xx广电ip城域网改造方案建议书(编辑修改稿)

xx广电ip城域网改造方案建议书(编辑修改稿)内容摘要：

of civili zed society, a pri son. But, on one si de of t he por tal, and r ooted alm ost at t he thr eshold, was awil d rosebush, covered, i n t hi s m ont h of June, wit h its del icat e gems, which m ight be imagined t o of fer t hei r f ragr ance and fr agil e beaut y to t he pri soner as he went in, and to t he condem ned cr imi nal as he cam e fort h t o his doom , i n t oken t hat the deep hear t of Nat ure could pit y and be ki nd t o him . Appar entl y, the aut hor m akes a cont rast bet wen the ugl y j ai lhouse wi th a t angl ed gr ass pl ot over gr own wit h bur dock and pi gwed and something as beauti ful as a wil d rose. As t he story unfolds, he wi l f urt her suggest t hat secr et sin and a pret y chil d m ay go t oget her li ke a pigwed and wil d r oses. I n this artf ul ly craft ed novel, set ing is i ntim at el y bl ended wi th char acters, sym boli sm, and t hem e. I n addi ti on t o pl ace, set ing may cr ucial y invol ve t he tim e of t he story—cent ur y, year , or even specif ic hour. I t m ay mat er gr eatl y that a story t akes places i n t he m or ni ng or at noon. The m edi eval backgr ound informs us di f er entl y fr om t he t wenti et h century. Kennedy and Gioia not e that i n The Scarl et Let er, t he ni eenthcent ur y author Nathani el Hawt hr one, uti li zes a l ong i nt roducti on and a vi vi d descri pt ion of t he scene at a pr ison door t o i nform us t hat he events i n t he st or y t ook place i n the Pur itan m unit y of Boston of t he earli er sevent ent h century. This set ti ng, t o whi ch Hawthorne pays so much at enti on, together wi th our schem at a concerning Pur itan pract ice, hel ps us under st and what happens i n the novel . We can under st and t o som e extent t he agi tati on i n t he t own when a woman is acused of adult er y, f or adult er y was a fl agr ant defi ance of church f or the God fear ing New England Purit an m unit y, and an il legi tim at e chil d was evi dence of si n. Wit hout i nf ormati on about t he sevent ent hcentur y Puri tan background, a reader t oday m ay be per pl exed at the novel . The fact t hat he st or y i n Hawt horne’ s novel took pl ace in a tim e rem ot e fr om our own l eads us t o expect dif ferent ati tudes and cust oms of t he char acters, i s st rongl y suggesti ve of the whol e soci et y, whi ch i s cr ucial to an essent ial under st andi ng of The Scarlet Let er as a whole. Besi des pl ace and t ime, set ti ng may al so i ncl ude the weat her, whi ch, indeed, m ay be cruci al i n som e st or ies. 2. Local col or writ ng /regional ism and the wri ter, a regi onal wri ter. When set ti ng dom inat es, or when a piece of fi cti on i s writ ten largel y to present t he manners and cust oms of a l ocalit y, t he wri ti ng i s of ten cal ed l ocal col or wri ti ng or regi onali sm and the writ er , a r egi onal wri ter. A r egional writ er usual y set s hi s/ her st or ies i n one geographi c ar ea and t ri es to bri ng i t ali ve t o readers everywher e. Thomas Har dy, i n hi s port rayal of l if e i n Wesex, wr ot e regi onal novel s. Arnol d Ben t’s novels of t he “Five Towns” are markedl y regi onal . Wil li am Faulkner, known as a disti nguished regi onal wr it er , alm ost al ways set his novel s and st ori es in his nat ive Missi sippi . 3. The set t ing of a novel i s not always drawn f rom a real li fe local e. The set ti ng of a novel is not always drawn fr om a real l ife l ocal e. Lit er ar y ar ti st someti mes prefer to creat e the totalit y of t heir fi ct ion—the set ing as wel as characters and t heir act ions. …… The cr eati on of set ing can be a m agical fi ct ional gi ft in aopinion about , and st at ement of, t he t hem e. Moral i nferences drawn from m ost st ori es: Mor al i nf er ences may be drawn fr om m ost st or ies, no doubt , even when an aut hor does not i nt end his /her story t o be r ead this way. In “A Cl ean, Wel Light ed Pl ace”, we f eel that Hem ingway is i ndir ectl y gi vi ng us advice for pr operl y r egarding and sym pat hizi ng the l onely, t he uncert ai n, and t he ol d. But obvi ousl y t he st or y does not set f or th a l esson that we ar e supposed t o put i nto pract ice. We can say f or sur e that “A Clean, Wel l Li ght ed Place” contains sever al them es and other statem ents coul d be made t o take i n Hemi ngway’s vi ew of love, of m unicat ion bet wen peopl e, of dignity. Great st or ies, li ke gr eat sym phoni es, f requent ly have more t han one t hem e. When we say t hat he t it le of Pri de and Pr ej udi ce conveys the them e of the novel or t hat Uncl e Tom ’s Cabi n and The Gr apes of Wr at h t reat t he t hem es of sl aver y and mi gr at or y labor respecti vel y, this i s t o use them e i n a larger and m or e abst ract sense t han i t i s in our discussi on of Hemi ngway’ s “A Cl ean, Wel Light ed Pl ace. ” In t his l ar ger sense it is r el ati vel y easy t o say that Mar k Twain’s Huckleber y Finn, Updi ke’s A amp。 P, and Faul kner’ s Barn Burning concer n t he t heme of “i nit iati on i nt o m at ur it y. ” Such general descri pt ions of them e can be usef ul, especi al y if we want to sor t a l ar ge num ber of stori es and novels i nt o rough cat egori es, but t he f act hat they ar e simi lar i n them e does not mean t hat they m ean the sam e thing. The at it ude t owards t he t heme may be very dif er ent: t he t one of t reatm ent m ay be, f or example, eit her i c or tr agic, str ai ghtf or ward or i r onic. The writ er ’s vision of li f e i s t he special underl ying fact of a story, and a them e, abst ract ly stated, is not t he sam e t hi ng as a vi si on of li fe. And we suggest anyway that , i n the beginni ng, you l ook for whatever tr ut h or i nsight you t hi nk t he wr it er of a st or y i nt ends to r eveal. Try t o st at e a t hem e in a sentence. By doing so, we wi l fi nd oursel ves。