甘肃省玉门市陇中苜蓿良种繁育基地(编辑修改稿)

甘肃省玉门市陇中苜蓿良种繁育基地(编辑修改稿)内容摘要：

in m ind t hat t he character s ar e not real per sons, but mer el y i nventi ons, however ingenious. Compare the physi cal l ife and spi ri tual ife of the characters and ours. We have t o answer the nature‘s cal several t imes a day, but char act ers seldom do t his, even i n the m ost r eal isti c or nat ur ali st ic novels. We have to l ive our li fe hour by hour and day by day, but I nt r oduct i on I. Why do we have such course? Engl ish l it er atur e is one of the pulsory and m ost i mpor t ant cour ses. However , the Engli sh li terat ur e cour ses of fer ed ar e mer el y t aught at t he level of l ear ning gener al i nfor mati on and developing l it eral underst anding. Admi t edl y, such cour ses help t hem/you a l ot i n t hei r/ your acqui si ti on of the Engli sh language. But t he functi on of Engl ish li ter at ure r eaches far beyond t hat . In readi ng Engli sh l it eratur e, a st udent should have t he power t o discer n how human beings t ransl ate t hei r experi ence i nto ar tist ic expressi on and represent at ion。 how wr it ers, through t hei r cr eat ive i mpulses, convey t o us their i nsi ghts i nt o human dest iny and human li fe。 and how soci al concer n i s involved in a specif ic f orm of human imagi nat ion. In addit ion, st udent s should el evate to t he level of cult ivati ng a curi osit y f or the unknown, thi nki ng cogentl y and logi cal ly, expressing t hemselves clearl y and concisely, and observing t he wor ld ar ound t hem cri ti cal ly and objecti vel y. But most st udent s ar e sti l at a loss as to how they can ef fecti vel y anal yze a li terar y wor k by themselves in any of t hese r espect s, even though they have read plenty of excer pts f rom r epr esent ati ve works i n the Br i tish and Am er ican l iter ary canon. And t hey tend to have l it tle idea what r ole t he begi nni ng part plays in the whole st ory, how the pl ot develops and es t o r esoluti on, i n what way point of vi ew deter mines a r eader‘ s under st andi ng of the stor y, and how t he images and symbol s ar e r el ated to the t heme. Upon consi der ation of t hese f act ors, we have such cour se wit h t he intenti on of cul ti vat ing both st udents ‘ li ter ar y sensibi li ti es and t hei r /your cr it ical power when r eadi ng Engl ish short stori es and novels. I. Int roduct ion about readi ng a story 1. What is St or y? ―Yes –oh, dear, yes—t he novel tel s a stor y. ‖ This i s For ster ‘s r em ar k, which i s wort h special at ent ion, for he is someone in the tr ade and wit h r ich exper ience. I n his Aspect s of the Novel he l ist s ―stor y‖ as the f ir st aspect. People r eading novels f or st ori es usual ly ask quest ions li ke ―what happened next?‖ and ―and‖ what would he do next?‖ These quest ions at est t o the t wo basi c elements of a stor y. The one i s the event and the ot her t he ti me. A story is a seri es of happeni ngs ar ranged in t he nat ural tempor al or der as they occur . Story is t he basis of t he novel, and indeed the basis of nar r at i ve wor ks of al l kinds. 2. The st ructur e and functi ons of a stor y Plot。 character。 poi nt of vi ew。 t hem e。 styl e 3. What is Fict ion? Fict ion, t he gener al t er m for i nvented stor ies, now usual y appl ied t o novel s, shor t stori es, novel la, romances, f abl es, and ot her nar rati ve works i n prose, even though most plays and nar rati ve poem s ar e also f icti onal . (P. 83. Concise Di ct ionary of Li ter ar y Term s) 4. The Stor y and the Novel To read novel s for stor y is nothi ng wr ong, but not hi ng prof esional ei ther. ―One mar k of a second r at e mi nd is t o be always tel li ng st ori es.‖ The remark by the Fr ench wr i ter jean de La Br uyer e (1645~1696) is al so tr ue of t he reader . If t he pur pose of t he novel is only to t el stori es, i t could as wel l remain unbor n, f or newspaper s and hi story books are suf fi ci ent t o sat isfy people‘ s desir e f or st or ies about both pr esent and past, and even about fut ur e. In f act , many newapaper men have been di sati sf ied wi th their j ob of repor t ing and e int o the f iel d of novel wr it ng. Def oe, Di ckens, Joyce, Hemi ngway and Cam us were among t he most f amous and t he most successful convert s. Even hist or ians may f eel obli ged to do more t han mere stor ies or facts. Edward Gi bbor n‘ s Decli ne and Fal l of t he Roman Empi re i s praised not onl y f or i ts m ul ti tudinous f act s and r ati onali sti c analysis, but m ore f or it s beauty of nar ati ve st yle. In tel ing st ori es, the noveli st ai ms at som ethi ng higher or he int ends t o add somethi ng t o the m ere “f act s.” As i ndicated i n t he defi ni ti on of the novel, what m akes a novel is t he novel ist‟ s st yle ( personali zed present at ion of t he story) and int erpretati on of the st ory. Chapt er One Plot I. What is Plot? 1. According t o Ar istot le what are t he six elem ent s of t he str uct ur e of tr agedy? Tragedy as a whole has just six const it uent elements… and they are pl ot, characters, verbal expression, thought, visual adornment , and song—posit ion. For the elements by whi ch they i mit ate ar e two (verbal expr ession and song— posi tion) , the manner i n whi ch they im it at e is one ( visual adornment) , the t hi ngs they imit at e are t hree ( plot, char acters , thought ), and t her e is nothi ng mor e beyond these. 2. What is Pl ot under the pens of moder n novel ists and storyt eler s? And how to under st and ―Pl ot ‖ i n a story? (―‖ppt : ‗The queen di ed, no one knew why, until i t was discovered t hat i t was through gr ief at t he deat h of the ki ng. ‘… P. 6 I t suspends the t ime sequence, it moves as far away fr om t he story as i ts l im it at ions wi l al ow.) The story and the char act er al one can not make a novel ye. To make a novel , a pl ot is p。