【文章內(nèi)容簡(jiǎn)介】 quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory.An imageAn image is a literal and concrete representation of a sensory experience or of an object that can 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。 /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。 whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to the reader a meaning beyond itself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly。 it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.Metaphor 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.AllegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that 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“真愛(ài)”婚慶有限公司策劃書 項(xiàng)目名稱：真愛(ài)婚慶有限公司 創(chuàng)業(yè)成員： 高宇 韓穎 曾嫄惠 張凱 金超 白羽 2011年7月目 錄第一部分…………………………行業(yè)與市場(chǎng)分析（一）利潤(rùn)分析……………………………………………………4（二）市場(chǎng)前景……………………………………………………4（三）投資條件……………………………………………………4（四）效益分析……………………………………………………4（五）營(yíng)銷建議……………………………………………………4第二部分…………………………公司基本概況（一）公司基本情況………………………………………………6（二）經(jīng)營(yíng)范圍……………………………………………………6（三）經(jīng)營(yíng)理念……………………………………………………6（四）核心價(jià)值……………………………………………………6（五）公司文化設(shè)計(jì)………………………………………………6第三部分…………………………公司管理（一）公司成員……………………………………………………8（二）部門設(shè)置……………………………………………………8（三）部門職能……………………………………………………8（四）運(yùn)營(yíng)管理……………………………………………………8第四部分…………………………公司戰(zhàn)略（一）總體戰(zhàn)略…………………………………………………10（二）發(fā)展戰(zhàn)略…………………………………………………10第五部分…………………………營(yíng)銷策略（一）目標(biāo)市場(chǎng)…………………………………………………13（二）產(chǎn)品與服務(wù)………………………………………………13（三）競(jìng)爭(zhēng)策略…………………………………………………13第六部分…………………………財(cái)務(wù)分析與評(píng)價(jià)（一）資金規(guī)模…………………………………………………15（二）資金來(lái)源…………………………………………………15（三）資金使用…………………………………………………15（四）資金撤出與股利計(jì)劃…………………………………15第七部分…………………………風(fēng)險(xiǎn)評(píng)估行業(yè)與市場(chǎng)分析隨著我國(guó)國(guó)民經(jīng)濟(jì)的快速增長(zhǎng)，城鄉(xiāng)居民生活水平的日益提高，人民群眾對(duì)生活質(zhì)素的不斷提高，以及人們對(duì)現(xiàn)代社會(huì)時(shí)尚的追