高产油茶林种植项目可行性研究报告(编辑修改稿)

高产油茶林种植项目可行性研究报告(编辑修改稿)内容摘要：

ay poi nt to t he theme of t he novel. A good example i s the l et ter “A” i n The Scarl et Let er. Important speches. Characters t alk and i n their t alk ar e reveal ed their j udgm ent s of t he other char act er s or event. The char act ers’ judgments may gi ve impor tant cl ues t o t he theme. V. Obvi ous and unobvi ous t heme Obvious t heme: The theme of a stor y, since we know, is what ever gener al i dea or i nsi ght t he ent ir e st ory r eveal s. I n som e st ori es , the t hem e is r ather obvi ous. For example, i n Aesop’ s fable about the council of t he mice t hat cannot deci de who wi l bel the cat, t he theme i s st at ed in the mor al at the end: “I t is easier to pr opose a t hing t han t o car y it out. ” I n som e novels, the t it le m ay off er a suggesti on about t he main t heme. For exampl e, Jane Aust en’ s Pride and Prej udice i s named af ter i t s t heme, and the whol e st ory unf ol ds it sel f ar ound that theme. I n some novel s, t he ti tl e is not so nam ed but t he pl ot exi st s pri mari ly t o i l ust rate t he theme and i t is not ver y dif fi cul t for us to inf er what it i s. For exam pl e, Uncl e Tom’s Cabi n by H. owe and The Grapes of Wrath by John Stei nbeck voice the t hemes of sl avery and m igr at ory l abor r espectively. The ti tl e of The Grapes of Wrath co mes f rom a l ine in an ext remel y famous Ci vi l War song, “The Batl e Hymn of t he Republ ic.” The l ine i s, “He i s tr ampli ng out t he vintage wher e the Gr apes of wr ath ar e st ored,” whi ch means “an unjust or oppr essive sit uat ion, act ion or poli cy that m ay inf lame desi re for vengeance: an expl osi ve condit ion.” The song was wr it ten by a f amous and infl uent ial soci al acti vi st, Jul ia Ward Howe. Unobvi ous theme: But i n most li ter ar y wor ks of f ict ion, the theme i s sel dom so obvious. That is, general ly a t heme is not a mor al nor a message, nei ther is i t cl ear ly conveyed i n t he ti le. When we fi nish reading a f inely wr ought st ory, it i s easi er to sum up the pl ot —to say what happens—than to descri be the mai n idea. To say of Jam es Joyce’ s “Araby” that it i s about a boy who goes to a bazaar t o buy a gif t for a young woman but ar r ives too l at e is to summar ize plot , not theme. In many fi ne shor t st or ies, theme i s the cent er, the m ovi ng f or ce, t he pri nci pl e of uni ty. Cl ear ly, such a t hem e is somethi ng more t han the char acters and event s of the stor y. Most of the short stori es chal lenge an easye t heme. I n Hemi ngway’s “A Clean, Wel Li ght ed Place, ” as observed by Kennedy and Gi oia, the events are rather si mpl e—a young wait er m anages to get ri d of the old man f rom the caf233。 and t he ol der wai ter stops at a cof fee bar on his way home—but whi le t he events themsel ves seem r el ati vel y slight , t he story as a whol e i s full of meaning. For a deep under standi ng of the m eaning, we have to l ook to ot her el em ent s of the story besides what happens in i t: nar ative, symbol s, t one, the di al ogue bet ween the two wait er s, the monologue of the older wait er, etc. Evident ly t he aut hor i nt ends us t o pay m or e at t ent i on t o t he t hought s and f eel i ngs of t he ol der wai t er , t he char act er whose wor ds e cho t he aut hor ’ s voi ce. One t r y on t he t hem e m ay be: “The ol der wai t er under st ands t he ol d m an and sym pat hi zes wi t h hi s need f or a cl ean, wel l l i ght ed pl ace. ” But her e we ar e st i l l t al ki ng about what happens i n t he st or y, t hough we ar e not t r oubl e wi th the hero Jordan, yet he i s a main character as his wi fe Pi lar i s. Minor char acter s are t hose i n remot e and st ati c relat ion wi th the hero. It i s wr ong t o t hi nk that mi nor characters ar e al unimpor tant. I n som e novels, one or some of t he minor char act ers m ay ser ve a cr it ical rol e, str uct ural y or int er pret at ional y. Foil charact ers are ones that hel p enhance the i ntensi ty of t he hero by strengt heni ng or cont rast ing. They may be m ain charact ers or m inor characters. I n a wor d, they ser ve as foil s to the hero or heroi ne. Cohn i n The Sun Also Ri ses i s a good exampl e. He is one of the mai n char act er s. Like Jake, he is al so “l ost ,” t rying vai nl y t o escape the past by court ing wom en and drinking. But during t heir stay i n Spai n, Cohn di spl ays quali ti es i n cont rast to t hose cheri shed by Jake, whi ch makes Jake reali ze hi s own pr obl ems and fi nal ly f ind a sol ut ion, though tempor ar il y. Cohn wor ks mainl y by cont rast. Wilson i n The Gr eat Gatsby wor ks by present ing. Gat sby lost hi s lover to Tom and Wi lson lost hi s wi fe t o Tom. By present i ng Wi lson’s case t he noveli st i ntends to point out the profound cause of Gatsby’s tragedy. Dr. Wat son i n t he st ori es of Sherl ock Hol mes ser ves as a foil t o t he her o, r ender ing t he det ect ive smart er t han he would ot her wise appear to the r eader. By t he degr ee of their devel opm ent , charact ers can be grouped as round charact ers and f lat characters. Thi s division i s proposed by Forster . Round charact ers ar e f ul ly developed whil e fl at characters ar e not. Or we can say that round charact ers gr ow whi le fl at charact ers do not. Usual y the r eader is al lowed access to the inner li fe of t he round char act er and perm it ted t o learn about many si des of t he round charact er. The flat character i s a “cl osed” charact er t o whose inner thought s the r eader is denied access. Usual y one si de of the f lat char act er i s shown in t he novel. Most heroes are round charact ers who grow em ot ional y or spi ri tual y. Chapt er Three Them e Ar istotl e in Poet ics l ists six basic el ement s of t r agedy. Mel ody (song) and dic。