In Astrid Lindgren's authorship, there are many bodies in motion, and one of her most movable and energetic characters is Pippi Longstocking. In the illustrated novels about Pippi (Lindgren and Nyman 1945 Lindgren, Astrid og Ingrid Nyman (ill.). Pippi L?ngstrump. Stockholm: Rabén & Sj?gren, 1945.?[Google Scholar] 1946 Lindgren, Astrid og Ingrid Nyman (ill.). Pippi L?ngstrump g?r ombord. Stockholm: Rabén & Sj?gren, 1946.?[Google Scholar], and 1948) there are relatively few pictures, and as a result, Lindgren's words carry most of the story. In the novels, her words have a greater functional load (Kress 2003 Kress Gunther. Literacy in the new media age. Routledge. London, 2003?[Google Scholar], 46) than Nyman's pictures. Naturally then, the words convey most of the information about Pippi and the other characters’ movements. But how does the portrayal of bodies in motion change when Pippi is portrayed in picturebooks where the pictures have a lot more space, ie, a greater functional load than in the illustrated novels? The aim of this article is to study bodies in motion in Astrid Lindgren's and Ingrid Nyman's picturebook Do you Know Pippi Longstocking? (1947). My main focus will be how words and illustrations – together and separately – provide the reader with information about Pippi's movements in this picturebook.
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机译：在阿斯特丽德·林格伦（Astrid Lindgren）的著作中，有许多活动中的尸体，而她最动人，最有朝气的角色之一是皮皮·长袜。在关于皮皮的插图小说中（Lindgren and Nyman 1945 Lindgren，Astrid og Ingrid Nyman（ill。）。Pippi L？ngstrump。Stockholm：Rabén＆Sj？gren，1945.?[Google Scholar] 1946 Lindgren，Astrid og Ingrid Nyman（ Pippi L？ngstrump g？r ombord。斯德哥尔摩：Rabén＆Sj？gren，1946。？[Google Scholar]和1948）图片相对较少，因此，Lindgren的话包含了大部分故事。在小说中，她的话语具有比Nyman的图片更大的功能负荷（Kress 2003 Kress Gunther。新媒体时代的识字能力。Routledge。London，2003？[Google Scholar]，46）。然后，这些词自然会传达有关皮皮和其他角色的动作的大部分信息。但是，当皮皮在图画中拥有更多空间（即，比插图小说中具有更大的功能负荷）的图画书中描绘运动时，对身体的刻画如何改变？本文的目的是研究Astrid Lindgren和Ingrid Nyman图画书中的运动物体您知道Pippi Longstocking吗？ （1947）。我的主要重点是文字和插图（一起和分别）如何为读者提供有关这本图画书中Pippi动作的信息。
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