The Relationship Between The Language And The Image In The Image Era

The research object of the thesis is the relationship between the image and the language in the image era, and my main point is that language symbols and image symbols have their own advantages and disadvantages; in the image era, although the ideographic function of image symbols has been strengthened unprecedentedly, language symbols play a basic role in the semiotic system; different symbols have the features, functions and other aspects which overlap or cannot be substituted; the possibility of the conversion between language and image lies in the overlap parts, the impossibility lies in the parts that cannot be substituted. The conclusion of the difference, complementation and conversion of the image and language is that the main prevalence of the relation between image and language is intertextuality. The intertextuality and the complementary are not the simple superimpositions of the image and language, but into the aesthetic states of super-symbols.The thesis is divided into 3 parts:introduction, the main body and conclusion. Specifically, the article is divided into introduction, body and conclusion. The questions are put forward in the introductory part, argued and solved in the body part and summarized in the concluding part. The body contains 5 parts. Among them, chapter 1 deals with the cultural context of this thesis; chapter 2 is on the differentiation theory, concerning the differences between the images and language as well as new changes in the Image Age; chapter 3 deals with the integration theory; chapter 4 deals with the conversion theory, discussing the corresponding basic strategy, token and principles and so on; chapter 5 deals with the actual performance and impact of the graphic integration.The introductory part is about the origin of the problem, which presents as two aspects:the present language-image relation emphasizes the limits and difference of the language and image, and ignores the intertextual and complementary relationship between them; the influences of "language centrism" lead to the tendencies that pay more attention to the language and despise the image. For these problems, and combined with the research situation of China and abroad, makes sure the research content of this thesis:the research of the features of the image era, and the feature of image and language, the relationship between language and image, and the conversion of these two factors.Chapter 1, "A new era:the image era", describes the research background and cultural context of the relationship between language and image. The image era is different from the previous era, mainly because of the sudden emergence of the graphic symbols. Some scholars think that the contemporary society is full of diverse images and also is dominated by images, so it is an "image era". This point partly exaggerates the usage of image, raises the position of the image, and ignores the fundamental usage of language symbols. "Reading Pictures Era" focuses on the modes of the recipient's acceptance of the image——"reading", which is essentially "watching". From the point of view of acceptance, "Reading Pictures Era" highlights the characteristics of this era, lacking comprehensive and holistic considerations. Therefore, these two titles generalize the images too much and they are not accurate enough. This paper attempts to define this new era as "the image era", which is just a description of trends, rather than a description of already formed state. The image era lies out in the amount of the images but in the strengthening functions of the images, with the development of media technology making them possible.In the second chapter, "the debate between language and image" illustrates the differences of them. Their different features have the tendency of partial fusion; therefore, the relation between language and image becomes complementary. A distinctive line between traditional language and image:the main features of the language are "the absence of image" and "the link of flow of language"; the main features of the image are "absent presence" and "freeze-frame space". These characteristics form the hallmark of language's and image's differences, however, with the arrival of the image era, a new integration trend has emerged, for example, the time and the space, the abstract and the concrete, the raison and the sensibility, etc. Therefore, it realizes the partial "disenchantment" of each charm field. Why the author uses partial disenchantment is that the features of image and language is not completely permeated, but have their own independent fields.Chapter 3, "the field theory and the relation between image and language", discusses the complementary tendency of image and language. On the basis of the difference research of image and language, and the vision of the field theory, this thesis investigates their relationship. Firstly, we briefly review the main subjects of the relation between image and language in the Chinese and western history and then summarize that the main tendency of the relation between language and image is the differentiation and distinction. In the vision of the "field theory", things, in accordance with their own unique logic rules and operating criteria form certain fields, different fields for different things. Different fields are in the relationship of "cooperation" and "competition", where cooperation is homogeneous while "competition" is heterogeneous. As different types of symbol, language and image form two unique symbol fields which have the parts that are completely in parallel and the parts that intersect and integrate. The intersection of the language field and image field has laid a very important foundation for language-image interchanging. Of course, language-image fusion leads to the expansion of the overlapping language-image fields, which is also an important prerequisite for graphic interchanging. Chapter 4 is about "graphic interchanging:super-semiotic aesthetics". Photo swap involves two different kinds of symbol type; therefore the conversion process requires "transdisciplinary thought". From a semiotic point of view, graphic interchanging is a balanced mutual imitation between language and image, rather than standing on the position of the "language-oriented principle" to do the "homeopathic "or" anti-homeopathic "conversion. Language and image are two different types of symbols, belonging to two different ideographic systems.Therefore, graphic swap is a process of isomorphism and the isomorphism point is "the spiritual image". The so-called "spiritual image" refers to an emotional complex in which the artists do not specify what to express, a blend of inner feelings (meaning) and shapes (image). The spiritual image exists both in language and image, which is an important bridge graphic interchanging. As a result, graphic interchanging has it as the basic strategy that the process goes from text to the "spiritual image" and from "spiritual image to the diagram. The conversion process includes both the conversion of the signifier and the conversion of the signified.Graphic interchanging has three kinds of representation:the interchangeable signifier and the common signified;the interchangeable signifier and the adaptation of the signified;the interchangeable signifier and the different signified. As a heterogeneous symbol, the basic principles of the Photo swap is the principle of faith and the principle of reconstruction.So, graphic interchanging is not a mechanical process, but a new creative process built on the theory of graphic difference and complementation. Precisely because of the existence of the graphic register, graphic conversion has some limitations which is the incommensurability between the two symbols.The fifth chapter is about the graphic stitching. The trend of graphic stitching has always been there, and it is more obvious in the beginning of the birth of language and images, however, after the form of language has been fixed, it gradually dominates while the image has been reduced to a subordinate role. In the image era, the relation between language and image comes into "the blended stage". During this stage, "literary graphics" and "graphic literature" are two dominating features. The former is mainly on the image of the literary language, the graphic pursuit of image and the image of literary text. The latter refers to the literary images and literary text. Graphic suture brings about the positive impact on the expansion of the functions and expressivity of language and image, and inevitably the negative impact on the awareness of language-image relationship, resulting in the emergence of some misconceptions.The epilogue is a conclusion that the relationship between language symbols and graphic symbols is intertextual, and their distinctive features and intertextuality decide that both of them are of equal importance and have the same broad prospects for development. Language symbols cannot be replaced let alone be extinct. In image era, both the language symbols and the image symbols need to stick to their own fields' characteristics and derivate and explore new features according to the needs of the times and their own inner logic. Some new problems concerning language-image relation have been put forward at the end of the article:such as the artistic classification of graphic blending and the relation between image and reality in simulacrum.