江西省金韵生态农业示范园建设项目可行性研究报告(编辑修改稿)

江西省金韵生态农业示范园建设项目可行性研究报告(编辑修改稿)内容摘要：

i ti que of symbols t hem sel ves. Thom as Pynchon’s V. conti nues along m uch the sam e li ne, t esti ng an alphabet ical symbol. Another exam pl e is Her man Melvil le’s Moby Di ck, in which t he huge whi te whal e in the ti tl e of the book acqui res greater meaning t han t he li ter al di ct ionary def init ion of an aquat ic m am mal. I t al so suggest s more than the devil , t o whom som e of t he char act er s l iken it . The huge whale, as the stor y unfol ds, es to i mply an am pl it ude of m eani ngs: am ong them t he for ces of natur e and the whole uni ver se. Lit erary sym bol s ar e of t wo broad types: one t ype includes those em bodying uni versal suggesti ons of m eaning. Flowi ng water suggests t ime and et er nit y, a j our ney int o the under wor ld and r et urn fr om i t is i nt erpr et ed as a spi ri tual experi ence or a dark ni ght of t he soul, and a kind of r edem pt ive odyssey. Such symbols are used wi del y ( and someti mes unconsci ousl y) i n western li terat ur e. The other type of symbol secur es it s suggest iveness not fr om quali ti es i nher ent i n it sel f but f rom the way i n whi ch i t is used in a gi ven work, in a special cont ext. Thus, in MobyDi ck the voyage, the 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 als i n the novel. Simi lar ly, in Hem ingway’s A Far ewel l to Ar ms, rai 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 ti me, but s uggests t hat t im e passes wi t hout even being not iced by the wat ch’ s owner. The gol den chai n to whi ch it i s at ached car r i es 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 nam e for Ar abi a—suggests magi c, r om ance, and The Arabian Nights。 it s syl lables, the nar ator 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 im pending death. In some novels and stor ies, some characters ar e sym bol ic. Such character s usual y appear bri ef ly and r emain sl ightl y mysteri ous. I n Joseph Cornard’ s Heart of Darkness , a st eamship pany t hat hir es men to work in Congo mai nt ains in it s wait ing r oom two women who kni t bl ack wool —they sym bol ize t he cl asical Fat es. Such a char act er i s sen as a port r ai t rather than as a person, at least por tr ai t li ke. Faulkner’ s Mi s Em il y, twi 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 phr ases: Ar e they r el at ively 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, 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 classes, 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。