重庆綦江通惠滨河路市政工程项目建议书(编辑修改稿)

重庆綦江通惠滨河路市政工程项目建议书(编辑修改稿)内容摘要：

Thomas Pynchon’s V. cont inues al ong much the same l ine, test ing an al phabeti cal sym bol . Anot her example i s Herm an 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 m eani ng than the l it er al di cti onar y defi ni ti on of an aquati c mammal . It also suggests mor e than t he devi l, to whom some of the characters liken i t. The huge whal e, as t he st ory unf olds, es to impl y an ampli tude of meani ngs: among t hem the f orces of nat ur e and the whol e universe. Li ter ar y symbols are of t wo broad t ypes: one type incl udes those embodyi ng universal suggest ions of meani ng. Fl owing wat er suggests time and et erni ty, a journey i nto t he underwor l d and retur n f rom it is inter pr eted as a spir it ual exper ience or a dar k night of the soul , and a ki nd of redempti ve odyssey. Such symbols ar e used wi dely ( and som et imes unconsciously) in west er n l iter ature. The ot her t ype of symbol secures i ts suggesti venes not f rom qual it ies inherent in i tself but fr om t he way in which 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 ar e objects pr egnant wi t h meani ngs that seem al most i ndependent of the author’ s use of t hem in the stor y。 on t he other hand, the whi te whal e is i nvested wi th dif ferent meani ngs for dif fer ent crew members t hrough the handling of m at eri al s in the novel . Simi larl y, in Hemi ngway’ s A Far ewel l to Ar ms, rain, whi ch is gener al y regarded as a sym bol of l if e (especial ly i n spri ng) , and whi ch is a mil dly annoyi ng met eor ol ogical phenomenon i n t he opening chapter, i s convert ed into a sym bol of deat h thr ough the uses t o which i t is put in the wor k. 3. Symbols i n f icti on are inanim ate obj ect s Of ten sym bol s we m et in fi ct ion ar e inanim at e objects. I n Wil li am Faulker’ s “A Rose for Emi ly,” Mi s Em il y’ s invisi bl e but per cept ible wat ch ti cki ng at he end of a gol den chain not onl y i ndi cat es t he passage of t ime, but suggest s that tim e passes wit hout even bei ng not iced by t he watch’s owner. The golden chai n to which i t is 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 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 symbol ize t he cl asical Fat es. Such a char act er i s sen as a port r ai t rather 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 plexit y li e ( in pr em odi f i cat ion by adjecti ves, nouns, et c, or in post modi fi cat ion by pr eposit ion by pr eposit ional phr ases, r elati ve clauses, et c) ? Verb phr ases: Ar e t her e any signif icant depart ur es fr om t he use of t he si mple past tense? For exam pl e, not ice occur rences and f unct ions of the present t ense, of t he progressi ve aspect, of the perf ect aspect, of modal auxil iar ies. ot her phrase types: I s ther e anyt hi ng to be sai d about other phr ases t ypes, such as preposi ti onal phrases, adverb phr ases, adj ecti ve phrases? Wor d classes: Havi ng alr eady consi der ed major wor d classes, we may consi der mi nor word cl asses ( eg f uncti onal wor ds) , such as preposi ti ons, conj unct ions, pr onouns, deter miner s, auxi li ari es, int er jecti ons. Are par ti cul ar wor ds of these types used f or part icular ef ect ( eg dem onst rati ves such as this and t hat , negati ves such as not , not hing)? Gener al : Note whet her any gener al t ypes of gramm at ical constr uct。