已阅读5页,还剩56页未读, 继续免费阅读
版权说明:本文档由用户提供并上传,收益归属内容提供方,若内容存在侵权,请进行举报或认领
文档简介
LINGUISTICCODEFOREXAMPLE,ARETHEREANYNEOLOGISMSSUCHAS“PORTENTOUSINFANTS”ARETHEREANYSEMANTIC,SYNTACTIC,PHONOLOGICAL,ORGRAPHOLOGICALDEVIATIONSSUCHDEVIATIONSAREOFTENTHECLUETOSPECIALINTERPRETATIONSASSOCIATEDWITHTRADITIONALFIGURESOFSPEECHSUCHASMETAPHOR,METONYMY,SYNECDOCHE,PARADOX,ANDIRONYIFSUCHTROPESOCCUR,WHATKINDOFSPECIALINTERPRETATIONISINVOLVEDFOREXAMPLE,METAPHORCANBECLASSIFIEDASPERSONIFYING,ANIMALIZING,CONCRETIZING,SYNAESTHETIC,ETCCONTEXTANDCOHESIONHEREWETAKEALOOKATFEATURESWHICHAREGENERALLYFULLYDEALTWITHINDISCOURSEANALYSISUNDERCOHESIONWAYSINWHICHONEPARTOFATEXTISLINKEDTOANOTHERARECONSIDEREDFORINSTANCE,THEWAYSSENTENCESARECONNECTEDTHISISTHEINTERNALORGANIZATIONOFATEXTUNDERCONTEXT,ROUGHLYTHEMATERIAL,MENTAL,PERSONAL,INTERACTIONAL,SOCIAL,INSTITUTIONAL,CULTURAL,ANDHISTORICALSITUATIONINWHICHTHEDISCOURSEISMADE,WECONSIDERTHEEXTERNALRELATIONSOFTHELITERARYTEXTORAPARTOFTHETEXT,SEEINGITASADISCOURSEPRESUPPOSINGASOCIALRELATIONBETWEENITSPARTICIPANTSAUTHORANDREADER,CHARACTERANDCHARACTER,CHARACTERANDREADER,ETC,ANDASHARINGOFKNOWLEDGEANDASSUMPTIONSBYPARTICIPANTSCOHESIONDOESTHETEXTCONTAINLOGICALOROTHERLINKSBETWEENSENTENCESEGCOORDINATINGCONJUNCTIONS,LINKINGADVERBIALS,ORDOESITTENDTOREPLYONIMPLICITCONNECTIONSOFMEANINGWHATSORTOFUSEISMADEOFCROSSREFERENCEBYPRONOUNSSHE,IT,THEY,ETC,BYSUBSTITUTEFORMSDO,SO,ETC,ORELLIPSISISTHEREANYUSEMADEOFELEGANTVARIATIONTHEAVOIDANCEOFREPETITIONBYSUBSTITUTIONOFADESCRIPTIVEPHRASEAS“THEOLDLAWYER”SUBSTITUTESFORTHEREPETITIONOFANEARLIER“MRJONES”AREMEANINGCONNECTIONSREINFORCEDBYREPETITIONOFWORDSANDPHRASES,ORBYREPEATEDLYUSINGWORDSFROMTHESAMESEMANTICFIELDCONTEXTDOESTHEWRITERADDRESSTHEREADERDIRECTLY,ORTHROUGHTHEWORDSORTHOUGHTSOFSOMEFICTIONALCHARACTERWHATLINGUISTICCLUESEGFIRSTPERSONPRONOUNSI,ME,MY,MINEARETHEREOFTHEADDRESSERADDRESSEERELATIONSHIPWHATATTITUDEDOESTHEAUTHORIMPLYTOWARDSHIS/HERSUBJECTIFACHARACTERSWORDSORTHOUGHTSAREREPRESENTED,ISTHISDONEBYDIRECTQUOTATION,ORBYSOMEOTHERMETHODEGINDIRECTSPEECH,FREEINDIRECTSPEECHARETHERESIGNIFICANTCHANGESOFSTYLEWITHRESPECTTODIFFERENTPERSONSNARRATORORCHARACTERWHOISSUPPOSEDLYSPEAKINGORTHINKINGTHEWORDSONTHEPAGEWHATISTHEPOINTOFVIEWOFTHESTORYARETHEFREQUENTSHIFTSOFPOINTVIEWIFSO,INWHOSEVOICEISTHENARRATORSPEAKINGCHAPTERSEVENSYMBOLWHATISSYMBOLSYMBOL,INTHESIMPLESTSENSE,ANYTHINGTHATSTANDSFORORREPRESENTSSOMETHINGELSEBEYONDITUSUALLYANIDEACONVENTIONALLYASSOCIATEDWITHITOBJECTSLIKEFLAGSANDCROSSESCANFUNCTIONSYMBOLICALLYANDWORDSAREALSOSYMBOLSP218OXFORDCONCISEDICTIONARYOFLITERARYTERMSASYMBOLISATHINGTHATSUGGESTSMORETHANITSLITERALMEANINGITEXISTSWIDELYEVENINOURDAILYLIFEOURLANGUAGEITSELFISSYMBOLTHEDAILYGREETINGSINDICATETHATTHEPASSAGEOFCOMMUNICATIONISOPENRINGISASYMBOLOFETERNITYTHESIGNOFCROSSINDICATESATONEMENTTHEBIGBENSYMBOLIZESLONDON,THEGREATWALLCHINARITUALISTICACTSARESYMBOLICINCHURCHWEDDINGTHEBRIDEISHANDEDOVERFROMTHEFATHERTOTHEGROOMHOLYEATINGISSYMBOLICOFCOMMUNION,BAPTIZINGCLEANSINGANDREBIRTHTHERAISINGANDLOWERINGOFANATIONALFLAGCERTAINLYSUGGESTMEANINGSLARGERTHANTHEACTSTHEMSELVESANDFINALLYTOASTINGANDSHAKINGHANDSONFORMALORINFORMALOCCASIONSASRHETORICALDEVICE,SYMBOLISDIFFERENTFROMMETAPHOR,WHICHISLITERALLYFALSEBUTFIGURATIVELYTRUEUNLIKEALLEGORY,WHICHREPRESENTSABSTRACTTERMSLIKE“LOVE”OR“TRUTH,”SYMBOLSAREPERCEPTIBLEOBJECTSINLITERATUREALMOSTANYTHINGPARTICULAROBJECTS,CHARACTERS,SETTING,ANDACTIONSCANBESYMBOLICIFTHEAUTHORWISHESTOMAKEITSOBYEITHERHINTINGORINSISTINGTHATTHEMATERIALMEANSMORETHANITLITERALLYDOESSYMBOLSARESUGGESTEDTHROUGHSPECIALTREATMENTSUCHASIMAGERY,REPETITION,CONNOTATIVELANGUAGE,OROTHERARTISTICDEVICESINFSCOTTFITZGERALDSNOVELTHEGREATGATSBY,AHUGEPAIROFBESPECTACLEDEYESSTARESACROSSAWILDNESSOFASHHEAPSFROMABILLBOARDADVERTISINGTHESERVICESOFANOCULISTREPEATEDLYAPPEARINGINTHESTORY,THEBESPECTACLEDEYESCOMETOMEANMORETHANSIMPLYTHEAVAILABILITYOFEYEEXAMINATIONACHARACTERINTHESTORYCOMPARESITTOTHEEYESOFGODHEHINTSTHATSOMESAD,COMPASSIONATESPIRITISBROODINGASITWATCHESTHEPASSINGPROCESSIONOFHUMANITYSUCHANOBJECTISASYMBOLINLITERATURE,ASYMBOLISATHINGTHATREFERSORSUGGESTSMORETHANITSLITERALMEANINGTHEREAREQUITEALOTOFSYMBOLSTHATAPPEARINORDINARYLIFE,FORTHEUSEOFSYMBOLISBYNOMEANSOFLIMITEDTOLITERATUREANDARTFORINSTANCE,ADOVEISASYMBOLOFPEACE,THEFLAGISTHESYMBOLOFACOUNTRY,ANDTHECROSSISTHESYMBOLOFTHECHRISTIANRELIGIONTHESEARESYMBOLSADOPTEDBYAWHOLESOCIETYANDARERECOGNIZEDBYALLMEMBERSOFSUCHASOCIETYTHEREAREOTHERKINDSOFSYMBOLS,SUCHASFIGURE3,WHICHMAYBEABSTRACTSYMBOLSBUTSYMBOLSINLITERATUREWORKSAREDIFFERENTFROMEITHEROFTHEOTHERTYPESGENERALLYSPEAKING,ALITERARYSYMBOLDOESNOTHAVEACOMMONSOCIALACCEPTANCE,ASDOESTHEFLAGITIS,RATHER,ASYMBOLTHEPOETORTHEWRITERADOPTSFORTHEPURPOSEOFHIS/HERWORK,ANDITISTOBEUNDERSTOODONLYINTHECONTEXTOFTHATWORKITDIFFERSFROMTHEKINDOFSYMBOLILLUSTRATEDBYTHEFIGURE3BECAUSEITISCONCRETEANDSPECIFICAPOETORAWRITERUSESSYMBOLSFORTHESAMEREASONHE/SHEUSESSIMILES,METAPHORS,ANDIMAGES,ETCTHEYHELPTOEXPRESSHIS/HERMEANINGINAWAYTHATWILLAPPEALTOTHESENSESANDTOTHEEMOTIONSOFTHEREADERMOSTSYMBOLS,INLITERATUREANDEVERYDAYLIFEASWELL,POSSESSATREMENDOUSCONDENSINGPOWERTHEIRFOCUSINGONTHERELATIONSHIPSBETWEENTHEVISIBLEAUDIBLEANDWHATTHEYSUGGESTCANKINDLEITINTOASINGLEIMPACTOFCOURSE,INLITERARYWORKS,SYMBOLS,UNLIKETHOSEINORDINARYLIFE,USUALLYDONOT“STANDFOR”ANYONEMEANING,NORFORANYTHINGABSOLUTELYDEFINITETHEYPOINT,THEYHINT,OR,ASHENRYJAMESPUTIT,THEYCASTLONGSHADOWSSYMBOLISMTHETERMSYMBOLISMREFERSTOTHEUSEOFSYMBOLS,ORTOASETOFRELATEDSYMBOLS,WHICHISONEOFTHEDEVICESTHATENRICHSHORTFICTIONANDCOMPENSATEFORITSBRIEFNESSINSPACE2THEREARETWOBROADTYPESOFLITERARYSYMBOLSSYMBOLISGENERALLYACKNOWLEDGEDTOBEONEOFTHEMOSTFREQUENTLYEMPLOYEDDEVICESINPOETRYINWORKSOFFICTIONITISNOLESSFREQUENTANDNOLESSIMPORTANTTHEFACTISTHAT,WHENAREADERREADSAWORKOFFICTION,HISFOCUSISMOSTLYCASTUPONTHEPLOT,THECHARACTER,ANDTHELANGUAGEUSED,SOTHATTHESYMBOLSAREAUTOMATICALLYBACKGROUNDEDONTHEREADERSPARTBUTINSOMENOVELSANDSTORIES,THESYMBOLISMLOOMSSOLARGETHATTHEREADERWILLFAILTOGETACOMPREHENSIVEUNDERSTANDINGOFTHEWORKWITHOUTPAYINGSPECIALATTENTIONTOTHESYMBOLSTHESCARLETLETTERBYNATHANIELHAWTHORNEISONEOFSUCHWORKSTHEVERYTITLEPOINTSTOADOUBLESYMBOLTHESCARLETLETTERAWORNBYHESTERCONVEYSAMULTIPLEOFSENSESWHICHDIFFERGREATLYFROMWHATITLITERALLYSTANDSFOR,ANDTHEWORKEVENTUALLYDEVELOPSINTOATESTANDCRITIQUEOFSYMBOLSTHEMSELVESTHOMASPYNCHONSVCONTINUESALONGMUCHTHESAMELINE,TESTINGANALPHABETICALSYMBOLANOTHEREXAMPLEISHERMANMELVILLESMOBYDICK,INWHICHTHEHUGEWHITEWHALEINTHETITLEOFTHEBOOKACQUIRESGREATERMEANINGTHANTHELITERALDICTIONARYDEFINITIONOFANAQUATICMAMMALITALSOSUGGESTSMORETHANTHEDEVIL,TOWHOMSOMEOFTHECHARACTERSLIKENITTHEHUGEWHALE,ASTHESTORYUNFOLDS,COMESTOIMPLYANAMPLITUDEOFMEANINGSAMONGTHEMTHEFORCESOFNATUREANDTHEWHOLEUNIVERSELITERARYSYMBOLSAREOFTWOBROADTYPESONETYPEINCLUDESTHOSEEMBODYINGUNIVERSALSUGGESTIONSOFMEANINGFLOWINGWATERSUGGESTSTIMEANDETERNITY,AJOURNEYINTOTHEUNDERWORLDANDRETURNFROMITISINTERPRETEDASASPIRITUALEXPERIENCEORADARKNIGHTOFTHESOUL,ANDAKINDOFREDEMPTIVEODYSSEYSUCHSYMBOLSAREUSEDWIDELYANDSOMETIMESUNCONSCIOUSLYINWESTERNLITERATURETHEOTHERTYPEOFSYMBOLSECURESITSSUGGESTIVENESSNOTFROMQUALITIESINHERENTINITSELFBUTFROMTHEWAYINWHICHITISUSEDINAGIVENWORK,INASPECIALCONTEXTTHUS,INMOBYDICKTHEVOYAGE,THELAND,ANDTHEOCEANAREOBJECTSPREGNANTWITHMEANINGSTHATSEEMALMOSTINDEPENDENTOFTHEAUTHORSUSEOFTHEMINTHESTORYONTHEOTHERHAND,THEWHITEWHALEISINVESTEDWITHDIFFERENTMEANINGSFORDIFFERENTCREWMEMBERSTHROUGHTHEHANDLINGOFMATERIALSINTHENOVELSIMILARLY,INHEMINGWAYSAFAREWELLTOARMS,RAIN,WHICHISGENERALLYREGARDEDASASYMBOLOFLIFEESPECIALLYINSPRING,ANDWHICHISAMILDLYANNOYINGMETEOROLOGICALPHENOMENONINTHEOPENINGCHAPTER,ISCONVERTEDINTOASYMBOLOFDEATHTHROUGHTHEUSESTOWHICHITISPUTINTHEWORK3SYMBOLSINFICTIONAREINANIMATEOBJECTSOFTENSYMBOLSWEMEETINFICTIONAREINANIMATEOBJECTSINWILLIAMFAULKERS“AROSEFOREMILY,”MISSEMILYSINVISIBLEBUTPERCEPTIBLEWATCHTICKINGATTHEENDOFAGOLDENCHAINNOTONLYINDICATESTHEPASSAGEOFTIME,BUTSUGGESTSTHATTIMEPASSESWITHOUTEVENBEINGNOTICEDBYTHEWATCHSOWNERTHEGOLDENCHAINTOWHICHITISATTACHEDCARRIESSUGGESTIONSOFWEALTHANDAUTHORITYOTHERTHINGSMAYALSOFUNCTIONSYMBOLICALLYINJAMESJOYCES“ARABY,”THEVERYNAMEOFTHEBAZZAR,ARABYTHEPOETICNAMEFORARABIASUGGESTSMAGIC,ROMANCE,ANDTHEARABIANNIGHTSITSSYLLABLES,THENARRATORTELLSUS,“CASTANEASTERNENCHANTMENTOVERME”EVENALOCALE,ORAFEATUREOFPHYSICALTOPOGRAPHY,CANPROVIDERICHSYMBOLICSUGGESTIONSTHECAFINERNESTHEMINGWAYS“ACLEAN,WELLLIGHTEDPLACE”ISNOTMERELYACAF,BUTANISLANDOFREFUGEFROMSLEEPLESSNIGHT,CHAOS,LONELINESS,OLDAGE,THEMEANINGLESSNESSOFLIFE,ANDIMPENDINGDEATHINSOMENOVELSANDSTORIES,SOMECHARACTERSARESYMBOLICSUCHCHARACTERSUSUALLYAPPEARBRIEFLYANDREMAINSLIGHTLYMYSTERIOUSINJOSEPHCORNARDSHEARTOFDARKNESS,ASTEAMSHIPCOMPANYTHATHIRESMENTOWORKINCONGOMAINTAINSINITSWAITINGROOMTWOWOMENWHOKNITBLACKWOOLTHEYSYMBOLIZETHECLASSICALFATESSUCHACHARACTERISSEENASAPORTRAITRATHERTHANASAPERSON,ATLEASTPORTRAITLIKEFAULKNERSMISSEMILY,TWICEAPPEARSATAWINDOWOFHERHOUSES“LIKETHECARVENTORSOOFANIDOLINTHENICHE”THOUGHFAULKNERINVESTSHERWITHLIFEANDVIGOR,HEALSOCLOTHESHERINSYMBOLICHINTSSHESEEMSALMOSTTOPERSONIFYTHEVANISHINGARISTOCRACYOFTHESOUTH,STILLMAINTAININGABLACKSERVANTANDBEINGRUTHLESSBETRAYEDBYAMONEYMAKINGYANKEESOMETIMESAPARTOFACHARACTERSBODYORANATTRIBUTEMAYCONVEYSYMBOLICMEANING,FOREXAMPLE,ABALEFULEYEINEDGARALLANPOES“THETELLTALEHEART”4SYMBOLUSEDINWORKSOFFICTIONISTHESYMBOLICACTANOTHERKINDOFSYMBOLCOMMONLYEMPLOYEDINWORKSOFFICTIONISTHESYMBOLICACTANACTORAGESTUREWITHLARGERSIGNIFICANCETHANITSLITERALMEANINGCAPTAINAHABINMELVILLESMOBYDICKDELIBERATELYSNAPSHISTOBACCOPIPEANDTHROWSITAWAYBEFORESETTINGOUTINPURSUITOFTHEHUGEWHALE,AGESTURESUGGESTINGTHATHEISDETERMINEDTOTAKEHISREVENGEANDWILLLETNOTHINGTODISTRACTHIMFROMITANOTHERTYPICALSYMBOLICACTISTHEBURNINGOFTHEBARNBYTHEBOYSFATHERINFAULKNERS“BARNBURNING”ITISANACTOFNOMEREDESTROYINGABARN,BUTANEXPRESSIONOFHISPROFOUNDSPITEANDHATREDTOWARDSTHATCLASSOFPEOPLEWHOHAVEDRIVENHISFAMILYOUTOFHISLANDHISHATREDEXTENDSTOANYTHINGHEDOESNOTPOSSESSHIMSELFAND,BEYONDTHAT,BURNINGABARNREFLECTSTHEFATHERSMEMORIESOFTHE“WASTEANDEXTRAVAGANCEOFWAR”ANDTHE“ELEMENTOFFIRESPOKETOSOMEDEEPMAINSPRING”INHISBEING5ASYMBOLISATROPEINABROADLITERARYSENSE,ASYMBOLISATROPETHATCOMBINESALITERALANDSENSUOUSQUALITYWITHANNECESSARYORSUGGESTIVEASPECTHOWEVER,INLITERARYCRITICISMITISNECESSARYTODISTINGUISHSYMBOLFROMIMAGE,METAPHOR,AND,ESPECIALLY,ALLEGORYANIMAGEANIMAGEISALITERALANDCONCRETEREPRESENTATIONOFASENSORYEXPERIENCEOROFANOBJECTTHATCANBEKNOWNBYONEORMOREOFTHESENSESITISTHEMEANSBYWHICHEXPERIENCEINITSRICHNESSANDEMOTIONALCOMPLEXITYISCOMMUNICATEDHOLMANANDHARMON,AHANDBOOKTOLITERATURE,1986IMAGESMAYBELITERALORFIGURATIVE,ALITERALIMAGEBEINGONETHATINVOLVESNONECESSARYCHANGEOREXTENSIONINTHEOBVIOUSMEANINGOFTHEWORDSPROSEWORKSAREUSUALLYFULLOFTHISKINDOFIMAGEFOREXAMPLE,NOVELSANDSTORIESBYCONARDANDHEMINGWAYARENOTEDFORTHEEVOCATIVEPOWEROFTHEIRLITERALIMAGESAFIGURATIVEIMAGEISONETHATINVOLVESA“TURN”ONTHELITERARYMEANINGOFTHEWORDSFOREXAMPLE,INTHELINES“ITISABEAUTEOUSEVENING,CALMANDFREE/THEHOLYTIMEISQUIETASANUN,”THESECONDLINEISHIGHLYFIGURATIVEWHILETHEFIRSTLINEEVOKESALITERALIMAGEWECONSIDERANIMAGE,WHETHERLITERALORFIGURATIVE,TOHAVEACONCRETEREFERENTINTHEOBJECTIVEWORLDANDTOFUNCTIONASIMAGEWHENITPOWERFULLYEVOKESTHATREFERENTWHEREASASYMBOLFUNCTIONSLIKEANIMAGEBUTDIFFERSFROMITINGOINGBEYONDTHEEVOCATIONOFTHEOBJECTIVEREFERENTBYMAKINGTHATREFERENTSUGGESTTOTHEREADERAMEANINGBEYONDITSELFINOTHERWORDS,ASYSMBOLISANIMAGETHATEVOKESANOBJECTIVE,CONCRETEREALITY,BUTTHENTHATREALITYSUGGESTSANOTHERLEVELOFMEANINGDIRECTLYITEVOKESANOBJECTTHATSUGGESTSTHEMEANING,WITHTHEEMPHASISBEINGLAIDONTHELATTERPARTASCOLERIDGESAID,“ITPARTAKESOFTHEREALITYWHICHITRENDERSINTELLIGIBLEMETAPHORAMETAPHORISANIMPLIEDANALOGYIMAGINATIVELYIDENTIFYINGONEOBJECTWITHANOTHERANDASCRIBINGTOTHEFIRSTOBJECTONEORMOREOFTHEQUALITIESOFTHESECOND,ORINVESTINGTHEFIRSTWITHEMOTIONALORIMAGINATIVEQUALITIESASSOCIATEDWITHTHESECONDITISNOTANUNCOMMONLITERACYDEVICEINFICTION,THOUGHITISMORECOMMONLYUSEDINPOETRYWHILESIMILEISMORECOMMONLYUSEDINPROSEAMETAPHOREMPHASIZESRICHSUGGESTIVENESSINTHEDIFFERENCESBETWEENTHETHINGSCOMPAREDANDTHERECOGNITIONOFSURPRISINGBUTUNSUSPECTEDSIMILARITIESCLEANTHBROOKSUSESTHETERM“FUNCTIONALMETAPHOR”TODESCRIBETHEWAYINWHICHTHEMETAPHORISABLETOHAVE“REFERENTIAL”AND“EMOTIVE”CHARACTERISTICS,ANDTOGOBEYONDTHOSECHARACTERISTICSTOBECOMEADIRECTMEANSINITSELFOFREPRESENTINGATRUTHINCOMMUNICABLEBYOTHERMEANSWHENAMETAPHORPERFORMSTHISFUNCTION,ITISBEHAVINGASASYMBOLBUTASYMBOLDIFFERSFROMAMETAPHORINTHATAMETAPHOREVOKESANOBJECTINORDERTOILLUSTRATEANIDEAORDEMONSTRATEAQUALITY,WHEREASASYMBOLEMBODIESTHEIDEAORTHEQUALITYALLEGORYANALLEGORYISASTORYINWHICHPERSONS,PLACES,ACTIONS,ANDTHINGSAREEQUATEDWITHMEANINGSTHATLIEOUTSIDEOFTHESTORYITSELFTHUSITREPRESENTSONETHINGINTHEGUISEOFANOTHERANABSTRACTIONINTHEFORMOFACONCRETEIMAGEACLEAREXAMPLEISTHEOLDARABFABLEOFTHEFROGANDSCORPION,WHOMEONEDAYONTHEBANKOFTHENILE,WHICHTHEYBOTHWANTEDTOCROSSTHEFROGOFFEREDTOFERRYTHESCORPIONOVERONHISBACK,PROVIDEDTHESCORPIONPROMISEDNOTTOSTINGHIMTHESCORPIONAGREEDSOLONGASTHEFROGWOULDPROMISENOTTODROWNHIMTHEMUTUALPROMISEEXCHANGED,THEYCROSSEDTHERIVERONTHEFARBANKTHESCORPIONSTUNGTHEFROGMORTALLY“WHYDIDYOUDOTHAT”CROAKEDTHEFROG,ASHELAYDYING“WHY”REPLIEDTHESCORPION“WEREBOTHARABS,ARENTWE”IFWESUBSTITUTEFORTHEFROGA“MRGOODWILL”ANDFORTHESCORPION“MRTREACHERY”OR“MRTWOFACE”,ANDWEMAKETHERIVERANYRIVER,ANDFOR“WEREBOTHARABS”WESUBSTITUTE“WEREBOTHMEN,”WECANMAKETHEFABLEINTOANALLEGORYINASIMPLEALLEGORY,CHARACTERSANDOTHERINGREDIENTSOFTENSTANDFOROTHERDEFINITEMEANINGS,WHICHAREOFTENABSTRACTIONSWEHAVEMETSUCHACHARACTERINTHELASTCHAPTERFAITHINHAWTHORNES“YOUNGGOODMANBROWN”ACLASSICALALLEGORYISTHEMEDIEVALPLAYEVERYMAN,WHOSEPROTAGONISTREPRESENTSUSALL,ANDWHO,DESERTEDBYFALSEFRIENDSNAMEDKINDDREDANDGOODS,FACESTHEJUDGMENTOFGODACCOMPANIEDONLYBYAFAITHFULFRIENDCALLEDGOODDEEDSINJOHNBUNYANSPILGRIMSPROGRESS,THEPROTAGONIST,CHRISTIAN,STRUGGLESALONGTHEDIFFICULTROADTOWARDSSALVATION,MEETINGALONGTHEWAYWITHSUCHPERSONSASMRWORLDLYWISEMAN,WHODIRECTSHIMINTOACOMFORTABLEPATHAWRONGTURN,ANDTHERESIDENTOFATOWNCALLEDFAIRSPEECH,AMONGTHEMAHYPOCRITENAMEDMRFACINGBOTHWAYSONEMODERNINSTANCEISGEORGEORWELLSANIMALFARM,INWHICHAMONGITSDOUBLEMEANINGSBARNYARDANIMALSSTANDFORHUMANVICTIMSANDTOTALITARIANOPPRESSORSALLEGORYATTEMPTSTOEVOKEADUALINTEREST,ONEINTHEEVENTS,CHARACTERS,ANDSETTINGPRESENTED,ANDTHEOTHERINTHEIDEASTHEYAREINTENDEDTOCONVEYORTHESIGNIFICANCETHEYBEARSYMBOLDIFFERSFROMALLEGORY,ACCORDINGTOCOLERIDGE,INTHATINALLEGORYTHEOBJECTIVEREFERENTEVOKESISWITHOUTVALUEUNTILITACQUIRESFIXEDMEANINGFROMITSOWNPARTICULARSTRUCTUREOFIDEAS,WHEREASASYMBOLINCLUDESPERMANENTOBJECTIVEVALUE,INDEPENDENTOFTHEMEANINGSTHATITMAYSUGGESTINABROADSENSE,ALLSTORIESARESYMBOLIC,THATIS,THEWRITERLENDSTHECHARACTERSANDTHEIRACTIONSSOMESPECIALSIGNIFICANCEOFCOURSE,THISISTOTHINKOFSYMBOLINANEXTREMELYBROADANDINCLUSIVEWAYFORTHEUSUALPURPOSEOFREADINGASTORYANDUNDERSTANDINGIT,THEREISPROBABLYLITTLEPOINTINLOOKINGFORSYMBOLISMINEVERYWORD,INEVERYSTICKORSTONE,INEVERYSTRIKINGFOAMATCH,INEVERYMINORCHARACTERBUTTOREFUSETOTHINKABOUTTHESYMBOLICMEANINGSWOULDBEANOTHERWAYTOMISREADASTORYSOTOBEONTHEALERTFORSYMBOLSWHENREADINGFICTIONISPERHAPSWISERTHANTOIGNORETHEMHOW,THEN,DOWERECOGNIZEASYMBOLINFICTIONWHENWEMEETITFORTUNATELY,THESTORYTELLEROFTENGIVENSTHESYMBOLPARTICULAREMPHASISITMAYBEMENTIONEDREPEATEDLYTHROUGHOUTTHESTORYLINGUISTICCODEFOREXAMPLE,ARETHEREANYNEOLOGISMSSUCHAS“PORTENTOUSINFANTS”ARETHEREANYSEMANTIC,SYNTACTIC,PHONOLOGICAL,ORGRAPHOLOGICALDEVIATIONSSUCHDEVIATIONSAREOFTENTHECLUETOSPECIALINTERPRETATIONSASSOCIATEDWITHTRADITIONALFIGURESOFSPEECHSUCHASMETAPHOR,METONYMY,SYNECDOCHE,PARADOX,ANDIRONYIFSUCHTROPESOCCUR,WHATKINDOFSPECIALINTERPRETATIONISINVOLVEDFOREXAMPLE,METAPHORCANBECLASSIFIEDASPERSONIFYING,ANIMALIZING,CONCRETIZING,SYNAESTHETIC,ETCCONTEXTANDCOHESIONHEREWETAKEALOOKATFEATURESWHICHAREGENERALLYFULLYDEALTWITHINDISCOURSEANALYSISUNDERCOHESIONWAYSINWHICHONEPARTOFATEXTISLINKEDTOANOTHERARECONSIDEREDFORINSTANCE,THEWAYSSENTENCESARECONNECTEDTHISISTHEINTERNALORGANIZATIONOFATEXTUNDERCONTEXT,ROUGHLYTHEMATERIAL,MENTAL,PERSONAL,INTERACTIONAL,SOCIAL,INSTITUTIONAL,CULTURAL,ANDHISTORICALSITUATIONINWHICHTHEDISCOURSEISMADE,WECONSIDERTHEEXTERNALRELATIONSOFTHELITERARYTEXTORAPARTOFTHETEXT,SEEINGITASADISCOURSEPRESUPPOSINGASOCIALRELATIONBETWEENITSPARTICIPANTSAUTHORANDREADER,CHARACTERANDCHARACTER,CHARACTERANDREADER,ETC,ANDASHARINGOFKNOWLEDGEANDASSUMPTIONSBYPARTICIPANTSCOHESIONDOESTHETEXTCONTAINLOGICALOROTHERLINKSBETWEENSENTENCESEGCOORDINATINGCONJUNCTIONS,LINKINGADVERBIALS,ORDOESITTENDTOREPLYONIMPLICITCONNECTIONSOFMEANINGWHATSORTOFUSEISMADEOFCROSSREFERENCEBYPRONOUNSSHE,IT,THEY,ETC,BYSUBSTITUTEFORMSDO,SO,ETC,ORELLIPSISISTHEREANYUSEMADEOFELEGANTVARIATIONTHEAVOIDANCEOFREPETITIONBYSUBSTITUTIONOFADESCRIPTIVEPHRASEAS“THEOLDLAWYER”SUBSTITUTESFORTHEREPETITIONOFANEARLIER“MRJONES”AREMEANINGCONNECTIONSREINFORCEDBYREPETITIONOFWORDSANDPHRASES,ORBYREPEATEDLYUSINGWORDSFROMTHESAMESEMANTICFIELDCONTEXTDOESTHEWRITERADDRESSTHEREADERDIRECTLY,ORTHROUGHTHEWORDSORTHOUGHTSOFSOMEFICTIONALCHARACTERWHATLINGUISTICCLUESEGFIRSTPERSONPRONOUNSI,ME,MY,MINEARETHEREOFTHEADDRESSERADDRESSEERELATIONSHIPWHATATTITUDEDOESTHEAUTHORIMPLYTOWARDSHIS/HERSUBJECTIFACHARACTERSWORDSORTHOUGHTSAREREPRESENTED,ISTHISDONEBYDIRECTQUOTATION,ORBYSOMEOTHERMETHODEGINDIRECTSPEECH,FREEINDIRECTSPEECHARETHERESIGNIFICANTCHANGESOFSTYLEWITHRESPECTTODIFFERENTPERSONSNARRATORORCHARACTERWHOISSUPPOSEDLYSPEAKINGORTHINKINGTHEWORDSONTHEPAGEWHATISTHEPOINTOFVIEWOFTHESTORYARETHEFREQUENTSHIFTSOFPOINTVIEWIFSO,INWHOSEVOICEISTHENARRATORSPEAKINGCHAPTERSEVENSYMBOLWHATISSYMBOLSYMBOL,INTHESIMPLESTSENSE,ANYTHINGTHATSTANDSFORORREPRESENTSSOMETHINGELSEBEYONDITUSUALLYANIDEACONVENTIONALLYASSOCIATEDWITHITOBJECTSLIKEFLAGSANDCROSSESCANFUNCTIONSYMBOLICALLYANDWORDSAREALSOSYMBOLSP218OXFORDCONCISEDICTIONARYOFLITERARYTERMSASYMBOLISATHINGTHATSUGGESTSMORETHANITSLITERALMEANINGITEXISTSWIDELYEVENINOURDAILYLIFEOURLANGUAGEITSELFISSYMBOLTHEDAILYGREETINGSINDICATETHATTHEPASSAGEOFCOMMUNICATIONISOPENRINGISASYMBOLOFETERNITYTHESIGNOFCROSSINDICATESATONEMENTTHEBIGBENSYMBOLIZESLONDON,THEGREATWALLCHINARITUALISTICACTSARESYMBOLICINCHURCHWEDDINGTHEBRIDEISHANDEDOVERFROMTHEFATHERTOTHEGROOMHOLYEATINGISSYMBOLICOFCOMMUNION,BAPTIZINGCLEANSINGANDREBIRTHTHERAISINGANDLOWERINGOFANATIONALFLAGCERTAINLYSUGGESTMEANINGSLARGERTHANTHEACTSTHEMSELVESANDFINALLYTOASTINGANDSHAKINGHANDSONFORMALORINFORMALOCCASIONSASRHETORICALDEVICE,SYMBOLISDIFFERENTFROMMETAPHOR,WHICHISLITERALLYFALSEBUTFIGURATIVELYTRUEUNLIKEALLEGORY,WHICHREPRESENTSABSTRACTTERMSLIKE“LOVE”OR“TRUTH,”SYMBOLSAREPERCEPTIBL
温馨提示
- 1. 本站所有资源如无特殊说明,都需要本地电脑安装OFFICE2007和PDF阅读器。图纸软件为CAD,CAXA,PROE,UG,SolidWorks等.压缩文件请下载最新的WinRAR软件解压。
- 2. 本站的文档不包含任何第三方提供的附件图纸等,如果需要附件,请联系上传者。文件的所有权益归上传用户所有。
- 3. 本站RAR压缩包中若带图纸,网页内容里面会有图纸预览,若没有图纸预览就没有图纸。
- 4. 未经权益所有人同意不得将文件中的内容挪作商业或盈利用途。
- 5. 人人文库网仅提供信息存储空间,仅对用户上传内容的表现方式做保护处理,对用户上传分享的文档内容本身不做任何修改或编辑,并不能对任何下载内容负责。
- 6. 下载文件中如有侵权或不适当内容,请与我们联系,我们立即纠正。
- 7. 本站不保证下载资源的准确性、安全性和完整性, 同时也不承担用户因使用这些下载资源对自己和他人造成任何形式的伤害或损失。
最新文档
- 2025年辽宁省《保密知识竞赛必刷100题》考试题库附完整答案详解(易错题)
- 2025年注册消防工程师之《消防安全技术实务》综合提升测试卷含答案详解(b卷)
- 城市移动互联网应用设计
- 2025年县乡教师选调考试《教育学》模拟考试试卷及参考答案详解(考试直接用)
- 2026年县乡教师选调考试《教育学》模拟考试题库B卷附答案详解(巩固)
- 2026广东广州白云区招聘内勤文职1名备考题库含答案详解(综合卷)
- 2026广东佛山市唯顺商贸有限公司招聘电商营运职业经理人1人备考题库完整参考答案详解
- 2026安徽皖信人力资源管理有限公司招聘外委电力系统施工员3人备考题库含答案详解(培优)
- 2026广东佛山顺德区大良顺峰初级中学招聘财务人员1人备考题库及答案详解(全优)
- 2026宁麓置地(宁波)有限公司招聘7人备考题库及1套参考答案详解
- 电梯安装安全培训
- 华东理工大学《无机非金属材料热工过程及设备》2023-2024学年第一学期期末试卷
- 五年(2020-2024)高考语文真题分类汇编专题04 古代诗歌鉴赏(原卷版)
- 药店纳入定点后使用医疗保障基金的预测性分析报告
- 如何提高学生的思维能力
- 苏州市2022-2023学年高二下学期期中考试地理试卷(学生版)
- 边缘型人格障碍护理课件
- 引水隧洞回填固结灌浆施工方案
- 医院药品评价与遴选量化评分表
- 高级英语unit12-I-have-a-dream我有一个梦想
- GB/T 97.1-2002平垫圈A级
评论
0/150
提交评论