【正文】 ssi cal al egor y i s the m edi eval pl ay Everyman, whose pr ot agoni st r epr esents us al , and who, deser ted by f alse fr i ends nam ed Ki nddr ed and Goods, faces t he j udgm ent of God a pani ed onl y by a f ait hf ul fr iend cal ed Good Deeds. In John Bunyan?s Pil grim ’s Progress, t he pr ot agoni st, Chri st i an, st r uggl es al ong t he dif fi cul t r oad t owar ds sal vat ion, m eet i ng al ong t he way wi t h such persons as Mr. Wor l dl y Wi sem an, who di rect s him i nt o a f ort abl e pat h ( a wr ong t ur n) , and t he r esident of a t own cal ed Fai r Speech, am ong t hem a hypocr it e nam ed Mr . Faci ng bot h ways. One m oder n i nst ance i s Geor ge Or wel l? s Anim al Farm, i n whi ch ( am ong it s doubl e meani ngs) bar nyar d anim al s stand f or hum an vi ct im s and t otali t ar ian oppressor s. Al legory at tempt s t o evoke a dual i nt erest , one in t he events, char act er s, and set ti ng present ed, and t he ot her i n t he i deas t hey ar e i nt ended t o convey or t he si gni fi cance t hey bear . Sym bol di f er s f rom al l egor y, accor di ng t o Col eri dge, i n that in al egor y t he obj ect i ve r efer ent evokes is wit hout val ue until i t acquir es fi xed m eani ng fr om i ts own par ti cul ar st ruct ur e of i deas, whereas a sym bol i ncl udes perm anent obj ect ive value, independent of t he m eani ngs t hat i t m ay suggest . In a br oad sense, al st or i es ar e sym boli c, t hat i s, t he wr it er l ends t he char act er s and their acti ons some speci al si gni fi ca nce. Of course, t his i s t o thi nk of sym bol i n an extr em ely br oad and i ncl usi ve way. For t he usual pur pose of r eadi ng a st ory and under standi ng it , t her e i s pr obably l it tl e poi nt in l ooki ng f or symboli sm i n ever y wor d, i n ever y sti ck or st one, i n ever y st ri ki ng f o a m at ch, i n ever y mi nor charact er. But t o ref use t o t hi nk about t he sym boli c meani ngs woul d be another way t o m isr ead a st or y. So to be on t he alert f or sym bol s when readi ng f icti on is per haps wi ser t han t o i gnor e them . How, t hen, do we r ecogni ze a sym bol i n fi ct i on when we meet i t ? For t unatel y, t he st or ytel er oft en gi vens t he sym bol part icular em phasi s. It m ay be m ent i oned r epeatedly t hr oughout t he st ory。 t hese need not be m ent al ?pict ures?, but m ay appeal t o senses ot her t han si ght . Im ages suggest i ng furt her m eani ngs and associati ons i n ways t hat go beyond t he f ai rl y si m pl e i denti fi cati ons of m etaphor and simi l e ar e oft en cal led symbols. The Fi ve Senses Respondi ng t o Im agi nat i ve l anguage Vi sual Im ager y: Im ager y of Sight Visual i mager y i s di f fer ent fr om vi sual per cept i on because visual per cepti on r equir es the object to be act ual y pr esent and visual i magery does not . Aural Im ager y: I m ager y of Sound Audi tor y im agery is something that r epresent s a sound, which can be reveal ed both i n poem s and st or i es. Olf act ory Imagery: I mager y of Smel Ol factory im agery st im ul ates the sense of smel , which olfact ion?s uni que cognit ive archit ect ure of evocat ion have led some to conclude t hat t her e is no capaci ty f or olf act or y i mager y. a. Self repor t s of ol factor y can resem bl e those obtained f or actual per cept ion. b. Im agi ng an odor can produce ef fects si mil ar t o actual per cepti on. c. Ol f act or y percepti on and m em ory—ba sed im ages can inter act . 4. Tact il e Im ager y: I magery of Touch Tacti le i mager y sti mulates t he sense of touch, whi ch is also cal ed Hapt ic I magery. 5. Gustator y I mager y: I magery of Taste Gustator y i mager y sti mulates t he sense of t ast e. “ ?Have a di l pi ckle, ? he said. He want ed to share wi th us: That seemed to me so ri ght, so—you know what I mean?” From A Di l Pi ckl e by Katheri ne Mansfi el d 萬年鴻陽生態(tài)農(nóng)業(yè)旅游綜合開發(fā)項目 可 行 性 研 究 報 告 第一章 總 論 項目概要 項目單位名稱：江西萬年鴻陽生態(tài)農(nóng)業(yè)旅游綜合開發(fā)有限公司 所有制性質(zhì)：民營 企業(yè)簡介 江西萬年鴻陽生態(tài)農(nóng)業(yè)旅游綜合開發(fā)有限公司創(chuàng)建于 2020 年元月，位于 “世界稻作發(fā)源地 ”萬年縣大源鎮(zhèn)原上海知青隊駐地紅來村。 目前，企業(yè)注冊資金 200 萬元，總資產(chǎn) 2,100 萬元，總負債 320 萬元，凈資產(chǎn) 1780 萬元，資產(chǎn)負債率 %；項目實施后年可創(chuàng)休閑旅游及生態(tài)農(nóng)業(yè)產(chǎn)值 3000 余萬元，稅利 610 萬元。 whereas a sym bol f unct ions li ke an im age but dif fer s fr om i t in goi ng beyond t he evocat ion of t he obj ect ive r ef erent by making t hat r ef erent suggest t o t he r eader a m eaning beyond it self . I n ot her words, a sysm bol i s an im age t hat evokes an obj ect ive, concret e realit y, but t hen t hat r eal it y suggest s anot her l evel of m eaning di rect l y。 per sonif y t he vani shi ng ar ist ocr acy of t he Sout h, sti l m ai nt ai 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 symboli c meani ng, f or exam pl e, a bal ef ul eye i n Edgar Al l an Poe? s “The Tel Tal e H eart .” 4. Sym bol used i n works of fi ct i on is t he sym bol i c act Anot her ki nd of sym bol monl y em pl oyed i n wor ks of f i ct ion i s t he sym boli c act : an act or a gest ur e wi t h l ar ger si gni fi cance t han i t s l it eral meani ng. Capt ai n Ahab i n Mel vi l e? s Moby Di ck del i ber at el y snaps hi s t obacco pi pe and t hr ows i t away bef ore set ing out i n pur sui t of t he huge whal e, a gestur e suggest ing t hat he i s det er mi ned t o t ake hi s r evenge and wi l l et not hi ng t o di str act him f rom it. Anot her t ypi cal sym boli c act i s the bur ni ng of t he barn by t he boy?s f at her i n Faul kner ?s “Barn Burni ng”: it i s an act of no m ere destr oyi ng a barn, but an expr essi on of his pr of ound spi te and hatr ed towar ds t hat cl ass of peopl e who have dr i ven his f am il y out of hi s l and. His hatr ed ext ends t o a