from The Century Dictionary and Cyclopedia

  • Characterized by a visual memory or imagination of words or verbal ideas; tending to represent words mentally in terms of sight.
  • Having a verbal form, with visual contents: as, a visual-verbal idea.


Sorry, no etymologies found.


  • Of course Roam focuses on visual communication, but your education example does successfully point out additional variables – visual-verbal, visual-nonverbal, auditory, kinesthetic learning.

    inkblurt · Why We Just Don’t Get It

  • In The Art of the Comic Book (University Press of Mississippi, 1996), R.C. Harvey states: A cartoonist is one who creates in the visual-verbal mode of the comics -- someone who is a writer-artist.

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  • Ms. MAYA LIN (Author, "Boundaries"): "Boundaries" is -- I call it a visual-verbal sketchbook in that it's half written, haft im -- half images.


  • I talk about the development of a certain visual-verbal literacy which is in our children now.

    The Five Myths of Television Power: Or, Why the Medium is Not the Message

  • We don't know how to deal with this visual-verbal literacy that children are bringing in, and I just conclude this by talking about a few studies which I quote in the book.

    The Five Myths of Television Power: Or, Why the Medium is Not the Message

  • From this group and the visual-verbal references to the Harlot's Progress as a new art form in the subscription ticket (Boys Peeping at Nature), I "speculate" that Hogarth's first "modern moral subject" (his words) takes off from Shaftesbury's dictum that history painters should model their histories on the classical Choice of Hercules (Heroic Virtue choosing Virtue over Pleasure).

    Reading Hogarth

  • The most persuasive presentations strike a visual-verbal balance between words and pictures. -- Top News

  • Paul Nadar Nadar Interviewing Chevreul 1886 "The words spoken by the one-hundred-year-old chemist were recorded below each photograph to produce a visual-verbal record of the interview."

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  • Picture Theory contained essays on American slave narrative (specifically, the problem of memory and visually descriptive "digressions"); on ekphrastic poetry (poems on works of visual art); on modernist abstract painting in the Greenbergian tradition; on postmodern sculpture and visual-verbal "objects" (specifically, the work of Robert Morris); on photographic essays (Barthes, Alloula, Agee and Evans, Said and Mohr); on Nelson Goodman's theory of realism and Gombrich's theory of illusion; on violence and public art, on Oliver Stone's JFK and the power of television news during the Gulf War.

    The Last Formalist, or W.J.T. Mitchell as Romantic Dinosaur


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