小尾寒羊良种繁育工程建设项目可行性研究报告(编辑修改稿)

小尾寒羊良种繁育工程建设项目可行性研究报告(编辑修改稿)内容摘要：

oose t o li ve som e ti me m or e f ul ly than others, and ar e able t o ski p over per iods on ten m ont hs or twenty years wi t hout semi ng weir d, a feat which we can never at tempt. In our li fe, our m inds are a gray mat er even to sci ent ists. We can not know what i s goi ng on i n other‘s mi nd. But in novels, the m inds of the char act ers are open or can be made open t o t he reader i f the novel ist so chooses. The reader does not only see t hei r cl othes, but also se t hei r mi nds. One char act er may be enemy to ot her characters, but he i s fr iend t o the r eader, before whom he can t hink aloud, to borrow Emerson‘s words. Characters do not l ive, but act. When we wat ch act ors speak al oud to t hemsel ves on t he st age as i f they wer e al one, we know they are acti ng and t hey are di f erent fr om what they r epr esent in real if e. The character s in novels exist in a si mil ar manner. II. K inds of Charact ers Usual y, a novel has mor e than one char act er. They inter act wi th each other and make up the stor y. But they are not equal ly import ant or have the same f uncti on to the novel ist. By their r oles in t he novel , t he char act er s can be grouped as her oes, main character s and minor char act er s, and f oil s. The charact er on whom a novel is call ed t he hero or heroi ne when i t is a f emale charact er. The word ―hero‖ ori gi naly refers to a man, i n myt hol ogy and legend, oft en of di vine ancestr y, who is endowed wit h great cour age and str engt h, celebr at ed for his hol d expl oits, and favored by t he gods. In the novel, the word “hero” i s freed of such noble requirements and any central characters can be labeled as heroes. Jonathan Wi ld is t he her o in the novel of t he same name by Henr y Fiel di ng, t hough he i s a notor ious highwayman. Some cri ti cs, annoyed by the connotati on of “hero,” prefer the word “protagoni st, ” whi ch sounds neutral . The enem y or ri val of t he prot agoni st i s cal l ed ―ant agoni st .‖ The m ai n or m aj or charact ers are t hose i n cl ose and dynam i c rel at i on wi t h t he hero or heroi ne. Cl ose rel at i on does not m ean g ood rel at i on. Pabl o i n For Whom t he Bel l Tol l s i s const ant l y f i ndi ng 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 t o how they can ef ect ively analyze a li ter ar y wor k by t hemselves in any of t hese r espect s, even though they have read ple nty of excerpts f r om r epr esentati ve works i n the Br i ti sh and Am er ican l it er ary canon. And t hey tend to have l it tl e idea what role the begi nning part plays in the whol e st ory, how the pl ot develops and es t o r esolut ion, in what way point of view 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 t o the t heme. Upon consi der ati on of t hese f act ors, we have such cour se wit h t he intenti on of cul ti vat ing both st udent s‘ li ter ar y sensi bi li ti es and t hei r /your cr i tical power when r eadi ng Engl ish short stor ies and novels. I. Introduct 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 Forster ‘s r emar k, which i s wort h special at ent ion, for he i s someone in the t rade and wit h r ich exper ience. I n his Aspect s of the Novel he list s ―st or y‖ as the f ir st aspect. People r eadi ng novels f or st ori es us ualy ask quest ions l ike ―what happened next ?‖ and ―and‖ what woul d he do next?‖ These quest ions at est to 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 st ory is a seri es of happeni ngs ar ranged in t he nat ural temporal order as they occur . St ory is t he basis of t he novel, and indeed the basi s of nar rat ive wor ks of al l ki nds. 2. The str ucture and f unct ions of a stor y Plot。 character。 point of view。 t heme。 style 3. What i s Ficti on? Ficti on, t he general ter m f or invented stori es, now usual ly appl ied to novels, shor t st ori es, novel a, romances, fables, and ot her nar ati ve works i n prose, even though most pl ays and nar ati ve poems ar e also fi cti onal. ( P. 83. Conci se Dict ionar y of Lit erar y Ter ms) 4. The St ory and t he Novel To r ead novels f or st ory is nothi ng wrong, but nothi ng prof essional eit her. ―One mark of a second rate mind i s to be al ways tel ing st or ies.‖ The r emark by the French wr it er j ean de La Bruyere (1645~1696) is also t rue of t he reader . I f the pur pose of the novel is only t o t el l st ori es, it could as wel l r emain unborn, f or newspapers and hi st or y books ar e suf fi ci ent t o sat isf y peopl e‘ s desi re f or st ori es about bot h present and past , and even about fut ure.。