaning. The first part of the objective is quantitatively analyzed using EXCEL software whereas the second part of the objective is analyzed qualitatively using Tolman’s Theory of MENTAL MAPS (1948). The study ends up with a number of results, such as the percentages of comprehensive thinking or identification are higher than that of the strip way of identification. As a result, the study concludes that there are many factors that affect image reading where both the number of the figures identified and type of thinking are cases in point. However, it has been noticed that the full identification of figures is important, but what is more important is to know which of these figures need to be comprehensively conceptualized, and the sequence by which such figures are mapped and linked.
Highlights
Living in a digital era is not an easy job; it requires laymen to be technologically qualified in order to be regarded as literate (Riddle, 2009)
Speaking about the first part of the objective, it has been shown that the (15) participants in the pilot study were categorized according to their answers into the following four groups as shown in Figure 2 where the long bars starting from the right represent the number of the participants regarding the four types of meanings identified whereas the short bars represent their percentages: 7 6
As for the results obtained from conducting the main study, the researchers have found the following, as shown in Figure 5: Number of the Participants
Summary
Living in a digital era is not an easy job; it requires laymen to be technologically qualified in order to be regarded as literate (Riddle, 2009). One of these technological qualifications is the visual literacy. Learners nowadays need to know how to understand the visuals that surround them, and derive meanings critically and analytically. In this regard, Cohn (2012) maintains that to understand visual language, one needs to cognitively represent graphics. To understand visuals, as Kress and Leeuwen (2006) state, one needs to investigate the rules and regulations that characterize such a type of language
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