塔南路道路工程项目建议书(编辑修改稿)

塔南路道路工程项目建议书(编辑修改稿)内容摘要：

que of symbol s themselves. Thomas Pynchon’ s V. cont i nues along much t he same l ine, testing an al phabeti cal sym bol . Anot her example is Her man Mel vi l e’s MobyDi ck, in whi ch the huge whit e whale i n t he ti le of t he book acquir es gr eat er meani ng than the l it eral dicti onar y defi ni ti on of an aquati c mamm al . It also suggests m or e t han t he devi l, to whom some of the character s li ken i t. The huge whale, as t he st ory unf olds, es t o im pl y an ampli tude of meanings: among t hem the f orces of nat ure and t he whol e universe. Li ter ar y symbols ar e of t wo broad t ypes: one type i ncl udes t hose embodyi ng universal suggest ions of meaning. Fl owing wat er suggest s ti me and eterni ty, a journey i nto t he under worl d and retur n f rom it i s inter pr eted as a spir it ual exper ience or a dar k night of the soul , and a kind of redempti ve odyssey. Such symbol s ar e used widely (and som et im es unconsciously) in west er n l it er atur e. The ot her t ype of sym bol secur es i ts suggesti veness not f rom qual it ies inherent in itself but fr om t he way i n which i t is used in a gi ven work, in a special cont ext . Thus, in MobyDi ck the voyage, t he l and, and the ocean ar e obj ect s pregnant wi th meani ngs t hat seem alm ost independent of t he aut hor’ s use of t hem in the stor y。 on t he other hand, the whi te whale is i nvested wi th di f erent meani ngs f or dif ferent crew member s t hr ough the handl ing of mat er ial s in t he novel . Si mi larl y, i n Hemi ngway’ s A Farewel l t o Ar ms, rain, which i s gener al ly regar ded as a sym bol of li fe (especial y i n spr ing) , and whi ch is a m il dly annoyi ng meteorol ogi cal phenom enon i n the opening chapt er, is conver ted i nto a symbol of death thr ough t he uses t o which i t is put in t he work. 3. Symbols i n f icti on are inanim at e obj ect s Oft en sym bol s we meet in fi ct ion ar e inanimat e obj ect s. I n Wil iam Faul ker ’s “A Rose f or Emi ly,” Miss Emi ly’ s invisibl e but per cepti ble wat ch ti cki ng at t he end of a gol den chain not only i ndicat es the pasage of ti me, but suggest s that ti me passes wi thout even being noti ced by the watch’s owner . The gol den chain t o whi ch it is at tached car ies suggesti ons of wealt h and authori ty. Other thi ngs m ay al so 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 Arabi an Ni ghts。 its syll abl es, 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 em ai n sli ght ly m yst er ious. In Joseph Cor nar d’s H eart of Darknes, a steamshi p pany that hi res m en t o wor k i n Congo maintai ns in i ts wai ti ng room two wom en who knit black wool—t hey symboli ze the classi cal Fates. Such a character is seen as a por tr ait r at her t han as a per son, at least port rait l ike. Faul kner ’s Miss Emi ly, t wice appear s at a wi ndow of her houses “l ike t he car ven t orso of an idol in the niche.” 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 t h pr epar at ory i t or there) ? Noun phr ases: Ar e t hey relat ively sim ple or plex? Wher e does t he pl exi ty lie (i n premodif icati on by adjectives, nouns, et c, or in postm odi fi cat ion by pr e posit ion by pr eposit ional phr ases, r elati ve clauses, et c) ? Verb phr ases: Ar e t her e any signif icant depar tur 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 there anythi ng to be said about other phr ases t ypes, such as pr eposi tional phr ases, adverb phr ases, adjecti ve phr ases? Wor d classes: Havi ng alr eady consi der ed major wor d classes, we may consi der mi nor wor d cl asses ( eg functi onal wor ds) , such as preposi ti ons, conj unct ions, pr onouns, deter miners, auxi li ar ies, inter jecti ons. Are par ti cul ar wor ds of these t ypes used for part icular ef ect ( eg dem onstr ati ves such as this and t hat , negati ves such as not , not hing)? General : Note whether any general t ypes of grammat ic。