English has a long, intimate relationship with the visual: the illuminated manuscripts of mediaeval romance; the woodcuts of 17C chapbooks and 18C broadsheet ballads; the painting and poetry of the pre-Raphaelites; Dickens illustrated by...
moreEnglish has a long, intimate relationship with the visual: the illuminated manuscripts of mediaeval romance; the woodcuts of 17C chapbooks and 18C broadsheet ballads; the painting and poetry of the pre-Raphaelites; Dickens illustrated by Cruikshank, Milton by Blake, Coleridge by Doré, Ted Hughes by Leonard Baskin; the art of the modern picture-book; the graphic novel; the comic strip from DC and Marvel to manga; the modern audio-visual narratives of film, television and computer games. However, the history of English as a school and university subject has been one of a struggle which has lead to the establishment of the discrete study of linguistic and literary texts, to the exclusion of all else. Indeed, in the early sixties, the school English version of Leavisism sought to protect the sanctity of the word from corruption by the visual, as this quote from David Holbrook's once-influential English for Maturity (1961) shows: ... the word is out of date. It is a visual age, so we must have strip cartoons, films, filmstrips, charts, visual aids. Language is superannuated. ... Some teachers fall for the argument. ... We must never give way: we are teachers of the responsiveness of the word. ... The new illiteracy of the cinema, television, comic strip, film-strip and popular picture paper they accept as the dawn of a new era (pp. 36-37). This issue of English Teaching: Practice and Critique in effect articulates an exact inversion of this argument. Holbrook's sarcasm makes his text easy to invert through paraphrase: "It is a visual age, so we must have strip cartoons, films, charts, television, computer games. We are teachers of the responsiveness of the multimodal sign. The new literacy of the cinema, television, comic-strip and computer game we accept as the dawn of a new era." This latter argument, now well-developed though, almost always partial in some way, in the versions of English practised and taught around the Anglophone worlds, rests on three intellectual justifications. One is semiotic -Saussure's argument that language take its rightful (subordinate) place alongside other sign-systems in a general science of semiology. One is multimodal -in some ways, a logical progression from the first, but subsequent to and consequent on the social view of language articulated in Halliday's Language as social semiotic (1978). And one is cultural, deriving from the tradition of Cultural Studies that began with Raymond Williams' insistence on treating the variety of contemporary popular media of the mid-Twentieth Century as the authentic culture of ordinary people (Williams, 1961).