佛山市镇安污水处理厂三期扩建工程项目建议书_(编辑修改稿)

佛山市镇安污水处理厂三期扩建工程项目建议书_(编辑修改稿)内容摘要：

open or can be made open to t he r eader if the novelist so chooses. The r eader does not onl y see thei r clothes, but al so se t heir mi nds. One charact er may be enemy to other char acters, but he i s fri end to t he reader, before whom he can t hi nk aloud, to borrow Emerson‘s words. Charact ers do not l ive, but act . When we watch act or s speak aloud t o themsel ves on the stage as if t hey wer e al one, we know they are act ing and they ar e di ferent f rom what hey represent i n real li fe. The charact er s i n novel s exist i n a si milar manner . II. Kinds of Charact ers Usualy, a novel has more than one charact er . They interact wit h each other and make up the story. But they are not equal y impor tant or have t he same f uncti on t o the novel ist . By t heir r ol es in t he novel, the charact er s can be gr ouped as heroes, mai n charact er s and minor char acters, and foils. The charact er on whom a novel is cal led the hero or heroine when i t is a female charact er. The word ―hero‖ ori gi nal y refers to a man, i n myt hology and legend, oft en of di vi ne ancest ry, who is endowed wi th great courage and st r engt h, cel ebrated for hi s hold expl oi ts, and f avored by t he gods. In the novel, the word “hero” is freed of such noble requirements and any central characters can be l abeled as heroes. Jonat han Wil d is the her o in the novel of the same name by Henry Fielding, t hough he is a notorious hi ghwayman. Some critics, annoyed by the connotation of “hero, ” prefer the word “protagonist, ” whi ch sounds neutral . The enemy or rival of t he protagonist is cal ed ―ant agonist .‖ The mai n or m aj or charact ers are those in close and dynamic rel at ion wit h the hero or heroine. Cl ose relat ion does not mean good rel at ion. Pabl o in For Whom t he Bel Toll s is const antl y finding tr ouble wit h the hero Jordan, yet he is a main char acter as his wif e Pi lar i s. Minor char acters are t hose i n remote and static r el at ion with t he hero. I t is wrong t o think that mi nor charact er s ar e al uni mpor tant . I n some novels, one or some of t he mi nor charact er s may ser ve a cri tical r ol e, structuraly or interpretati onaly. Foi l charact ers are ones that help enhance the int ensity of the hero by st rengt hening or cont rast ing. They may be main charact ers or mi nor characters. In a word, t hey ser ve as foils t o the hero or heroi ne. Cohn in The Sun Also Ri ses is a good example. He i s one of t he m ai n char act er s. Li ke Jake, he i s al so ―l ost , ‖ t ryi ng vai nl y t o escape t he past by court i ng wom en and dri nki ng. But duri ng t hei r st ay i n Spai n, Cohn di spl ays qual i t i es i n cont r ast t o t hose cher i shed by Jake, whi ch m akes Jake r eal i ze hi s own pr obl em s and f i nal l y f i nd a sol ut i o n, t hough t em por ar i l y. Cohn wor ks m ai nl y by cont r ast . Wi l son i n The Gr eat Gat sby wor ks by pr esent i ng. Gat sby l ost hi s l over t o Tom and Wi l son l ost hi s wi fe t o Tom . By present i ng Wi l son‘s I nt r oduction I. Why do we have such course? English li terature is one of the pulsor y and most impor tant cour ses. However , t he English li terature courses off er ed ar e mer ely t aught at he l evel of lear ni ng general informati on and devel oping li teral understandi ng. Admi tedly, such courses help them/you a l ot in t heir /your acquisi ti on of the Engli sh language. But the funct ion of Engl ish l it er at ur e reaches far beyond that. In r eadi ng English li terature, a student should have t he power to discern how human bei ngs tr ansl at e thei r experi ence i nto ar ti st ic expresion and r epresentation。 how wri ters, t hr ough their cr eati ve i mpulses, convey to us thei r i nsights into human desti ny and human lif e。 and how social concern is i nvolved i n a specif ic f or m of human i maginati on. In addit ion, student s shoul d el evat e to the level of culti vati ng a curiosity f or t he unknown, thinking cogentl y and logical y, expr essi ng t hemselves clearly and conci sely, and obser vi ng t he worl d ar ound them cr it cal y and obj ecti vely. But most st udent s ar e sti l at a loss as to how they can ef f ecti vely analyze a lit er ar y wor k by t hemsel ves in any of these respect s, even though they have r ead plent y of excer pts fr om repr esent at ive wor ks in t he Br it sh and Amer ican l iterary canon. And they tend t o have l it le i dea what role the beginning part plays i n the whole story, how the plot develops and es to resol ut ion, in what way point of view deter mines a r eader ‘s understanding of t he story, and how the i mages and symbol s ar e related to the theme. Upon consider at ion of these f actors, we have such course with t he i nt enti on of cul tivating bot h st udent s‘ li terary sensi bi lit ies and their /your cr it ical power when reading Engl ish shor t stor ies and novel s. I. Introduct ion about readi ng a story 1. What is Stor y? ―Yes –oh, dear , yes—the novel tel s a story.‖ This is Forster ‘s r emark, whi ch i s wor th speci al atention, f or he is someone in t he t rade and with r ich exper ience. I n hi s Aspects of the Novel he lists ―st or y‖ as the fi rst aspect . People r eading novel s f or stori es usualy ask questi ons li ke ―what happened next?‖ and ―an d‖ what woul d he do next?‖ These questions at test to t he two basi c el ment s of a st ory. The one is t he event and the ot her the time. A st ory is a ser ies of happenings ar anged i n the natural temporal or der as t hey occur. St or y is the basis of t he novel, and i ndeed t he basis of nar at ive wor ks of al l kinds. 2. The str ucture and functi ons of a story Plot。 character。 point of view。 theme。 style 3. What is Ficti on? Fiction, t he general term f or i nvent ed stori es, now usual ly appli ed t o novel s, short st or ies, novela, romances, f ab。