110千伏苏庄输变电工程可行性研究报告(编辑修改稿)

110千伏苏庄输变电工程可行性研究报告(编辑修改稿)内容摘要：

e por tal, and root ed al most at the t hreshol d, was a wil d r osebush, covered, in this m ont h of June, wit h i ts deli cat e gem s, whi ch might be im agi ned t o of fer their f ragr ance and fr agile beauty t o t he pr isoner as he went in, and to the condemned cri mi nal as he cam e for th t o hi s doom, i n token that the deep hear t of Nat ure could pi ty and be ki nd to hi m. Appar ently, the aut hor makes a cont rast bet ween the ugly j ail house wi th a t angl ed grass plot over grown wi th bur dock and pi gweed and somethi ng as beauti ful as a wil d r ose. As the stor y unfol ds, he wi l f ur ther suggest t hat secr et si n and a pret y chil d may go t oget her l ike a pi gweed and wi ld roses. In this ar tf ully cr aft ed novel, set ing i s inti matel y blended wit h char act er s, symboli sm, and t hem e. I n addit ion t o place, set ti ng may cr uci al ly i nvol ve the t ime of the stor y—cent ury, year , or even specif ic hour. I t may mat ter greatly that a st ory takes pl aces in the mor ning or at noon. The medieval backgr ound infor ms us dif fer ent ly f r om t he twenti et h century. Kennedy and Gi oia note that in The Scarlet Let ter , the nieenthcentur y aut hor Nat hani el Hawt hrone, util izes a l ong i ntr oducti on and a vivi d descri pti on of t he scene at a pri son door to infor m us t hat t he events i n t he st ory t ook place in t he Puri tan munit y of Bost on of the earl ier seventeent h century. This set ing, to whi ch Hawthor ne pays so much at ent ion, together wit h our schemata concer ni ng Puri tan pr act ice, helps us under stand what happens i n t he novel. We can understand t o som e ext ent t he agi tati on in the t own when a woman i s acused of adult ery, for adul ter y was a f lagrant def iance of church f or the God feari ng New Engl and Pur it an m uni ty, and an il legit imat e chi ld was evidence of si n. Wit hout i nf ormat ion about the seventeenthcentur y Puri tan backgr ound, a reader t oday may be per plexed at he novel . The f act t hat t he st ory i n Hawt hor ne’s novel t ook pl ace in a t ime remot e fr om our own l eads us t o expect di f erent at ti tudes and customs of t he char act er s, i s str ongly suggest ive of the whol e soci et y, whi ch is cr uci al t o an esenti al under standing of The Scarl et Let er as a whole. Besi des place and ti me, set ting may also include t he weat her, whi ch, i ndeed, may be crucial in some st or ies. 2. Local col or writ ing / regionali sm and the wri ter, a regional writ er. When set ing domi nat es, or when a piece of fi ct ion i s wr it en lar gel y to pr esent the m anners and cust oms of a l ocali ty, the wr it ing i s oft en cal led l ocal col or wri ti ng or regionali sm and the wr i ter, a r egi onal wr it er . A r egi onal wr it er usualy set s hi s/her st ori es i n one geogr aphi c ar ea and tr ies to bri ng it ali ve to r eader s everywher e. Thomas Hardy, in hi s port rayal of l if e in Wesex, wr ote regional novels. Arnold Ben ’s novels of the “Fi ve Towns” are m arkedl y r egi onal . Wil l iam Faul kner , known as a di st inguished regional wri ter, alm ost always set hi s novels and stor ies i n his nati ve Mi sissippi. 3. The set ti ng of a novel i s not al ways drawn from a real l if e locale. The set ti ng of a novel is not always drawn fr om a r eal l if e locale. Lit erary ar ti st s som etim es pr efer to cr eat e t he totali ty of t hei r fi cti on—the set ing as wel as char act ers and t hei r act ions. …… The creati on of set ing can be a magi cal fi cti onal gif t in a noveli st or storyt el ler . But whatever the set ing of his/her work, a t rue novelist is concer ned wit h making an envi r onm ent credible for his/ her characters and t hei r act ions and in accord wi th the devel opm ent of the pl ot. In some st ori es, a wr it er seem s to draw a set ti ng mai nly t o evoke at mosphere. In such a stor y, set ing star ts us f eli ng whatever the storyt eler would have us f el . Thus atm osphere i s a met aphor for a f eel ing or an i mpressi on which we cannot readi ly at tach to some tangi ble cause. We say t hat an old farm house set among l ar ge maples, on a green lawn, has an at mosphere of peace. Her e what we mean is t hat t he house, by r eason of the l ook of qui etnes and by r eason of a number of pl easant asociati ons we have wi t h the ki nd of l if e l ived there, sti rs a cert ain r eact ion i n us which we do not at ach to any single incident or object, but general y t o the whol e scene. I n t he same way we may say that the set ing of a stor y cont ri but es to def ining i ts at mosphere. For instance, in “The Tel Tal e Heart ,” Poe’s set ing t he act ion i n an old, dar k, lantern li t house greatl y cont ri butes to the r eader’s sense of unease, and so hel ps to buil d t he st ory’s ef fecti venes. Another exampl e is Lawr ence’s “The Horse Dealer’ s Daughter,” t he descri pt ion at the beginning of whi ch contr ibutes much t o the at mosphere of t he st ory. 4. The import ance of atm osphere in creati ng the set ing But i t is a m istake to say t hat t he at mospher e of a piece of f ict ion depends on t he set ing al one. (As il lustr at ed in Shakespeare’s Ham let, t he di alogue at t he ver y begi nni ng of t he pl ay hel ps power f ul l y t o est abl i sh t he at m ospher e of uncer t ai nt y, i n addi t i on t o t he set t i ng—t he col d m i dni ght cast l e. ) The vocabul ar y, t he f i gur es of speech, and t he r hyt hm of t he sent ence al so hel p def i ne t he gener al at m ospher e, f or by t hese f act or s t he wr i t er m anages t o cont r ol t he ki nd of associ at i ons t hat e t o t he r eader’s m i nd. At m osphere al so depends on char act er and act i on. I n shor t , we m ay say t hat t he at m ospher e of f i ct i on i s t he per vasi ve, gener al f eel i ng, ge。