省级工程实验室资金申请报告(编辑修改稿)

省级工程实验室资金申请报告(编辑修改稿)内容摘要：

sel ves. Thomas Pynchon’ s V. cont inues al ong much the same l ine, t est ing an al phabetical sym bol . Anot her example i s Herman Melvi l e’ s MobyDi ck, i n whi ch the huge whit e whale i n the t it le of t he book acquir es gr eat er meaning than the l it er al di cti onary def ini ti on of an aquati c mammal . I t also suggests mor e than t he devil , to whom some of the characters l iken i t. The huge whal e, as t he st ory unf ol ds, es to impl y an ampli tude of meani ngs: among them the f orces of nat ur e and the whol e uni verse. Li ter ar y symbols are of t wo broad t ypes : one t ype includes those embodyi ng universal suggest ions of meani ng. Fl owing wat er suggests t ime and et ernit y, a journey i nt o t he underwor ld and r etur n fr om i t is i nterpr et ed as a spi ri tual experi ence or a dark night of t he soul , and a ki nd of re dem pti ve odyssey. Such symbols ar e used wi del y ( and somet imes unconsciousl y) in wester n li ter at ure. The other t ype of symbol secures i ts suggesti venes not fr om quali ti es inherent in i tself but fr om t he way in which it i s used i n a gi ven wor k, in a speci al cont ext . Thus, in Moby Di ck the voyage, the l and, and the ocean ar e object s pregnant wi th meani ngs t hat seem alm ost independent of t he aut hor’ s use of t hem in the stor y。 on t he other hand, the whi te whale is i nvested wi th di f erent meani ngs f or dif ferent crew member s t hr ough the handl ing of mat er ial s in t he novel . Si mi larl y, i n Hemi ngway’ s A Farewel l t o Ar ms, rain, which i s gener al ly regar ded as a sym bol of li fe (especial ly i n spr ing) , and whi ch is a m il dly annoyi ng meteorol ogi cal phenom enon i n the opening chapt er, is conver ted i nto a symbol of death thr ough t he uses t o which i t is put in t he work. 3. Symbols i n f icti on are inanim ate obj ect s Oft en symbol s we meet in fi ct ion ar e inanimat e obj ect s. I n Wil iam Faul ker ’s “A Rose f or Em i l y, ” Mi ss Emil y’s i nvi sible but percept ibl e watch t icking at the end of a golden chai n not onl y indi cat es t he passage of t ime, but suggests that im e passes wit hout even bei ng not iced by t he watch’s owner. The golden chai n to which i t i s at ached car r ies suggest ions of wealth and aut hor it y. Ot her t hings may also f unct ion symboli cal ly. In James Joyce’s “Araby, ” the very name of t he bazzar, Ar aby—the poetic name for Ar abi a—suggests magic, r om ance, and The Arabian Nights。 it s syl lables, the nar at or tel s us, “cast an East ern enchant ment over me.” Even a l ocal e, or a f eat ur e of physi cal topography, can provide r ich symboli c suggestions. The caf 233。 in Er nest Hemi ngway’ s “A Cl ean, Wel Li ghted Place” is not merel y a caf233。 , but an i sl and of r efuge f rom sl eepl ess night, chaos, loneli ness, ol d age, t he meani ngl esness of li fe, and impending death. In some novels and stor ies, some characters ar e symbol ic. Such character s usual y appear bri ef ly and r emain sl ightl y mysteri ous. I n J oseph Cornard’ s Heart of Darkness, a st eamship pany t hat hir es men to work i n Congo mai nt ains in it s wait ing r oom two wom en who kni t bl ack wool —t hey sym bol i ze t he cl assi cal Fat es. Such a char act er i s seen as a por t r ai t r at her t han as a per son, at l east por t r ai t l i ke. Faul kner ’ s Mi ss Em i l y, t wi ce appear s at a wi ndow of her houses “l i ke t he car ven t or so of an i dol i n t he ni che. ” Though Faul kner i nvest s her wi t h l i f e and vi gor , he al so cl ot hes her i n sym bol i c hi nt s: she seem s al m ost to 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。 of tr ansit ive or i nt ransit ive verb constr uct ions) ? Ar e there any unusual order ings (i nit ial adverbi al s, f ront ing of object or plement, etc) ? Do speci al ki nds of clause constr uct ion occur (such as t hose wi th prepar ator y it or there) ? Noun phrases: Ar e they r el at ively si mple or plex? Wher e does the pl exi t y li e ( in pr em odi fi cat ion by adjecti ves, nouns, et c, or i n post modif icati on by preposi ti on by preposi ti onal phrases, relat ive clauses, etc)? Ver b phrases: Ar e there any signif icant depart ures f rom the use of the simpl e past tense? For example, not ice occur r ences and f unct ions of the pr esent tense, of the progr essive aspect, of the per fect aspect , of m odal auxi li ar ies. ot her phr ase t ypes: Is t her e anyt hing t o be sai d about other phrases t ypes, such as preposi ti onal phrases, adver b phrases, adj ect ive phrases? Word cl asses: Having alr eady considered maj or wor d cl asses, we may consi der m inor word cl ases (eg f unct ional wor ds), such as pr eposit ions, conjunct ions, pr onouns, det er mi ner s, auxil iari es, int erj ecti ons. Ar e par ti cular words of these types used f or par ti cul ar ef fect (eg demonst rat ives such as thi s and that, negat ives such as not, nothing)? Gener al: Note whet her any gener al t ypes of gr ammat。