文字的

It is possible to change the color of a text, increase or decrease the space between characters in a text, align a text, decorate a text, indent the first line in a text, and more.

这可以改变文字的颜色，增加或者缩短文字的间距，文字的对齐，装饰，第一行文字的缩进，还有其他。。。

In a graphic-character, character meaning is the basis of graphic form, and graphic makes the character more living and individual, so a graphic character is much better than an ordinary character in the aspect of descriptive function.

在英文图形文字中，文字是图形意义确立的支持因素，图形化的特点则让文字的意义不再枯燥，而是变得生动、直观、明朗，从而超越了普通文字的叙述功能。

In other words, possibly we can say that, through Maya hieroglyphs, the internal structural principles and central spirits for phonogram have come into being within the hieroglyphs.

或者可以这样说，通过玛雅文字我们可以看到，在象形文字内部已经产生了表音文字内在的结构原则与核心精神，所以我们不能从外形来过分低估玛雅文字的文字地位。

Most of them are written in Brahmi script from which all Indian scripts and many of those used in Southeast Asia later developed.

大部分的法令是以Brahmi文字写成的，这种文字是先进所有印度文字和东南亚文字的源头。

Of the"Summary of characters on various regions"chapter, we discuss the pecularities of the various regional characters respectivley and make comparison of different character systems, we also pay attention to the relationship among them, by this way, we may perhaps avoid the isolative study of the characters of Qin System.

分域概述部分主要是对春秋战国时期各地域文字形体的特征作概述，目的在于避免孤立地研究秦系文字的偏颇，使研究于突出主题纵深性的基础上，不失横向联系的丰富性，在不同地域文字异同特征的比较研究中，共同揭示文字衍化发展的规律。

Liu WenlingL'Ecole des Hautes Etudes en Sciences sociales (EHESS of Paris,Paris: The writing of signs : contact of official writing and unofficial writing

刘文玲（法国高等社会科学学院，法国）：招牌文字：法定文字与民俗文字的融合

In Chapter Three, in order to correitly find the original meaning of GCTS, the author proposes that the traditional method of illustrating GCTS should be forsaken, which isolately compares and mechanically analogizes a character on tortoise shells with the form of present written charater, and insist that one showld study the text on tortoise shells itself and make a substitutional analysis of its radicals on the basis of structural theory.

第三章里笔者例释了一些在构形方式上具有一定典型特征的甲骨刻辞舆地文字的本来含义，在例释中没有囿于传统的只是孤立地拿某一甲骨文字与后世字书所载字形作机械类比的释字方法，而是坚持以殷墟甲骨文字自身结构特点为本体，进一步运用结构主义理论，对不同舆地文字中的不同偏旁部首进行替换分析，从而考释出许多素以为难释之字的本来含义，不仅丰富了传统的文字学理论，也为今后全面揭示各舆地文字之文化意蕴奠定了基础。

And, since there must always be an observer, a reader for the word, there was a finger to mark it, and a page to hold it, and an outstretched palm to support the heavy book, and eyes that were not quite eyes to read it.

但是，有的东西必不可少的是，必须要有见证这一切那个的人，要有阅读文字的那个人，写下文字的手，承载文字的纸页，托住这本沉重书的手掌，还有眼睛，阅读这些文字的眼睛。

These ideographs are older than the cuneiform scripts of Mesopotamia, Persia, ancient Egypt, or the Mayas, and even inscriptions on bones or tortoise shells of China's Shang Dynasty. They are of great academic value to the study of the development of writing, especially the process from primitive picture writing to pictograph writing and the earliest emergence of Chinese characters.

东巴象形文是一种从从图画字向象形字过渡的文字，这种文字的形态比苏美尔和巴比伦的楔形文字，古埃及的圣书文字、中美洲马雅文字和甲骨文更原始，它对人类原始图画文字如何演进到象形文字，和甲骨文之前汉字发生演变的研究都具有十分重要的学术价值。

The birth of written word is the subject of this critically acclaimed three-part documentary series that takes us to the land once known as the Fertile Crescent where we investigate the development of ancient writing .

文字的诞生是一个备受争议的话题，一连三集的《字是有源》会带你由远古年代探索文字是从何创造出来，文字创造者如何将文字推广应用，以及了解人类迈向文明的历程。

But in the course of internationalization, they meet with misunderstanding and puzzlement.

许多企业已经意识到了这一点，但在国际化的进程中，仍存在一些误区与困惑。

Inorder toaccomplish this goal as quickly as possible, we'll beteamingup with anexperienced group of modelers, skinners, and animatorswhosenames willbe announced in the coming weeks.

为了尽快实现这个目标，我们在未来数周内将公布与一些有经验的模型、皮肤、动画制作小组合作。