湖北省十堰市武当山国家森林公园旅游建设项目可行性研究报告(编辑修改稿)

湖北省十堰市武当山国家森林公园旅游建设项目可行性研究报告(编辑修改稿)内容摘要：

t o get a pr ehensive under st andi ng of t he wor k wi thout payi ng speci al at tenti on t o t he sym bol s. The Scarlet Let t er by Nat hani el Hawt hor ne i s one of such works. The ver y ti tl e poi nts t o a double sym bol: t he scarl et l et t er A worn by Hest er conveys a m ul ti ple of senses which di f er gr eat ly f r om what it li t er al l y st ands f or, and the wor k event ual ly devel ops int o a t est and cr it ique of sym bol s themsel ves. Thom as Pynchon’s V. cont i nues al ong much t he same l ine, test i ng an al phabeti cal sym bol . Anot her exampl e is Herm an Mel vi l e’ s Moby Dick, in whi ch t he huge whit e whale i n t he ti l e of t he book acquir es gr eat er m eani ng t han t he l it eral dicti onar ydefi ni ti on of an aquati c m amm al . It also suggests m or e t han t he devil , to whom som e of t he characters l i ken i t. The huge whal e, as t he st or y unf ol ds, es t o im pl y an ampli t ude of meani ngs: am ong t hem t he f or ces of nat ure and t he whol e universe. Li t er ary symbols ar e of t wo broad t ypes: one t ype i ncl udes t hose embodyi ng uni versal suggesti ons of m eaning. Flowi ng water suggest s ti me and eter ni t y, a j our ney i nt o the under worl d and r et urn f r om it i s i nt er pr et ed as a spi rit ual experi ence or a dark ni ght of t he soul, and a ki nd of r edem pt i ve odyssey. Such sym bols ar e used wi del y ( and someti mes unconsci ousl y) i n wester n li ter at ure. The ot her t ype of symbol secures it s suggest i venes not fr om quali ti es inherent i n i tsel f but fr om t he way i n which it i s used i n a gi ven work, in a speci al cont ext . Thus, i n Moby Di ck t he voyage, t he l and, and t he ocean ar e objects pr egnant wit h meani ngs that seem alm ost i ndependent of the aut hor’ s use of t hem i n t he st or y。 on t he ot her hand, t he whit e whal e i s invest ed wit h dif f er ent m eani ngs f or di f er ent cr ew m em ber s thr ough t he handli ng of mater ials i n t he novel. Sim il ar l y, i n Hem i ngway’s A Farewel t o Arm s, r ain, whi ch i s gener al l y regar ded as a sym bol of li f e (especial y i n spr i ng) , and whi ch is a m il dl y annoyi ng m et eorol ogi cal phenom enon i n the openi ng chapt er , is conver ted i nt o a symbol of deat h t hr ough t he uses t o which it i s put i n t he wor k. 3. Sym bol s i n fi cti on are inanim at e obj ect s Oft en sym bol s we m et i n fi ct ion ar e i nanim at e obj ect s. I n Wil i am Faul ker’ s “A Rose for Emi ly, ” Mi s Emi l y’ s i nvi si bl e but per cepti ble wat ch ti cki ng at he end of a gol den chai n not onl y indicates t he passage of ti me, but suggests t hat t im e passes wi t hout even bei ng not iced by t he wat ch’ s owner . The gol den chai n t o which it i s at ached car ri es suggest i ons of weal t h and aut hor it y. Ot her t hi ngs may al so f unct i on symboli cal ly. I n James Joyce’s “Araby, ” t he ver y nam e of t he bazzar, Ar aby—t he poeti c nam e f or Arabia—suggest s m agi c, romance, and The Arabi an Ni ght s。 i t s syll abl es, t he nar r at or t el l s us, “cast an East er n enchantm ent over m e. ” Even a l ocale, or a f eat ur e of physical topogr aphy, can provide r ich sym boli c suggest ions. The caf 233。 i n Er nest Hemi ngway’ s “A Cl ean, Wel Li ght ed Pl ace” is not mer el y a caf 233。 , but an i sl and of r ef uge f rom sl eepl ess ni ght, chaos, l oneli ness, ol d age, t he m eani ngl esnes of li f e, and im pendi ng deat h. I n som e novels and st or ies, some character s ar e s ym bol i c. Such char act er s usual l y appear bri efl y and remai n sl ight ly m yster ious. I n Joseph Cor nar d’s Heart of Darkness, a st eam shi p pany t hat hi res men t o wor k in Congo m ai ntains i n it s wait ing r oom t wo wom en who kni t black wool—they symboli ze t he clasi cal Fates. Such a char acter is seen as a por tr ait rat her t han as a per son, at l east por tr ait l ike. Faulkner’ s Miss Emi ly, twi ce apears at a wi ndow of her houses “li ke the carven t or so of an idol in t he niche. ” Though Faul kner invest s her wit h li fe and vi gor , he al so cl othes her i n symbolic hi nts: she seems almost 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 emodi 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 signi fi cant depart ures f rom the use of the sim pl e past t ense? For example, notice occurr ences and functions of the pr esent tense, of the pr ogr esive aspe ct, of t he per fect aspect , of m odal auxi li ar i es. other phr ase t ypes: Is t her e anyt hing t o be sai d abou。