苜蓿种植与良种繁育的可行性研究报告(编辑修改稿)

苜蓿种植与良种繁育的可行性研究报告(编辑修改稿)内容摘要：

by day, but 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 ter ature courses off er ed are merely t aught at he l evel of lear ni ng general informati on and developing li teral understanding. Admit tedl y, such courses hel p them/ you a lot in t heir /your acqui si tion of t he English language. But the functi on of Engli sh l iterature r eaches far beyond that . I n reading Engl ish lit er at ur e, a st udent should have the power to discern how human beings translate t heir experience i nt o ar tisti c expresion and represent at ion。 how wri ters, t hr ough thei r creative impulses, c onvey to us t heir i nsights into human desti ny and human lif e。 and how social concer n is invol ved in a specif ic form of human i magination. I n additi on, st udent s hould elevat e t o the level of cul ti vati ng a cur iosi ty f or the unknown, thinki ng cogently and logi cal y, expresing themselves clear ly and concisel y, and observing the wor ld around t hem cri ticaly and objectively. But mos t students are st il l at a loss as t o how t hey can ef 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 r epr esentat ive wor ks i n the Brit ish and Amer ican l it er ar y canon. And they tend t o have lit tle i dea what role t he beginning par t plays i n the whole story, how t he plot develops and es to resol ut ion, in what way poi nt of view determines 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‘ lit er ar y sensi bi lit ies and thei r /your cr it ical power when reading Engl ish shor t stori es and novels. I. Introduct ion about reading a story 1. What is Story? ―Yes –oh, dear, yes—t he novel t el ls a st ory.‖ Thi s i s For ster ‘s remar k, which is worth special at enti on, for he i s someone in the tr ade and wi th ri ch experi ence. In his Aspect s of the Novel he l ist s ―story‖ as t he f ir st aspect. Peopl e reading novels for st or ies usual y ask quest ions l ike ―what happened next ?‖ and ―and‖ what woul d he do next?‖ These questions at test to the two basi c element s of a st or y. The one is the event and t he other the t ime. A st or y is aseri es of happeni ngs ar anged in t he natural t emporal or der as they occur . Story i s the basi s of the novel, and indeed the basis of nar r at ive works of al ki nds. 2. The st ruct ur e and funct ions of a st or y Pl ot。 char acter。 poi nt of vi ew。 theme。 st yl e 3. What i s Fi ct ion? Ficti on, the gener al term for invent ed stori es, now usualy appl ied to novels, short stori es, novel a, romances, fabl es, and other nar rative works in prose, even t hough most plays and nar at ive poems ar e al so f ict ional . ( P. 83. Concise Di ct ionar y of Lit er ar y Terms) 4. The St or y and the Novel To r ead novel s for story i s nothing wr ong, but nothing pr of essi onal eit her. ―One mark of a second rate mi nd i s t o be always t el li ng stori es.‖ The r emark by the French wr iter jean de La Br uyere ( 1645~1696) i s al so t rue of the reader. If the pur pose of the novel i s only t o tel st or ies, it could as wel l r emain unborn, for newspapers and history books are suf ficient t o sati sf y people‘s desir e for st or ies about bot h pr esent and past, and even about f ut ur e. In f act, many newapapermen have been di sat isf ied wit h thei r j ob of repor ting and e into the fi el d of novel wr it ing. Defoe, Dickens, Joyce, Hemi ngway and Camus wer e among the most famous and the most succesful convert s. Even historians may f el obli ged to do more than mer e st or ies or facts. Edwar d Gi bbor n‘ s Decli ne and Fal of t he Roman Empir e is praised not onl y for its mult itudinous facts and r at ionali sti c analysi s, but more for it s beauty of nar at ive st yl e. In teli ng stories, the novelist ai ms at somethi ng higher or he intends to add something t o the mere “fact s. ” As i ndi cated in t he defi ni ti on of the novel , what makes a novel is t he noveli st ‟s st yle (personali zed presentati on of the st ory) and int erpretati on of the st ory. Chapt er One Pl ot I. What is Plot? 1. According to Ar istotle what are t he six elements of the str uct ur e of tr agedy? Tragedy as a whol e has just si x const ituent elements… and they are plot , characters, verbal expresion, t hought , vi sual adornment , and song—posit ion. For t he element s by which they i mitate are t wo (ver bal expres ion and song—posit ion) , the manner in which they i mit at e is one (vi sual adornment ), the things t hey imi tate are three (plot , characters , t hought) , and ther e is not hi ng more beyond these. 2. What i s Pl ot under t he pens of moder n novelists and storytel er s? And how t o under st and ―Pl ot ‖ in a st or y? ( ―‖ ppt : ‗ The queen died, no one knew why, unt il it was discover ed t hat it was thr ough gr ief at the deat h of the ki ng.‘… P. 6 I t suspends the timesequence, it moves as f ar away f rom t he story as its l imit at ions wi l al low.) The story and t he char acter alone can not make a novel ye. To make a novel, a pl ot is prerequi si te. A l ook at he example suggested by E. M. Forster wil hel p to distingui sh betwen the story and t he plot. ―The king di ed and then t he queen di ed ‖ is not a plot, but ast or y. If we make i t ―The king died and then the queen died of gri ef ,‘ we have a plot. This causal phrase ―of gri ef ‖ indicates our interpr et ati on and thus ar angement of the happenings. I n the wor ld of r eali ty events take pl ace one af ter another in t he natural t emporal or der, but in t he worl d of f iction it is t he。