真爱婚庆公司策划书(编辑修改稿)

真爱婚庆公司策划书(编辑修改稿)内容摘要：

i ght l y m yst er i ous. In Joseph Cor nar d’s H eart of Darkness, a steam shi p pany that hi r es m en t o wor k i n Congo m ai nt ai ns in i ts wai ti ng r oom t wo wom en who knit bl ack wool —t hey sym boli ze t he cl assi cal Fat es. Such a char act er i s sen as a port rait r ather than as a person, at l east port rait l i ke. Faul kner ’s Miss Emi 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 wit h li f e and vi gor , he al so clot hes her in symboli c hi nt s: she sems alm ost t o personi f y the vani shi ng ari st ocracy of the South, st il l mai nt ai ning a bl ack ser vant and bei ng r ut hl es betr ayed by a moneym aki ng Yankee. Som et im es a par t of a char act er ’s body or an at ri but e may convey sym boli c m eaning, f or exam pl e, a bal eful eye in Edgar Al an Poe’ s “The Tel l Tale H eart. ” 4. Sym bol used i n works of f i ct ion i s t he sym bol ic act Anot her ki nd of sym bol m only em pl oyed i n wor ks of fi ct ion i s t he symboli c act : an act or a gest ure wit h lar ger si gnif i canc e than it s li t er al m eani ng. Capt ai n Ahab i n Mel vil le’ s Moby Di ck del iberat el y snaps his t obaco pi pe and t hrows i t away bef ore seti ng out in pur sui t of t he huge whal e, a gest ur e suggest i ng t hat he i s det e rmi ned t o t ake his r evenge and wil l let not hi ng t o di st ract hi m fr om i t. Anot her t ypi cal sym bol ic act is t he bur ning of t he bar n by t he boy’s f ather in Faul kner’ s “Barn Burni ng”: it i s an act of no m er e dest royi ng a bar n, but an expr esi on of hi s pr of ound spit e and hat red t owar ds t hat cl as of peopl e who have dri ven hi s f ami l y out of hi s l and. Hi s hat r ed ext ends t o anyt hi ng he does not posses him sel f and, beyond t hat , bur ni ng a bar n r ef lects t he fat her ’s m em or i es of t he “waste and extr avagance of war ” and the “element of f ir e spoke t o som e deep m ainspr i ng” i n his bei ng. 5. A sym bol is a t rope In a br oad li ter ar y sense, a sym bol i s a tr ope t hat bi nes a l it eral and sensuous qual it y wi th an necesar y or suggesti ve aspect . However, i n l it er ary cr it icism it i s necesary t o di sti ngui sh sym bol f r om im age, metaphor , and, especial y, al legory. An im age An i mage is a l it eral and concr et e repr esent at i on of a sensor y exper ience or of an obj ect t hat can be known by one or m or e of the senses. I t i s t he m eans by whi ch experi ence i n i ts r ichness and em oti onal plexit y is m uni cat ed. ( Holm an and Harm on, A Handbook t o Li ter at ur e, 1986) I m ages may be li t er al or f i gur at ive, a li ter al im age bei ng one t hat i nvol ves no necesar y change or ext ensi on i n t he obvi ous m eani ng of t he wor ds. Prose wor ks ar e usual y f ul l of this ki nd of im age. For exam ple, novel s and st or i es by Conar d and Hem i ngway ar e not ed f or t he evocat i ve power of t heir l it er al im ages. A fi gur ati ve im age i s one t hat i nvol ves a “t ur n” on t he li ter ar y m eaning of t he words. For exam ple, i n t he li nes “I t is a beauteous evening, calm and f ree。 / The hol y t im e i s qui et as a nun,” t he second li ne is hi ghl y f igur ati ve whil e t he fi rst li ne evokes a li ter al im age. We consi der an im age, whet her l it eral or fi gur ati ve, t o have a concret e ref er ent i n t he obj ecti ve worl d and t o f uncti on as im age when i t power f ul y evokes t hat r efer ent。 wher eas a symbol f uncti ons l i ke an i mage but di f ers f r om it i n going beyond t he evocati on of the obj ecti ve ref er ent by m aki ng t hat r ef er ent suggest t o the r eader a meani ng beyond i tself . In ot her wor ds, a sysm bol i s an im age t hat evokes an obj ecti ve, concr ete r eal it y, but t hen t hat r eal it y suggest s anot her l evel of meani ng dir ect l y。 it evokes an obj ect t hat suggests t he meani ng, wit h t he em phasi s being l ai d on t he l at ter par t. As Coleri dge sai d, “I t par takes of t he r eali t y which i t render s i nt el li gi bl e. Met aphor A m et aphor is an i m pli ed anal ogy im agi nat ively i dent if ying one object wit h anot her and ascri bi ng t o t he f ir st obj ect one or m or e of the qualit i es of t he second, or i nvesti ng t he f ir st wit h em oti onal or im agi nat ive quali ti es associ at ed wit h t he second. I t is not a n unm on li t er acy devi ce i n f icti on, t hough i t is m ore m onl y used i n poetr y whil e sim il e is m ore m onl y used i n pr ose. A m et aphor emphasi zes r ich suggesti veness in t he dif f er ences bet ween t he t hings par ed and t he r ecognit i on of sur pr isi ng but uns uspect ed si mi lari ti es. Cl eant h Br ooks uses t he t erm “f unct ional m et aphor ” t o descri be t he way in whi ch t he m et aphor i s abl e t o have “r efer enti al” and “em oti ve” char act er isti cs, and t o go beyond t hose char act eri st i cs t o be e a dir ect m eans i n it self of r e pr esenti ng a t r ut h i nm unicabl e by ot her m eans. When a m etaphor per form s t hi s f uncti on, it i s behavi ng as a sym bol. But a sym bol di f ers f r om a m et aphor i n t hat a m etaphor evokes an obj ect i n or der t o i l ust rat e an idea or dem onstr ate a quali ty, whereas a sym bol embodies t he i dea or t he qual it y. Al l egory An al egor y i s a st or y i n whi ch per sons, pl aces, act ions, and t hi ngs ar e equat ed wit h m eanings that li e out si de of t he st or y it sel f. Thus it r epr esents one t hi ng i n t he gui se of anot her—an abstr act i on i n t he form of a concr ete i mage. A cl ear exampl e i s t he ol d Ar ab f abl e of t he fr og and scor pi on, who me one day on t he bank of t he Nil e, whi ch they bot h want ed t o cr oss. The fr og off er ed t o fer ry t he scor。