【正文】 get a prehensive understanding of the work without paying special attention to the symbols. The Scarlet Letter by Nathaniel Hawthorne is one of such works. The very title points to a double symbol: the scarlet letter A worn by Hester conveys a multiple of senses which differ greatly from what it literally stands for, and the work eventually develops into a test and critique of symbols themselves. Thomas Pynchon’s V. continues along much the same line, testing an alphabetical symbol. Another example is Herman Melville’s MobyDick, in which the huge white whale in the title of the book acquires greater meaning than the literal dictionarydefinition of an aquatic mammal. It also suggests more than the devil, to whom some of the characters liken it. The huge whale, as the story unfolds, es to imply an amplitude of meanings: among them the forces of nature and the whole universe. Literary symbols are of two broad types: one type includes those embodying universal suggestions of meaning. Flowing water suggests time and eternity, a journey into the underworld and return from it is interpreted as a spiritual experience or a dark night of the soul, and a kind of redemptive odyssey. Such symbols are used widely (and sometimes unconsciously) in western literature. The other type of symbol secures its suggestiveness not from qualities inherent in itself but from the way in which it is used in a given work, in a special context. Thus, in MobyDick the voyage, the land, and the ocean are objects pregnant with meanings that seem almost independent of the author’s use of them in the story。 on the other hand, the white whale is invested with different meanings for different crew members through the handling of materials in the novel. Similarly, in Hemingway’s A Farewell to Arms, rain, which is generally regarded as a symbol of life (especially in spring), and which is a mildly annoying meteorological phenomenon in the opening chapter, is converted into a symbol of death through the uses to which it is put in the work. 3. Symbols in fiction are inanimate objects Often symbols we meet in fiction are inanimate objects. In William Faulker’s “A Rose for Emily,” Miss Emily’s invisible but perceptible watch ticking at the end of a golden chain not only indicates the passage of time, but suggests that time passes without even being noticed by the watch’s owner. The golden chain to which it is attached carries suggestions of wealth and authority. Other things may also function symbolically. In James Joyce’s “Araby,” the very name of the bazzar, Araby—the poetic name for Arabia—suggests magic, romance, and The Arabian Nights。 its syllables, the narrator tells us, “cast an Eastern enchantment over me.” Even a locale, or a feature of physical topography, can provide rich symbolic suggestions. The caf233。 in Ernest Hemingway’s “A Clean, WellLighted Place” is not merely a caf233。, 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松江區(qū)泖港鎮(zhèn)生態(tài)農(nóng)業(yè)休閑觀光旅游項目可研報告 目 錄第一章 總 論 .........................................1一、項目名 稱 ............................................1三、可行性研究的依據(jù) ....................................1四、項目概況 ............................................1五、可行性研究的主要結(jié)論及建議 ..........................2第 二 章 項 目 背 景 及 發(fā) 展 概 況 ............................3一、市松江區(qū)概況地理位置 ............................................3自然狀況 ............................................33發(fā)展思路 .............................................84形象定位 .............................................8三 ． 項 目 提 出 的 背 景 和 意 義 .............................9生態(tài)觀光農(nóng)業(yè)發(fā)展前景 ................................9生態(tài)觀光農(nóng)業(yè)發(fā)展趨勢 ................................9生態(tài)觀光農(nóng)業(yè)的基本特點 .............................10生態(tài)農(nóng)業(yè)觀光園發(fā)展定位 .............................11第三章觀光農(nóng)業(yè)生態(tài)園規(guī)劃原則和總體思路types of sentence are used, what is their function? Sentence plexity: Do sentences on whole have a simple or a plex structure? What is the average sentence length? Does plexity vary strikingly from one sentence to another? Is plexity mainly due to (i) coordination, (ii) subordination, (iii) juxtaposition of clauses or of other equivalent structures? In what parts of the text does plexity tend to occur? clause types: What types of clauses are favored—relative clauses, adverbial clauses, or different types of nominal clauses? Are nonfinite forms monly used, and if so, of what types are they (infinitive, ing form, ed form, verbless structure)? What is their function? Clause structure: Is there anything significant about clause elements (eg frequency of objects, adverbials, plements。 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)? Noun phrases: Are they relatively simple or plex? Where does the plexity lie (in premodification by adjectives, nouns, etc, or in postmodification by preposition by prepositional phrases, relative clauses, etc)? Verb phrases: Are there any significant departures from the use of the simple past tense? For example, notice occurrences and functions of the present tense, of the progressive aspect, of the perfect aspect, of modal aux