Background :

Multimodal discourse involves using multiple modes of communication (Bloor and Bloor,
2007), demanding a semantic and formal interconnection of all available sign repertoires
during production and reception (Stockl, 2004). Among the most prevalent communication
modes are verbal and visual elements, which exhibit intricate relationships (Stockl, 2004;
Mova Guilarro and Pinar Sanz, 2007; Mova, 2013b). Verbal communication, such as writing,
articulates what might be challenging to visually represent, while images efficiently convey
information that would be time-consuming to read (Kress, 2010, p. 1). In line with Barthes'
theory (1977, pp. 34-41), words clarify and elaborate meaning, and images can enhance
understanding by providing visual illustrations. Text and image, as fragments of a larger
syntagm (Moya Guijarro, 2014), contribute distinct yet semantically connected information,
thereby enriching the overall message (Djonov, 2005, p. 2). So, merely relying on linguistic
analysis is insufficient ; a comprehensive understanding of contemporary multimodal signs
requires incorporating visual analysis or analyzing other modes, depending on the specific
communicative act. Indeed, as it is affirmed by Halliday (1985 ; 1994) and later by Halliday
and Matthiesen(2004), Systemic Functional Theory serves as a theoretical framework suitable
for analyzing these multimodal communication acts through the description of a three-layered
structure : ideational, interpersonal and textual. These metafunctions are applicable to
language analysis, and at the same time to visual analysis as it asserted by Kress and Van
Leeuwen (1996 ; 2006).
Building on the insights of multimodal discourse analysis, which explores the intricate
interplay between verbal and visual elements in communication, these principles can be
applicable to a specific context. In the realm of tourist brochures, the application of
multimodal analysis becomes particularly relevant. Indeed, tourist brochures, a subset of print
media designed for tourists, provide information on destinations and events. Unlike traditional
print media, the design of tourist brochures is characterized by a lack of strict rules, leading to
significant diversity in their appearance (Hiippala, 2007). In fact,tourist brochures serve a
primarily promotional purpose, aiming to construct a positive destination image and convert
readers into visitors (Francesconi, 2011). This type of tourism communication relies on a
fusion of language and visuals to convey information and evoke a desired experience.
While tourist brochures play a crucial role in promoting destinations and shaping tourists'
perceptions, they also play a significant role in reflecting and influencing cultural identity.
Indeed, culture is viewed as a set of practices that revolves around the creation and exchange
of meanings among society or group members (Hall, 1997). In the context of brochures, these
meanings are conveyed through a combination of various discourses and modes. Moving
beyond their practical functions, these brochures become powerful tools in shaping how
cultural narratives are presented and perceived by visitors. In fact, as cultural ambassadors,
they play a vital role in fostering understanding and appreciation for the richness and diversity
of different societies, thereby emphasizing the profound importance of this work.
In investigating the interplay between tourist brochures, cultural identity, and multimodal
discourse analysis, while some existing research explores aspects of multimodal
communication or cultural representation within brochures, a noticeable gap remains—a lack
of studies that holistically integrate these dimensions through a direct comparative analysis.