雪桃示范种植基地建设项目可行性研究报告(编辑修改稿)

雪桃示范种植基地建设项目可行性研究报告(编辑修改稿)内容摘要：

r r y i t out . ” In some novel s, t he ti tl e may of fer a suggest i on about the m ai n t heme. For exampl e, Jane Aust en’ s Pri de and Prej udi ce is named aft er it s them e, and t he whole st or y unf ol ds i t self ar ound t hat t hem e. I n som e novel s, t he t it l e i s not so nam ed but t he pl ot exi st s pr im aril y t o il l ustr at e t he them e and it i s not ver y dif fi cul t for us t o i nf er what it i s. For exam pl e, Uncl e Tom ’s Cabi n by H. B. St owe and The Grapes of Wrat h by John St ei nbeck voi ce t he t hemes of sl aver y and mi gr ator y l abor respecti vel y. The t it l e of The Grapes of Wrath es f rom a li ne in an extr emel y famous Ci vi l War song, “The Bat tl e Hym n of t he Republ ic.” The l i ne i s, “He i s t r am pl i ng out t he vi ntage where t he Gr apes of wr at h are st or ed, ” whi ch m eans “an unj ust or oppr essi ve sit uat ion, acti on or pol i cy t hat m ay infl ame desi r e f or vengeance: an expl osi ve condit i on. ” The song was writ t en by a fam ous and i nf l uenti al soci al acti vist, Juli a War d Howe. Unobvi ous t hem e: But i n most l it erar y wor ks of f icti on, t he theme i s sel dom so obvi ous. That i s, general y a t hem e is not a m or al nor a m essage, nei t her is i t cl ear l y conveyed i n t he ti tl e. When we fi nish r eadi ng a fi nel y wr ought st or y, i t is easi er t o sum up t he pl ot —t o say what happens—t han t o descr i be t he mai n idea. To say of Jam es Joyce’ s “Araby” t hat it i s about a boy who goes t o a bazaar to buy a gi ft f or a young wom an but ar ri ves t oo l at e is t o sum mari ze pl ot, not t heme. I n m any fi ne short st or i es, them e i s the cent er, t he m ovi ng f or ce, t he pri nci pl e of unit y. Cl ear l y, s uch a them e i s som et hi ng m or e t han t he char act er s and events of t he st or y. Most of the shor t st ori es chal enge an easy e t hem e. I n Hem i ngway’ s “A Cl ean, Wel Li ghted Pl ace,” as obser ved by Kennedy and Gi oi a, t he events ar e rat her sim pl e—a young wait er m anages to get ri d of t he ol d man f r om t he caf233。 and t he ol der wai t er st ops at a cof f e bar on his way hom e—but whi l e t he event s them sel ves seem r elati vel y sli ght , the stor y as a whole i s f ul l of m eani ng. For a deep understanding of t he m eani ng, we have t o look t o ot her el em ent s of the st or y besi des what happens i n i t: nar ati ve, sym bol s, t one, t he di alogue bet ween the t wo wait ers , the m onol ogue of t he ol der wai ter, et c. Evi dentl y t he aut hor i nt ends us t o pay m or e at tenti on to t he t hought s and f eli ngs of t he older wait er , the char act er whose wor ds echo t he aut hor’ s voi ce. One t r y on the t hem e m ay be: “The ol der wait er underst ands t he ol d man and sym pat hizes wit h his need f or a cl ean, wel l ight ed pl ace.” But her e we are sti l t al ki ng about what happens i n the st or y, t hough we ar e not summ i ng up t he plot. A t heme i s usual y stat ed i n gener al words. Anot her t r y sounds l i ke t his: “Sol it ar y peopl e need a orderl y pl ace where t hey can dr i nk wit h dignit y. ” That i s a l it tl e bet ter. We have indicated t hat Hemi ngway’ s st or y i s m or e t han mer el y about an ol d m an and t wo wai t er s. We r em em ber t hat at the end t he st or y i s ent ir el y confi ned t o t he ol der wai t er’s t hought s and per cepti ons. How do we under st and hi s m edi ati on on “nada, ” not hingness, whi ch bear s so much em phasi s? No good st at em ent of t he t hem e of t he st or y can leave it out. Then we have st il l anot her t r y: “Sol it ary people need a place of ref uge f r om t hei r t er i bl e awar eness t hat t heir l if e ( or per haps, hum an l if e) is essenti al l y m eani ngl es.” Nei t her t hi s nor any ot her statem ent of the stor y’ s t hem e i s unar guabl y appr opri at e, but t he st at em ent at least t ouches one pr im ary i dea t hat Hem ingway seem s t o be dr ivi ng at . Aft er we r ead “A Cl ean, Wel l Li ght ed Pl ace, ” we f eel t hat t her e is such a t heme, a unif yi ng visi on, even t hough we cannot r educe it t o a t ag and we m ay st il l var y i n our opi ni on about , and st at em ent of, t he t heme. Moral i nf erences drawn from m ost st ori es: Mor al i nfer ences m ay be drawn f r om m ost st ori es, no doubt , even when an aut hor does not i nt end hi s/ her st or y t o be r ead t hi s way. In “A Cl ean, Wel Li ght ed Pl ace”, we feel t hat Hem ingway is i ndir ect ly gi vi ng us advi ce for properl y r egardi ng and sympathi zi ng the l onel y, t he uncer tain, and the ol d. But obviousl y the st or y does not set f ort h a l es on that we are supposed t o put i nto pr act ice. We can say for sure t hat “A Clean, Wel Li ght ed Place” contains sever al t hemes and ot her stat em ent s coul d be made to take in Hem ingway’s vi ew of love, of muni cati on between peopl e, of dignit y. Great st ori es, li ke great symphonies, f requent ly have mor e than one t heme. When we say t hat t he ti tle of Pr ide and Pr ej udice conveys the t hem e of t he novel or that Uncle Tom’ s Cabin and The Gr apes of Wrath tr eat t he themes of sl avery and migr at ory l abor r especti vel y, t his i s to use theme i n a l ar ger and m ore abst ract sense than i t i s in our di scussi on of case t he noveli st i ntends to point out the profound cause of Gatsby’s tragedy. Dr. Wat son i n t he st ori es of Sherl ock Holmes s erves as a foi l t o t he her o, r ender ing t he det ect ive smart er t han he would ot her wise appear t o the r eader. By t he degr ee of their devel opm ent , charact ers can be grouped as round charact ers and f lat characters. Thi s division is proposed by Forster . Round charact ers ar e f ul ly developed whil e f lat characters ar e not.。