农家乐可行性分析报告(编辑修改稿)

农家乐可行性分析报告(编辑修改稿)内容摘要：

ckl e by Katheri ne Mansfi el d per sonif y t he vani shi ng ar ist ocr acy of t he Sout h, sti l m ai nt ai ni ng a black ser vant and bei ng r ut hless bet rayed by a m oneym aki ng Yankee. Som et im es a par t of a char act er ‟s body or an at ri but e may convey symboli c meani ng, f or exam pl e, a bal ef ul eye i n Edgar Al l an Poe‟ s “The Tel Tal e H eart .” 4. Sym bol used i n works of fi ct i on is t he sym bol i c act Anot her ki nd of sym bol monl y em pl oyed i n wor ks of f i ct ion i s t he sym boli c act : an act or a gest ur e wi t h l ar ger si gni fi cance t han i t s l it eral meani ng. Capt ai n Ahab i n Mel vi l e‟ s Moby Di ck del i ber at el y snaps hi s t obacco pi pe and t hr ows i t away bef ore set ing out i n pur sui t of t he huge whal e, a gestur e suggest ing t hat he i s det er mi ned t o t ake hi s r evenge and wi l l et not hi ng t o di str act him f rom it. Anot her t ypi cal sym boli c act i s the bur ni ng of t he barn by t he boy‟s f at her i n Faul kner ‟s “Barn Burni ng”: it i s an act of no m ere destr oyi ng a barn, but an expr essi on of his pr of ound spi te and hatr ed towar ds t hat cl ass of peopl e who have dr i ven his f am il y out of hi s l and. His hatr ed ext ends t o anyt hi ng he does not possess hi msel f and, beyond t hat , burni ng a bar n r ef l ects t he f at her ‟s m em ori es of t he “wast e and extr avagance of war ” and t he “el em ent of fi re spoke t o some deep mai nspri ng” in hi s bei ng. 5. A sym bol i s a t rope I n a br oad l it er ar y sense, a sym bol i s a t rope t hat bines a li t er al and sensuous quali t y wit h an necessar y or suggest ive a spect. However, i n li ter ar y cri ti ci sm i t is necessar y t o disti ngui sh sym bol fr om i m age, m et aphor , and, especi al y, al egor y. An im age An im age is a l it er al and concret e represent at i on of a sensor y exper ience or of an obj ect that can be known by one or mor e of t he senses. I t is t he m eans by whi ch exper ience i n i ts r ichnes and em oti onal plexit y i s m uni cat ed. ( Holm an and Har mon, A Handbook to Li ter at ure, 1986) Im ages m ay be lit eral or fi gur ati ve, a l it er al i m age being one t hat i nvol ves no necessar y change or extensi on i n t he obvi ous m eani ng of the wor ds. Pr ose wor ks ar e usual ly f ull of t hi s kind of im age. For exam pl e, novel s and st ori es by Conar d and Hem i ngway ar e not ed f or t he evocat i ve power of t heir l it er al i m ages. A fi gur ati ve i m age i s one t hat i nvol ves a “t urn” on t he li ter ar y m eaning of t he words. For exam pl e, in t he li nes “I t i s a beaut eous eveni ng, calm and f ree。 / The holy t im e is qui et as a nun, ” t he second li ne i s hi ghl y fi gur ati ve whil e t he f ir st l i ne evokes a l it eral im age. We consi der an i mage, whet her l it er al or f i gur at ive, to have a concr et e r ef erent i n t he object i ve worl d and to f unct i on as im age when it powerf ull y evokes t hat r ef er ent。 whereas a sym bol f unct ions li ke an im age but dif fer s fr om i t in goi ng beyond t he evocat ion of t he obj ect ive r ef erent by making t hat r ef erent suggest t o t he r eader a m eaning beyond it self . I n ot her words, a sysm bol i s an im age t hat evokes an obj ect ive, concret e realit y, but t hen t hat r eal it y suggest s anot her l evel of m eaning di rect l y。 i t evokes an obj ect t hat suggest s t he m eani ng, wi t h t he em phasi s bei ng lai d on t he l at t er part . As Coleri dge sai d, “I t par takes of t he r eali ty whi ch it r ender s int el li gi ble. Met aphor A m etaphor i s an i m pl ied anal ogy im agi nat ively i dent if yi ng one object wit h anot her and ascr ibi ng to t he fi rst obj ect one or m or e of the qual it i es of t he second, or i nvest i ng t he fi rst wi th em ot ional or im agi nat i ve quali ti es associ at ed wit h t he second. I t is not an unm on lit e r acy devi ce i n fi ct i on, t hough it i s m or e m onl y used in poetr y whil e simi l e is m or e monl y used i n prose. A metaphor em phasi zes ri ch suggest iveness i n the dif f er ences bet ween t he t hings par ed and the r ecognit ion of sur pri si ng but unsuspected sim il ar it ies. Cl eant h Br ooks uses the t er m “f unct ional m et aphor ” t o descri be the way i n whi ch t he met aphor is able t o have “r ef er ent ial ” and “emoti ve” char act er isti cs, and t o go beyond t hose char act er i sti cs t o be e a di rect m eans i n it sel f of represent ing a t r ut h i nm uni cable by ot her m eans. When a m et aphor per f or ms t hi s f uncti on, i t is behavi ng as a sym bol . But a sym bol dif f er s fr om a m et aphor i n t hat a m et aphor evokes an obj ect i n or der t o il lustrat e an i dea or demonst r at e a qual it y, wher eas a symbol embodi es t he i dea or the qual it y. Al egory An al legor y i s a stor y i n whi ch persons, places, act i ons, and t hings are equat ed wi th m eani ngs t hat li e outsi de of t he st ory i tself . Thus i t r epr esent s one t hi ng in t he gui se of anot her —an abst r acti on i n t he f orm of a concr et e im age. A cl ear exam ple i s t he ol d Ar ab fable of t he fr og and scor pi on, who m e one day on t he bank of t he Nil e, whi ch they both want ed to cr oss. The fr og off ered t o f er r y t he scor pi on over on hi s back, pr ovi ded t he scor pi on pr omi sed not t o sti ng hi m. The scor pi on agr ed so l ong as t he fr og woul d pr omi se not t o drown hi m. The m ut ual pr omi se exchanged, t hey cr ossed t he ri ver. On t he f ar bank t he scorpi on st ung t he f rog m or t al y. “Why di d you do that?” cr oaked t he f r og, as he lay dyi ng. “Why?” repli ed t he scorpi on. “We ‟r e bot h Arabs, ar en‟ t we?” I f we subst it ute f or the f rog a “Mr. Goodwil l ” and f or the scor pi on “Mr. Tr eacher y” or “Mr. Two face”,。