生产废水处理工程及冷却水循环利用工程可行性研究报告.doc

personifythevanishingaristocracyoftheSouthstillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.SometimesapartofacharactersbodyoranattributemayconveysymbolicmeaningforexampleabalefuleyeinEdgarAllanPoes“TheTheTell-TaleTell-TaleHeartHeart.”4.4.SymbolSymbolusedusedininworksworksofoffictionfictionisisthethesymbolicsymbolicactactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelvillesMoby-DickMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhaleagesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.AnothertypicalsymbolicactistheburningofthebarnbytheboysfatherinFaulkners“BarnBarnBurningBurning”:itisanactofnomeredestroyingabarnbutanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfandbeyondthatburningabarnreflectsthefathersmemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.5.5.AAsymbolsymbolisisaatropetropeInabroadliterarysenseasymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.Howeverinliterarycriticismitisnecessarytodistinguishsymbolfromimagemetaphorandespeciallyallegory.AnAnimageimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmonAHandbooktoLiterature1986)Imagesmaybeliteralorfigurativealiteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.ForexamplenovelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexampleinthelines“ItisabeauteouseveningcalmandfreeTheholytimeisquietasanun”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimagewhetherliteralorfigurativetohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferentwhereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwordsasysmbolisanimagethatevokesanobjectiveconcreterealitybutthenthatrealitysuggestsanotherlevelofmeaningdirectlyitevokesanobjectthatsuggeststhemeaningwiththeemphasisbeinglaidonthelatterpart.AsColeridgesaid“Itpartakesoftherealitywhichitrendersintelligible.MetaphorMetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecondorinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfictionthoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristicsandtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorpersthisfunctionitisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaqualitywhereasasymbolembodiestheideaorthequality.AllegoryAllegoryAnallegoryisastoryinwhichpersonsplacesactionsandthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanotheranabstractionintheofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpionwhomeonedayonthebankoftheNilewhichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisbackprovidedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchangedtheycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat”croakedthefrogashelaydying.“Why”repliedthescorpion.“WerebothArabsarentwe”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”andwemaketheriveranyriverandfor“WerebothArabs”wesubstitute“Werebothmen”wecanmakethefableintoanallegory.Inasimpleallegorycharactersandotheringredientsoftenstandforotherdefinitemeaningswhichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthornes“YoungGoodmanBrown.”AclassicalallegoryisthemediplayEverymanwhoseprotagonistrepresentsusallandwhodesertedbyfalsefriendsnamedKinddredandGoodsfacesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyansPilgrimsPilgrimsProgressProgresstheprotagonistChristianstrugglesalongthedifficultroadtowardssalvationmeetingalongthewaywithsuchpersonsasMr.WorldlyWisemanwhodirectshimintoacomfortablepath(awrongturn)andtheresidentofatowncalledFairSpeechamongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwellsAnimalAnimalFarmFarminwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterestoneintheeventscharactersandsettingpresentedandtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.SymboldiffersfromallegoryaccordingtoColeridgeinthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideaswhereasasymbolincludespermanentobjectivueindependentofthemeaningsthatitmaysuggest.Inabroadsenseallstoriesaresymbolicthatisthewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcoursethisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingitthereisprobablylittlepointinlookingforsymbolismineverywordineverystickorstoneineverystrikingfoamatchineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.HowthendowerecognizeasymbolinfictionwhenwemeetitFortunatelythestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestoryitmayevenbeindicatedinthetitle(“Araby”“BarnBurning”“ACleanWell-LightedPlace”).Attimesacrucialsymbolwillopenastoryorendit.Unlessanobjectactorcharacterisgivensomespecialemphasisandimportancewemaygenerallyfeelsafeintakingitatfacue.Butanobjectanactoracharacterissurelysymbolicifwhenwefinishthestorywerealizethatitwasthatburningofabarnwhichledustothethemetheessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”worldsomethingisseenasitsownthingdivorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage“Animageisthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowdPetalsonawetblackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imageryarathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesenseimpressionsbyliteralorfigurativereferencetoperceptibleorconcreteobjectsscenesactionsorstatesasdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatitusestheseneednotbementalpicturesbutmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasoundwhichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmellwhicholfactionsuniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemorybasedimagescaninteract.4.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouchwhichisalsocalledHapticImagery.5.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“Haveadillpicklehesaid.Hewantedtosharewithus:ThatseemedtomesorightsoyouknowwhatImean”FromADillPicklebyKatherineMansfieldpersonifythevanishingaristocracyoftheSouthstillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.SometimesapartofacharactersbodyoranattributemayconveysymbolicmeaningforexampleabalefuleyeinEdgarAllanPoes“TheTheTell-TaleTell-TaleHeartHeart.”4.4.SymbolSymbolusedusedininworksworksofoffictionfictionisisthethesymbolicsymbolicactactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelvillesMoby-DickMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhaleagesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.AnothertypicalsymbolicactistheburningofthebarnbytheboysfatherinFaulkners“BarnBarnBurningBurning”:itisanactofnomeredestroyingabarnbutanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfandbeyondthatburningabarnreflectsthefathersmemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.5.5.AAsymbolsymbolisisaatropetropeInabroadliterarysenseasymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.Howeverinliterarycriticismitisnecessarytodistinguishsymbolfromimagemetaphorandespeciallyallegory.AnAnimageimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmonAHandbooktoLiterature1986)Imagesmaybeliteralorfigurativealiteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.ForexamplenovelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexampleinthelines“ItisabeauteouseveningcalmandfreeTheholytimeisquietasanun”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimagewhetherliteralorfigurativetohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferentwhereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwordsasysmbolisanimagethatevokesanobjectiveconcreterealitybutthenthatrealitysuggestsanotherlevelofmeaningdirectlyitevokesanobjectthatsuggeststhemeaningwiththeemphasisbeinglaidonthelatterpart.AsColeridgesaid“Itpartakesoftherealitywhichitrendersintelligible.MetaphorMetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecondorinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfictionthoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristicsandtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorpersthisfunctionitisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaqualitywhereasasymbolembodiestheideaorthequality.AllegoryAllegoryAnallegoryisastoryinwhichpersonsplacesactionsandthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanotheranabstractionintheofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpionwhomeonedayonthebankoftheNilewhichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisbackprovidedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchangedtheycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat”croakedthefrogashelaydying.“Why”repliedthescorpion.“WerebothArabsarentwe”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”andwemaketheriveranyriverandfor“WerebothArabs”wesubstitute“Werebothmen”wecanmakethefableintoanallegory.Inasimpleallegorycharactersandotheringredientsoftenstandforotherdefinitemeaningswhichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthornes“YoungGoodmanBrown.”AclassicalallegoryisthemediplayEverymanwhoseprotagonistrepresentsusallandwhodesertedbyfalsefriendsnamedKinddredandGoodsfacesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyansPilgrimsPilgrimsProgressProgresstheprotagonistChristianstrugglesalongthedifficultroadtowardssalvationmeetingalongthewaywithsuchpersonsasMr.WorldlyWisemanwhodirectshimintoacomfortablepath(awrongturn)andtheresidentofatowncalledFairSpeechamongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwellsAnimalAnimalFarmFarminwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterestoneintheeventscharactersandsettingpresentedandtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.SymboldiffersfromallegoryaccordingtoColeridgeinthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideaswhereasasymbolincludespermanentobjectivueindependentofthemeaningsthatitmaysuggest.Inabroadsenseallstoriesaresymbolicthatisthewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcoursethisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingitthereisprobablylittlepointinlookingforsymbolismineverywordineverystickorstoneineverystrikingfoamatchineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.HowthendowerecognizeasymbolinfictionwhenwemeetitFortunatelythestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestoryitmayevenbeindicatedinthetitle(“Araby”“BarnBurning”“ACleanWell-LightedPlace”).Attimesacrucialsymbolwillopenastoryorendit.Unlessanobjectactorcharacterisgivensomespecialemphasisandimportancewemaygenerallyfeelsafeintakingitatfacue.Butanobjectanactoracharacterissurelysymbolicifwhenwefinishthestorywerealizethatitwasthatburningofabarnwhichledustothethemetheessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”worldsomethingisseenasitsownthingdivorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage“Animageisthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowdPetalsonawetblackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imageryarathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesenseimpressionsbyliteralorfigurativereferencetoperceptibleorconcreteobjectsscenesactionsorstatesasdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatitusestheseneednotbementalpicturesbutmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasoundwhichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmellwhicholfactionsuniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemorybasedimagescaninteract.4.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouchwhichisalsocalledHapticImagery.5.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“Haveadillpicklehesaid.Hewantedtosharewithus:ThatseemedtomesorightsoyouknowwhatImean”FromADillPicklebyKatherineMansfield1江西省德兴市百勤异江西省德兴市百勤异VCVC钠有限公司钠有限公司生产废水处理工程及冷却水循环利用工程生产废水处理工程及冷却水循环利用工程可行性研究报告南昌大学建筑研究设计院南昌大学建筑研究设计院南昌大学环境与化学工程学院南昌大学环境与化学工程学院二二九年九月九年九月personifythevanishingaristocracyoftheSouthstillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.SometimesapartofacharactersbodyoranattributemayconveysymbolicmeaningforexampleabalefuleyeinEdgarAllanPoes“TheTheTell-TaleTell-TaleHeartHeart.”4.4.SymbolSymbolusedusedininworksworksofoffictionfictionisisthethesymbolicsymbolicactactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelvillesMoby-DickMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhaleagesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.AnothertypicalsymbolicactistheburningofthebarnbytheboysfatherinFaulkners“BarnBarnBurningBurning”:itisanactofnomeredestroyingabarnbutanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghe