乳业公司污水处理.doc
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1、怀来矿业有限公司废水处理及资源化项目 可 行 性 研 究 报 告污水处理及冷却水循环再利用改扩建项目可行性研究报告二00九年三月79body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Poes “The Tell-Tale Heart.” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fictio
2、n is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melvilles Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and
3、 will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the boys father in Faulkners “Barn Burning”: it is an act of no mere destroying a barn, but an expression of his profound spite and hatred towards that class of people who have driven his family out
4、 of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the fathers memories of the “waste and extravagance of war” and the “element of fire spoke to some deep mainspring” in his being.5. A symbol is a tropeIn a broad literary sense, a symbo
5、l is a trope that combines 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.An imageAn image is a literal and concrete representation of a sensory experience or
6、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 complexity is communicated. (Holman and Harmon, A Handbook to Literature, 1986) Images may be literal or figurative, a literal image being one that involves no necessary cha
7、nge 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
8、 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 an
9、d 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 evoke
10、s 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 i
11、mplied 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 uncommon literacy device in fiction, though it is mor
12、e commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional metaphor” to describe the way in wh
13、ich the metaphor is able to have “referential” and “emotive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from
14、 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
15、 it represents one thing in the guise of anotheran 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 t
16、he 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 scor
17、pion. “Were both Arabs, arent we?” If we substitute for the frog a “Mr. Goodwill” and for the scorpion “Mr. Treachery” or “Mr. Two-face”, and we make the river any river, and for “Were both Arabs” we substitute “Were both men,” we can make the fable into an allegory. In a simple allegory, characters
18、 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 Hawthornes “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagonist represents us all, and who, deserted by fal
19、se friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunyans Pilgrims Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman,
20、 who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwells Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian
21、 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
22、 is without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest.In a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions so
23、me 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 ever
24、y 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.How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller ofte
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