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Financial narratives have always been relevant to economic fluctuations, rationalising current actions, such as spending and investing, inspiring and linking activities to important values and needs (Shiller 2017). In 2014, the European Parliament adopted the Bank Recovery and Resolution Directive (BRRD) which includes the bail-in tool. This means that taxpayers would not risk losses, but rather creditors and depositors would take a loss on their holdings. This Directive was applied to four banks and the press and media coverage of both resolutions and their effects was remarkable, influencing several issues regarding these banks' bondholders. The present study will investigate a corpus of articles from The Financial Times (FT.com, Europe) and one from The Times (thetimes.co.uk), selected around the keyword bail*-in, attempting to highlight how financial information is provided multimodally. The choice of the expression bail*-in was made because of its highly specialised semantic load in the financial field. The use of textual organisation, tables, graphs, and the relationship between text and image will be dealt with and applied to the corpus gathered. Verbal and visual elements have been considered as fulfilling, on the one hand, the three functions of informing, narrating and persuading, characterising news discourse, and, on the other hand, those of informing, evaluating and predicting, typical of financial discourse. This paper is part of an ongoing study on financial newspaper articles and whether and to what extent knowledge dissemination is popularised from specialised to non-specialised texts, recombined and recontextualised to be more intelligible to the layman. The main aim will be to analyse the combination of the verbal and visual structures of these articles, trying to detect any differences in the multimodal strategies employed by a specialised and a non-specialised newspaper.

Financial narratives have always been relevant to economic fluctuations, rationalising current actions, such as spending and investing, inspiring and linking activities to important values and needs (Shiller 2017). In 2014, the European Parliament adopted the Bank Recovery and Resolution Directive (BRRD) which includes the bail-in tool. This means that taxpayers would not risk losses, but rather creditors and depositors would take a loss on their holdings. This Directive was applied to four banks and the press and media coverage of both resolutions and their effects was remarkable, influencing several issues regarding these banks' bondholders. The present study will investigate a corpus of articles from The Financial Times (FT.com, Europe) and one from The Times (thetimes.co.uk), selected around the keyword bail*-in, attempting to highlight how financial information is provided multimodally. The choice of the expression bail*-in was made because of its highly specialised semantic load in the financial field. The use of textual organisation, tables, graphs, and the relationship between text and image will be dealt with and applied to the corpus gathered. Verbal and visual elements have been considered as fulfilling, on the one hand, the three functions of informing, narrating and persuading, characterising news discourse, and, on the other hand, those of informing, evaluating and predicting, typical of financial discourse. This paper is part of an ongoing study on financial newspaper articles and whether and to what extent knowledge dissemination is popularised from specialised to non-specialised texts, recombined and recontextualised to be more intelligible to the layman. The main aim will be to analyse the combination of the verbal and visual structures of these articles, trying to detect any differences in the multimodal strategies employed by a specialised and a non-specialised newspaper.

This paper presents a multimodal analysis of the theme of survival in Bob Marley's 1979 'Survival' album. The paper employs a multimodal analytical approach where attention is given to how the cover design of the album, literary devices and other aesthetic ways by which the theme of survival is projected in the 'Survival' album. Findings show that the cover design of the album speaks volumes and is loaded with meaning in projecting the theme of survival. Besides, Bob Marley employs repetition, allusion and metaphor in projecting the theme of survival in the 'Survival' album. Finally, the name of the album as well as those of the songs and their order of arrangement all contribute tremendously to building the theme of survival right from the first to the last song of the 'Survival' album.

"Die Entwicklung von Web 2.0-Technologien hat die Möglichkeiten des Selbstausdrucks drastisch vergrößert u.a. mit der Folge, dass persönliche und potenziell kontroverse Fotos öffentlich breit zugänglich sind. In ihrer Studie hat die Autorin sich mit Fotos von Selbstverletzungen beschäftigt, die in Flickr.com eingestellt wurden, einem Portal, über das Fotos und kurze Videos hochgeladen und mit anderen 'geteilt' werden können. Sie interessierte, in welcher Weise Menschen, die solche Fotos veröffentlichen, ihre verletzten Körper darstellen, ob Verweise auf neue diskursive oder visuelle Konventionen findbar sein würden in Richtung einer (Re-)Definition von Selbstverletzung und in welchem Bezug solche möglichen neuen Konventionen zu dominanten kulturellen Diskursen über Selbstverletzung stünden. Hierzu hat sie 516 Fotos von 146 Flickr-Mitgliedern einer visuellen Inhaltsanalyse und Diskursanalyse unterzogen. Die Ergebnisse zeigen, dass dominante Diskurse zu Selbstverletzung insgesamt überwiegen. Zugleich findet sich für einige Nutzer/innen eine eher subversive (Re-) Definition ihrer Verletzungen in einer Art Resilienz-Narrativ, in dessen Rahmen die Wunden als authentische Quelle ihres Selbstausdrucks präsentiert werden." (Autorenreferat)

Abstract
It is generally agreed that in photojournalism pictures come first. However, also the short verbal texts that accompany them play a crucial role, as they lead readers among the different signifieds of the image. A multimodal discourse analysis of captions will aptly consider both the linguistic elements that appear within the verbal discourse and the image-text relation. The interconnectedness of captions and pictures has lately been defined as a "loop," a view which blurs the traditional distinction between anchoring and relaying processes theorized by Barthes. The association of the relaying function with comics, however, seems to establish an interesting point of contact between photojournalism and pop art. Captions actually show the tension between "high" and "low" culture, the former being traditionally identified with the word and the latter with the image. While in the heyday of photojournalism captions were made necessary by the poor quality of the photographs, they soon began to provide an abstractive summary of the story told by the picture. This selective process involves interpretation. For this reason, captions can be ethically misleading and even legally controversial forms of discourse, for instance when they are used instrumentally to convey a specific point of view. In photojournalism dealing with crime cases, in particular, captions may display a sensationalist and populist view of justice, thus articulating the thoughts of public opinion supported by the newspaper's stand. My case study focuses on the caption that accompanied the photo portraying Perry Smith and Richard Hickock while leaving the courtroom on March 29, 1960. The two murderers – who have become famous after the publication of the documentary novel