【導(dǎo)讀】s“TheTel-TaleHeart.”4.SymbolusedinworksoffictionisthesymbolicactAnotherkindofsymbolmonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelvile?sMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesetingoutinpursuitofthehugewhale,agesturesuggestingthatheisdeterminedtotakehisrevengeandwilletnothingtodistracthimfromit.Anothertypicalsymbolicactistheburningofthebarnbytheboy?sfatherinFaulkner?

　　

【正文】 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(xiàng)目 可 行 性 研 究 報(bào) 告 第一章 總 論 項(xiàng)目概要 項(xiàng)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(duì)駐地紅來村。公司總占地面積 1,600 余畝，其中水面 300 余畝，山林 1,200 余畝，其他用地等100 畝 。企業(yè)擁有職工 82人，其中專業(yè)技術(shù)人員 20名。公 司生態(tài)環(huán)境優(yōu)越宜人、氣候濕潤、雨量充沛、風(fēng)光秀麗及人文景觀得天獨(dú)厚，可逐步形成 “園林娛樂、水面游玩、水中養(yǎng)魚、山上種果、山坡養(yǎng)豬和樹下養(yǎng)雞 ”的集生態(tài)農(nóng)業(yè)旅游、娛樂休閑、垂釣、農(nóng)家樂、賓館住宿、商務(wù)會議、園林種植、綜合養(yǎng)殖為一體的立體娛樂型綜合開發(fā)、健康環(huán)保莊園式的科技示范旅游勝地。 目前，企業(yè)注冊資金 200 萬元，總資產(chǎn) 2,100 萬元，總負(fù)債 320 萬元，凈資產(chǎn) 1780 萬元，資產(chǎn)負(fù)債率 %；項(xiàng)目實(shí)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。 企 業(yè)銀行信用等級為 AA。 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 anyt hi ng he does not possess hi msel f and, beyond t hat , burni ng a bar n r ef l ects t he f at her ?s m em ori es of t he “wast e and extr avagance of war ” and t he “el em ent of fi re spoke t o some deep mai nspri ng” in hi s bei ng. 5. A sym bol i s a t rope I n a br oad l it er ar y sense, a sym bol i s a t rope t hat bines a li t er al and sensuous quali t y wit h an necessar y or suggest ive a spect. However, i n li ter ar y cri ti ci sm i t is necessar y t o disti ngui sh sym bol fr om i m age, m et aphor , and, especi al y, al egor y. An im age An im age is a l it er al and concret e represent at i on of a sensor y exper ience or of an obj ect that can be known by one or mor e of t he senses. I t is t he m eans by whi ch exper ience i n i ts r ichnes and em oti onal plexit y i s m uni cat ed. ( Holm an and Har mon, A Handbook to Li ter at ure, 1986) Im ages m ay be lit eral or fi gur ati ve, a l it er al i m age being one t hat i nvol ves no necessar y change or extensi on i n t he obvi ous m eani ng of the wor ds. Pr ose wor ks ar e usual ly f ull of t hi s kind of im age. For exam pl e, novel 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 “It i s a beaut eous eveni ng, calm and f ree。 / The holy t im e is qui et as a nun, ” t he second li ne i s hi ghl y fi gur ati ve whil e t he f ir st l i ne evokes a l it eral im age. We consi der an i mage, whet her l it er al or f i gur at ive, to have a concr et e r ef erent i n t he object i ve worl d and to f unct i on as im age when it powerf ull y evokes t hat r ef er ent 。 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。 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 acy 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