xxx县移民公路建设工程可行性研究报告(编辑修改稿)

xxx县移民公路建设工程可行性研究报告(编辑修改稿)内容摘要：

exampl e is t he let ter “A” in The Scarlet Leter . Im port ant speeches. Char act er s tal k and in t heir tal k are r evealed t hei r judgments of the ot her characters or event . The char acter s’ j udgm ent s may give i mport ant clues to the t heme. V. Obvious and unobvious t heme Obvious theme: The t hem e of a st ory, si nce we know, i s whatever general idea or insight the enti re stor y r eveals. In some stor ies, the theme i s r at her obvious. For exam ple, in Aesop’s f abl e about t he counci l of the mi ce that cannot decide who wil l bel l t he cat , the t heme is stated i n t he moral at the end: “I t i s easi er t o propose a thi ng than to car ry it out.” In some novels, the ti tl e may of fer a suggesti on about t he main t hem e. For exam pl e, Jane Aust en’ s Pride and Prej udice i s named af ter it s theme, and the whole st or y unf ol ds it self ar ound that hem e. I n some novel s, t he ti tl e is not so nam ed but t he pl ot exi st s pri mari ly t o i lustr ate t he theme and i t i s not ver y dif fi cul t for us to infer what it i s. For exampl e, Uncl e Tom ’s Cabin by H. and The Grapes of Wrat h by John Steinbeck voice the t hem es of slavery and m igrat ory l abor r espect ively. The ti tl e of The Grapes of Wrath es f rom a li ne in an ext remely famous Ci vi l War song, “The Bat tl e Hymn of t he Republ ic.” The l ine i s, “He i s tr ampli ng out t he vintage where the Gr apes of wr at h are st ored,” whi ch means “an unjust or oppressive sit uat ion, acti on or policy t hat m ay infl ame desi re for vengeance: an expl osi ve condit ion.” The song was wr it ten by a f amous and infl uent ial social activi st , Jul ia War d Howe. Unobvi ous theme: But i n most li terar y wor ks of f icti on, t he theme i s sel dom so obvious. That is, general y a t heme is not a mor al nor a message, nei ther is i t cl ear ly conveyed i n the t it le. When we fi ni sh reading a f inely wrought st ory, it is easier t o sum up the pl ot—to say what happens—than t o descri be the m ai n idea. To say of James Joyce’ s “Araby” that it i s about a boy who goes to a bazaar t o buy a gif t for a young woman but ar ives too l ate i s to summar ize plot , not t heme. I n many f ine s hor t st ori es, theme i s the center, t he moving f orce, t he pri nci ple of unit y. Cl ear ly, such a t hem e is somethi ng more than the characters and event s of the stor y. Most of the short stor ies chal lenge an easye t hem e. I n Hemi ngway’ s “A Clean, Wel Li ght ed Place, ” as observed by Kennedy and Gioi a, t he events ar e rather simpl e—a young wait er m anages to get ri d of the ol d man f rom the caf233。 and t he older waiter stops at a cof fee bar on his way home—but whi le the event s themsel ves seem r elati vel y sli ght , the stor y as a whole i s ful l of m eaning. For a deep understanding of the meani ng, we have to look to other el ement s of the stor y besi des what happens in i t: nar ati ve, symbol s, t one, t he di alogue bet ween the t wo wait ers, the monologue of the ol der wai ter, etc. Evidentl y the author int ends us to pay more at tenti on to t he thought s and feeli ngs of t he older waiter , t he char act er whose wor ds echo t he aut hor ’ s voi ce. One t r y on t he t hem e m ay be: “The ol der wai t er under st ands t he ol d m an and sym pat hi zes wi t h hi s need f or a cl ean, wel l l i ght ed pl ace. ” But her e we ar e st i l l t al ki ng about what happens i n t he st or y, t hough we ar e not t r oubl e wi th the hero Jordan, yet he i s a main character as his wi fe Pi lar i s. Minor char acter s are t hose i n remot e and st ati c relat ion wi th the hero. It i s wr ong t o t hi nk that mi nor characters ar e al unimpor tant. I n som e novels, one or some of t he minor char act ers m ay ser ve a cr it ical rol e, str uct ural y or int er pret at ional y. Foil charact ers are ones that hel p enhance the i ntensi ty of t he hero by strengt heni ng or cont rast ing. They may be m ain charact ers or m inor characters. I n a wor d, they ser ve as foil s to the hero or heroi ne. Cohn i n The Sun Also Ri ses i s a good exampl e. He is one of the mai n char act er s. Like Jake, he is al so “l ost ,” t rying vai nl y t o escape the past by court ing wom en and drinking. But during t heir stay i n Spai n, Cohn di spl ays quali ti es i n cont rast to t hose cheri shed by Jake, whi ch makes Jake reali ze hi s own pr obl em s and fi nal ly f ind a sol ut ion, though tempor ar il y. Cohn wor ks mainl y by cont rast. Wilson i n The Gr eat Gatsby wor ks by present ing. Gat sby lost hi s lover to Tom and Wi lson lost hi s wi fe t o Tom. By presenting Wil son’s case t he noveli st i ntends t o point out the profound cause of Gat sby’s t r agedy. Dr. Wat son in t he st ori es of Sherl ock Holmes serves as a foi l to t he her o, r ender ing t he det ect ive smart er than he would ot her wise appear t o the r eader. By the degr ee of their devel opm ent , charact ers can be grouped as round charact ers and f lat characters. Thi s divisi on is pr oposed by Forst er . Round characters ar e f ully developed whil e f lat characters are not. Or we can say t hat round characters grow while fl at charact ers do not . Usual y the r eader i s al lowed access to the i nner li fe of t he round char act er and per mit ted t o learn about many sides of the round character. The flat charact er i s a “cl osed” charact er to whose inner thought s the r eader is denied access. Usual y one side of the f lat char act er i s shown in t he novel . Most heroes are round characters who grow em oti onal y or spi ri tual y. Chapt er Three Them e Ar istot le i n Poet ics l ists six basic el em ent s of tr agedy. M el ody (song) and di ct ion ( language) fal l i n t he general cat egor y of style, and spectacle i s rel evant to set ing i n。