生态农业观光旅游项目可行性研究报告(编辑修改稿)

生态农业观光旅游项目可行性研究报告(编辑修改稿)内容摘要：

wil l fail t o get a pr ehensive under st andi ng of t he wor k wi t hout payi ng special at t enti on t o the sym bols. The Scarl et Let er by Nat hani el Hawthor ne i s one of such wor ks. The very t it l e poi nt s t o a doubl e sym bol : the scar l et l et ter A wor n by Hest er conveys a m ul ti ple of senses whi ch di f er gr eat l y f r om what it l it er al l y st ands f or, and t he wor k event ual l y develops i nt o a t est and cr it i que of sym bol s t hemselves. Thomas Pynchon’s V. conti nues along m uch t he sam e l i ne, t esti ng an al phabeti cal sym bol. Anot her exam pl e i s Her man Mel vil le’s Moby Di ck, i n which t he huge whi te whal e i n t he ti tl e of t he book acqui res gr eat er m eaning t han t he li t er al di ct i onar y def i nit i on of an aquat i c m am mal. I t al so suggest s mor e than t he devil , to whom som e of the char act ers l i ken it . The huge whal e, as t he st ory unf ol ds, es t o im pl y an am pli tude of meani ngs: among t hem t he f orces of nat ur e and t he whol e universe. Li t er ar y sym bols ar e of t wo broad t ypes: one t ype i ncl udes t hose embodyi ng uni versal suggest i ons of meaning. Fl owi ng wat er suggest s tim e and eter ni ty, a j our ney i nt o t he under worl d and r et ur n f r om it i s i nt er pret ed as a spir it ual exper i ence or a dark ni ght of t he soul, and a ki nd of r edem pt ive odyssey. Such sym bol s ar e used wi del y ( and sometim es unconsci ousl y) i n west er n li ter at ure. The ot her t ype of sym bol secur es i ts suggesti veness not f r om qual it ies i nher ent i n it self but f rom the way i n whi ch it i s used i n a gi ven wor k, i n a speci al cont ext. Thus, in Moby Di ck t he voyage, the l and, and t he ocean ar e objects pr egnant wit h meani ngs that sem alm ost i ndependent of t he aut hor ’s use of them i n t he st ory。 on t he ot her hand, t he whit e whal e i s i nvested wi t h di f erent m eani ngs f or dif fer ent cr ew m em bers t hrough t he handli ng of m at eri al s i n t he novel . Simi l ar ly, i n Hem ingway’s A Far ewel t o Arm s, r ain, which i s gener al l y regar ded as a sym bol of li f e (especi al y i n spri ng) , and whi ch i s a m il dl y annoying m et eor ological phenom enon in t he openi ng chapter, i s convert ed i nt o a sym bol of death t hr ough t he uses t o which it i s put in t he wor k. 3. Sym bols i n f icti on are i nanim ate obj ect s Oft en sym bol s we m eet i n fi ct i on ar e i nanim at e objects. I n Wil li am Faul ker’ s “A Rose f or Em il y, ” Miss Emil y’s i nvi sibl e but per cepti bl e wat ch t i cki ng at t he end of a gol den chai n not onl y i ndicates t he passage of ti me, but suggest s that im e pases wit hout even bei ng noti ced by t he wat ch’ s owner . The gol den chai n to whi ch it i s at ached car ri es suggest i ons of wealt h and aut hor it y. Other t hi ngs m ay al so f uncti on sym bol ical y. I n Jam es Joyce’ s “Araby,” t he very name of t he bazar, Ar aby—t he poeti c nam e f or Arabia—suggest s m agi c, romance, and The Arabian Ni ghts。 it s syl lables, t he nar at or tel s us, “cast an Easter n enchant ment over m e. ” Even a l ocal e, or a feat ur e of physical topogr aphy, can provi de r i ch symboli c suggest i ons. The caf 233。 i n Er nest Hem ingway’ s “A Cl ean, Wel l Li ght ed Pl ace” i s not m erel y a caf 233。 , but an i sl and of r ef uge f r om sl eepl es ni ght , chaos, l oneli nes, ol d age, t he m eaninglessness of l if e, and i mpendi ng deat h. In some novel s and stori es, s om e charact ers ar e sym bol i c. Such char act er s usual y appear bri efl y and r em ai n sli ght ly m yst er i ous. In Joseph Cor nard’ s H eart of Darkness, a st eamshi p pany t hat hir es men t o wor k i n Congo m ai ntai ns i n i ts wait i ng room t wo wom en who knit bl ack wool —t hey symboli ze the classi cal Fates. Such a character is seen as a por tr ait r at her t han as a per son, at l east port rait l ike. Faul kner’s Miss Emi ly, twi ce appears at a wi ndow of her houses “l ike the carven t orso of an idol in the niche.” Though Faul kner i nvests her wit h l if e and vi gor , he also clothes her in symboli c hints: she seems alm ost tot 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 t here) ? Noun phrases: Ar e they r el atively si mple or pl ex? Wher e does the plexit 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, rel at ive clauses, etc)? Ver b phrases: Ar e there any signif i cant 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 h。