Trends:

• often stress the interplay of the visuals and the text

  • suggests to provide a balance analysis on both features

• General features are stated (stylistic choices)

• States the text type + purpose of the text

• More conceptual backgrounds may also be given

eg) How are text and image used in this advertisement to promote domestic tourism?

Aimed primarily at American middle class males with the purpose of expressing his concern on global environmental changes, this webpage suggests that environmental consequences will inevitably impact the lifestyle of the people if no action is taken. Accordingly, through the interplay of visual features such as icons, comment sections and the use of language of irony and cynical tone, Ted Rall successfully establishes the message of the text; the public's active engagement is necessary in addressing the environmental consequences and without such actions, a significant level of drawbacks are expected. 

Should one's skills be undermined due to their nature? Today, I will attempt to address the question by focusing on how extreme objectification and sexualization of girls in the media casts a shadow on one's ability, hindering female agency, from the field of inquiry of Culture, Identity, and Community. Released in 1999, Carol Ann Duffy’s poem “The World’s Wife” is a collection of retellings of female figures in various myths, folktales and stories from a feministic lens. The poem, specifically Little Red Cap, challenges the representation of female poets initially framed as submissive and heavily dependent on male figures despite their artistic talents due to a given gender role in society. This female empowerment is further explored in my non-literary text of the political cartoon “Women in Football” by Lisa Donnelly. Donnelley criticises the sexualisation of females in the sports industry, where females’ ability is diminished to highlight their sexual attributes on the sports channels. The cartoon questions the fundamental societal structure of objecting to females in a vulnerable manner, such as wearing revealing clothes to be shown and judged by men. Both works explore scenarios, where females both comply with or reject the powerless nature of females’ identity, allowing readers to gain an understanding of how the roles of female individuals are affected by societal framing. 

1) Identifying the purpose + target audience first to narrow down the focus of our thesis

2) When given articles, the purpose may not be linear (could have multiple purposes to work with)

3) Find overlapping conventions if not familiar with the text types -- similar characteristics, or features in broader authorial choices

4) Use MAPS to construct the thesis statement in the introduction

5) Deconstruct guiding questions to identify central purpose, text type, and key authorial choices to cover in our essay.

6) Follow WHW structure for paper 1 as it is a flexible format that allows us to reflect on the significance behind the authorial choices

7) Use tone wheel to precisely identify tone (more detailed tone must be stated)

8) Formality,Objectivity, level of rationality of the register

Ch4-6: Part A (FFFTTF), Part B (b/d/a/b/c/b/a/b/c)

Ch7-8: a/d/d/b/b/d/b/a/c/b/c/a/c/d/b

Ch9-11: b/c/a/a/a/b/d/d/b/a/c/b

51/57

S - Identify quotes in TFA that could be used universally across multiple themes by re-reading each chapter & make notes once per week.

M - organize quotes based on the themes per chapter so I could visually identify which themes or chapters need further zoom-in.

A - we have 3 months left until the finals, so considering that one chapter would be deconstructed every week, I could go through all chapters by the end of April.

R - my goals are relevant in constructing my paper 2 knowledge in TFA as I would be able to precisely choose the most suitable quotes to work with in the future.

T - once per week for 3 months

Ali Ferzat - Predominantly Visuals (absence of text)

Media - Shape policy, develop public opinion, influence others' opinion, drive actions (wider Impact)

"In a vaccum"

LESSON 2 - Paper 1 Guided Textual Analysis

https://www.youtube.com/@ThomasLewandowski/videos

Individual Orals

• It’s a 15 minute oral exam.

• The first section is a 10 minute presentation by you, the student, followed by a second section consisting of 5 minutes of questions asked by your teacher.

• The IO is centered around a Global Issue.

• For IB English Language and Literature, you must analyze a literary text and a non-literary body of work.

• For IB English Literature, you must analyze two literary works (one of them must be a work-in-translation).

• Comparison and contrast is not a requirement (unlike in Paper 2)

The global issue should belong to one of the following 5 themes:

1. Culture, identity and community

2. Beliefs, values and education

3. Politics, power and justice

4. Art, creativity and the imagination

5. Science, technology and the environment

Introductions

<Examining Sample IO>

A1.

• how the theme is universial - coped machnism —> GLOBAL / Transnational

• date/quick summary (backgrounds)

• what both display ( navigating varing ways they dicusses)

• steps they took to present themes

  • Absence of linking back to local

  • Loose Global Issue — too general, not specific

  • Feature of the forms that are important needs to be mentioned (content)

A2.

• educations - foster life to education

  • carol ann duffy

  • some students were not provided / education useless

    • unemployed

  • speed — too fast

    • paced / clear NEEDED

  • No introduction to 2 diff. texts

A3.

• stereotypes, bound to personal identity (traditional life styles)

  • life of women (loyal wifes) / expectations

  • link to real life situations / back to text by quotes

    • LOCAL (still a global issue now?)

How do I pick good extracts for my IB English IO?

Practice IO

https://www.themarginalian.org/2019/05/17/rebecca-solnit-cinderella-liberator/

Rebecca Solnit on Love, Purposeful Work, and the Meaning of Liberty: An Empowered Retelling of Cinderella

Othello & The Marginalian

Key Outlines :

• Global Issue : parental control and oppression

  • the dangers of parental control over individual desire with its subversive potential

    • Both Desdemona and Cinderella subverts the system by seeking pleasure and love rather than tying her fate

*Due 24th of Friday (Lang Lit SL)

Annotate your chosen blog post and identify how it connects to your Global Issue. You should also include:

• connections with any of the 7 key concepts of the course

• connection with the Area of Exploration (Readers Writers Text).

• features of blog (digital text)

• language features

• visual features

[Online PDF - https://marul.ffst.hr/~bwillems/fymob/things.pdf]

KEY TERMS :

• Epigraph

  • quote written before the start of the text

• Encapsulates

  • enclose (something) in or as if in a capsule

  • to surround, encase, or protect in or as if in a capsule.

• Caesura

• Disintegrated world

  • break up into small parts as the result of impact or decay

• Catastrophe

  • an event causing great and usually sudden damage or suffering; a disaster.

Intertextuality

• the relationship between texts, especially literary ones.

• Literary theory that all literatures are influenced by a previous work of literature

  • Delibrate or Latent

    • Delibrate — Direct, purposely borrows

    • Latent — Indirect, incidently connected

      • eg. adaptation / approperiation

  • Wide readers (more you understand the next thing you read)

Allusion

• Joseph Conrad - reference to Africa

• Things Falling Apart contains allusion to Conrad’s work

  • process of reader finding the retelling

• Allusion : an unexplained reference to someone or comething outside of the text

  • lay associations and meanings from these sources onto their own work

    • literary/visual/biblical allusion

      • Eg. “big brother” = governmental surveillance from George Orwell’s 1984

      • Eg. Catch 22 by Joseph Heller

Chapter 1/2/3

https://docs.google.com/document/d/1BQ1Gd-r4jlIk-T9qlYY5RglBreSqQMD4IDWsIAog4UY/edit

summary : https://quizlet.com/287181614/summarys-of-things-fall-apart-chapters-1-4-flash-cards/

—

Slides - CONTEXT

1. Context of production

• 1958 is the height of decolonisation in Africa

  • “Eliminates the African as human factor”

  • “Devoid of all recognizable humanity”

2. Context of the novel = novel setting

• portrayal of pre-colonial Igbo life

  • from the first contact with the British colonialists to the growing dominance of British rule over the indigenous people

    • COUNTERACT “Heart in Darkness”

  • Connection between missionaries and colonial movement (+ take over the place)

• Theory “Primitivism” - uncultured, unsophisicated, uncivilised ⇒ Achebe wanted to challenge its stereotype

  • Achebe does not try to romanticise the society, but tries to show a realistical culture

<THE DANGER OF GUESSING>

3. Context of reception (individual readers)

• completed lopp of meaning

Slides - AUTHORIAL INTENT

• Authorial Intent : the idea that the meaning and purpose of a written work is determined by the autho’s thoughts,intentions and ideas when they created it.

  • What does the author want to communicate through the work?

[Global Issue]

• Masculinity

• Gender relations

• Role of marriage

• Family obligations

• Tradition

• Tradition vs Modernity

<Character Profile>

Okonkonwo - how is he built in relation to his father (lazy/loser) ⇒ O decides to look up on family/follow tribe’s tradition/ get out of poverty = AMBITIOUS + STRONG + CLEVER (share cropping) + WEALTH + HONOURED (having multiple wives + chidlren) + REALISTIC

• Ambition + Manliness : “I will not have a son who cannot hold up his head in the gathering of the clan. I would sooner strangle him with my own hands. And if you stand staring at me like that," he swore, "Amadiora will break your head for you!” ←Okonkwo values the customs of the Ibo people, which is largely centered on manliness and one's reputation in society.

• Pride + Masculinity : “I am not afraid of work. The lizard that jumped from the high iroko tree to the ground said he would praise himself if no one else did. I began to fend for myself at an age when most people still suck at their mothers' breasts. If you give me some yam seeds I shall not fail you” ←he utilizes his history of having to fend for himself in Igbo society in order to win the trust of Nwakibie to loan him some yam seeds. But essentially, this quote exemplifies Okonkwo's obsession with being perceived as "manly".

• Valuing the ‘strength’ : “"He had a slight stammer and whenever he was angry and could not get his words out quickly enough, he would use his fists. He had no patience with unsuccessful men.”

• Male > Women : “"Okonkwo called his three wives and told them to get things together for a great feast. "I must thank my mother's kinsmen before I go," he said” ←This quote from Chinua Achebe shows how men have power over women and Okonkwo bosses his wives around. Also how having multiple wives was normal and actually encouraged.

• Dont Under Play his role in the society (=hardworking)

<Language>

• Perspectives : 3rd person narration perspective

• Proverbs : a short, well-known pithy saying, stating a general truth or piece of advice.

  • eg.`The enemy of my enemy is my friend'.

  • IN NOVEL : https://quizlet.com/115451616/things-fall-apart-proverbs-flash-cards/

  Chapter 14- ANNOTATION

  https://docs.google.com/presentation/d/1PRNRd7r3r75b8w8D6K21njWBa_tJtS17eTPZESzKVHU/edit#slide=id.p

Language Techniques

Symbols

Element of Tragedy

Chapters - pre colonial era

Chapters - Colonial era

SCASI Notes TFA

• may be interpreted as a gimmick or prank

• whereas it could be seen as removal of barriers to artwork

  • working class identity of Banksy = barrier

    • lack of respect may be formed

    • may create inferiority complex

• practice : cancelled dream

Banksy Cancelled Dream.pdf

• reflection

  • presented with too much detail ⇒ failure of time management

  • global issue not established clearly for Othello

  • lack of link between visual analysis and overall message

  • absence of setting clear message <non existence of American Dream>

Should one's skills be undermined due to their nature? Today, I will attempt to address the question by focusing on how extreme objectification and sexualization of girls in the media casts a shadow on one's ability, hindering female agency, from the field of inquiry of Culture, Identity, and Community. Released in 1999, Carol Ann Duffy’s poem “The World’s Wife” is a collection of retellings of female figures in various myths, folktales and stories from a feministic lens. The poem, specifically Little Red Cap, challenges the representation of female poets initially framed as submissive and heavily dependent on male figures despite their artistic talents due to a given gender role in society. This female empowerment is further explored in my non-literary text of the political cartoon “Women in Football” by Lisa Donnelly. Donnelley criticises the sexualisation of females in the sports industry, where females’ ability is diminished to highlight their sexual attributes on the sports channels. The cartoon questions the fundamental societal structure of objecting to females in a vulnerable manner, such as wearing revealing clothes to be shown and judged by men. Both works explore scenarios, where females both comply with or reject the powerless nature of females’ identity, allowing readers to gain an understanding of how the roles of female individuals are affected by societal framing. 

In Marjane Satrapi’s graphic novel ‘Persepolis’, Marji encounters Uncle Anoosh after his release from prison, where he was imprisoned for nine years. Instantly after his arrival, Marji idolizes her uncle as her one and only ‘hero,’ as he is the first activist in her family who has undergone exile and extreme adventures like Laly’s father. Thus, initially shaped by Marji’s childish romanticization of the revolution, Uncle Anoosh serves as a hero that Marji long desired to have and further transforms into a figure that allows Marji to face the cruel realities of the ‘chosen heroes’. With such realization, it enables her maturation as a turning point for the protagonist , a key aspect of thethe bildungsromangenre , developing her ego as a young adult after the loss of Uncle Anoosh. 

In the chapter ‘Moscow,’ Marji quickly frames Uncle Anoosh as a revolutionary figure who has sacrificed his life and identity like other ‘heroes,’ and differentiates him graphically from other heroes she was exposed to in earlier chapters. In the third panel of page 54, the audience is first introduced to Uncle Anoosh, where an extensive panel dedicated to him with a halo in the background is selectively chosen to highlight Anoosh's elevated status. With bold graphic weight, Anoosh is centered on the panel wearing a black suit and western-styled hair, unlike any other characters from the novel. Glorified by Marji, Anoosh’s presence is directly stated as ‘lucky’ in the narration and seen as a hero at a glance. This idolization is from Marji’s sense of insecurity (inferiority) which is primarily rooted in the feeling that she is disconnected from heroes who make changes to the world and actively go against the government’s repression. 

As a powerless individual, she desired to interact with heroes like Laly’s father or political prisoners introduced in the chapter ‘the heroes’, who could fulfill Marji’s romanticism of revolutionary activists. However, until Uncle Anoosh’s arrival, Marji feels isolated by the absence of her family to serve as a hero around her, shown through her disappointment in the narration box ‘So my father was not a hero.’ As such, Uncle Anoosh, who seemed to be above the level of ordinary-looking activists with Western suits, a bright halo, and a doctorate in Marxism, quickly becomes Marji’s ‘naturally loved’ hero within the family and ultimately fulfills her romanticized expectation toward Marxism. 

However, with the unfortunate execution of Uncle Anoosh, Uncle Anoosh acts as a turning point for Marji to mature, facing reality under the fragile romanticization and detaching herself from her earlier identity. Specifically, this is visualized through Satrapi’s utilization of the uncle’s bread swan as a symbol of hope and resilience. With minimal weight in the background, a toy carved by Uncle Anoosh during his imprisonment is the only object connecting Uncle and Marji with light colors in the dark prison as the swan and two figures are the only objects being colored white. However, such hope vanishes as Uncle Anoosh gets executed by the government and the swan toy becomes a mere home decor that decorates the newspaper announcing his death. Here, through using borderless panels to emphasize the presence of the newspaper, it is clear that Swan no longer provides hope for Marji and ultimately fails to bring the democratic success Marji seeks from heroes. Due to this discrepancy and the loss of the hero, by the end of the chapter, Marji detaches from the god, an imaginary friend formed in her childhood, and experiences psychological maturation. The impact on her life after the execution leads to the total loss of her psychological stability, differentiating Uncle Anoosh from the previous heroes. Marji's ‘growth through conflict’ is specifically shown when she screams ‘Shut up, you! Get out of my life” to the god, whom she once depended on to share her thoughts and struggles. With her decision to move on from the god, it is clear that as Uncle Anoosh’s status shifts to a martyr, the impact of his absence extends through Marji’s persona, elevating from his earlier childhood. This is further shown through the changes in visual styles such as speech bubbles, where spikes in the speech bubble are formed as a visual reminder of her loss as she screams toward the god. Here, along with a wide panel that takes up the entire page, Satrapi metaphorically visualizes the sense of loss and confusion by detaching Marji from the real world, with the background of the bedroom getting replaced by the universe. With such a sense of substanceless shown through Marji, it marks the end of her personal life as a child and enables the shift in her identity. 

As such, the role played by Uncle Anoosh as Marji’s hero and a foil character for her turning point in the bildungsroman is significant; from the introduction of Uncle Anoosh, Satrapi solidifies Uncle Anoosh as a symbol of Marji’s romanticism toward revolutionary figures, fulfilling Marji’s expectation toward justice. However, with the execution of Uncle Anoosh, the absence of Anoosh marks the transformation in Marji’s persona, detaching herself from earlier childhood experiences and romanticizing the world. All together, Uncle Anoosh plays a critical role in sparking the internal maturation of Marji as a protagonist, emphasizing the importance of facing the reality of the political conflict.

As we move to the mid-chapter, Satrapi shifts the representation of the veil as a symbolic politicized material to emphasize the ideological dichotomy during the 1980s. This is prevalent in the first panel of page 5, where two groups of females are divided in the demonstrations to fight for or against the veil. This shows how the country remains polarized over ideology, and the issue of the veil is a mode of representing its political side. Satrapi employs the ideological schism through the use of color, where black and white are used respectively to divide the group. Here, the author's position is placed as the group on the right wears white, associated with the ‘good,’ while the oppositions are villainized using black. Specifically, with both veil and their clothing colored black, the protestors look identical, as if their individuality is absent. This contrasts with the other side of the protestors, who have different hairstyles and facial expressions to show each individual’s uniqueness. This portrayal is significant as the protestors are standing for the issue of freedom, which is lacking in the left side’s protestors shown by the lack of identity. The blindness of the protestors is further demonstrated by their closing their eyes in the panel, unlike the group on the right, which has their eyes open. Here, Satrapi criticizes the prevailing ignorant attitude in society, specifically those people who are not open-minded when it comes to politics even if they are presented with different perspectives. Through using the phrase ‘the veil’ as the protestor’s slogan, Satrapi symbolically represents the veil as a politicized item, more than just a mode of oppression but as an item defending the government’s political ideology.

To fully understand the transformative nature of the veil’s symbolism, it is hence necessary to draw attention to Satrapi’s choice of removing the negative connotations behind the veil. Toward the end of Chapter 1, the image of Marji is introduced with a divided background filled with mechanical symbols and religious patterns. The left background of rulers represents the modernized perspectives formed by Marji during her childhood, while the right represents her traditional and cultural roots. On a surface level, the two sides seem to each represent the polarized political ideologies that Marji needs to choose a side from. However, Satrapi uses black and white on both sides, unlike the previous scene where two groups of protestors were each applied with different colors and equal graphic weight to both sides as if one can not be prioritized over the other. Satrapi uses black on both veil and hair to show the interconnected nature of culture and her identity, which cannot be detached from her. This removes the political aspects that were once assigned to the symbol of the veil and amplifies the importance of tradition’s role in playing the key role in forming one’s identity. This offers readers to critically view the value of tradition without placing a Western cultural lens, where Iranian culture has largely been presented by the press as a fearsome, oppressive culture. Moreover, through the use of simplification of drawing, Satrapi allows us to easily experience and interpret the story as our own. Instead of applying the descriptive portrayal of modern and traditional aspects she specifically experienced during her childhood, she decides to implement a rather simple and universal drawing of herself and the background. This allows the readers to identify with the struggle behind reflecting their identity that Satrapi has once gone through. With this shifted tone in presenting the symbol of the veil, Satrapi urges readers to see the veil and its culture as a deeply embedded tradition that forms one’s identity not just in her but for every individual. 

From the first paragraph, Sahni immediately creates nostalgia that the American public could relate to, who may be the primary audience of the New York Times Magazine. Using combined alliteration and simile ‘Like Sunday Supper,’ Sahni connects the reader who may not be familiar with Indian culture and Tandoori to her own culture. Then, she establishes a nostalgic tone using personal anecdotes; the phrase ‘I remember gathering with my family’ invites readers to her childhood memories, where pronouns are used as a sentence starter to state that it is her memories directly. This anecdote extends as she provides an extensive list of sensory images such as ‘​​cool breezes,’ and ‘juicy morsels of meat’ which adds a detailed description of the joyful environment and taste of the grilled Tandoori. As readers can imagine the slightest details of the scene, we are naturally drawn to engage with the anecdote provided. This imagery is especially effective as it is placed next to a visual image attached to the right-hand side of the article, supporting the visualization of Tandoori as a food. In the photograph, the traits mentioned earlier in the article ‘Smoke, grill, and roast chicken’ are all shown through the vibrant red and black colors showing the grilled meat instantly. As this encapsulates the extended visual description, it successfully guides readers to engage in the topic, allowing them to feel included throughout the passage without losing interest. 

In my IO, I will be analyzing the global issue of the unidirectional manifestationof the binary gender constructs created by the patriarchal society. 

In our everyday lives, we often encounter gender stereotypes, specifically a portrayal of femininity and masculinities as binary opposites. 

Women have typically been stereotyped as more warm and submissive, while males were described as simply aggressive and more assertive, and traits have long withstood society, distorting our views. 

Specifically, such perceptions have been illustrated with a critical lens in the two texts I’ve chosen to analyze. The first text is a poem called Queen Kong by Carol Ann Duffy. 

Released in 1999, Carol Ann Duffy’s poem “The World’s Wife” is a collection of retellings of female figures in various myths, folktales, and stories from a feministic lens. The poem, specifically ‘Queen Kong’, challenges a stereotypical theory of a woman being submissive and dependent by reversing the gender of King Kong, yet keeping the aggressive and frightening masculine characteristics. 

Similarly, these binary gender constructs are well shown in Liza Donnelly’s iconic Women’s Football Cartoon, where a harsh reality of today’s world is revealed through stereotypical sexualization and extreme femininity extends to the way female footballers are portrayed, regardless of their ability in sports. 

First and foremost, Carol Ann Duffy explores the global issue of binary gender constructs created by the patriarchal society through her use of tone and imagery.

In this particular poem, she narrates from Queen Kong’s point of view, focusing on her affection for her lover. From the first stanza, the poem opens up immediately by setting a typical concept of the male gaze to a male. The phrase “My little man” emphasizes the possessive nature of Queen Kong by objectifying the man. Here, the language ‘little’ is striking as it physically and metaphorically reduces the size of her man, which is often reversed in the real world, where females are seen as petite and often objectified. This idea of the male gaze continues as gender role reversal plays out as Queen Kong describes herself as ‘peeping,’ which is often a negative connotation of actions men are normally associated with to look at the females they are interested in. As a male gaze, it is disturbing to the readers to know that ‘peeping’ is a widely dealt issue in society as a serious breach of personal privacy and bodily autonomy. Together, Duffy places Queen Kong as a powerful character who can place her lover in an objectified and vulnerable state from the start. 

This dominance in relationship extends in the second stanza where the lover is ‘scooped’ up to Queen Kong’s palm. Here the term scoop vividly portrays how Queen Kong objectifies him like a toy and treats him as she wishes regardless of his will. Even when they first come across each other, the lover is not given any agency to control the situation but rather passively reacts to Queen Kong. As readers, this tone is shocking as we further find out that Queen Kong prioritized the man’s visual traits, stating him to be ‘he was small but perfectly formed and gorgeous.’ The judgmental views isolated by enjambment at the beginning of the line further accentuate the tone of the typical way how females were judged upon their beauty through the male gaze.

This tone of male gaze reaches its peak at the end of the third stanza when Duffy humorously adapts the cliche to depict Queen Kong’s affection toward the man. Here, she states “ I swore in my huge heart to follow him then to the ends of the earth.” 

As this sounds like a hyperbolic confession made by males whispering their love, Duffy comically presents how stereotypical masculinity could be seen through the reversal of roles. 

Considering that such reversal of roles is adapted in other Duffy’s poems such as Circe to objectify males as mere ingredients for cooking, Duffy’s choice of criticizing the stereotypical gender traits are not surprising. For example, Duffy further uses the female figure Circe’s violence as a satirical reversal of men's control over and abuse of women's bodies. 

All in all with Queen Kong’s persona, Duffy freely expresses her thoughts of the contemporary, putting a new perspective on the patriarchal story of King Kong to criticize the gender stereotypes that are formed in the society that presents females as submissive and powerless, while providing overwhelming power to males who are often depicted as assertive or aggressive in a simplistic narrative. Through reversing the gender roles of the lovers and critically portraying the simplistic narratives of society’s gender traits, the poem acts as a medium for readers to reconsider the dichotomous presentation of gender stereotypes that blinds how we view the genders and their identities. 

From the beginning, the structure and composition of the infographic contribute to its meaning by setting the informative tone, aimed at two distinct audiences. On the top of the infographic, two flags are positioned on each side, with different red and green colors. With each flag representing different perspectives toward mental health, the red flag focuses on the problems faced by the NHS and British society due to the rising occurrence of mental health, while the green flag outlines the tactics and actions needed by the organizations to prevent the rapid increase of mental health problems in the NHS. By stating the ‘strategic approach’ required by the employers with the chess icon which typically represents the idea of strategy or life lessons, the flags on the side target the stakeholders who are part of the institution to recognize the severity of the mental wellbeing status in the NHS. On the other hand, different minimalistic icons such as clocks, shoes, and apples are listed in the center of the page. Here, these icons are used to represent the lifestyle suggestions that could be made by the individuals working in the NHS as icons such as an apple represent the dietary choices, while shoes are used to emphasize the importance of exercise. This use of simplistic icons is particularly effective as these icons can easily be identified by the individuals, allowing the audience to immediately grasp the idea of adjusting their routine to improve their quality of life. This creates a logical order of the infographic as we are later introduced to the icon of the funnel and water drop, placed below the suggestions to visually present the necessity of every single lifestyle suggestion in promoting mental health, explicitly labeled on top of the funnel. Here, the symbol of the cross has been used as it commonly denotes the possible positive progress in the NHS that can be made when following the proposed suggestions. This use of a funnel is particularly powerful as it implies that the suggestions are not distinct from each other, but are deeply interconnected in their nature when addressing the mental health promotion in society. This composition has been utilized by the infographic as it appeals to the facts in an informative manner to distinct audiences; individuals who work in NHS can gain information through the iconic suggestions in the center, while the organizations run by the employers can visualize the state of mental health in a wider scope with drawing attention to both current problems in NHS and its institutional level solution through the flags while acknowledging the possible lifestyles that institutions can suggest to the employees. 

Upon the utilization of the visual composition, the effective use of authorial choices in the text cannot be ignored, as diction and critical tone have been purposefully chosen to communicate the urgency of the mental health risk in the NHS. For instance, in the capitalized heading “things you need to know about mental well-being,” the modal verb ‘need’ is used in a mild imperative tone to highlight the universal need to understand mental health as an individual. While mainly written in an informative tone, audiences are exposed to the infographic’s vivid illustration of the negative implications of not prioritizing mental well-being. From phrases “people with health problems have worse physical outcomes,” to “single largest cause,” comparative and superlative adjectives were intentionally placed to amplify the destructive risks created by poor mental health management. It is also worth noting that a critical tone is created by adapting logos, where it analyses economic loss created by mental health at the workplace in order to appeal to institutions where profit is a key factor in running their business. Instead of emotional appeals, risks and losses such as “costs £26 Billion each year” or “loss of 70 million working days” are numerically visualized, targeting the primary interest of the audiences who are the employers in the organizations. Considering that the NHS is stereotypically categorized as a high-stress workplace with a shortage of staff, addressing mental health problems from the lens of the institutions allows the audiences to pay closer attention to staff’s working conditions and mental health in the workplace.Furthermore, dictions are carefully selected to ensure concise and audience-appropriate communication. Specifically, the text is written in a formal language with jargon that is specific to healthcare professionals as the infographic is likely to be displayed in NHS workplaces such as local clinics and hospitals. For example, the context of the information centers on the treatment plans for mental health, which the primary audiences are highly likely to be aware of. ‘Physical outcomes’ and ‘disability’ are also repeatedly mentioned in order to link how the diagnosis is closely associated with mental health problems in the NHS, further strengthening the overall message of the infographic. Considering that the wider audience of this text could be anyone in the healthcare buildings, it is hence interesting to spot how the infographic carefully employs languages that are formal but not too complex or full of jargon to communicate their message to the general public.