{"id":{"repo_id":"arts-london","oai_identifier":"oai:ualresearchonline.arts.ac.uk:24875"},"canonical_url":"https://search.dev.ndltd.org/etd/arts-london/oai:ualresearchonline.arts.ac.uk:24875","repository":{"repo_id":"arts-london","name":"University of the Arts London","base_url":"https://ualresearchonline.arts.ac.uk/cgi/oai2"},"display":{"title":"The Third Story: An Exploration of Intergrating Ironic Counterpoint into the Multimodal Text-image Relationship of Children's Picturebooks","abstract":"This research investigates the intricate multimodal interactions between text and image in children's picturebooks, with a particular emphasis on the implementation of \"ironic counterpoint\" as a narrative device. Recognizing the complexity inherent in multimodal narratives, this study aims to clarify how the interplay of verbal and visual modes not only creates meaning but also fosters reader engagement. Building on the framework established by previous scholars, the research identifies key objectives, including the production of multimodal interactions, testing the concept of a \"third story\" that arises from the incongruity of text and image, and examining how ironic counterpoint can evolve narrative functions within contemporary picturebooks. Through a practice-based approach, the author has developed three original picturebooks— Responsible Me (2021), The Guardian Angel (2022), and The Way to Happiness (2024)—each manifesting the principles of ironic counterpoint. These works serve as case studies in exploring how discrepancies between text and image contribute to layered storytelling, prompting readers to actively participate in meaning-making. Moreover, the study seeks to delineate new subcategories of ironic counterpoint and analyses the effects of typographical changes, pictorial changes, visual metaphors, and symbolic representations on narrative developed through multimodal theory. The findings indicate that the dynamics of text and image relations in picturebooks not only enrich the narrative but also cultivate a deeper understanding of cultural significance and visual literacy among audiences. Emerging from this research is a contextualized theoretical framework that equips picturebook creators, illustrators, and educators with innovative approaches to multimodal storytelling. 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Through a practice-based approach, the author has developed three original picturebooks— Responsible Me (2021), The Guardian Angel (2022), and The Way to Happiness (2024)—each manifesting the principles of ironic counterpoint. These works serve as case studies in exploring how discrepancies between text and image contribute to layered storytelling, prompting readers to actively participate in meaning-making. Moreover, the study seeks to delineate new subcategories of ironic counterpoint and analyses the effects of typographical changes, pictorial changes, visual metaphors, and symbolic representations on narrative developed through multimodal theory. The findings indicate that the dynamics of text and image relations in picturebooks not only enrich the narrative but also cultivate a deeper understanding of cultural significance and visual literacy among audiences. Emerging from this research is a contextualized theoretical framework that equips picturebook creators, illustrators, and educators with innovative approaches to multimodal storytelling. 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