石昌鸿二十四节气多模态设计图的新视觉叙事语言学分析

而genreplays在决定传播的形式和媒介上起着决定性的作用，动画片不可避免地包含了语言形态、视觉形态、听觉形态等，使信息传递变得更快、更精确、更全面。

Chapter One Introduction

1.1 Research Background
With the development of science and technology and the emergence of variousmodern communication medias, language is no longer the only means to conveymeaning and multimodal discourses gradually appear in people's daily life. However,traditional discourse analysis is limited to linguistic level of discourse, neglectingother modalities, such as color, image, sound and so forth. Being aware of thislimitation, a growing number of scholars and experts begin to analyze multimodaldiscourses. Hence, Multimodal Discourse Analysis(hereinafter referred to as MDA)becomes a competent and promising theory from 1990s to now.
Kress and van Leeuwen proposed a new framework named VisualGrammar(hereinafter referred to as VG) in Reading Images: the Grammar of VisualDesign published in 1996 and their framework of visual communication has beendeeply influenced by Halliday’s social semiotic thought. Halliday (1994) holds thatlanguage is a semiotic modality and any semiotic modality has to represent threecommunicative meta-functions. There is no doubt that Kress and van Leeuwen layssolid foundation for image analysis, while Clare Painter, Jim Martin and LenUnsworth’s book titled Reading Visual Narratives: Image Analysis of Children’sPicture Books represents the most significant advance in image analysis. Thecontribution of Painter et al.’s new framework for visual narrative analysis chiefly liesin two aspects. First, it considers the aesthetic experience of readers, pays attention tothe interaction between the author, depicted characters and viewers or readers, andtries to explain the deep artistic expression and emotional appeal of discourses.
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1.2 Purpose and Significance of the Study
This thesis aims to explore the characteristics of cognitive semantic meaningand visual narrative of the dynamic pictures of Twenty-four Solar Terms. Morespecifically, it probes into how visual modality and verbal modality construct meaningin the dynamic pictures of Twenty-four Solar Terms, explores the characteristics ofmeaning construction and delves into modality relations in these pictures.
This study is not only theoretically but also practically significant. In theory,Painter et al.’s new framework for visual narrative analysis is suitable to make ananalysis of the dynamic pictures of Twenty-four Solar Terms designed by ShiChanghong. Hence, firstly, this paper provides a novel research perspectivefor Twenty-four Solar Terms in that the studies on it in the past twenty years mainlycome into five types, namely the field of medicine, education, climatology, agricultureand aquaculture, literature and art. Nevertheless, there is no research on it from thelinguistic perspective. Secondly, this paper provides a new research perspective formultimodal study because there are few studies on dynamic design images from thenew framework for visual narrative analysis. Thirdly, this thesis synthesizes Painter etal.’s framework and Zhang Delu’s theoretical framework for MDA to analyzedynamic pictures, which makes a little contribution to the framework.
In practice, this paper can introduce solar terms, cultural connotation of themand relevant customs to people, which will arouse Chinese people even foreigners’interest in solar terms and awaken Chinese especially teenagers’ awareness ofprotecting traditional culture and cherishing the wisdom of ancestors. Meanwhile, itwill effectively promote the publicity of traditional Chinese cultures to foreigncountries, better promote the international dissemination of Twenty-four Solar Termsand improve readers’ aesthetic literacy. Lastly, this paper will give some ideas andinspiration on future design of works of art.
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Chapter Two Literature Review

2.1 Reviews on Twenty-four Solar Terms
The existing English translating versions of each solar term are large in numberbut uneven in quality. As a result, this thesis will adopt the version issued by NationalScience and Technology Nomenclature Committee of Chinese Astronomical Society.The terminology and type as well as connotation of each solar term are presented asfollows: (Yu Shicun, 2016).

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2.2 Reviews on Multimodal Discourse Analysis
Though Barthes started to analyze the rhetoric of image in 1970s and exploredthe interaction between image’s function of conveying meaning and language, MDAflourished in western countries in 1990s. And at present, “the multimodal researchpaths mainly include the multimodal research into semiotic attributes, the research onmultimodal corpus together with the multimodal research in neuroscience andhuman-computer interaction science” (Huang Lihe and Zhang Delu 22).
Social semiotics, interactive sociolinguistics and cognitive linguistics are thethree most active schools in the field of multimodal research into semiotic attributes.The pioneering scholars in social semiotics school include O’Toole, Kress, vanLeeuwen, Baldry, Thibault, O’Halloran, Royce and so on. Halliday’s social semioticstheory and functional linguistics lay solid foundation for these scholars’ researches onMDA. O'Toole (1994), a founding scholar in MDA, extended systemic-functionaltheory to semiotic resources and made a systemic-functional analysis of displaced art,architecture, painting and sculpture. Kress and van Leeuwen (1996) offered scholarsspecializing in MDA and readers a systematical and comprehensive explanation ofVG. Royce (2002) discussed the multimodality in the TESOL classroom to explorevisual-verbal synergy. Kress (2003) explored how image instead of writing becomesthe center of communication will affect the future of literacy. Fromsystemic-functional perspective, O’Halloran (2004) made an in-depth exploration of avariety of discourses including three dimensional object in space, electronic mediatogether with film, and print media. Baldry and Thibault (2006) analyzed variousmultimodal printed texts, websites and films, and suggested ways to help botheducators and students understand how meaning is constructed in the E-learningenvironments. van Leeuwen and Boeriis (2017) probed into the semiotics of filmlighting. Adopting a Systemic Functional Multimodal Discourse Analysis approach,Fernández-Fontecha et al. (2018) explored the roles and relations of images,languages and mathematical graphs in four sketchnotes on the basis of scientificliterature in physics to study the underlying semiotic mechanisms.

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Chapter Three Theoretical Foundation................................ 17
3.1 Painter et al.’s New Framework for Visual Narrative Analysis.............................17
3.1.1 Ideational Meaning................................... 17
3.1.2 Interpersonal Meaning...................................... 18
Chapter Four Multimodal Analysis of Twenty-four Solar Terms.........................27
4.1 Multimodal Analysis from the Culture Level............................27
4.1.1 Ideology..............................27
4.1.2 Genre................................29
Chapter Five Conclusion..........................................61
5.1 Major findings of the Study.................................. 61
5.2 Limitations of the Study...................................63
5.3 Suggestions for Future Studies........................... 64

Chapter Four Multimodal Analysis of Twenty-four Solar Terms

4.1 Multimodal Analysis from the Culture Level
The importance of culture level lies in the fact that it provides communicativeactivities with environment because it is the sum of meaning potentials of all semioticsystems. And there are two subsystems involved in the culture level, that are ideologyand genre.
4.1.1 Ideology
As the inner manifestation of culture, ideology exists in the hearts of membersof one society, including beliefs, customs, living habits, values, people’s mode ofthinking, etc. And, the ideology of the dynamic pictures of Twenty-four Solar Termswill be analyzed from Chinese religious culture, the culture of Chinese Zodiac,ancient Chinese Characters and archaic chronological method to all cultures relevantto solar terms.
Firstly, Chinese Buddhism with Chinese national characteristics is formedthrough long-term development of Indian Buddhism. Due to different time and regionwhen and where Indian Buddhism were introduced into China, and owing to distinctnational culture, social and historical background, Chinese Buddhism forms threemajor departments, namely, Han Buddhism, Tibetan Buddhism and YunnanBuddhism. Secondly, Chinese Zodiac is composed of twelve types of animal, namelyrat, ox, tiger, rabbit, dragon, snake, horse, goat, monkey, rooster, dog and pig. It is amethod employed by Chinese folks to calculate age and an old way to record year aswell, which gains great popularity in Asia and some countries in East Europe andNorth Africa. Thirdly, traditional Chinese character refers to the Chinese characterreplaced by simplified Chinese character, it has over a span of 3000 years and is thestandard Chinese character commonly used among Chinese people all over the worlduntil 1956. Lastly, “Gan Zhi” chronology, the chronological method that has beenused by Chinese since ancient times, has sixty serial numbers to number year, month,day and hour.
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Chapter Five Conclusion

5.1 Major Findings of the Study
Based on the analytical framework synthesized in Chapter Three, the culturelevel, context level and content level of design pictures of Twenty-four Solar Termsare discussed. Some conclusions are drawn as follows:
Concerning to the culture level, the internal cultural context available for allsemiotic systems in the dynamic pictures of Twenty-four Solar Terms is theideologies containing the cultures of Chinese Buddhism, Chinese Zodiac, ancientChinese characters, Gan Zhi chronology and Twenty-four Solar Terms. And genreplays a decisive role in determining the form and media of communication, sodynamic design pictures inevitably contain linguistic modality, visual modality,auditory modality and so on, which enables information transfer to become faster,more precise and comprehensive.
As for the context level, since it aims to instantiate culture level, the fieldindicates people’s and typical animals’ activities, natural phenomena and so onhappening in each solar term. The tenor here refers to the social relation between thedesigner and depicted participants together with the social relation between viewersand depicted participants. And the modes of dynamic design pictures include writtenlanguage, image and color. They belong to different semiotic systems but cooperatewith each other to depict the field of discourse.
reference(omitted)