乳业公司污水处理(编辑修改稿)

乳业公司污水处理(编辑修改稿)内容摘要：

ri ne Mansf ield per sonif y t he vani shi ng ar ist ocr acy of t he Sout h, sti l m ai ntai ni ng a black ser vant and bei ng r ut hless bet rayed by a m oneym 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 meaning, for exam pl e, a bal ef ul eye i n Edgar Al an Poe‟ s “The Tel Tal e Heart .” 4. Symbol used i n works of fi cti on is t he sym bol i c act Anot her ki nd of sym bol m onl y em pl oyed in wor ks of fi ct i on i s t he symboli c act : an act or a gest ure wi t h lar ger signif icance t han it s li ter al m eaning. Capt ai n Ahab i n Mel vi l e‟s Moby Dick deli ber atel y snaps hi s t obacco pi pe and t hr ows it away befor e set i ng out i n pursui t of the huge whal e, a gest ur e suggest i ng t hat he i s det erm ined t o take his r evenge and wil l let not hi ng t o distr act him f r om it . Another typical sym boli c act i s 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 ning a bar n refl ect s t he fat her‟ s m em or ies of t he “waste and extr avagance of war ” and the “element of f ir e spoke t o som e deep m ai nspri ng” i n hi s bei ng. 5. A sym bol is a trope I n a broad li t er ar y sense, a sym bol i s a tr ope t hat bi nes a li ter al and sensuous quali ty wit h an necessar y or suggesti ve aspect. However, i n li ter ar y cri ti ci sm i t i s necessar y t o di sti ngui sh sym bol fr om i mage, m et aphor, and, especi al y, al egor y. An im age An im age i s a l it er al and concret e r epresent at i on of a sensor y experi ence or of an object that can be known by one or mor e of t he senses. I t is t he m eans by whi ch exper ience i n i ts r i chnes and emoti onal plexit y i s m uni cat ed. ( Holm an and Har m on, A Handbook to Li t er at ure, 1986) Im ages m ay be li ter al or fi gurati ve, a l it er al im age bei ng one t hat i nvol ves no necessar y change or extensi on i n the obvious meani ng of t he wor ds. Pr ose wor ks are usual l y full of t hi s ki nd of im age. For exam pl e, novels and stori es by Conar d and Hemi ngway ar e noted f or the evocati ve power of t hei r li ter al im ages. A f i gur at ive im age is one t hat i nvol ves a “t ur n” on t he l it erar y m eani ng of t he wor ds. For exam pl e, i n t he l ines “It i s a beauteous eveni ng, cal m and f r e。 / The hol y tim e i s qui et as a nun,” t he second li ne is hi ghl y fi gurati ve whil e t he f i rst li ne evokes a li ter al im age. We consi der an i m age, whet her l it er al or f i gur at i ve, to have a concr et e r ef er ent i n t he object i ve worl d and to f unct ion as im age when it powerf ul l y evokes that ref er ent。 whereas a sym bol f uncti ons li ke an im age but di f ers f r om it i n goi ng beyond the evocati on of t he obj ecti ve r ef er ent by m aki ng t hat r ef er ent suggest t o t he r eader a m eani ng beyond i tsel f. I n ot her wor ds, a sysm bol i s an i m age t hat evokes an objecti ve, concr et e r eali t y, but t hen t hat r eali ty suggest s anot her l evel of m eani ng di r ectl y。 i t evokes an obj ect t hat suggests t he meani ng, wit h t he em phasi s bei ng l ai d on t he l at er part . As Col er idge sai d, “I t par takes of t he r eali t y which it r ender s int el li gi ble. Met aphor A m etaphor i s an im pl i ed analogy im agi nat i vel y ident if yi ng one obj ect wit h anot her and ascr i bi ng t o the f ir st object one or m or e of t he quali ti es of t he second, or i nvest i ng t he fi r st wi th em ot i onal or i maginati ve quali ti es associ at ed wit h t he second. I t is not an unm on li ter acy devi ce i n fi ct i on, t hough it i s mor e m onl y used in poetr y whi le sim il e is m or e m onl y used i n pr ose. A met aphor em phasizes ri ch suggest i venes i n t he di f erences bet wen t he thi ngs pared and t he recognit i on of sur pr isi ng but unsuspect ed sim il ari ti es. Cl eant h Brooks uses t he t erm “f uncti onal met aphor” t o descr ibe t he way i n whi ch t he m et aphor i s abl e t o have “r ef erenti al ” and “em ot i ve” charact eri st i cs, and t o go beyond those char act er isti cs t o be e a dir ect m eans i n it sel f of r epr esenti ng a t rut h in muni cable by ot her m eans. When a met aphor per f orm s t hi s f uncti on, i t is behavi ng as a sym bol . But a sym bol dif f er s fr om a m etaphor i n t hat a m et aphor evokes an object i n or der t o il l ustrate an i dea or dem onst r at e a qual it y, wher eas a sym bol embodi es the i dea or t he quali t y. Al legory An al egor y is a st ory i n whi ch per sons, pl aces, acti ons, and t hi ngs ar e equat ed wit h meanings that l i e out si de of the st or y it sel f. Thus it r epr esents one t hing i n t he gui se of anot her—an abst ract i on in t he f orm of a concret e i m age. A clear exampl e is 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 y t he scor pi on over on hi s back, provi ded t he scor pi on promi sed not t o st ing him . The scor pi on agr eed so long as t he f r og woul d pr omi se not t o dr own him. The m ut ual pr om ise exchanged, t hey cr ossed the r iver. On t he f ar bank t he scorpi on st ung t he f rog m or t al y. “Why di d you do t hat ?” cr oaked the f rog, as he l ay dying. “Why?” r epli ed t he scor pion. “We‟r e bot h Ar abs, aren‟t we?” I f we substi t ut e f or t he fr og a “Mr . Goodwi l ” and f or t he scor pi on “Mr. Tr eachery” or “Mr. Two f ace”, and we m ake t he ri ver any r i ver, and。