A MULTIMODAL STYLISTIC ANALYSIS OF SELECTED ENDSARS PROTEST PLACARDS ON SOCIAL MEDIA
Abstract
Several studies have been done on the EndSARS protest in Nigeria using different linguistic approaches to analyse and interpret data. However, little attention has been given to the combination of stylistic and multimodal approaches to the study of placards to unravel how textual resources contribute to the style of meaning in texts. The paper therefore examines the meaning and style of semiotic resources in the selected data. Five (5) purposively selected placards from the EndSARS protest were analysed, using Kress and van Leeuwen's (2006) social semiotic theory and foregrounding theory as the theoretical framework. It was discovered that placards on EndSARS protests are presented with a combination of several modes, such as text, colour, and images. These modes serve the purpose of creating meaning effectively, and this can be proved in the display of placards selected for analysis. The study concludes that placards have different messages which can be decoded through multimodal and stylistic approaches.
References
Baldry, A.P, &Thebault, P.J. (2006). Multimodal transcription and text analysis London: Equinox.
Bezemer, J. and Kress, G. (2014). ‘Touch: a resource for making meaning’. Australian Journal of Language and Literacy.
Crystal, D. and Davy D. (1969). Investigating English Style. London: Longman Group Ltd.
Fairclough, N.(1989).Language and Power ,London :Longman.
Garrett, R.K. (2006). Protest in an Information Society: A Review of Literature on Social Movements and New ICTs. Information, Communication and Society, 9, 202-224.
http://dx.doi.org/10.1080/13691180600630773
Halliday M.A.K (1978). Language as social semiotics, London: Edward Alnord.
Halliday M.A.K and Hassan (1985). Language, context, and text: aspect of language and social semiotic perspective, Oxford: Oxford University Press.
Halliday M.A.K.(1998) Language as a social semiotics London: Edward Arnold Levinson S.(1980) Speech Act theory :the state of the Cambridge University Press.https://en.m.wikipedia.org
Halliday, M.A.K (1978). Language as social semiotic: The social interpretation of language and meaning London: Edward Arnold
Halliday, M.A.K. (1985). Introduction to functional grammar. London: EdwardAlnord.
Jewitt, C and Oyama, R (2001). Visual meaning: A semiotic approach. In Van Leeuwen and C. Jewitt (Ed). Handbook of Multimodal discourse Analysis, pp131-156, London: Sage.
Jewitt, C. & Kress, G. (Eds.). (2003). Multimodal literacy. New York: Peter Lang.
Jewitt, C. (2008). Multimodality and Literacy in School Classrooms. Review of Research In Education, 32(1), 241-267. doi:10.3102/0091732x07310586
Jewitt, C. (2009). An introduction to multimodality in C. Jewult (Ed.) Handbook of multimodal analysis (PP. 28 – 39), London: Rutledge.
Kress, G. & van Leeuwen, T. (1996). Reading images: The grammar of visual design. London: Routledge.
Kress, G. & Van Leeuwen, T. (2006). Reading Images. The grammar of visual design. London: Routledge.
Kress, G. (2000). Multimodality in Cope, B. &Kalantzis, M. (eds.). Multiliteracies: Literacy Learning and the Design of Social Futures. London: Routledge.
Kress, G. (2003). Literacy in the new media age. London: Routledge.
Kress, G.( 2000). Design and transformation: New theories of meaning. In: Cope B. and M. Kelantzis (eds.), multiliteracies: Literacy learning and the design of social futures. Psychology Press. 153-203
Kress, G., & Van Leeuwen, T. (2001). Multimodal discourse: The modes and media of contemporary communication. London: Edward Arnold.
Kress, G., & van Leeuwen, T. (2006). Reading Images. London: Routledge.
Ladeema, R. (2003). Multimodality, Resemioticization: Extending the analysis of discourse as a multi semiotics practice visual communication, 20(2), 29 – 27 Retrieved from http/www.vcjsagepub.com.content/74/443/htmr
Leech, G.N. (1969). A Linguistic Guide to English Poetry. London: Longman.
Machin, D. (2007). Introduction to Multimodal Analysis. London: Hodder
Norgaard, N., Busse, B., & Montoro, R., (2010). Key Terms in Stylistics. London & New York, NY: Continuum.
Norris, S. (2004), Analysing multimodal interaction: A methodological framework. London: Routledge.
Norris, S. (2009). “Modal density and modal configurations: Multimodal actions”. In: Jewit, C. (ed.), Routledge handbook for multimodal discourse analysis. London: Routledge.
Norris, S. (2011a). Identity in inter(action): introducing multimodal inter(action) analysis. Berlin: de Gruyter Mouton.
Norris, S. (2011b). “The hierarchical positions of deitic gesture in relation to spoken language: A multimodal interaction analysis”. Visual Communication 10(2) ,1-19.
O. Toole, M. (1994). The language of displayed art. London: Leicester University.
O’ Halloran, K.L (2005). Mathematical discourse: Language, Symbolic and visual images. London and New York: Continuum
O’Toole, M. (2010). The language of displayed art (2nded) London: Leicester University.
Osoba, G.A. (2000). ‘Style and Stylistics: Definitions And Approaches.’ In G.A. Osoba (Ed.) The English Compedium, (vol.1). Lagos: Department of English, University of Lagos. Pp.185-190.
Simpson, P. 2004. Stylistics: A Resources Book for student. London: Routledge.
Scollon, R. and Norris, K. (2004). Analyzing multimodal interaction. Routledge.
Turner, G.W. (1973). Stylistics. London: Penguin.
Van Dijk, T. (1991). Racism and the Press. New York and London: Longman.
Van Leeuwen, T, (1999) Speech, music, sound. London: Macmillian.
Van Leeuwen, T,(2005).Introducing Social Semiotics. London; Routledge.
Verdonk, P.2002. Stylistics. Oxford: Oxford University Press.
Wales, K. (1990). A Dictionary of Stylistics. London: Longman.
Wales, K.2011. A dictionary of stylistics. 3rd ed. England: Pearson Education.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Ibrahim Omolabi (Author)
This work is licensed under a Creative Commons Attribution 4.0 International License.
You are free to:
- Share — copy and redistribute the material in any medium or format for any purpose, even commercially.
- Adapt — remix, transform, and build upon the material for any purpose, even commercially.
- The licensor cannot revoke these freedoms as long as you follow the license terms.
