创意婚礼策划方案与30个创意时尚(编辑修改稿)

创意婚礼策划方案与30个创意时尚(编辑修改稿)内容摘要：

ver do t his. They chose t o live som e t im e m or e f uly t han other s, and are able t o skip over periods on t en m ont hs or t went y ear s wit hout seeming weir d, a f eat which we c an never atempt. I n our lif e, our minds are a gray m ater even to scientists. We can not know what is going on in other’s m ind. But in novels, t he m inds of the character s are open or can be made open t o t he r eader if t he novelist so chooses. The r eader does not only see t heir clot hes, but also see t heir minds. One character may be enemy t o other characters, but he is f r iend t o t he r eader, before whom he can think aloud, to borrow Em erson’s words. Characters do not live, but act. When we watch actors speak aloud t o t hem selves on t he st age as if t hey wer e alone, we know t hey ar e act ing and t hey ar e dif fer ent f r om what they r epresent in r eal if e. The charact er s in novels exist in a sim ilar m anner . I I. Kinds of Character s Usualy, a novel has m or e t han one char act er . They int eract wit h each ot her and m ake up t he st or y. But t hey ar e not equaly im por t ant or have t he same f unct ion t o t he novelist . By t heir r oles in t he novel, t he char act er s can be gr ouped as her oes, main char act ers and minor charact er s, and f oils. The char act er on whom a novel is called t he her o or her oine when it is a f em ale char act er. The word “her o” originaly ref ers to a m an, in m yt hology and legend, of t en of divine ancestr y, who is endowed wit h gr eat courage and st r engt h, celebrat ed f or his hold exploit s, and f avored by t he gods. I n the novel, the word “hero” is freed of such noble requirements and any central character s can be labeled as her oes. J onathan Wild is t he her o in t he novel of t he sam e nam e by Henr y Fielding, t hough he is a not or ious highwaym an. Some critics, annoyed by the connotation of “hero,” prefer the word “protagonist, ” which sounds neutral. The enemy or rival of the protagonist is caled “ant agonist .” The m ain or m ajor char acter s ar e t hose in close and dynam ic r elation wit h t he her o or her oine. Close r elat ion does not mean good r elation. Pablo in For Whom t he Bell Tols is const ant ly f inding t rouble wit h t he her o J ordan, yet he is a m ain character as his wif e Pilar is. M inor character s ar e t hose in r em ote and stat ic r elation wit h t he her o. I t is wr ong t o t hink t hat minor character s ar e al unim por t ant . I n some novels, one or some of t he m inor character s m ay ser ve a cr it ical r ole, str uctur aly or int er pr etationaly. Foil char act er s are ones t hat help enhance t he int ensit y of t he her o by st rengthening or cont r ast ing. They m ay be m ain char act er s or minor character s. I n a wor d, t hey ser ve as f oils t o t he hero r heroine. Cohn in The Sun Also Rises is a good example. He is one of the main characters. Like Jake, he is also “lost,” t rying vainly t o escape t he past by cour ting wom en and dr inking. But during t heir st ay in Spain, Cohn displays qualit ies in cont ras t o t hose cher ished by J ake, which m akes J ake r ealize his own pr oblem s and f inaly f ind a solut ion, t hough tem por arily. Cohn wor ks m ainly by cont rast. Wilson in The Gr eat Gat sby wor ks by pr esenting. Gat sby lost his lover t o Tom and Wilson lost his wif e t o Tom. By presenting Wilson’ s case the novelist intends to point out the prof ound cause of Gatsby’s tragedy. Dr. Watson in the st or ies of Sher lock Holm es ser ves as a f oil t o t he hero, r ender ing t he det ect ive smar ter t han he would ot her wise appear t o t he r eader. By t he degr ee of t heir developm ent , char act ers can be grouped as r ound char act ers and f lat char act ers. This division is pr oposed by E. M For st er. Round char act ers ar e f uly developed while f lat char acter s ar e not . Or we can say t hat r ound char act ers gr ow while f lat char act ers do not . Usualy t he r eader is alowed access t o t he inner lif e of t he r ound char act er and per mit ted t o lear n about m any sides of the round character. The f lat character is a “closed” character to whose inner thoughts the reader is denied access. Usualy one side of t he f lat character is shown in t he novel. M ost heroes ar e r ound character s who gr ow em otionaly or spir it ualy. Chapt er Thr ee Them e Ar ist ot le in Poet ics list s six basic elem ents of t ragedy. Melody ( song) and diction ( language) f al in t he gener al cat egor y of st yle, and spect acle is r elevant t o sett ing in our discussion of f ict ion. The ot her t hr ee aspect s are m ythos or plot , et hos or character , and dianoia, which we gener aly t r anslate int o “t hought ” in English. Accor ding t o Ar istot le, plot is t he “soul” or shaping pr inciple or f ict ion, and char act ers exist pr im arily as f unctions of t he plot . I n most of t he stor ies, plot plays t he r ole of pr incipal st r uct ure of t he stor y. But, as Nor thr op Fr ye points out , besides t he int er nal f iction of t he character and his/her societ y, t here is an ext er nal f ict ion consisting of a r elat ion bet ween t he wr it er and t he wr it er ’s societ y. We indeed have lit er ar y wor ks by t he likes of Shakespear e and Hom er in which ar t ist r y is plet ely absor bed in t heir int er nal char act er s and we can har dly per ceive t he exist ence of t he aut hor . However , as soon as t he aut hor ’ s per sonalit y appear s on t he hor izon, a r elat ion wit h t he r eader is est ablished, and som et im es t her e seem s no st or y at al apar t f r om what t he aut hor is conveying t o his/her r eader . I n t his case, t he pr im ar y int er est in dianoia, t he idea or t hought t hat r eader get s f r om t he I nt r。