土鸡生态养殖项目可行性研究报告1(编辑修改稿)

土鸡生态养殖项目可行性研究报告1(编辑修改稿)内容摘要：

a somber i ntegrat ion wi th i t, but those who are r epel led and r ebel suf fer disast er. Someti mes an envi ronm ent serves as more t han a mere place t o set t he story. Of t en, it i s inextr icably entangled wi th t he prot agonist, and even car ri es st rong symbolic meani ngs. Cathy as an im age of t he femi nine personal it y, f or example, i n Emi ly Br onte’s W ut heri ng Heights , is not supposed t o posses t he “wil derness” characteri stic of m asculi ni ty and symboli zed by the l ocales of Heathcli f and Wut hering Heights. In some fi ct ion, set ting is closely bound wit h t hem e. I n The Scarl et Let er, even sm al l det ai ls af for d powerf ul hi nts at the t heme of t he st ory. At the star t of t he story, the nar r at or descri bes a col oni al j ai l house: Bef or e t hi s ugl y edi fi ce, and bet wen i t and t he wheel tr ack of t he st r et, was a gr as pl ot , much over grown wit h burdock, pi gwed, appl e per u, and such unsi ght l y vegetati on, whi ch evi dent ly f ound som et hi ng congeni al i n the soil t hat had so ear ly bor ne t he black fl ower of ci vil zed soci et y, a pr ison. But , on one si de of t he port al , and r ooted alm ost at he t hr eshol d, was a wi l d rosebush, cover ed, i n t hi s m ont h of June, wi t h it s del icate gems, which mi ght be i magi ned t o off er t hei r fr agrance and f r agil e beaut y t o t he pr isoner as he went i n, and t o t he condem ned crim i nal as he came f ort h t o his doom , i n t oken that he deep heart of Nat ur e coul d pit y and be ki nd t o him . Appar ent ly, the author makes a cont rast bet ween t he ugl y j ai l house wit h a t angl ed gr as pl ot over gr own wi th bur dock and pi gwed and som et hi ng as beaut if ul as a wil d r ose. As the st or y unfol ds, he wil l f ur ther suggest t hat secr et si n and a pret y chi l d m ay go t oget her li ke a pi gwed and wi ld r oses. In t his art f ul l y cr aft ed novel, set t i ng is i nti mately bl ended wi th character s, symboli sm , and t hem e. I n addi ti on to pl ace, set ti ng may crucial y i nvol ve the t ime of t he story—cent ury, year, or even specif ic hour. I t m ay mat er gr eat ly t hat a st or y t akes places in t he mor ni ng or at noon. The m edi eval backgr ound i nfor ms us dif ferentl y f rom the t wentiet h cent ury. Kennedy and Gi oi a note t hat i n The Scarl et Let er, t he ni eent hcent ury aut hor Nat haniel Hawt hrone, ut il izes a long i nt roducti on and a vi vid descr ipt ion of t he scene at a pr ison door t o i nf orm us that the events i n the stor y took pl ace i n the Pur it an munity of Bost on of t he ear li er sevent eent 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, helps us under st and what happens i n the novel . We can under stand to some extent the agit ati on in t he town when a woman i s accused of adul ter y, f or adult ery was a fl agr ant defi ance of church f or t he Godf ear ing New England Puri tan munit y, and an i l egi ti mate chil d was evi dence of sin. Wi thout inf or mati on about t he sevent eent h cent ury Pur it an background, a r eader t oday 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 to expect dif f er ent at it udes and cust oms of the characters, is s t rongly suggesti ve of the whole society, which i s crucial to an essent ial under st andi ng of The Scarlet Leter as a whol e. Besides place and t im e, set ing may al so i nclude the weat her, which, indeed, may be crucial i n some st ori es. 2. Local col or writ ing / regi onal ism and the wri ter, a regi onal writ er. When set ing domi nat es, or when a piece of fi ction is wr it ten l ar gel y t o present t he manner s and customs of a l ocal ity, the wr i ti ng is of ten caled l ocal color wr it ing or r egi onali sm and t he wri ter, a r egional wr i ter. A r egional wr i ter usual y set s his/her stori es in one geogr aphi c area and tr ies t o bri ng it ali ve to reader s ever ywher e. Thomas Har dy, i n his port rayal of l if e i n Wessex, wrot e regional novels. Ar nol d Ben t’ s novels of t he “Fi ve Towns” are markedly r egi onal . Wi l iam Faul kner , known as a di st inguished regional wri ter, al most always set hi s novel s and st or ies i n his nati ve Mi sissippi. 3. The set t ing of a novel i s not always drawn f rom a real l if e l ocale. The set ti ng of a novel is not always drawn fr om a r eal l if e l ocale. Lit erary ar ti sts someti mes pr efer to cr eat e t he total ity of their f icti on—the set ing as wel l as characters and t hei r act ions. …… The creati on of set ing can be a m agi cal fi cti onal gif t in a noveli st or stor yt eler . But what ever the set ing of his/her wor k, a t rue novelist is concer ned wit h maki ng an envir onment cr edi ble f or hi s/ her char act er s and the ir acti ons and i n accor d wi th t he development of the plot . I n some stor ies, a wri ter sems t o draw a set ing mainl y t o evoke at mos phere. I n such a st ory, set ti ng st art s us feeli ng what ever t he st orytel ler would have us feel. Thus atmospher e is a metaphor f or a feeli ng or an impr esion whi ch we cannot r eadil y at ach to some t angi bl e cause. We say that an ol d f ar mhouse set am ong l ar ge m apl es, on a gr een l awn, has an at m ospher e of peace. Her e what we m ean i s t hat t he house, by r eason of t he l ook of qui et ness and by r eason of a num ber of pl easant associ at i ons we have wi t h t he ki nd of l i f e l i ved t her e, st i r s a cer t ai n r eact i on i n us whi ch we do not at t ach t o any si ngl e i nci dent or obj ect , but gener al l y t o t he whol e scene. I n t he sam e way we m ay say t hat t he s。