【正文】 基地和技術研發(fā)創(chuàng)新中心，使之成為北方地區(qū)乃至國內(nèi)最重要的射頻識別技術產(chǎn)業(yè)集群，不僅能夠帶動中國射頻識別技術產(chǎn)業(yè)的快速發(fā)展，而且能夠加速沈陽的物流中心和信息產(chǎn)業(yè)中心的建設，提升沈陽制造業(yè)基地和東北地區(qū)技術創(chuàng)新中心的科技含量，促進沈陽市的產(chǎn)業(yè)結構升級和城市核心競爭力的提升，推動沈陽區(qū)域經(jīng)濟的可持續(xù)發(fā)展，為建設沈陽成為創(chuàng)新型城市做出貢獻。在國家“十一五”科技中長期發(fā)展規(guī)劃中，又再次指出要大力推廣射頻識別技術的應用。地理位置優(yōu)越，交通便捷。Gustatory imagery stimulates the sense of taste. c. Olfactory perception and memory—based images can interact. Olfactory Imagery: Imagery of SmellVisual Imagery: Imagery of SightThe imagery of a literary work thus prises the set of images that it uses。 地鐵車站 In a Station of the MetroThe image is seen as being one of two things: something that represents a thing in the “real” world。In a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them. A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an unmon literacy device in fiction, though it is more monly used in poetry while simile is more monly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things pared and the recognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional metaphor” to describe the way in which the metaphor is able to have “referential” and “emotive” characteristics, and to go beyond those characteristics to bee a direct means in itself of representing a truth inmunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbol embodies the idea or the quality. /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes that referent。In a broad literary sense, a symbol is a trope that bines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory.personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a character’s body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Poe’s “The TellTale Heart.” 5. A symbol is a tropecan be known by one or more of the senses. It is the means by which experience in its richness and emotional plexity is municated. (Holman and Harmon, A Handbook to Literature, 1986) Images may be literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a “turn” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free。Metaphorthat lie outside of the story itself. Thus it represents one thing in the guise of another—an abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on his back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “We’re both Arabs, aren’t we?” If we substitute for the frog a “Mr. Goodwill” and for the scorpion “Mr. Treachery” or “Mr. Twoface”, and we make the river any river, and for “We’re both Arabs” we substitute “We’re both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthorne’s “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagonist represents us all, and who, deserted by false friends named Kinddred and Goods, faces the judgment of God acpanied only by a faithful friend called Good Deeds. In John Bunyan’s Pilgrim’s Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a fortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facingbothways. One modern instance is George Orwell’s Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the objective referent evokes is without value until it acquires fixe