泖港鎮(zhèn)生態(tài)農(nóng)業(yè)觀光旅游項(xiàng)目可行性研究報(bào)告1-資料下載頁(yè)

【導(dǎo)讀】Whatistheaveragesentencelength?Doesplexityvarystrikinglyfromonesentencetoanother?Isplexitymainlydueto(i)coordination,(ii)subordination,(ii)juxtapositionofclausesorofotherequivalentstructures?Inwhatpartsofthetextdoesplexitytendtooccur?clausetypes:Whattypesofclausesarefavored—relativeclauses,adverbialclauses,ordiferenttypesofnominalclauses?Arenon-finiteformsmonlyused,andifso,ofwhattypesarethey(infinitive,-ingform,-edform,verblesstructure)?Whatistheirfunction?Clausestructure:Isthereanythingsignificantaboutclauseelements(egfrequencyofobjects,adverbials,plements;oftransitiveorintransitiveverbconstructions)?there)?Wheredoestheplexitylie(inpremodificationbyadjectives,nouns,etc,orinpostmodificationbyprepositionbyprepositionalphrases,relativeclauses,etc)?Verbphrases:Arethereanysignificantdeparturesfromtheuseofthesimplepasttense?Forexample,noticeoccurrencesandfunctionsofthepresenttense,oftheprogressiveaspect,oftheperfectaspect,ofmodalauxiliaries.otherphrasetypes:Isthereanythingtobesaidaboutotherphrasestypes,suchasprepositionalphrases,adverbphrases,adjectivephrases?Phonologicalschemes:Arethereanyphonologicalpaternsofrhyme,aliteration,asonance,etc?Arethereanysalientrhythmicalpaterns?Dovowelsandconsonantsoundspaternorclusterinparticularways?Tropes

　　

【正文】 m ore t han it li ter al ly does. Symbol s ar e suggested 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 s t or y pares it t o t he eyes of God。 he hi nts t hat som e sad, passionate spir it i s br oodi ng as it wat ches the passi ng procesion of humanit y. Such an object i s a symbol: in lit eratur e, a symbol is a thing t hat r efers or suggests m ore t han its lit eral meani ng. Ther e ar e quit e a lot of sym bol s that appear in or dinary lif e, for the use of sym bol i s by no means of l im ited t o l it er ature and ar t. For instance, a dove is a symbol of peace, t he fl ag is t he symbol of a count ry, and the cross is t he sym bol of the Chr ist ian r el igi on. These ar e sym bol s adopt ed by a whole soci ety and are recogni zed by al l member s of such a society. Ther e ar e other ki nds of symbols, such as f igure 3, whi ch may be abst ract symbols. But symbol s in l it eratur e works ar e dif ferent fr om ei ther of the other types. General y speaking, a l iter ary symbol does not have a m on social aceptance, as does t he fl ag。 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 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。 on the other hand, t he white whal e is invest ed wit h dif fer ent meanings for dif f er ent cr ew members t hrough t he handli ng of materi a ls i n the novel. Simi lar ly, in Hem ingway’s A Far ewel l to Ar ms, r ai n, whi ch is general y r egarded as a symbol of l if e ( especi al ly in spri ng) , and which i s a mi ldly annoying m et eor ological phenomenon in t he openi ng chapter, i s convert ed int o a sym bol of deat h t hr ough the uses t o whi ch it is put i n the wor k. 3. Symbol s in f ict ion are i nani mate obj ect s Of ten symbols we meet i n fi cti on ar e i nanim at e objects. In Wil li am Faulker’s “A Rose for Em il y, ” Mi s Emil y’s i nvi si ble but per cept ible watch ti cking at the end of a golden chai n not onl y indicates t he passage of t im e, but suggest s that ti me pases wi