THE ROLE OF VISUAL VOCABULARY IN THE PROCESS OF LEARNING ITALIAN FOR SPECIFIC PURPOSE

The use of visual material does not imply necessarily the comprehension of the message included in it. It is necessary to go deeper, identifying the meaning enclosed into an expression using a visual code. In a formative context this aspect is even more relevant because the usage of visual material is growing due to also the new technologies applied to education. Therefore, this article highlights the main characteristics of a visual material for second languages acquisition, that is the visual vocabulary. First of all, the topic will be introduced through a semiotic overview about the usage of pictures in learning, underlining the process through which the meaning is spread across visual material. Indeed, the investigation of meaning-making includes the study of sign processes – that is semiosis – like analogy, metaphor, symbolism, likeness, etc., all aspects that characterize a linguistic code and a visual code too. Then, a literature review focuses on the main studies concerning the teaching and learning of vocabulary in a second language, especially in the field of the French lexicography. Finally, considering the characteristics of the visual material from a semiotic perspective, the final paragraph provides an example of a visual vocabulary of Italian as second language. This vocabulary is thought for foreign workers in the field of tourism and hosting that need to learn Italian for specific purpose. Thus, considering the proficiency level of that type of learners (A2, according to the CEFR) and their limitation in terms of time spent for learning, the vocabulary represents an effective support material in the process of learning and retaining vocabulary and fixed expressions. Therefore, this article aims at contributing to the debate over the usage of visual material in the context of learning and teaching a second language, due to the fact that nowadays the society offers us a wide range of visual stimuli. Thus, as users or designers of visual material, we have to be aware of their evocative power and we have to be able to interpret them and not just to look at them in a passive wa