销售部置业顾问培训体系(编辑修改稿)

销售部置业顾问培训体系(编辑修改稿)内容摘要：

who ar e absorbed achieve a som ber i ntegrati on wi th i t, but those who ar e r epel led and rebe l suf fer disast er . Som et im es an envi ronment serves as more than a mere place to set t he st ory. Of ten, it i s inext ri cabl y entangl ed wi th t he protagonist, and even car ies str ong sym bol ic m eanings. Cat hy as an im age of t he femi ni ne per sonal ity, f or example, in Emil y Br ont e’s Wut hering Hei ght s , i s not supposed t o posses t he “wi l dernes” char act eri st ic of m ascul ini ty and symboli zed by t he locales of Heat hcl if f and Wuthering H ei ghts. In some f ict ion, set ing i s closel y bound wit h theme. In The Scarlet Let er, even smal l det ai ls af ford power ful hint s at he theme of t he st ory. At the star t of t he st ory, the nar at or descr i bes a col oni al j ai l house: Befor e this ugl y edi fi ce, and between it and t he wheel tr ack of t he st reet, was a gr ass pl ot , much over grown wi th bur dock, pigweed, apple per u, and such unsi ght ly vegetati on, whi ch evi dent ly f ound somet hi ng congenial in the soi l that had so earl y borne t he black fl ower of ci vi li zed society, a pr ison. But , on one side of t he por tal , and r oot ed almost at t he thr eshold, was a wi ld r osebush, cover ed, i n thi s month of June, wi th its del icate gems, whi ch mi ght be i magined to of fer t hei r fr agr ance and f ragil e beaut y to the pri soner as he went i n, and t o the condem ned cr im inal as he came f ort h to hi s doom , in t oken t hat t he deep heart of Natur e coul d pit y and be kind t o him. Apparentl y, t he aut hor makes a contr ast between the ugl y jai lhouse wi th a tangled gr assplot overgrown wit h burdock and pigweed and somet hi ng as beauti ful as a wi ld rose. As t he st ory unf olds, he wi l f urt her suggest that secret sin and a pr et ty chi ld m ay go together like a pi gweed and wi l d roses. I n thi s art full y craf ted novel , set ting is i nt im at ely bl ended wi th characters, sym bol ism, and theme. In addit ion t o place, set ing m ay cr uci al y involve t he t i m e of t he st ory—cent ur y, year, or even speci f ic hour. It m ay mat er gr eat ly t hat a st or y t akes places in t he morni ng or at noon. The m edi eval background i nf orm s us dif ferentl y f rom the t went iet h cent ur y. Kennedy and Gioi a note t hat i n The Scarl et Let er, t he ni eent h cent ury author Nat haniel Hawt hr one, ut il zes a long int roduction and a vi vid descr ipt ion of the scene at a pr ison door t o i nf orm us that the event s in the stor y took pl ace i n the Pur it an m uni ty of Boston of t he ear li er sevent ent h cent ur y. Thi s set ti ng, t o which Hawt horne pays so much at tenti on, t oget her wi th our schemat a concerni ng Pur it an practi ce, hel ps us under st and what happens in the novel . We can under st and to some extent the agit ation in t he town when a woman is accused of adul ter y, f or adult ery was a fl agr ant defi ance of chur ch f or t he Godf ear ing New England Puri tan munit y, and an i l egi ti mate chil d was evidence of sin. Wi thout inf or mati on about t he sevent eent h cent ury Pur it an background, a r eader today may be per pl exed at the novel. The f act that the stor y in Hawthor ne’ s novel took place i n a ti me r emote f rom our own leads us t o expect di f erent at ti tudes and cus toms of t he character s, i s st rongly suggest ive of the whol e societ y, whi ch is cr uci al t o an esential under standi ng of The Scarlet Let er as a whol e. Besides place and ti me, set ing m ay al so include t he weat her, which, indeed, may be cr uci al i n some stor ies. 2. Local color wri ti ng /regionali sm and t he writ er, a regi onal wri ter. When set ti ng dom inates, or when a pi ece of f icti on is wr i t en l argely to pr esent t he manner s and custom s of a local it y, t he wr it ng is of ten cal ed local color wr it ing or r egi onal ism and t he wr it er , a regional wri ter . A regional wri ter usual ly sets hi s/ her stor ies in one geographic ar ea and t ri es to br ing i t al ive t o readers ever ywhere. Thom as Har dy, i n his por tr ayal of li fe i n Wessex, wr ot e r egi onal novel s. Ar nold Ben t’ s novel s of t he “Five Towns” ar e mar kedl y regional. Wil li am Faulkner, known as a disti ngui shed r egi onal wr it er, almost al ways set his novels and stori es in hi s nat ive Mississi ppi . 3. The set ing of a novel is not always drawn f rom a real li fe local e. The set ing of a novel i s not al ways dr awn f rom a real li fe local e. Li ter ar y art ist s somet im es pr ef er t o create t he tot al it y of their f ict ion—t he set ti ng as wel l as character s and their actions. …… The cr eat ion of set ti ng can be a magical f ict ional gi ft in a novel ist or stor ytel er. But what ever t he set ting of hi s/ her wor k, a tr ue noveli st i s concerned wi th maki ng an envi ronment credible for his/ her characters and t hei r act ions and in accor d wi th the devel opm ent of the pl ot. In some st ori es, a wr it er seem s to draw a set ti ng mai nly t o evoke at mosphere. In such a stor y, set ing star ts us feeli ng whatever t he storyt el ler would have us f el . Thus atmosphere i s a metaphor for a f eel ing or an i mpressi on which we cannot r eadi ly at tach to some tangi ble cause. We say t hat an old farmhouse set among l ar ge maples, on a green lawn, has an at mosphere of peace. Her e what we mean is t hat t he house, by r eason of the l ook of qui et nes and by r eason of a number of pleasant asociati ons we have wi t h the ki nd of l if e l ived there, sti rs a cert ain r eact ion i n us which we do not at ach to any single i ncident or object, but general y t o the whol e scene. I n t he same way we may say that the set ing of a stor y cont ri but es to defi ning i ts at m。