【正文】 北省省會中心城區(qū)之一,位于石家莊市區(qū)的西北部,靠近火車站,下轄2鄉(xiāng)、2鎮(zhèn)1個(gè)街道辦事處,。 著名的華北烈士陵園為省級重點(diǎn)文物保護(hù)單位。 橋西區(qū)位于石家莊市市區(qū)西南部，,轄11個(gè)街道辦事處和1個(gè)鄉(xiāng)。20多家大型商業(yè)機(jī)構(gòu)成了裕華區(qū)第三產(chǎn)業(yè)發(fā)展的脊梁，槐底裝飾材料商城是全省最大的封閉式裝飾材料商城，位于留村鄉(xiāng)的石家莊市高新技術(shù)開發(fā)區(qū)更始省會乃至全省高新技術(shù)產(chǎn)業(yè)發(fā)展的一顆明珠。 裕華區(qū)是經(jīng)國務(wù)院批準(zhǔn)于2001年3月21日成立的行政區(qū)，位于石家莊市區(qū)東南部，轄2鎮(zhèn)、1鄉(xiāng)、7個(gè)街道辦事處。中共石家莊市委、市人大、市政府、市政協(xié)以及市委、市政府的部、室、委、辦、局等絕大部分都設(shè)在本區(qū)。進(jìn)一步拉動了該區(qū)五金閥門、機(jī)電、通訊、服裝、包裝、化工、裝飾材料、干鮮水果等產(chǎn)品的產(chǎn)銷。 建設(shè)項(xiàng)目投資完成866億元，%；施工項(xiàng)目個(gè)數(shù)3423個(gè)，%，橋開工項(xiàng)目2992個(gè)，%；，%，施工面積和竣工面積達(dá)到940萬平方米和224萬平方米，%%?！拔宕蠡亍苯ㄔO(shè)全面啟動，主導(dǎo)產(chǎn)業(yè)支撐作用增強(qiáng)。糧食生產(chǎn)獲得豐收，全年糧食總產(chǎn)量達(dá) ，糧食畝產(chǎn)439公斤與上年持平。年實(shí)現(xiàn)地區(qū)生產(chǎn)2064億元，按可比價(jià)格計(jì)算，%，第一產(chǎn)業(yè)平穩(wěn)增長，實(shí)現(xiàn)增加值255億元，%；第二產(chǎn)業(yè)增速較快，實(shí)現(xiàn)增加值1025億元，%；第三產(chǎn)業(yè)實(shí)現(xiàn)增加值784億元，%。 石家莊 石家莊素有“南北通衢，燕晉咽喉”之稱，是全國鐵路、公路、郵政、通訊的重要樞紐。目前已評價(jià)礦泉水源地40個(gè)，開發(fā)企業(yè)8家。非金屬礦產(chǎn)主要有石灰?guī)r、白云巖、石英砂巖、硅線石、耐火粘土、碎石母、滑石、蛇紋石、石英、長石、巖棉用輝綠巖、飾面用花崗石、大理石、重晶石等。其中黃金主要分布于靈壽、平山兩縣。煤田分布相對集中，主要在井陘縣，其次是贊皇、元氏兩縣。 一、農(nóng)副產(chǎn)品資源 石家莊市主要糧食作物以小麥、玉米為主，其次為谷等；油料作物主要一油菜為主，余有花生、蔬菜等。東隔衡水、滄州與渤海相距300公里，西與煤炭基地山西相連，南接邢臺，北鄰保定，東部與衡水市接壤。%。 主要技術(shù)經(jīng)濟(jì)指標(biāo)表序號指標(biāo)單位數(shù)量備注1建設(shè)規(guī)模及內(nèi)容2道路工程㎡166113雨水管網(wǎng)m4污水管網(wǎng)m7305照明工程496綠化工程㎡52187便道工程㎡69578建設(shè)投資 本項(xiàng)目將青園街、建設(shè)大街、建通路有效連接，對緩解所在區(qū)域交通壓力、疏散過境交通、促進(jìn)沿線經(jīng)濟(jì)發(fā)展具有重要作用，并可解決與之相交各路段雨污水無正常出路的問題，因此應(yīng)該盡快實(shí)施。5. 附屬工程：做綠化設(shè)施。石欒路以東有一條現(xiàn)狀小路，一西無現(xiàn)狀路。路面形式為瀝青混凝土柔性路面。, but an island of refuge from sleepless night, chaos, loneliness, old age, the meaninglessness of life, and impending death. In some novels and stories, some characters are symbolic. Such characters usually appear briefly and remain slightly mysterious. In Joseph Cornard’s Heart of Darkness, a steamship pany that hires men to work in Congo maintains in its waiting room two women who knit black wool—they symbolize the classical Fates. Such a character is seen as a portrait rather than as a person, at least portrait like. Faulkner’s Miss Emily, twice appears at a window of her houses “l(fā)ike the carven torso of an idol in the niche.” Though Faulkner invests her with life and vigor, he also clothes her in symbolic hints: she seems almost to第 1 章 總論 項(xiàng)目背景塔南路道路工程項(xiàng)目承辦單位：石家莊市城市管理局承辦單位概況：石家莊市城市管理局是主管全市城市管理和市政工程的綜合部門。3. Symbols in fiction are inanimate objects2. There are two broad types of literary symbols it is, rather, a symbol the poet or the writer adopts for the purpose of his/her work, and it is to be understood only in the context of that work. It differs from the kind of symbol illustrated by the figure 3 because it is concrete and specific. A poet or a writer uses symbols for the same reason he/ she uses similes, metaphors, and images, etc: they help to express his/her meaning in a way that will appeal to the senses and to the emotions of the reader. Most symbols, in literature and everyday life as well, possess a tremendous condensing power. Their focusing on the relationships between the visible (audible) and what they suggest can kindle it into a single impact. Of course, in literary works, symbols, unlike those in ordinary life, usually do not “stand for” any one meaning, nor for anything absolutely definite。 and words are also symbols. (P. 218. Oxford Concise Dictionary of Literary Terms.) A symbol is a thing that suggests more than its literal meaning. It exists widely even in our daily life. Our language itself is symbol. The daily greetings indicate that the passage of munication is open. Ring is a symbol of eternity. The sign of cross indicates atonement. The Big Ben symbolizes London, the Great Wall China. Ritualistic acts are symbolic. In church wedding the bride is handed over from the father to the groom. Holy eating is symbolic of munion, baptizing cleansing and rebirth. The raising and lowering of a national flag certainly suggest meanings larger than the acts themselves. And finally toasting and shaking hands on formal or informal occasions.Chapter Seven Symbol Here we take a look at features which are generally fully dealt with in discourse analysis. Under cohesion ways in which one part of a text is linked to another are considered。Grammatical and lexical schemes (foregrounded repetitions of expression): Are there any cases of formal and structural repetition (anaphora, parallelism, etc) or of mirrorimage patterns (chiasmus)? Is the rhetorical effect of these one of antithesis, reinforcement, climax, anticlimax, etc?Word classes: Having already considered major word classes, we may consider minor word classes (eg functional words), such as prepositions, conjunctions, pronouns, determiners, auxiliaries, interjections. Are particular words of these types used for particular effect (eg demonstratives such as this and that, negatives such as not, nothing)? of transitive or intransitive verb constructions)? Are there any unusual orderings (initial adverbials, fronting of object or plement, etc)? Do special kinds of clause construction occur (such as those with preparatory it or there)? types of sentence are used, what is their function?Clause structure: Is there anything significant about clause elements (eg frequency of objects, adverbials, plements。other phrase types: Is there anything to be said about other phrases types, such as prepositional phrases, adverb phrases, adjective phrases?Here we consider the features which are foregrounded by virtue of departing in some way from general norms of munication by means of the language code, for example, exploitation of deviations from the linguistic code. Context and cohesionContext: Does the writer address the reader directly, or through the words or thoughts of some fictional character? What linguistic clues (eg first person pronouns I, me, my, mine) are there of the addresseraddressee relationship? What attitude does the author imply towards his/her subject? If a character’s words or thoughts are represented, is this done by direct quotation, or by some other method (eg indirect speech, free indirect speech)? Are there significant changes of style with respect to different persons (narrator or character) who is supposedly speaking or thinking the words on the page? Wh