数字技术装备配套生产基地项目可行性研究报告

personifythevanishingaristocracyoftheSouth,stillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.Sometimesapartofacharacter’sbodyoranattributemayconveysymbolicmeaning,forexample,abalefuleyeinEdgarAllanPoe’s“TheTell-TaleHeart.”4.SymbolusedinworksoffictionisthesymbolicactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelville’sMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhale,agesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.Anothertypicalsymbolicactistheburningofthebarnbytheboy’sfatherinFaulkner’s“BarnBurning”:itisanactofnomeredestroyingabarn,butanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfand,beyondthat,burningabarnreflectsthefather’smemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.AsymbolisatropeInabroadliterarysense,asymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.However,inliterarycriticismitisnecessarytodistinguishsymbolfromimage,metaphor,and,especially,allegory.AnimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmon,AHandbooktoLiterature,1986)Imagesmaybeliteralorfigurative,aliteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.Forexample,novelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexample,inthelines“Itisabeauteousevening,calmandfree;/Theholytimeisquietasanun,”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimage,whetherliteralorfigurative,tohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferent;whereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwords,asysmbolisanimagethatevokesanobjective,concretereality,butthenthatrealitysuggestsanotherlevelofmeaningdirectly;itevokesanobjectthatsuggeststhemeaning,withtheemphasisbeinglaidonthelatterpart.AsColeridgesaid,“Itpartakesoftherealitywhichitrendersintelligible.MetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecond,orinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfiction,thoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristics,andtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorperformsthisfunction,itisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaquality,whereasasymbolembodiestheideaorthequality.AllegoryAnallegoryisastoryinwhichpersons,places,actions,andthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanother—anabstractionintheformofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpion,whomeonedayonthebankoftheNile,whichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisback,providedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchanged,theycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat?”croakedthefrog,ashelaydying.“Why?”repliedthescorpion.“We’rebothArabs,aren’twe?”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”,andwemaketheriveranyriver,andfor“We’rebothArabs”wesubstitute“We’rebothmen,”wecanmakethefableintoanallegory.Inasimpleallegory,charactersandotheringredientsoftenstandforotherdefinitemeanings,whichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthorne’s“YoungGoodmanBrown.”AclassicalallegoryisthemedievalplayEveryman,whoseprotagonistrepresentsusall,andwho,desertedbyfalsefriendsnamedKinddredandGoods,facesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyan’sPilgrim’sProgress,theprotagonist,Christian,strugglesalongthedifficultroadtowardssalvation,meetingalongthewaywithsuchpersonsasMr.WorldlyWiseman,whodirectshimintoacomfortablepath(awrongturn),andtheresidentofatowncalledFairSpeech,amongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwell’sAnimalFarm,inwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterest,oneintheevents,characters,andsettingpresented,andtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.Symboldiffersfromallegory,accordingtoColeridge,inthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideas,whereasasymbolincludespermanentobjectivevalue,independentofthemeaningsthatitmaysuggest.Inabroadsense,allstoriesaresymbolic,thatis,thewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcourse,thisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingit,thereisprobablylittlepointinlookingforsymbolismineveryword,ineverystickorstone,ineverystrikingfoamatch,ineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.How,then,dowerecognizeasymbolinfictionwhenwemeetit?Fortunately,thestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestory;itmayevenbeindicatedinthetitle(“Araby,”“BarnBurning,”“AClean,Well-LightedPlace”).Attimes,acrucialsymbolwillopenastoryorendit.Unlessanobject,act,orcharacterisgivensomespecialemphasisandimportance,wemaygenerallyfeelsafeintakingitatfacevalue.Butanobject,anact,oracharacterissurelysymbolicif,whenwefinishthestory,werealizethatitwasthatburningofabarn—whichledustothetheme,theessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”world;somethingisseenasitsownthing,divorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage?“An‘image’isthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imagery,arathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesense—impressionsbyliteralorfigurativereferencetoperceptibleor‘concrete’objects,scenes,actions,orstates,asdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatituses;theseneednotbemental‘pictures’,butmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasound,whichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmell,whicholfaction’suniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemory—basedimagescaninteract.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouch,whichisalsocalledHapticImagery.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“‘Haveadillpickle,’hesaid.Hewantedtosharewithus:Thatseemedtomesoright,so—youknowwhatImean?”FromADillPicklebyKatherineMansfield沈阳数字技术装备配套生产基地项目可行性研究报告目录1项目的基本情况项目名称项目定位地理位置项目开发商项目建设的主要内容项目建设的必要性市场分析产业概述数字识别技术装备配套产业发展现状数字识别技术装备配套产业市场发展趋势预测数字识别技术装备配套产业市场发展前景预测项目发展策略经营发展策略经营发展措施规划布局项目定位项目规划方案建筑设计结构设计建筑设备配置市政工程设施personifythevanishingaristocracyoftheSouth,stillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.Sometimesapartofacharacter’sbodyoranattributemayconveysymbolicmeaning,forexample,abalefuleyeinEdgarAllanPoe’s“TheTell-TaleHeart.”4.SymbolusedinworksoffictionisthesymbolicactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelville’sMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhale,agesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.Anothertypicalsymbolicactistheburningofthebarnbytheboy’sfatherinFaulkner’s“BarnBurning”:itisanactofnomeredestroyingabarn,butanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfand,beyondthat,burningabarnreflectsthefather’smemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.AsymbolisatropeInabroadliterarysense,asymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.However,inliterarycriticismitisnecessarytodistinguishsymbolfromimage,metaphor,and,especially,allegory.AnimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmon,AHandbooktoLiterature,1986)Imagesmaybeliteralorfigurative,aliteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.Forexample,novelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexample,inthelines“Itisabeauteousevening,calmandfree;/Theholytimeisquietasanun,”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimage,whetherliteralorfigurative,tohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferent;whereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwords,asysmbolisanimagethatevokesanobjective,concretereality,butthenthatrealitysuggestsanotherlevelofmeaningdirectly;itevokesanobjectthatsuggeststhemeaning,withtheemphasisbeinglaidonthelatterpart.AsColeridgesaid,“Itpartakesoftherealitywhichitrendersintelligible.MetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecond,orinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfiction,thoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristics,andtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorperformsthisfunction,itisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaquality,whereasasymbolembodiestheideaorthequality.AllegoryAnallegoryisastoryinwhichpersons,places,actions,andthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanother—anabstractionintheformofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpion,whomeonedayonthebankoftheNile,whichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisback,providedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchanged,theycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat?”croakedthefrog,ashelaydying.“Why?”repliedthescorpion.“We’rebothArabs,aren’twe?”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”,andwemaketheriveranyriver,andfor“We’rebothArabs”wesubstitute“We’rebothmen,”wecanmakethefableintoanallegory.Inasimpleallegory,charactersandotheringredientsoftenstandforotherdefinitemeanings,whichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthorne’s“YoungGoodmanBrown.”AclassicalallegoryisthemedievalplayEveryman,whoseprotagonistrepresentsusall,andwho,desertedbyfalsefriendsnamedKinddredandGoods,facesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyan’sPilgrim’sProgress,theprotagonist,Christian,strugglesalongthedifficultroadtowardssalvation,meetingalongthewaywithsuchpersonsasMr.WorldlyWiseman,whodirectshimintoacomfortablepath(awrongturn),andtheresidentofatowncalledFairSpeech,amongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwell’sAnimalFarm,inwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterest,oneintheevents,characters,andsettingpresented,andtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.Symboldiffersfromallegory,accordingtoColeridge,inthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideas,whereasasymbolincludespermanentobjectivevalue,independentofthemeaningsthatitmaysuggest.Inabroadsense,allstoriesaresymbolic,thatis,thewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcourse,thisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingit,thereisprobablylittlepointinlookingforsymbolismineveryword,ineverystickorstone,ineverystrikingfoamatch,ineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.How,then,dowerecognizeasymbolinfictionwhenwemeetit?Fortunately,thestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestory;itmayevenbeindicatedinthetitle(“Araby,”“BarnBurning,”“AClean,Well-LightedPlace”).Attimes,acrucialsymbolwillopenastoryorendit.Unlessanobject,act,orcharacterisgivensomespecialemphasisandimportance,wemaygenerallyfeelsafeintakingitatfacevalue.Butanobject,anact,oracharacterissurelysymbolicif,whenwefinishthestory,werealizethatitwasthatburningofabarn—whichledustothetheme,theessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”world;somethingisseenasitsownthing,divorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage?“An‘image’isthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imagery,arathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesense—impressionsbyliteralorfigurativereferencetoperceptibleor‘concrete’objects,scenes,actions,orstates,asdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatituses;theseneednotbemental‘pictures’,butmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasound,whichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmell,whicholfaction’suniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemory—basedimagescaninteract.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouch,whichisalsocalledHapticImagery.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“‘Haveadillpickle,’hesaid.Hewantedtosharewithus:Thatseemedtomesoright,so—youknowwhatImean?”FromADillPicklebyKatherineMansfieldpersonifythevanishingaristocracyoftheSouth,stillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.Sometimesapartofacharacter’sbodyoranattributemayconveysymbolicmeaning,forexample,abalefuleyeinEdgarAllanPoe’s“TheTell-TaleHeart.”4.SymbolusedinworksoffictionisthesymbolicactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelville’sMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhale,agesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.Anothertypicalsymbolicactistheburningofthebarnbytheboy’sfatherinFaulkner’s“BarnBurning”:itisanactofnomeredestroyingabarn,butanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfand,beyondthat,burningabarnreflectsthefather’smemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.AsymbolisatropeInabroadliterarysense,asymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.However,inliterarycriticismitisnecessarytodistinguishsymbolfromimage,metaphor,and,especially,allegory.AnimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmon,AHandbooktoLiterature,1986)Imagesmaybeliteralorfigurative,aliteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.Forexample,novelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexample,inthelines“Itisabeauteousevening,calmandfree;/Theholytimeisquietasanun,”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimage,whetherliteralorfigurative,tohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferent;whereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwords,asysmbolisanimagethatevokesanobjective,concretereality,butthenthatrealitysuggestsanotherlevelofmeaningdirectly;itevokesanobjectthatsuggeststhemeaning,withtheemphasisbeinglaidonthelatterpart.AsColeridgesaid,“Itpartakesoftherealitywhichitrendersintelligible.MetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecond,orinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfiction,thoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristics,andtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorperformsthisfunction,itisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaquality,whereasasymbolembodiestheideaorthequality.AllegoryAnallegoryisastoryinwhichpersons,places,actions,andthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanother—anabstractionintheformofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpion,whomeonedayonthebankoftheNile,whichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisback,providedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchanged,theycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat?”croakedthefrog,ashelaydying.“Why?”repliedthescorpion.“We’rebothArabs,aren’twe?”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”,andwemaketheriveranyriver,andfor“We’rebothArabs”wesubstitute“We’rebothmen,”wecanmakethefableintoanallegory.Inasimpleallegory,charactersandotheringredientsoftenstandforotherdefinitemeanings,whichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthorne’s“YoungGoodmanBrown.”AclassicalallegoryisthemedievalplayEveryman,whoseprotagonistrepresentsusall,andwho,desertedbyfalsefriendsnamedKinddredandGoods,facesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyan’sPilgrim’sProgress,theprotagonist,Christian,strugglesalongthedifficultroadtowardssalvation,meetingalongthewaywithsuchpersonsasMr.WorldlyWiseman,whodirectshimintoacomfortablepath(awrongturn),andtheresidentofatowncalledFairSpeech,amongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwell’sAnimalFarm,inwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterest,oneintheevents,characters,andsettingpresented,andtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.Symboldiffersfromallegory,accordingtoColeridge,inthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideas,whereasasymbolincludespermanentobjectivevalue,independentofthemeaningsthatitmaysuggest.Inabroadsense,allstoriesaresymbolic,thatis,thewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcourse,thisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingit,thereisprobablylittlepointinlookingforsymbolismineveryword,ineverystickorstone,ineverystrikingfoamatch,ineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.How,then,dowerecognizeasymbolinfictionwhenwemeetit?Fortunately,thestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestory;itmayevenbeindicatedinthetitle(“Araby,”“BarnBurning,”“AClean,Well-LightedPlace”).Attimes,acrucialsymbolwillopenastoryorendit.Unlessanobject,act,orcharacterisgivensomespecialemphasisandimportance,wemaygenerallyfeelsafeintakingitatfacevalue.Butanobject,anact,oracharacterissurelysymbolicif,whenwefinishthestory,werealizethatitwasthatburningofabarn—whichledustothetheme,theessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”world;somethingisseenasitsownthing,divorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage?“An‘image’isthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imagery,arathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesense—impressionsbyliteralorfigurativereferencetoperceptibleor‘concrete’objects,scenes,actions,orstates,asdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatituses;theseneednotbemental‘pictures’,butmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasound,whichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmell,whicholfaction’suniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemory—basedimagescaninteract.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouch,whichisalsocalledHapticImagery.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“‘Haveadillpickle,’hesaid.Hewantedtosharewithus:Thatseemedtomesoright,so—youknowwhatImean?”FromADillPicklebyKatherineMansfield5道路交通设计公共服务设施设计绿化设计给水排水设计供电、通讯设计供热、燃气设计专篇设计消防设计环保设计节能设计防洪设计项目组织与进度计划项目组织机构开发时序项目建设进度计划项目投资估算与资金筹措总投资估算投资计划与资金筹措项目财务效益分析项目收入分析项目经营成本估算项目财务效益分析风险分析盈亏平衡分析敏感性分析personifythevanishingaristocracyoftheSouth,stillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.Sometimesapartofacharacter’sbodyoranattributemayconveysymbolicmeaning,forexample,abalefuleyeinEdgarAllanPoe’s“TheTell-TaleHeart.”4.SymbolusedinworksoffictionisthesymbolicactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelville’sMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhale,agesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.Anothertypicalsymbolicactistheburningofthebarnbytheboy’sfatherinFaulkner’s“BarnBurning”:itisanactofnomeredestroyingabarn,butanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfand,beyondthat,burningabarnreflectsthefather’smemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.AsymbolisatropeInabroadliterarysense,asymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.However,inliterarycriticismitisnecessarytodistinguishsymbolfromimage,metaphor,and,especially,allegory.AnimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmon,AHandbooktoLiterature,1986)Imagesmaybeliteralorfigurative,aliteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.Forexample,novelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexample,inthelines“Itisabeauteousevening,calmandfree;/Theholytimeisquietasanun,”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimage,whetherliteralorfigurative,tohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferent;whereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwords,asysmbolisanimagethatevokesanobjective,concretereality,butthenthatrealitysuggestsanotherlevelofmeaningdirectly;itevokesanobjectthatsuggeststhemeaning,withtheemphasisbeinglaidonthelatterpart.AsColeridgesaid,“Itpartakesoftherealitywhichitrendersintelligible.MetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecond,orinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfiction,thoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristics,andtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorperformsthisfunction,itisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaquality,whereasasymbolembodiestheideaorthequality.AllegoryAnallegoryisastoryinwhichpersons,places,actions,andthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanother—anabstractionintheformofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpion,whomeonedayonthebankoftheNile,whichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisback,providedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchanged,theycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat?”croakedthefrog,ashelaydying.“Why?”repliedthescorpion.“We’rebothArabs,aren’twe?”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”,andwemaketheriveranyriver,andfor“We’rebothArabs”wesubstitute“We’rebothmen,”wecanmakethefableintoanallegory.Inasimpleallegory,charactersandotheringredientsoftenstandforotherdefinitemeanings,whichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthorne’s“YoungGoodmanBrown.”AclassicalallegoryisthemedievalplayEveryman,whoseprotagonistrepresentsusall,andwho,desertedbyfalsefriendsnamedKinddredandGoods,facesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyan’sPilgrim’sProgress,theprotagonist,Christian,strugglesalongthedifficultroadtowardssalvation,meetingalongthewaywithsuchpersonsasMr.WorldlyWiseman,whodirectshimintoacomfortablepath(awrongturn),andtheresidentofatowncalledFairSpeech,amongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwell’sAnimalFarm,inwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterest,oneintheevents,characters,andsettingpresented,andtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.Symboldiffersfromallegory,accordingtoColeridge,inthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideas,whereasasymbolincludespermanentobjectivevalue,independentofthemeaningsthatitmaysuggest.Inabroadsense,allstoriesaresymbolic,thatis,thewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcourse,thisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingit,thereisprobablylittlepointinlookingforsymbolismineveryword,ineverystickorstone,ineverystrikingfoamatch,ineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.How,then,dowerecognizeasymbolinfictionwhenwemeetit?Fortunately,thestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestory;itmayevenbeindicatedinthetitle(“Araby,”“BarnBurning,”“AClean,Well-LightedPlace”).Attimes,acrucialsymbolwillopenastoryorendit.Unlessanobject,act,orcharacterisgivensomespecialemphasisandimportance,wemaygenerallyfeelsafeintakingitatfacevalue.Butanobject,anact,oracharacterissurelysymbolicif,whenwefinishthestory,werealizethatitwasthatburningofabarn—whichledustothetheme,theessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”world;somethingisseenasitsownthing,divorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage?“An‘image’isthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imagery,arathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesense—impressionsbyliteralorfigurativereferencetoperceptibleor‘concrete’objects,scenes,actions,orstates,asdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatituses;theseneednotbemental‘pictures’,butmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasound,whichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmell,whicholfaction’suniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemory—basedimagescaninteract.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouch,whichisalsocalledHapticImagery.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“‘Haveadillpickle,’hesaid.Hewantedtosharewithus:Thatseemedtomesoright,so—youknowwhatImean?”FromADillPicklebyKatherineMansfieldpersonifythevanishingaristocracyoftheSouth,stillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.Sometimesapartofacharacter’sbodyoranattributemayconveysymbolicmeaning,forexample,abalefuleyeinEdgarAllanPoe’s“TheTell-TaleHeart.”4.SymbolusedinworksoffictionisthesymbolicactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelville’sMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhale,agesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.Anothertypicalsymbolicactistheburningofthebarnbytheboy’sfatherinFaulkner’s“BarnBurning”:itisanactofnomeredestroyingabarn,butanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfand,beyondthat,burningabarnreflectsthefather’smemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.AsymbolisatropeInabroadliterarysense,asymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.However,inliterarycriticismitisnecessarytodistinguishsymbolfromimage,metaphor,and,especially,allegory.AnimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmon,AHandbooktoLiterature,1986)Imagesmaybeliteralorfigurative,aliteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.Forexample,novelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexample,inthelines“Itisabeauteousevening,calmandfree;/Theholytimeisquietasanun,”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimage,whetherliteralorfigurative,tohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferent;whereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwords,asysmbolisanimagethatevokesanobjective,concretereality,butthenthatrealitysuggestsanotherlevelofmeaningdirectly;itevokesanobjectthatsuggeststhemeaning,withtheemphasisbeinglaidonthelatterpart.AsColeridgesaid,“Itpartakesoftherealitywhichitrendersintelligible.MetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecond,orinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfiction,thoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristics,andtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorperformsthisfunction,itisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaquality,whereasasymbolembodiestheideaorthequality.AllegoryAnallegoryisastoryinwhichpersons,places,actions,andthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanother—anabstractionintheformofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpion,whomeonedayonthebankoftheNile,whichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisback,providedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchanged,theycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat?”croakedthefrog,ashelaydying.“Why?”repliedthescorpion.“We’rebothArabs,aren’twe?”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”,andwemaketheriveranyriver,andfor“We’rebothArabs”wesubstitute“We’rebothmen,”wecanmakethefableintoanallegory.Inasimpleallegory,charactersandotheringredientsoftenstandforotherdefinitemeanings,whichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthorne’s“YoungGoodmanBrown.”AclassicalallegoryisthemedievalplayEveryman,whoseprotagonistrepresentsusall,andwho,desertedbyfalsefriendsnamedKinddredandGoods,facesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyan’sPilgrim’sProgress,theprotagonist,Christian,strugglesalongthedifficultroadtowardssalvation,meetingalongthewaywithsuchpersonsasMr.WorldlyWiseman,whodirectshimintoacomfortablepath(awrongturn),andtheresidentofatowncalledFairSpeech,amongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwell’sAnimalFarm,inwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterest,oneintheevents,characters,andsettingpresented,andtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.Symboldiffersfromallegory,accordingtoColeridge,inthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideas,whereasasymbolincludespermanentobjectivevalue,independentofthemeaningsthatitmaysuggest.Inabroadsense,allstoriesaresymbolic,thatis,thewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcourse,thisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingit,thereisprobablylittlepointinlookingforsymbolismineveryword,ineverystickorstone,ineverystrikingfoamatch,ineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.How,then,dowerecognizeasymbolinfictionwhenwemeetit?Fortunately,thestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestory;itmayevenbeindicatedinthetitle(“Araby,”“BarnBurning,”“AClean,Well-LightedPlace”).Attimes,acrucialsymbolwillopenastoryorendit.Unlessanobject,act,orcharacterisgivensomespecialemphasisandimportance,wemaygenerallyfeelsafeintakingitatfacevalue.Butanobject,anact,oracharacterissurelysymbolicif,whenwefinishthestory,werealizethatitwasthatburningofabarn—whichledustothetheme,theessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”world;somethingisseenasitsownthing,divorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage?“An‘image’isthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imagery,arathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesense—impressionsbyliteralorfigurativereferencetoperceptibleor‘concrete’objects,scenes,actions,orstates,asdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatituses;theseneednotbemental‘pictures’,butmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasound,whichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmell,whicholfaction’suniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemory—basedimagescaninteract.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouch,whichisalsocalledHapticImagery.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“‘Haveadillpickle,’hesaid.Hewantedtosharewithus:Thatseemedtomesoright,so—youknowwhatImean?”FromADillPicklebyKatherineMansfield11结论主要指标汇总结论图录图1项目占地及建筑面积情况表图2典型的生物识别系统的系统结构图3生物特征识别市场增长情况图图42004年生物特征识别市场按照种类的分布图52004年生物特征识别技术的市场份额图6市场规模的发展图7未来几年中国生物识别市场规模预测图8整个生物特征识别市场预测图9未来几年中国生物识别市场规模预测表录表1高科技产业区用水量预测标准表2城市区域环境噪声标准（dB）表表3城市公共厕所设置标准表表4公共厕所建筑面积千人指标表表5项目进度计划表表6项目建筑安装工程费估算表表7项目土建建设总投资估算表表8类似项目设备投资估算表表9项目设备投资估算表表10资金筹措计划表personifythevanishingaristocracyoftheSouth,stillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.Sometimesapartofacharacter’sbodyoranattributemayconveysymbolicmeaning,forexample,abalefuleyeinEdgarAllanPoe’s“TheTell-TaleHeart.”4.SymbolusedinworksoffictionisthesymbolicactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelville’sMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhale,agesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.Anothertypicalsymbolicactistheburningofthebarnbytheboy’sfatherinFaulkner’s“BarnBurning”:itisanactofnomeredestroyingabarn,butanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfand,beyondthat,burningabarnreflectsthefather’smemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.AsymbolisatropeInabroadliterarysense,asymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.However,inliterarycriticismitisnecessarytodistinguishsymbolfromimage,metaphor,and,especially,allegory.AnimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmon,AHandbooktoLiterature,1986)Imagesmaybeliteralorfigurative,aliteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.Forexample,novelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexample,inthelines“Itisabeauteousevening,calmandfree;/Theholytimeisquietasanun,”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimage,whetherliteralorfigurative,tohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferent;whereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwords,asysmbolisanimagethatevokesanobjective,concretereality,butthenthatrealitysuggestsanotherlevelofmeaningdirectly;itevokesanobjectthatsuggeststhemeaning,withtheemphasisbeinglaidonthelatterpart.AsColeridgesaid,“Itpartakesoftherealitywhichitrendersintelligible.MetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecond,orinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfiction,thoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristics,andtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorperformsthisfunction,itisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaquality,whereasasymbolembodiestheideaorthequality.AllegoryAnallegoryisastoryinwhichpersons,places,actions,andthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanother—anabstractionintheformofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpion,whomeonedayonthebankoftheNile,whichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisback,providedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchanged,theycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat?”croakedthefrog,ashelaydying.“Why?”repliedthescorpion.“We’rebothArabs,aren’twe?”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”,andwemaketheriveranyriver,andfor“We’rebothArabs”wesubstitute“We’rebothmen,”wecanmakethefableintoanallegory.Inasimpleallegory,charactersandotheringredientsoftenstandforotherdefinitemeanings,whichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthorne’s“YoungGoodmanBrown.”AclassicalallegoryisthemedievalplayEveryman,whoseprotagonistrepresentsusall,andwho,desertedbyfalsefriendsnamedKinddredandGoods,facesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyan’sPilgrim’sProgress,theprotagonist,Christian,strugglesalongthedifficultroadtowardssalvation,meetingalongthewaywithsuchpersonsasMr.WorldlyWiseman,whodirectshimintoacomfortablepath(awrongturn),andtheresidentofatowncalledFairSpeech,amongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwell’sAnimalFarm,inwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterest,oneintheevents,characters,andsettingpresented,andtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.Symboldiffersfromallegory,accordingtoColeridge,inthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideas,whereasasymbolincludespermanentobjectivevalue,independentofthemeaningsthatitmaysuggest.Inabroadsense,allstoriesaresymbolic,thatis,thewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcourse,thisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingit,thereisprobablylittlepointinlookingforsymbolismineveryword,ineverystickorstone,ineverystrikingfoamatch,ineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.How,then,dowerecognizeasymbolinfictionwhenwemeetit?Fortunately,thestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestory;itmayevenbeindicatedinthetitle(“Araby,”“BarnBurning,”“AClean,Well-LightedPlace”).Attimes,acrucialsymbolwillopenastoryorendit.Unlessanobject,act,orcharacterisgivensomespecialemphasisandimportance,wemaygenerallyfeelsafeintakingitatfacevalue.Butanobject,anact,oracharacterissurelysymbolicif,whenwefinishthestory,werealizethatitwasthatburningofabarn—whichledustothetheme,theessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”world;somethingisseenasitsownthing,divorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage?“An‘image’isthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imagery,arathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesense—impressionsbyliteralorfigurativereferencetoperceptibleor‘concrete’objects,scenes,actions,orstates,asdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatituses;theseneednotbemental‘pictures’,butmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasound,whichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmell,whicholfaction’suniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemory—basedimagescaninteract.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouch,whichisalsocalledHapticImagery.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“‘Haveadillpickle,’hesaid.Hewantedtosharewithus:Thatseemedtomesoright,so—youknowwhatImean?”FromADillPicklebyKatherineMansfieldpersonifythevanishingaristocracyoftheSouth,stillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.Sometimesapartofacharacter’sbodyoranattributemayconveysymbolicmeaning,forexample,abalefuleyeinEdgarAllanPoe’s“TheTell-TaleHeart.”4.SymbolusedinworksoffictionisthesymbolicactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelville’sMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhale,agesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.Anothertypicalsymbolicactistheburningofthebarnbytheboy’sfatherinFaulkner’s“BarnBurning”:itisanactofnomeredestroyingabarn,butanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfand,beyondthat,burningabarnreflectsthefather’smemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.AsymbolisatropeInabroadliterarysense,asymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.However,inliterarycriticismitisnecessarytodistinguishsymbolfromimage,metaphor,and,especially,allegory.AnimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmon,AHandbooktoLiterature,1986)Imagesmaybeliteralorfigurative,aliteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.Forexample,novelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexample,inthelines“Itisabeauteousevening,calmandfree;/Theholytimeisquietasanun,”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimage,whetherliteralorfigurative,tohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferent;whereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwords,asysmbolisanimagethatevokesanobjective,concretereality,butthenthatrealitysuggestsanotherlevelofmeaningdirectly;itevokesanobjectthatsuggeststhemeaning,withtheemphasisbeinglaidonthelatterpart.AsColeridgesaid,“Itpartakesoftherealitywhichitrendersintelligible.MetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecond,orinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfiction,thoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristics,andtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorperformsthisfunction,itisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaquality,whereasasymbolembodiestheideaorthequality.AllegoryAnallegoryisastoryinwhichpersons,places,actions,andthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanother—anabstractionintheformofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpion,whomeonedayonthebankoftheNile,whichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisback,providedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchanged,theycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat?”croakedthefrog,ashelaydying.“Why?”repliedthescorpion.“We’rebothArabs,aren’twe?”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”,andwemaketheriveranyriver,andfor“We’rebothArabs”wesubstitute“We’rebothmen,”wecanmakethefableintoanallegory.Inasimpleallegory,charactersandotheringredientsoftenstandforotherdefinitemeanings,whichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthorne’s“YoungGoodmanBrown.”AclassicalallegoryisthemedievalplayEveryman,whoseprotagonistrepresentsusall,andwho,desertedbyfalsefriendsnamedKinddredandGoods,facesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyan’sPilgrim’sProgress,theprotagonist,Christian,strugglesalongthedifficultroadtowardssalvation,meetingalongthewaywithsuchpersonsasMr.WorldlyWiseman,whodirectshimintoacomfortablepath(awrongturn),andtheresidentofatowncalledFairSpeech,amongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwell’sAnimalFarm,inwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterest,oneintheevents,characters,andsettingpresented,andtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.Symboldiffersfromallegory,accordingtoColeridge,inthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideas,whereasasymbolincludespermanentobjectivevalue,independentofthemeaningsthatitmaysuggest.Inabroadsense,allstoriesaresymbolic,thatis,thewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcourse,thisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingit,thereisprobablylittlepointinlookingforsymbolismineveryword,ineverystickorstone,ineverystrikingfoamatch,ineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.How,then,dowerecognizeasymbolinfictionwhenwemeetit?Fortunately,thestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestory;itmayevenbeindicatedinthetitle(“Araby,”“BarnBurning,”“AClean,Well-LightedPlace”).Attimes,acrucialsymbolwillopenastoryorendit.Unlessanobject,act,orcharacterisgivensomespecialemphasisandimportance,wemaygenerallyfeelsafeintakingitatfacevalue.Butanobject,anact,oracharacterissurelysymbolicif,whenwefinishthestory,werealizethatitwasthatburningofabarn—whichledustothetheme,theessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”world;somethingisseenasitsownthing,divorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage?“An‘image’isthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imagery,arathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesense—impressionsbyliteralorfigurativereferencetoperceptibleor‘concrete’objects,scenes,actions,orstates,asdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatituses;theseneednotbemental‘pictures’,butmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasound,whichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmell,whicholfaction’suniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemory—basedimagescaninteract.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouch,whichisalsocalledHapticImagery.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“‘Haveadillpickle,’hesaid.Hewantedtosharewithus:Thatseemedtomesoright,so—youknowwhatImean?”FromADillPicklebyKatherineMansfield表11还本付息表表12项目销售收入估算表表13全部投资敏感性分析表表14产品销售收入及税金估算表表15总成本费用估算表表16全部投资现金流量表personifythevanishingaristocracyoftheSouth,stillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.Sometimesapartofacharacter’sbodyoranattributemayconveysymbolicmeaning,forexample,abalefuleyeinEdgarAllanPoe’s“TheTell-TaleHeart.”4.SymbolusedinworksoffictionisthesymbolicactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelville’sMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhale,agesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.Anothertypicalsymbolicactistheburningofthebarnbytheboy’sfatherinFaulkner’s“BarnBurning”:itisanactofnomeredestroyingabarn,butanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfand,beyondthat,burningabarnreflectsthefather’smemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.AsymbolisatropeInabroadliterarysense,asymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.However,inliterarycriticismitisnecessarytodistinguishsymbolfromimage,metaphor,and,especially,allegory.AnimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmon,AHandbooktoLiterature,1986)Imagesmaybeliteralorfigurative,aliteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.Forexample,novelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexample,inthelines“Itisabeauteousevening,calmandfree;/Theholytimeisquietasanun,”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimage,whetherliteralorfigurative,tohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferent;whereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwords,asysmbolisanimagethatevokesanobjective,concretereality,butthenthatrealitysuggestsanotherlevelofmeaningdirectly;itevokesanobjectthatsuggeststhemeaning,withtheemphasisbeinglaidonthelatterpart.AsColeridgesaid,“Itpartakesoftherealitywhichitrendersintelligible.MetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecond,orinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfiction,thoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristics,andtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorperformsthisfunction,itisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaquality,whereasasymbolembodiestheideaorthequality.AllegoryAnallegoryisastoryinwhichpersons,places,actions,andthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanother—anabstractionintheformofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpion,whomeonedayonthebankoftheNile,whichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisback,providedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchanged,theycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat?”croakedthefrog,ashelaydying.“Why?”repliedthescorpion.“We’rebothArabs,aren’twe?”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”,andwemaketheriveranyriver,andfor“We’rebothArabs”wesubstitute“We’rebothmen,”wecanmakethefableintoanallegory.Inasimpleallegory,charactersandotheringredientsoftenstandforotherdefinitemeanings,whichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthorne’s“YoungGoodmanBrown.”AclassicalallegoryisthemedievalplayEveryman,whoseprotagonistrepresentsusall,andwho,desertedbyfalsefriendsnamedKinddredandGoods,facesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyan’sPilgrim’sProgress,theprotagonist,Christian,strugglesalongthedifficultroadtowardssalvation,meetingalongthewaywithsuchpersonsasMr.WorldlyWiseman,whodirectshimintoacomfortablepath(awrongturn),andtheresidentofatowncalledFairSpeech,amongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwell’sAnimalFarm,inwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterest,oneintheevents,characters,andsettingpresented,andtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.Symboldiffersfromallegory,accordingtoColeridge,inthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideas,whereasasymbolincludespermanentobjectivevalue,independentofthemeaningsthatitmaysuggest.Inabroadsense,allstoriesaresymbolic,thatis,thewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcourse,thisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingit,thereisprobablylittlepointinlookingforsymbolismineveryword,ineverystickorstone,ineverystrikingfoamatch,ineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.How,then,dowerecognizeasymbolinfictionwhenwemeetit?Fortunately,thestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestory;itmayevenbeindicatedinthetitle(“Araby,”“BarnBurning,”“AClean,Well-LightedPlace”).Attimes,acrucialsymbolwillopenastoryorendit.Unlessanobject,act,orcharacterisgivensomespecialemphasisandimportance,wemaygenerallyfeelsafeintakingitatfacevalue.Butanobject,anact,oracharacterissurelysymbolicif,whenwefinishthestory,werealizethatitwasthatburningofabarn—whichledustothetheme,theessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”world;somethingisseenasitsownthing,divorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage?“An‘image’isthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imagery,arathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesense—impressionsbyliteralorfigurativereferencetoperceptibleor‘concrete’objects,scenes,actions,orstates,asdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatituses;theseneednotbemental‘pictures’,butmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasound,whichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmell,whicholfaction’suniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemory—basedimagescaninteract.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouch,whichisalsocalledHapticImagery.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“‘Haveadillpickle,’hesaid.Hewantedtosharewithus:Thatseemedtomesoright,so—youknowwhatImean?”FromADillPicklebyKatherineMansfieldpersonifythevanishingaristocracyoftheSouth,stillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.Sometimesapartofacharacter’sbodyoranattributemayconveysymbolicmeaning,forexample,abalefuleyeinEdgarAllanPoe’s“TheTell-TaleHeart.”4.SymbolusedinworksoffictionisthesymbolicactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelville’sMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhale,agesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.Anothertypicalsymbolicactistheburningofthebarnbytheboy’sfatherinFaulkner’s“BarnBurning”:itisanactofnomeredestroyingabarn,butanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfand,beyondthat,burningabarnreflectsthefather’smemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.AsymbolisatropeInabroadliterarysense,asymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.However,inliterarycriticismitisnecessarytodistinguishsymbolfromimage,metaphor,and,especially,allegory.AnimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmon,AHandbooktoLiterature,1986)Imagesmaybeliteralorfigurative,aliteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.Forexample,novelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexample,inthelines“Itisabeauteousevening,calmandfree;/Theholytimeisquietasanun,”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimage,whetherliteralorfigurative,tohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferent;whereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwords,asysmbolisanimagethatevokesanobjective,concretereality,butthenthatrealitysuggestsanotherlevelofmeaningdirectly;itevokesanobjectthatsuggeststhemeaning,withtheemphasisbeinglaidonthelatterpart.AsColeridgesaid,“Itpartakesoftherealitywhichitrendersintelligible.MetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecond,orinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfiction,thoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristics,andtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorperformsthisfunction,itisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaquality,whereasasymbolembodiestheideaorthequality.AllegoryAnallegoryisastoryinwhichpersons,places,actions,andthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanother—anabstractionintheformofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpion,whomeonedayonthebankoftheNile,whichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisback,providedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchanged,theycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat?”croakedthefrog,ashelaydying.“Why?”repliedthescorpion.“We’rebothArabs,aren’twe?”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”,andwemaketheriveranyriver,andfor“We’rebothArabs”wesubstitute“We’rebothmen,”wecanmakethefableintoanallegory.Inasimpleallegory,charactersandotheringredientsoftenstandforotherdefinitemeanings,whichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthorne’s“YoungGoodmanBrown.”AclassicalallegoryisthemedievalplayEveryman,whoseprotagonistrepresentsusall,andwho,desertedbyfalsefriendsnamedKinddredandGoods,facesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyan’sPilgrim’sProgress,theprotagonist,Christian,strugglesalongthedifficultroadtowardssalvation,meetingalongthewaywithsuchpersonsasMr.WorldlyWiseman,whodirectshimintoacomfortablepath(awrongturn),andtheresidentofatowncalledFairSpeech,amongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwell’sAnimalFarm,inwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterest,oneintheevents,characters,andsettingpresented,andtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.Symboldiffersfromallegory,accordingtoColeridge,inthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideas,whereasasymbolincludespermanentobjectivevalue,independentofthemeaningsthatitmaysuggest.Inabroadsense,allstoriesaresymbolic,thatis,thewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcourse,thisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingit,thereisprobablylittlepointinlookingforsymbolismineveryword,ineverystickorstone,ineverystrikingfoamatch,ineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.How,then,dowerecognizeasymbolinfictionwhenwemeetit?Fortunately,thestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestory;itmayevenbeindicatedinthetitle(“Araby,”“BarnBurning,”“AClean,Well-LightedPlace”).Attimes,acrucialsymbolwillopenastoryorendit.Unlessanobject,act,orcharacterisgivensomespecialemphasisandimportance,wemaygenerallyfeelsafeintakingitatfacevalue.Butanobject,anact,oracharacterissurelysymbolicif,whenwefinishthestory,werealizethatitwasthatburningofabarn—whichledustothetheme,theessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”world;somethingisseenasitsownthing,divorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage?“An‘image’isthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imagery,arathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesense—impressionsbyliteralorfigurativereferencetoperceptibleor‘concrete’objects,scenes,actions,orstates,asdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatituses;theseneednotbemental‘pictures’,butmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasound,whichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmell,whicholfaction’suniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemory—basedimagescaninteract.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouch,whichisalsocalledHapticImagery.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“‘Haveadillpickle,’hesaid.Hewantedtosharewithus:Thatseemedtomesoright,so—youknowwhatImean?”FromADillPicklebyKatherineMansfield1项目的基本情况1项目名称沈阳数字技术装备配套生产基地1项目定位以数字识别技术相关产业生产制造工业为主，生态环境良好和配套完善的现代化工业园区。1地理位置位于沈阳市东陵区东南方向，北临沈阳绕城高速公路，西南临机场高速公路，东临规划道路。地理位置优越，交通便捷。（详见附图）1项目开发商沈阳坤泰房地产开发有限公司1项目建设的主要内容图1项目占地及建筑面积情况表地号净用地面积（平方米）21268882337615857927456212566031711012345道路合计实际建筑面积（平方米）24300972008100012960972000312660实际的容积率1地块用途建筑结构类型钢筋混凝土生产研发生产钢筋混凝土钢筋混凝土生产钢筋混凝土生产钢筋混凝土生产管理personifythevanishingaristocracyoftheSouth,stillmaintainingablackservantandbeingruthlessbetrayedbyamoneymakingYankee.Sometimesapartofacharacter’sbodyoranattributemayconveysymbolicmeaning,forexample,abalefuleyeinEdgarAllanPoe’s“TheTell-TaleHeart.”4.SymbolusedinworksoffictionisthesymbolicactAnotherkindofsymbolcommonlyemployedinworksoffictionisthesymbolicact:anactoragesturewithlargersignificancethanitsliteralmeaning.CaptainAhabinMelville’sMoby-Dickdeliberatelysnapshistobaccopipeandthrowsitawaybeforesettingoutinpursuitofthehugewhale,agesturesuggestingthatheisdeterminedtotakehisrevengeandwillletnothingtodistracthimfromit.Anothertypicalsymbolicactistheburningofthebarnbytheboy’sfatherinFaulkner’s“BarnBurning”:itisanactofnomeredestroyingabarn,butanexpressionofhisprofoundspiteandhatredtowardsthatclassofpeoplewhohavedrivenhisfamilyoutofhisland.Hishatredextendstoanythinghedoesnotpossesshimselfand,beyondthat,burningabarnreflectsthefather’smemoriesofthe“wasteandextravaganceofwar”andthe“elementoffirespoketosomedeepmainspring”inhisbeing.AsymbolisatropeInabroadliterarysense,asymbolisatropethatcombinesaliteralandsensuousqualitywithannecessaryorsuggestiveaspect.However,inliterarycriticismitisnecessarytodistinguishsymbolfromimage,metaphor,and,especially,allegory.AnimageAnimageisaliteralandconcreterepresentationofasensoryexperienceorofanobjectthatcanbeknownbyoneormoreofthesenses.Itisthemeansbywhichexperienceinitsrichnessandemotionalcomplexityiscommunicated.(HolmanandHarmon,AHandbooktoLiterature,1986)Imagesmaybeliteralorfigurative,aliteralimagebeingonethatinvolvesnonecessarychangeorextensionintheobviousmeaningofthewords.Proseworksareusuallyfullofthiskindofimage.Forexample,novelsandstoriesbyConardandHemingwayarenotedfortheevocativepoweroftheirliteralimages.Afigurativeimageisonethatinvolvesa“turn”ontheliterarymeaningofthewords.Forexample,inthelines“Itisabeauteousevening,calmandfree;/Theholytimeisquietasanun,”thesecondlineishighlyfigurativewhilethefirstlineevokesaliteralimage.Weconsideranimage,whetherliteralorfigurative,tohaveaconcretereferentintheobjectiveworldandtofunctionasimagewhenitpowerfullyevokesthatreferent;whereasasymbolfunctionslikeanimagebutdiffersfromitingoingbeyondtheevocationoftheobjectivereferentbymakingthatreferentsuggesttothereaderameaningbeyonditself.Inotherwords,asysmbolisanimagethatevokesanobjective,concretereality,butthenthatrealitysuggestsanotherlevelofmeaningdirectly;itevokesanobjectthatsuggeststhemeaning,withtheemphasisbeinglaidonthelatterpart.AsColeridgesaid,“Itpartakesoftherealitywhichitrendersintelligible.MetaphorAmetaphorisanimpliedanalogyimaginativelyidentifyingoneobjectwithanotherandascribingtothefirstobjectoneormoreofthequalitiesofthesecond,orinvestingthefirstwithemotionalorimaginativequalitiesassociatedwiththesecond.Itisnotanuncommonliteracydeviceinfiction,thoughitismorecommonlyusedinpoetrywhilesimileismorecommonlyusedinprose.Ametaphoremphasizesrichsuggestivenessinthedifferencesbetweenthethingscomparedandtherecognitionofsurprisingbutunsuspectedsimilarities.CleanthBrooksusestheterm“functionalmetaphor”todescribethewayinwhichthemetaphorisabletohave“referential”and“emotive”characteristics,andtogobeyondthosecharacteristicstobecomeadirectmeansinitselfofrepresentingatruthincommunicablebyothermeans.Whenametaphorperformsthisfunction,itisbehavingasasymbol.Butasymboldiffersfromametaphorinthatametaphorevokesanobjectinordertoillustrateanideaordemonstrateaquality,whereasasymbolembodiestheideaorthequality.AllegoryAnallegoryisastoryinwhichpersons,places,actions,andthingsareequatedwithmeaningsthatlieoutsideofthestoryitself.Thusitrepresentsonethingintheguiseofanother—anabstractionintheformofaconcreteimage.AclearexampleistheoldArabfableofthefrogandscorpion,whomeonedayonthebankoftheNile,whichtheybothwantedtocross.Thefrogofferedtoferrythescorpionoveronhisback,providedthescorpionpromisednottostinghim.Thescorpionagreedsolongasthefrogwouldpromisenottodrownhim.Themutualpromiseexchanged,theycrossedtheriver.Onthefarbankthescorpionstungthefrogmortally.“Whydidyoudothat?”croakedthefrog,ashelaydying.“Why?”repliedthescorpion.“We’rebothArabs,aren’twe?”Ifwesubstituteforthefroga“Mr.Goodwill”andforthescorpion“Mr.Treachery”or“Mr.Two-face”,andwemaketheriveranyriver,andfor“We’rebothArabs”wesubstitute“We’rebothmen,”wecanmakethefableintoanallegory.Inasimpleallegory,charactersandotheringredientsoftenstandforotherdefinitemeanings,whichareoftenabstractions.Wehavemetsuchacharacterinthelastchapter:FaithinHawthorne’s“YoungGoodmanBrown.”AclassicalallegoryisthemedievalplayEveryman,whoseprotagonistrepresentsusall,andwho,desertedbyfalsefriendsnamedKinddredandGoods,facesthejudgmentofGodaccompaniedonlybyafaithfulfriendcalledGoodDeeds.InJohnBunyan’sPilgrim’sProgress,theprotagonist,Christian,strugglesalongthedifficultroadtowardssalvation,meetingalongthewaywithsuchpersonsasMr.WorldlyWiseman,whodirectshimintoacomfortablepath(awrongturn),andtheresidentofatowncalledFairSpeech,amongthemahypocritenamedMr.Facing-both-ways.OnemoderninstanceisGeorgeOrwell’sAnimalFarm,inwhich(amongitsdoublemeanings)barnyardanimalsstandforhumanvictimsandtotalitarianoppressors.Allegoryattemptstoevokeadualinterest,oneintheevents,characters,andsettingpresented,andtheotherintheideastheyareintendedtoconveyorthesignificancetheybear.Symboldiffersfromallegory,accordingtoColeridge,inthatinallegorytheobjectivereferentevokesiswithoutvalueuntilitacquiresfixedmeaningfromitsownparticularstructureofideas,whereasasymbolincludespermanentobjectivevalue,independentofthemeaningsthatitmaysuggest.Inabroadsense,allstoriesaresymbolic,thatis,thewriterlendsthecharactersandtheiractionssomespecialsignificance.Ofcourse,thisistothinkofsymbolinanextremelybroadandinclusiveway.Fortheusualpurposeofreadingastoryandunderstandingit,thereisprobablylittlepointinlookingforsymbolismineveryword,ineverystickorstone,ineverystrikingfoamatch,ineveryminorcharacter.Buttorefusetothinkaboutthesymbolicmeaningswouldbeanotherwaytomisreadastory.Sotobeonthealertforsymbolswhenreadingfictionisperhapswiserthantoignorethem.How,then,dowerecognizeasymbolinfictionwhenwemeetit?Fortunately,thestorytelleroftengivensthesymbolparticularemphasis.Itmaybementionedrepeatedlythroughoutthestory;itmayevenbeindicatedinthetitle(“Araby,”“BarnBurning,”“AClean,Well-LightedPlace”).Attimes,acrucialsymbolwillopenastoryorendit.Unlessanobject,act,orcharacterisgivensomespecialemphasisandimportance,wemaygenerallyfeelsafeintakingitatfacevalue.Butanobject,anact,oracharacterissurelysymbolicif,whenwefinishthestory,werealizethatitwasthatburningofabarn—whichledustothetheme,theessentialmeaningofthestory.ChapterEightImageTheimageisseenasbeingoneoftwothings:somethingthatrepresentsathinginthe“real”world;somethingisseenasitsownthing,divorcedfromtheburdenofrepresentinganythingotherthanitself.WhatIsImage?“An‘image’isthatwhichrepresentsanintellectualandemotionalcomplexinaninstantoftime.”(EzraPound)InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.地铁车站人群粉面幽灵黝湿枝头花瓣Imagery,arathervaguecriticaltermcoveringthoseusesoflanguageinaliteraryworkthatevokesense—impressionsbyliteralorfigurativereferencetoperceptibleor‘concrete’objects,scenes,actions,orstates,asdistinctfromthelanguageofabstractargumentorexposition.Theimageryofaliteraryworkthuscomprisesthesetofimagesthatituses;theseneednotbemental‘pictures’,butmayappealtosensesotherthansight.Imagessuggestingfurthermeaningsandassociationsinwaysthatgobeyondthefairlysimpleidentificationsofmetaphorandsimileareoftencalledsymbols.TheFiveSensesRespondingtoImaginativelanguageVisualImagery:ImageryofSightVisualimageryisdifferentfromvisualperceptionbecausevisualperceptionrequirestheobjecttobeactuallypresentandvisualimagerydoesnot.AuralImagery:ImageryofSoundAuditoryimageryissomethingthatrepresentsasound,whichcanberevealedbothinpoemsandstories.OlfactoryImagery:ImageryofSmellOlfactoryimagerystimulatesthesenseofsmell,whicholfaction’suniquecognitivearchitectureofevocationhaveledsometoconcludethatthereisnocapacityforolfactoryimagery.a.Self-reportsofolfactorycanresemblethoseobtainedforactualperception.b.Imaginganodorcanproduceeffectssimilartoactualperception.c.Olfactoryperceptionandmemory—basedimagescaninteract.TactileImagery:ImageryofTouchTactileimagerystimulatesthesenseoftouch,whichisalsocalledHapticImagery.GustatoryImagery:ImageryofTasteGustatoryimagerystimulatesthesenseoftaste.“‘Haveadillpickle,’hesaid.Hewantedtosharewithus:Thatseemedtomesoright,so—youknowwhatImean?”FromADillPicklebyKatherineMansfield