深圳广电iptv播控平台保障项目技术方案建议书20xx0406(编辑修改稿)

深圳广电iptv播控平台保障项目技术方案建议书20xx0406(编辑修改稿)内容摘要：

in every li mb, t he ant t ugged over the snow a pi ece of corn he had stor ed up last summ er . It would t ast e mi ght good at di nner t oni ght . A gr asshopper, cold and hungr y, looked on. Final y he could bear it no longer. “Please, fr iend ant, may I have a bit e of cor n?” “What wer e you doing al l ast sum mer?” asked t he ant . He l ooked t he gr ashopper up and down. He knew it s kind. “I sang fr om dawn t il l dar k,” r epl ied t he grasshopper , happil y unawar e of what was i ng next . “Wel, ” sai d t he ant , har dl y botheri ng to conceal his contempt , “since you sang al l summ er , you can dance al l wint er .” He who i dl es when he is young wi l have not hi ng when he i s ol d. QUESTIONS I n what poi nt of vi ew is the f abl e nar rat ed? Rewr it e the f able in thi rd per son, sel ect ive omni scient point of vi ew. Fi rst person point of vi ew ( the ant bei ng the nar ator ). Fir st per son poi nt of view (t he grasshopper being t he nar rat or ) . Obj ect ive point of view. Chapter Si x St yl e What i s Styl e? “Proper words i n proper places, makes t he tr ue def i ni ti on of a st yle.” Jonathan Swif t’ s r em ar ks lead us gener al ly t o t hi nking of modes of expression of a piece of fi ction as t he most character isti c of the author’ s st yle. Thus st yl e gener aly ref er s to how the author uses l anguage in hi s/ her wor k: to t he aut hor’s par ti cul ar ways of managing wor ds that we e to recogni ze as habit ual or cust om ar y. A disti nct ive st yl e mar ks t he work of a fi ne wri ter : we can tel Lati n expresi on: Sti lus vi rus arguit ( “The st yle pr ocl ai ms t he man”) , and f or thi s mat er we ar e f am il iar wit h t he experi ence of t rying t o gues t he aut hor of a pi ece of wr it ing on t he evi denc e of his/her language. Actual y, styl e is a bi nat i on of two el em ent s, t he idea to be expr essed and t he li ngui st ic t rai ts or char act eri st ics of the author. I t is, as . Lowel l said, “the establi shment of a per fect mutual under st andi ng bet ween the wor ker and his m at eri al ”. However, t her e has never been an agreement on the exact meaning of style in t he histor y of li terar y cri tici sm , and t he fur ther nar rowi ng of it s meani ng bri ngs us on t o mor e cont roversi al gr ound, wher e dif f er ent defi nit ions of st yle i nvol ve even confl icti ng views of the use of language i n li ter at ure. Ther e i s a st rong t radit ion of t hought which r est ri ct s style t o choices of m anner rat her t han mat ter , of expressi on rather t han content. Such separat ion between f or m and meani ng is i mpli ed in t he mon defi niti on of st yle as a “way of wr it ing” or “mode of expression.” There i s equal ly a st rong l iter ar y t radit ion t hat emphasi zes t he insepar abi li ty between styl e and cont ent。 i n Fl aubert ’s wor ds: “It i s li ke body and soul: f or m and content to me are one.” The di st incti on bet ween what a wri ter wants t o say and how i t i s pr esent ed t o t he r eader under l i es one of t he ear l y and per si st ent concept s of st yl e: st yl e as t he “dr ess of t hought , ” as Wesl ey put i t : St yl e i s t he dr ess of t hought。 a m odest dr ess, Neat , but not gaudy, wi l l t r ue cr i t i cs pl ease. Thi s m et aphor r esonat es wi t h Renai ssance and Neo Cl assi ci st pr onouncem ent s on st yl e. For exam pl e, t he i dea t hat st yl e i s l ant er n li t house greatl y cont ri but es to t he r eader’s sense of unease, and so hel ps t o buil d t he st or y’s ef fecti venes. Another exam pl e is Lawr ence’s “The H orse Deal er’ s Daughter, ” t he descri pt i on at t he begi nni ng of whi ch cont ri but es m uch t o t he atm ospher e of t he st or y. 4. The i mportance of at m osphere i n creat i ng t he set ti ng But it i s a mi st ake t o say t hat t he atm osphere of a pi ece of f icti on depends on t he seti ng al one. ( As i l ust rat ed i n Shakespear e’ s Haml et , t he di al ogue at t he ver y begi nni ng of the pl ay hel ps power full y t o est abl ish t he atm ospher e of uncert ai nty, in addit ion t o t he set ing—t he col d mi dnight castl e. ) The vocabular y, t he f i gur es of speech, and t he r hyt hm of t he sentence al so hel p defi ne t he gener al atm osphere, f or by t hese f act or s t he wri ter manages t o cont r ol t he ki nd of associ at i ons t hat e t o the r eader’ s mi nd. At m osphere al so depends on character and act ion. In short , we may say t hat t he atm osphere of f icti on is t he per vasi ve, gener al f eel i ng, gener at ed by a num ber of f act ors ( set ti ng, char act er, act i on, and st yl e) t hat i s char act er i st ic of a gi ven st or y or novel. Chapt er Fi ve Poi nt of Vi ew The i ssue of poi nt of vi ew i s hi ghly phil osophi cal, because it concer ns t he r el at i on bet ween t he novel ist and t he “facts” i n the novel , the r el ati on bet ween the novel ist and t he r eader, and t he r el ati on bet ween the novel and t he reader. The poi nt of vi ew is t he at ti t ude or outl ook of a nar rat or or char act er i n a pi ece of li t er at ure, or it i s t he r el at i onshi p bet wen t he nar r at or and t he nar r at ed. Met aphori cal ly, a point of vi ew i s a standpoi nt f r om whi ch t he nar at or sees t he st or y and how he i nt ends t he r eader t o see the stor y. When we open a novel, we open a window t o li f e. What a vi si on the novel pr ovi des l argely depends on t he poi nt of vi ew. Fi ct i onal prose and poi nt of vi ew As we know t here ar e at l east level s of discour se to account f or t he language of fi cti onal pr ose ( no m at er i t is a novel or a short st or y) , j ust because t he nar r at or l evel i nt ervenes bet ween t he char act er char acter l evel and t he aut hor reader l evel. Fr om t he diagra。