This study develops a cognitive linguistic framework for analyzing multimodal metaphors in graphic novels, with a focus on Art Spiegelman’s Maus. While research on multimodal metaphor has advanced significantly in domains such as advertising, film, and political cartoons, graphic novels remain comparatively underexplored and are often examined primarily as trauma narratives. This study addresses that gap by proposing a replicable framework that identifies four principal units of analysis - visual motifs, verbo-pictorial interactions, layout, and sequential structures - and classifies them in relation to established levels of linguistic metaphor analysis. The analysis demonstrates that multimodal metaphors in Maus fulfill three interrelated narrative functions: they represent trauma and emotional experience as affective interiority, reveal power asymmetries through ideological critique, and structure memory and temporality through sequential and spatial design. By integrating insights from cognitive linguistics and comics studies, the article extends Conceptual Metaphor Theory into the domain of graphic novels. The framework not only illuminates how Maus realizes complex figurative meanings across visual and verbal modes but also provides a methodological foundation for future research on multimodal metaphor in long-form narrative media.

Fashion photography, given its communicative function and rhetorical intentionality, constitutes the ideal vehicle for the transmission and externalization of emerging stylistic trends. The creations go beyond simple garment representation, enriching and enhancing them through visual, narrative and symbolic mechanisms. The objective of this article is to analyse the role of atmosphere and staging as crucial elements in fashion photography during the 20th century. Through a qualitative approach that combines bibliographic review and visual analysis of works by A. De Meyer, I. Penn and D. Turbeville, the evolution of atmospheric strategies from the 1920s to the 1970s is examined. It is concluded that atmosphere not only defines visual narrative but generates different emotional typologies ranging from the romantic and sophisticated to the minimalist and intimist.

This article examines clothing in The Adventures of Tintin from a semiotic perspective, considering dress as a system of signs embedded in the visual logic of comics. Building on Pierre Fresnault-Deruelle’s pioneering studies (1976, 1999, 2002, 2006, 2012) and later contributions by scholars such as Groensteen, Marion, and Floch, the analysis explores how the aesthetics of the ligne claire transform garments into both narrative and symbolic operators. The results identify seven functional categories of dress—core attire, everyday wear, professional/functional outfits, disguises, cultural costumes, ceremonial garments, and altered clothing—which serve as identity anchors, indicators of action, or markers of cultural otherness. Tintin’s consistent base attire ensures visual coherence, while subtle variations introduce narrative nuance and contextual adaptation. The study concludes that clothing in Hergé’s work is far from decorative; it functions as a central semiotic device whose stability and transformations reinforce the character’s iconicity and his status as a timeless cultural hero.

Human beings are naturally inclined towards beauty in terms of taste and senses. This situation has led people to try to evince beauty through their artistic creations. In this context, each community has aesthetic values and elements that are unique to its own culture to understand or reveal beauty. Depending on culture, the aesthetic understanding of each community, nation, or civilization also differs because all the values, beliefs, and traditions inherited from the ancestors can be considered the source of the aesthetics of that society. According to Günay, “culture is a complex structure that encompasses religious beliefs, art, everything that people make, produce, create, learn, and teach” (Günay, 2016, p. 54). It can also be said that the concepts of aesthetics and literature also constitute one of the sub-systems of culture because both concepts appear as a result of human artistic production. Therefore, a work of literature is considered a work of art and has an artistic value in terms of aesthetics. “Like every work of art, a work of literature reveals itself with its aesthetics and intellectual load” (Timuqin, 2013, p. 16). Accordingly, in Turkish literature as a production of Turkish culture, it is possible to see aesthetic elements pertaining to the values of the society in terms of worldview or societal structure in particular times of Turkish history. That is why some concepts such as sublimity, grotesque, tragic, understanding of comic and beauty, etc. also constitute the aesthetic perception of Turkish literature. Hence, this study aims to trace some patterns and motives in Sabahattin Ali's selected narratives within the book titled “Yeni Dünya” [New World] in terms of aesthetics. Selective narratives will be examined from various aesthetic aspects to gain an understanding of the reflection of artistic qualities and to reflect the social perception of the period. Through close reading and examination of Sabahattin Ali's narratives, it will be tried to explore how some aesthetic concepts, elements, or patterns contribute to the overall aesthetic experience of the narratives.