The Comparative Analysis On Language Between Original And Reorganizing Cartoon Text

On theory,written language has the capability of producing meanings of image. Both written language and image can be contacted and transformed to one another basing on human's general senses.From reading text to image,a key link that is imaging text appears.Reading text and imaging text are both expressing stories or composing pictures by written language,but there are still differences between them on aspect of inner grammar.Basing on the methodology of relationship between "graph and icon" from aspect of semiology,this thesis analyzes a special symbolic appearance of "imaging text",which has characteristics of both written language and image.And the key point of the paper is to observe and study the differences between "reading text" and "imaging text" on language expression from aspect of the differences between "graph and icon" and finally to point out the theoretical meaning and growth momentum of "imaging text" as an independent concept.This thesis is composed of four chapters:The first part is preface chapter:this part mainly delimits research object,that is "reading text" and "imaging text",and introduces the theory of "integrated approach to the study of graph",and the present situation of this object.The second part is to choose original text(reading text) and reorganizing cartoon text(imaging text) of Mulan and Nezha stirring the sea as a case study,analyze their differences in grammar of written language and image.At last upon this basis,a clear and exact definition about "imaging text" comes into being.The third part is to prospect this kind of special text,its value,application areas, and growth momentum according to the conclusion of the second chapter about imaging text,especially the great influences of virtual emulational culture in the area of digital museum building.The last part is the tag of this text.To summarize the relationship between "graph and icon",and the great effect of written language in the producing course of image, and then to deny the point view of "the disappearing of characters".