【正文】 ovel s and st ori es by Conar d and Hem i ngway ar e not ed f or t he evocat i ve power of t heir l it er al i m ages. A fi gur ati ve i m age i s one t hat i nvol ves a “t urn” on t he li ter ar y m eaning of t he words. For exam pl e, in t he li nes “I t i s a beaut eous eveni ng, calm and f ree。 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—based 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 1生態(tài)旅游綜合開發(fā)項(xiàng)目可行性研究報告 第一章 總論 概論 **市委 、 市政府確立未來旅游產(chǎn)業(yè)的發(fā)展目標(biāo)：即 緊緊圍繞建設(shè)現(xiàn)代化生態(tài)城市的總體目標(biāo)，樹立 **休閑度假旅游目的地形象，力爭 10年時間，將 **打造成為享譽(yù)世界的國際精品旅游區(qū)，最終建成“北國濕地休閑之都，國際生態(tài)旅游名城”。 i t evokes an obj ect t hat suggest s t he m eani ng, wi t h t he em phasi s bei ng lai d on t he l at t er part . As Coleri dge sai d, “I t par takes of t he r eali ty whi ch it r ender s int el li gi ble. Met aphor A m etaphor i s an i m pl ied anal ogy im agi nat ively i dent if yi ng one object wit h anot her and ascr ibi ng to t he fi rst obj ect one or m or e of the qual it i es of t he second, or i nvest i ng t he fi rst wi th em ot ional or im agi nat i ve quali ti es associ at ed wit h t he second. I t is not an unm on lit er ac y devi ce i n fi ct i on, t hough it i s m or e m onl y used in poetr y whil e simi l e is m or e monl y used i n prose. A metaphor em phasi zes ri ch suggest iveness i n the dif f er ences bet ween t he t hings par ed and the r ecognit ion of sur pri si ng but unsuspected sim il ar it ies. Cl eant h Br ooks uses the t er m “f unct ional m et aphor ” t o descri be the way i n whi ch t he met aphor is able t o have “r ef er ent ial ” and “emoti ve” char act er isti cs, and t o go beyond t hose char act er i sti cs t o be e a di rect m eans i n it sel f of represent ing a t r ut h i nm uni cable by ot her m eans. When a m et aphor per f or ms 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 et aphor i n t hat a m et aphor evokes an obj ect i n or der t o il lustrat e an i dea or demonst r at e a qual it y, wher eas a symbol embodi es t he i dea or the qual it y. Al egory An al legor y i s a stor y i n whi ch persons, places, act i ons, and t hings are equat ed wi th m eani ngs t hat li e outsi de of t he st ory i tself . Thus i t r epr esent s one t hi ng in t he gui se of anot her —an abst r acti on i n t he f orm of a concr et e im age. A cl ear exam ple i s t he ol d Ar ab fable of t he fr og and scor pi on, who m e one da y on t he bank of t he Nil e, whi ch they both want ed to cr oss. The fr og off ered t o f er r y t he scor pi on over on hi s back, pr ovi ded t he scor pi on pr omi sed not t o sti ng hi m. The scor pi on agr ed so l ong as t he fr og woul d pr omi se not t o drown hi m. The m ut ual pr omi se exchanged, t hey cr ossed t he ri ver. 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 that?” cr oaked t he f r og, as he lay dyi ng. “Why?” repli ed t he scorpi on. “We ?r e bot h Arabs, ar en?t we?” I f we subst it ute f or the f rog a “Mr. Goodwil l ” and f or the scor pi on “Mr. Tr eacher y” or “Mr. Two face”, and we m ake t he ri ver any r i ver, and f or “We? r e bot h Ar abs” we subst it ute “We? r e bot h men,” we can m ake the f abl e i nt o an al legory. I n a si mpl e al legory, char act er s and ot her i ngredients of ten st and f or ot her defi nit e meani ngs, whi ch ar e oft en abst ract i ons. We have met such a character i n t he l ast chapt er : Fai th i n Hawt hor ne? s “Young Goodm an Brown. ” A cl assi 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