Irmak Hacımusaoğlu
Biographic Data
| ID | 4601693 |
|---|---|
| NAME | Irmak Hacımusaoğlu |
| GIVEN NAMES | Irmak |
| FAMILY NAME | Hacımusaoğlu |
| SIGNATURE | HACIMUSAOĞLU I |
| AFFILIATIONS | Tilburg University |
| ORCID | 0000-0003-0026-3188 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Three monkeys or one: Continuity in the monkey emoji debate
In the three emoji sequence of , people differ in their interpretation of whether there are three different monkeys or one monkey changing postures. Such disagreements point to a key issue in visual meaning-making: how do people determine when multiple visual units refer to the same entity? The present study investigated which cues guide people's interpretation of continuity and co-reference in short emoji sequences. Participants viewed sequences…
Mark the Unexpected! Animacy Preference and Directed Movement in Visual Language
A preference for animate entities over inanimate entities is commonly found in perception and language. In our corpus study based on a cross‐cultural set of 331 comics from 81 countries, we asked whether animacy preference plays a role in the morphological marking of motion in the visual language(s) used in comics. We were interested in whether animates or inanimates are more or less marked (i.e., use pictorial cues to signal motion) when compare…
The framing of subjectivity: Point-of-view in a cross-cultural analysis of comics
In visual narratives like comics, the most overt form of perspective-taking comes in panels that directly depict the viewpoints of characters in the scene. We therefore examined these subjective viewpoint panels (also known as point-of-view panels) in a corpus of over 300 annotated comics from Asia, Europe, and the United States. In line with predictions that Japanese manga use a more 'subjective' storytelling style than other comics, we found th…
Linguistic typology of motion events in visual narratives
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 original…
Running through the Who, Where, and When: A Cross-cultural Analysis of Situational Changes in Comics
Understanding visual narratives requires readers to track dimensions of time, spatial location, and characters across a sequence. Previous work has found situational changes across adjacent panels differ cross-culturally, but few works have examined such situational dimensions across extended sequences. We therefore investigated situational “runs” – uninterrupted sequences of the situational dimensions (time, space, characters) – in a corpus of 3…
Mark the Unexpected! Animacy Preference and Directed Movement in Visual Language
A preference for animate entities over inanimate entities is commonly found in perception and language. In our corpus study based on a cross‐cultural set of 331 comics from 81 countries, we asked whether animacy preference plays a role in the morphological marking of motion in the visual language(s) used in comics. We were interested in whether animates or inanimates are more or less marked (i.e., use pictorial cues to signal motion) when compare…
Running through the Who, Where, and When: A Cross-cultural Analysis of Situational Changes in Comics
Understanding visual narratives requires readers to track dimensions of time, spatial location, and characters across a sequence. Previous work has found situational changes across adjacent panels differ cross-culturally, but few works have examined such situational dimensions across extended sequences. We therefore investigated situational “runs” – uninterrupted sequences of the situational dimensions (time, space, characters) – in a corpus of 3…
Linguistic typology of motion events in visual narratives
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 original…
Running through the Who, Where, and When: A Cross-cultural Analysis of Situational Changes in Comics
Understanding visual narratives requires readers to track dimensions of time, spatial location, and characters across a sequence. Previous work has found situational changes across adjacent panels differ cross-culturally, but few works have examined such situational dimensions across extended sequences. We therefore investigated situational “runs” – uninterrupted sequences of the situational dimensions (time, space, characters) – in a corpus of 3…
The framing of subjectivity: Point-of-view in a cross-cultural analysis of comics
In visual narratives like comics, the most overt form of perspective-taking comes in panels that directly depict the viewpoints of characters in the scene. We therefore examined these subjective viewpoint panels (also known as point-of-view panels) in a corpus of over 300 annotated comics from Asia, Europe, and the United States. In line with predictions that Japanese manga use a more 'subjective' storytelling style than other comics, we found th…
Mark the Unexpected! Animacy Preference and Directed Movement in Visual Language
A preference for animate entities over inanimate entities is commonly found in perception and language. In our corpus study based on a cross‐cultural set of 331 comics from 81 countries, we asked whether animacy preference plays a role in the morphological marking of motion in the visual language(s) used in comics. We were interested in whether animates or inanimates are more or less marked (i.e., use pictorial cues to signal motion) when compare…
Three monkeys or one: Continuity in the monkey emoji debate
In the three emoji sequence of , people differ in their interpretation of whether there are three different monkeys or one monkey changing postures. Such disagreements point to a key issue in visual meaning-making: how do people determine when multiple visual units refer to the same entity? The present study investigated which cues guide people's interpretation of continuity and co-reference in short emoji sequences. Participants viewed sequences…
Comics (3 works) · Computer Science (3 works) · History (3 works) · Language, Metaphor, and Cognition (3 works) · Artificial Intelligence (2 works) · Cognitive psychology (2 works) · Digital Storytelling and Education (2 works) · Linguistics (2 works) · Multisensory perception and integration (2 works) · Narrative (2 works)