Doctor of Philosophy(PhD) / There is increasing awareness among linguists that discourse analysis inevitably involves analyses of meanings arising from the combination of multiple modes of communication. The evolving multimodal pedagogic environment for teaching English as a foreign language (henceforth EFL), among other communicative contexts, calls for a social, semiotic, and linguistic explanation. Situated within the theoretical landscape of social semiotics and in the pedagogic context of EFL education, the present study aims to elucidate how linguistic and visual semiotic resources are co-deployed to construe interpersonal meaning in multimodal textbooks. The data drawn upon are eighteen EFL textbooks for primary and secondary schooling, published by People’s Education Press between 2002 and 2006. The research design consists of three complementary sub-studies. First, it investigates the ways in which the semantic regions of ENGAGEMENT and GRADUATION can be modelled in multimodal texts, with special reference to the interplay of voices in textbook discourse. The second sub-study analyzes how verbal and visual semiotic resources are co-deployed to construe the ‘emotion and attitude’ goal highlighted in curriculum standards, with a particular focus on verbiage-image relations. Third, it extends the linguistic concept ‘modality’ to multimodal discourse, exploring coding orientation in texts for different educational contexts and between different constituent genres. The main findings of this thesis are as follows: (1) A range of multimodal resources (i.e. labelling, dialogue balloon, jointly-constructed text, illustration and highlighting) are identified as enabling editor voice to negotiate meanings with reader voice and character voice. It is found that the way in which an ENGAGEMENT value can be scaled is strongly associated with the intrinsic property of the given multimodal resource. The interaction between multiple voices is closely related to contact, social distance, and point of view. (2) It is shown that images play an essential role in realizing attitudinal meanings. Together with verbal APPRAISAL resources, visual semiotic features work to position the readers in ways that align them to set pedagogic goals, guiding them in completing jointly-constructed texts. Moreover, an attitudinal shift from an emotional release to a more institutionalized type of evaluation can be identified as students advance through the school years. (3) It is argued that what counts as real in multimodal texts is socially defined and specific to a given communicative context. The nature of pedagogic discourse should be taken into account when visual displays are produced for pedagogic materials. The implications of this study include both theoretical and pedagogic aspects。Theoretically it adapts and extends APPRAISAL analysis to multimodal discourse, exploring the intersemiotic complementarity and co-instantiation in construing global evaluative stance. This semiotic exploration, in return, suggests ways in which discourse analysis may help textbook users better understand and interpret the multimodal features. With the affordances as well as limitations of semiotic resources made explicit, we may have one step further towards a comprehensive and critical understanding of multimodal construal of interpersonal meaning in pedagogic materials.

The focus of this thesis is to visually show the significance and relationship between the use of natural materials, and geometric patterns used in Māori weaving. The patterns will reflect indigenous episteme of artistic and tacit knowledge. These patterns are significant to the Māori worldview of kaitiakitanga (stewardship of knowledge), which is cognisant in the ontology of Māori weaving. These patterns are significant forms of Māori cultural symbols that reflect elements of nature, evolution of time and space. The focus is to show how natural materials can be utilised in an art form that embraces bicultural activity, as a reference to customary and new age methods of thinking and practice. This leads to self-enquiry and our own responsibilities, only to ask ourselves; What are the guiding principles within art and design, that upholds the core values of Mātauranga Māori? (Māori epistemological thinking). The concept of this thesis is to define the cultural significance of kaitiakitanga (stewardship), through the preservation of Mātauranga Māori and practice as weavers and artists. This concept challenges our own understanding of what we know and what we don’t know about the relationships between people, place, environment and use. The methods and processes used for this work will be based on customary practices and methods, using native materials, endemic to New Zealand. These materials will be harvested at different time periods. The methodologies used in this project, is a product of intrinsic knowledge and testing new boundaries, through researching more specific detail about varieties of harakeke (New Zealand flax) cultivars, testing the flexibility, functionality and durability of materials. This will challenge the test, of making sure that the methods used will be significantly practiced throughout the processes involved in the making of artistic pieces of work, in accordance to tikanga (protocols). The use of native materials enhances cultural values of kaitiakitanga as a metaphor, which asserts sustainability of Māori epistemological notions of practice and meaning.This also applies to the visual language of Māori. The concept of visual language embraces metaphoric meanings and understanding, which relates to our co-existence with the earth, animals and the elements. All these elements of nature are contained within symbolic traditional patterns. Some of these patterns have derived from phenomena of thought structure, historical events and our co-existence through our connectedness to the land, waters, oceans, sky and universe. How can Māori forms of art be embraced and imbued, in modern society, that signifies place, belonging and cultural enhancement?

The overall assumption of this dissertation project is that there is something wrong with how humans typically communicate about death in regard to both the acknowledgment of one's own death as well as the passing of others. Through the primary utilization of the work of Ernest Becker and Viktor Frankl, this deficit of human communication is discussed, defined, and reoriented toward finding meaning in the moments of life that are often mistook for being meaningless. This metaphorical march of this project is toward finding the music in both life and death that allows the importance of both to be at the forefront of conscious communication. This project engages elements of sociology, philosophy, psychiatry, and the rich culture of New Orleans in order to uncover meaning-rich communicative spaces in which one can begin to consider the inherent power and responsibility that one must communicate about death. Though this project is guided by the metaphor of mythical Grim Reaper, the reader should not be confused about the menacing tone; Ultimately this dissertation is about life more than it is about death. / McAnulty College and Graduate School of Liberal Arts; / Communication and Rhetorical Studies / PhD; / Dissertation;

The philosophical discussion of conceptual content and linguistic meaning in the 20th century has been dominated by two contrasting approaches - the descriptive-internalist approach, and the causal-externalist approach. Recent semantic models, for example the two-dimensional semantics of Jackson and Chalmers, attempt to integrate these two approaches. In this dissertation I explore a series of puzzles that highlight points at which the resources of these two approaches combined fall short. Particularly, the dissertation is an argument for the claim that facts about a linguistic community can affect the conceptual and linguistic content of individual members of that community, developing insights of theorists such as Quine, Wittgenstein, Kripke, Lewis and Davidson. The study proceeds along two lines simultaneously, as an investigation into puzzles concerning conceptual content on the one hand, and concerning linguistic meaning on the other. The centerpiece of the investigation into linguistic meaning is a proposal for an irreducibly social aspect of linguistic meaning, which I call the ‘public content’ of linguistic terms. This proposal is motivated by the identification of some points at which neither individualist models of linguistic meaning nor the ‘social’ models of meaning currently available give convincing accounts. Drawing on recent developments in social epistemology, I argue that this aspect of meaning is determined by what speakers engaged in discourse would agree on under an ideal process of collective reasoning as the meaning of the terms they use. In the last chapter I attempt to reconcile this model of meaning with the two-dimensional semantic model, arguing for a three-dimensional model of meaning that includes internal, external, and public dimensions. Alongside the discussion of linguistic meaning I explore a series of related puzzles that arise for conceptual content, particularly a new puzzle of referential indeterminacy, and the problem of conceptual error or normativity. I propose and defend solutions to these puzzles that lean heavily on the rational resources of individuals, focusing on the ‘personal level’ contents of thought to resolve puzzles in this domain, and rejecting models that lean on ‘sub-personal’ states such as neuronal, historical, or dispositional states of thinkers.

The philosophical discussion of conceptual content and linguistic meaning in the 20th century has been dominated by two contrasting approaches - the descriptive-internalist approach, and the causal-externalist approach. Recent semantic models, for example the two-dimensional semantics of Jackson and Chalmers, attempt to integrate these two approaches. In this dissertation I explore a series of puzzles that highlight points at which the resources of these two approaches combined fall short. Particularly, the dissertation is an argument for the claim that facts about a linguistic community can affect the conceptual and linguistic content of individual members of that community, developing insights of theorists such as Quine, Wittgenstein, Kripke, Lewis and Davidson. The study proceeds along two lines simultaneously, as an investigation into puzzles concerning conceptual content on the one hand, and concerning linguistic meaning on the other. The centerpiece of the investigation into linguistic meaning is a proposal for an irreducibly social aspect of linguistic meaning, which I call the ‘public content’ of linguistic terms. This proposal is motivated by the identification of some points at which neither individualist models of linguistic meaning nor the ‘social’ models of meaning currently available give convincing accounts. Drawing on recent developments in social epistemology, I argue that this aspect of meaning is determined by what speakers engaged in discourse would agree on under an ideal process of collective reasoning as the meaning of the terms they use. In the last chapter I attempt to reconcile this model of meaning with the two-dimensional semantic model, arguing for a three-dimensional model of meaning that includes internal, external, and public dimensions. Alongside the discussion of linguistic meaning I explore a series of related puzzles that arise for conceptual content, particularly a new puzzle of referential indeterminacy, and the problem of conceptual error or normativity. I propose and defend solutions to these puzzles that lean heavily on the rational resources of individuals, focusing on the ‘personal level’ contents of thought to resolve puzzles in this domain, and rejecting models that lean on ‘sub-personal’ states such as neuronal, historical, or dispositional states of thinkers.

This thesis proposes a theoretical framework explaining cognitive processes of meaning construction through conceptual interactions. It was noted that while the nine models or theories (Fuzzy Sets, Selective Modification model, Amalgam theory, Concept Specialization model, Composite Prototype Model, Dual-Process model, Constraint model, CARIN model, and Coherence Theory) in literature on conceptual combination offered insights on the problem of how people understand conceptual combinations, most of them assumed a schematic representation of our knowledge of concepts. However, it is possible that our minds represent knowledge in less structured ways and that schematic structure may not necessarily play a role in making sense of conceptual combinations. In this thesis, I attempted to make fewer assumptions about how knowledge is represented to explain the cognitive processes of conceptual combinations. I assume that concepts are related to other concepts, and knowledge can be represented by associations among concepts. Based on this assumption, the meaning of a conceptual combination is constructed through interactions between these associated concepts. It is proposed that the cognitive processes involved in meaning construction start from a distinction between different roles each component concept plays (head or modifier), and then a system of associations are activated contingently, prototypically, and efficiently with the goal of forming a cognitive field (analytically represented as a closed cycle) to connect head and modifier in a balanced way. The balanced system of concepts is strengthened further by reconciling remaining tensions in the field. Experimental results confirmed that component concepts in a combination activate associations contingently, and prototypicality and balance are major factors influencing whether an association will be activated by the combination to construct the meaning. Head / Modifier and Novelty were also studied as moderating variables. The experimental results indicated that head is a stronger moderator for association activation than modifier, and novelty was not found to be a significant moderator in association activation. Implications of these findings are discussed and future research is identified.

In this thesis the subject innovation and the change of meaning is in focus. The purpose of the study is to present a new dimension of innovation as a change of meaning together with the cases we’ve studied. It is discussed throughout the article if theories of perception and association can affect the organization and its ability to create meaning-changing innovations. The industrial robotics is a market in need of, perhaps, if not other markets but of finding new ground that results in the change of meaning. What happens when you stand at the intersection of main areas in the field of innovation? Is it possible that meaningful change can be found here, amongst radical innovation and industrial robotic arms and it’s technology? Our methods were interviews and prior research complementing the cases we’ve presented. We want to show how meaning can change various dimensions. Together with a perceptual theory and an innovation theory we’ve found out that meaning and innovation can go hand in hand.

This thesis proposes a theoretical framework explaining cognitive processes of meaning construction through conceptual interactions. It was noted that while the nine models or theories (Fuzzy Sets, Selective Modification model, Amalgam theory, Concept Specialization model, Composite Prototype Model, Dual-Process model, Constraint model, CARIN model, and Coherence Theory) in literature on conceptual combination offered insights on the problem of how people understand conceptual combinations, most of them assumed a schematic representation of our knowledge of concepts. However, it is possible that our minds represent knowledge in less structured ways and that schematic structure may not necessarily play a role in making sense of conceptual combinations. In this thesis, I attempted to make fewer assumptions about how knowledge is represented to explain the cognitive processes of conceptual combinations. I assume that concepts are related to other concepts, and knowledge can be represented by associations among concepts. Based on this assumption, the meaning of a conceptual combination is constructed through interactions between these associated concepts. It is proposed that the cognitive processes involved in meaning construction start from a distinction between different roles each component concept plays (head or modifier), and then a system of associations are activated contingently, prototypically, and efficiently with the goal of forming a cognitive field (analytically represented as a closed cycle) to connect head and modifier in a balanced way. The balanced system of concepts is strengthened further by reconciling remaining tensions in the field. Experimental results confirmed that component concepts in a combination activate associations contingently, and prototypicality and balance are major factors influencing whether an association will be activated by the combination to construct the meaning. Head / Modifier and Novelty were also studied as moderating variables. The experimental results indicated that head is a stronger moderator for association activation than modifier, and novelty was not found to be a significant moderator in association activation. Implications of these findings are discussed and future research is identified.

This essay is based on a critical review of dominant form of tourism industry that causes a system of meaning, making as consequences of reproducing of ‘image’ in media. Images of promised destinations bombard us everywhere, on billboards, small advertisement bar on social networks websites, on magazine and even in movies and TV series in designated smart way. These images define what we should experience when we are in such destinations and at the same time affirm any other forms of experience which is not recognized in these matrixes of images are not welcome. This means for example the meaning of safety and comfort in a travel is only achieved by the way that  has been already constructed in media through series of campaigns of a special tourism agency. One can say this mechanism forces us to accept that there is no other ways of having comfortable travel without going by airplanes and tourist packages without accommodating in hotels, without going to designated touristic areas in destination and so on and so forth. Here I draw on other alternative ways of doing travel like Slow tourism as a way of breaking such image making system in media as well as a way of experiencing what seems to be un-experience-able. For this I conducted a series of interviews with an experienced slow traveler who cycled several times between various countries. This essay is a qualitative/analytical text based on experiences of one slow traveler and critical reviews of  literature provided in this area.

Meaning based search retrieves objects from search index repository based on user's search Meanings and meaning of objects rather than keyword matching. It requires techniques to capture user's search Meanings and meanings of objects, transform them to a representation that can be stored and compared efficiently on computers. Meaning of objects can be adequately captured in terms of a hierarchical composition structure called concept tree. This thesis describes the design and development of an algorithm that transforms the hierarchical concept tree to a tensor representation using tensor algebra theory. These tensor representations can capture the information need of a user in a better way and can be used for similarity comparisons in meaning based search. A preliminary evaluation showed that the proposed framework outperforms the TF-IDF vector model in 95% of the cases and vector based conceptual search model in 92% of the cases in adequately comparing meaning of objects. The tensor conversion tool also was used to verify the salient properties of the meaning comparison framework. The results show that the salient properties are consistent with the tensor similarity values of the meaning comparison framework.