中国省级森林公园建设项目可行性研究报告_52页(编辑修改稿)

中国省级森林公园建设项目可行性研究报告_52页(编辑修改稿)内容摘要：

ymbol s the msel ves. Thom as Pynchon’ s V. cont inues al ong much the same l ine, t est ing an alphabet ical symbol . Anot her example i s Herm an Melvi l e’ s MobyDi ck, i n whi ch t he huge whit e whal e i n the t it le of t he book acqui res gr eat er m eaning t han the l it er al di ctionary def ini ti on of an aquati c mammal . I t also suggest s mor e than t he devil , to whom som e of the characters l iken i t. The huge whal e, as t he st ory unf ol ds, es to impl y an ampli tude of meani ngs: among them the f orces of natur e and the whol e uni ver se. Li terar y sym bol s are of t wo broad types: one t ype includes those em bodyi ng universal suggest ions of meani ng. Fl owi ng wat er suggests t im e and et ernit y, a journey i nt o t he underwor ld and r etur n fr om i t is i nterpr eted as a spi ri tual exper ience or a dar k night of t he 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 Em i l y, ” Mi s Em ily’ s invisi bl e but per cepti ble wat ch ti cki ng at he end of a gol den chain not only indicates the passage of ti me, but suggests t hat t ime passes wi thout even being noti ced by the wat ch’ s owner . The gol den chain to whi ch it i s at tached car ri es suggesti ons of weal th and authori ty. Other thi ngs may also functi on sym bol ical y. I n Jam es Joyce’ s “Araby,” t he ver y name of the bazzar , Ar aby—t he poet ic name f or Ar abia—suggest s magic, romance, and The Arabian Ni ghts。 its syll ables, t he nar rat or t els us, “cast an Easter n enchantment over m e. ” Even a locale, or a featur e of physical t opogr aphy, can pr ovide r ich symbol ic suggest ions. The caf233。 i n Er nest Hemingway’s “A Clean, Wel Light ed Place” i s not m er ely a caf 233。 , but an island of r ef uge fr om sleepless ni ght, chaos, lonel iness, old age, the meaninglessness of l if e, and i mpendi ng deat h. I n some novel s and st ori es, som e char act er s are symboli c. Such char act ers usual ly appear br iefl y and r emai n sli ght ly myst er ious. In Joseph Cor nar d’s Heart of Darknes , a st eam shi p pany t hat hi r es m en t o wor k i n Congo m ai nt ai ns i n i t s wai t i ng r oom t wo wom en who kni t bl ack wool —t hey sym bol i ze t he cl assi cal Fat es. Such a char act er i s seen as a por t r ai t r at her 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 a l 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 ra nsit 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 phr ases: Are they rel at ively si mple or plex? Wher e does t he plexity li e (i n prem odi fi cat ion by adjecti ves, nouns, et c, or i n post modif ication by pr eposi tion by pr eposi tional phr ases, relat ive clauses, et c)? Ver b phr ases: Are t here any signif icant depart ures fr om the use of t he simpl e past tense? For exam ple, not ice occur rences and f unct ions of the pr esent t ense, of t he progr essive aspect, of the perf ect aspect, of modal auxi liar ies. ot her phrase t ypes: I s t her e anyt hing t o be sai d about other phr ases t ypes, such as preposi ti onal phrases, adverb phr ases, adj ect ive phrases? Wor d classes: Havi ng alr eady consi der ed major wor d classes, we may consi der m inor word cl asses (eg f unct ional wor ds) , such as preposi ti ons, conj unct ions, pr onouns, deter miner s, auxi li ari es, int er jecti ons. Ar e par ti cul ar words of these types used f or par ticul ar ef ect ( eg demonst rati ves such as this and t hat , negati ves such as not , not hing)? Gener al : Note whet her。