泖港鎮生態農業觀光旅游項目可行性研究報告1(留存版)

　　

【正文】 ger than the acts t hem selves. And fi nal ly t oast ing and shaking hands on for mal or infor mal occasi ons. As r het ori cal devi ce, symbol is dif fer ent f rom metaphor, which i s li ter al ly false but fi gur ati vel y tr ue. Unl ike al egor y, whi ch repr esents abst ract term s li ke “l ove” or “tr uth, ” symbol s ar e perceptibl e objects. I n l it er atur e al most anythi ng—part icular object s, character s, set ti ng, and acti ons—can be symboli c if t he aut hor wi shes t o make it so by eit her hi nti ng or i nsi st ing that he mater ial means m ore t han it li ter al ly does. Symbol s ar e suggest ed t hr ough special tr eat ment such as imagery, repeti ti on, connot at ive l anguage, or other ar ti stic devi ces. I n F. Scot t Fitzgeral d’ s novel The Gr eat Gatsby, a huge pair of bespectacled eyes st ar es acr oss a wi l dness of ash heaps f rom a bil lboard advert ising t he ser vices of an oculi st . Repeatedly appear ing in t he st ory, the bespectacled eyes e to m ean m or e t han si mply t he avai labil ity of eye examinati on. A char act er i n the st or y pares it t o t he eyes of God。 i t is, rather, a symbol the poet or t he wri ter adopt s for t he pur pose of his/ her wor k, and i t is to be under st ood onl y in the context of t hat wor k. I t dif fers fr om t he kind of sym bol i l ust rated by t he fi gur e 3 because i t i s concr et e and specif ic. A poet or a wri ter uses s ymbols f or the sam e reason he/ she uses simi les, metaphor s, and i mages, et c: they hel p t o expr es hi s/ her meaning i n a way t hat wi l appeal t o the senses and to t he emoti ons of t he reader . Most symbols, in lit eratur e and ever yday l if e as wel , possess a tr emendous condensing power. Their f ocusing on t he rel at ionshi ps bet ween the visi bl e ( audibl e) and what they suggest can ki ndl e it i nto a si ngl e im pact. Of course, in l it er ary wor ks, symbols, unl ike t hose i n ordi nar y l if e, usual ly do not “st and f or” any one meaning, nor f or anyt hing absol utely def init e。t ypes of sentence are used, what is t hei r functi on? Sent ence plexit y: Do sent ences on whole have a simpl e or a pl ex str uct ur e? What is t he aver age sentence lengt h? Does pl exity var y str ikingl y fr om one sentence t o another? I s plexit y mainl y due to ( i) coordi nat ion, (i i) subor dinati on, ( i i) j uxt aposit ion of clauses or of other equi val ent str uct ures? In what part s of the text does pl exi ty t end to occur ? clause types: What t ypes of clauses are favored—r elati ve cl auses, adverbial clauses, or di f erent types of nomi nal clauses? Ar e non f init e for ms monl y used, and i f so, of what types ar e t hey ( inf ini tive, i ng f or m, ed for m, ver bles st ructur e) ? What i s their f uncti on? Clause st ructur e: I s t her e anyt hi ng signif icant about cl ause elements (eg f requency of objects, adverbial s, plements。 t hey poi nt, they hi nt , or, as Henr y James put i t, t hey cast l ong shadows. Symboli sm The t er m symboli sm r efers to t he use of symbols, or t o a set of r elated symbols, which i s one of t he devi ces t hat enri ch short f ict ion and pensate f or its br ief ness in space. 2. There are two broad t ypes of l it erary sym bol s Symbol is gener al y acknowledged to be one of t he most f requent ly em pl oyed devices in poetr y. In wor ks of fi ct ion i t is no l es f requent and no l ess i mport ant . The f act i s that, when a r eader reads a wor k of fi ct ion, his f ocus i s mostly cast upon t he plot , t he char act er , and t he language used, so t hat t he symbols ar e automati cal ly backgr ounded on t he reader ’s par t. But in some novels and stor ies, t he symbol ism l ooms so lar ge that he reader wi l l f ail t o get a pr ehensi ve under st andi ng of the wor k wi thout paying speci al at tenti on to t he sym bol s. The Scarl et Let ter by Nathaniel Hawt hor ne is one of such wor ks. The very ti tle poi nts t o a doubl e sym bol : the scar let let ter A wor n by Hest er conveys a mult ipl e of senses whi ch dif fer greatl y fr om what i t lit eral y stands for , and t he work eventual y develops i nto a t est and cri ti que of symbols t hem selves. Thomas Pynchon’s V. conti nues along m uch t he sam e li ne, testi ng an alphabeti cal symbol. Another exampl e is Her man Mel vil le’s Moby Dick, in which t he huge whi te whal e in t he ti tl e of the book acquir es greater meaning t han t he li teral dict ionar ydef init ion of an aquat ic m am mal. I t al so suggest s more t han the devil, t o whom some of t he char act er s li ken it . The huge whale, as the stor y unfolds, es t o i mply an ampl it ude of m eanings: am ong them t he for ces of nature and t he whole univer se. Lit erary symbol s ar e of two broad t ypes: one t ype i ncl udes t hose embodying uni versal suggesti ons of m eaning. Flowi ng water suggest s ti me and eter nity, a j our ney into the under worl d and r et urn f r om i t i s int er pret ed as a spir i tual experi ence or a dark ni ght of the soul, and a kind of r edempt ive odyssey. Such symbol s are used wi de l y (and someti mes unconsci ously) i n west er n l it er atur e. The ot her type of sym bol secur es i ts suggesti veness not f rom qual it ies inherent in it self but fr om the way i n which i t is used in a gi ven work, in a special cont ext. Thus, i n MobyDi ck the voyage, t he l and, and the ocean are objects pr egnant wit h meanings that seem al most i ndependent of the author ’s use of t hem i n the st or y。 for i nstance, t he ways sentences ar e connected. Thi s is t he int er nal or gani zati on of a text. Under cont ext, roughly the mater ial, ment al , per sonal, i nt eracti onal, soci al, insti tut ional , cul tur al , and hi st ori cal sit uat ion i n which t he di scour se is m ade,