生猪定点屠宰场修建资金申请报告(编辑修改稿)

生猪定点屠宰场修建资金申请报告(编辑修改稿)内容摘要：

al, a nd r oot ed almost at t he thr eshold, was a wi ld r osebush, cover ed, i n thi s month of June, wi th i ts deli cat e gems, whi ch mi ght be i magined to of fer t hei r fr agr ance and f ragil e beauty to t he pri soner as he went i n, and t o the condem ned cr imi nal as he came f ort h to hi s doom , i n t oken t hat t he deep heart of Natur e coul d pit y and be kind t o him. Apparentl y, t he aut hor m akes a contr ast between the ugl y jail house wi th a tangled grass plot over grown wit h burdock and pigweed and somet hi ng as beauti ful as a wi ld r ose. As t he st ory unf ol ds, he wi l f urt her suggest that secret si n and a pr et ty chi ld m ay go toget her l ike a pi gweed and wi l d roses. I n thi s ar tf ull y craf ted novel , set ing i s int imat el y blended wit h characters, sym bol ism, and theme. In addit ion t o place, set ing m ay cr uci al y involve t he ti me of the st or y—centur y, year, or even speci fi c hour . It may mat ter greatl y that a stor y takes places i n the m or ni ng or at noon. The medi eval backgr ound i nfor ms us dif fer ent ly f rom the t wenti et h cent ury. Kennedy and Gi oia note t hat i n The Scarl et Let ter, t he nieent hcentury aut hor Nat hani el Hawt hrone, ut il izes a long i ntr oducti on and a vivid descri pt ion of t he scene at a pr ison door to i nfor m us t hat t he events i n the stor y t ook pl ace i n t he Pur it an munit y of Bost on of the earl ier seventeent h cent ury. This set ti ng, t o whi ch Hawt horne pays so much at ent ion, toget her wi t h our schem at a concerni ng Puri tan practi ce, helps us under st and what happens i n the novel. We can under stand to some ext ent t he agi tati on in the town when a woman i s accused of adult er y, f or adul tery was a fl agr ant def iance of church f or the Godf ear i ng New England Puri tan m uni ty, and an i l egi ti mate chi ld was evidence of sin. Wit hout inf ormat ion about t he seventeent hcentury Pur it an background, a reader t oday m ay be per plexed at t he novel. The f act t hat t he st or y i n Hawt hor ne’ s novel took pl ace i n a t ime remote fr om our own l eads us to expect di f erent at ti tudes and customs of t he character s, i s st rongly suggest ive of the whol e societ y, whi ch is cruci al t o an essent i al under standi ng of The Scarl et Let er as a whol e. Besides place and ti me, set ing m ay also include t he weat her, whi ch, indeed, m ay be cr uci al i n some stor ies. 2. Local color wri ti ng /regionali sm and t he writ er, a regi onal wri ter. When set ti ng dom inates, or when a pi ece of f icti on is wr i t en largely to pr esent the manner s and cust om s of a local it y, t he wr it ing i s of ten cal ed local col or wr i ti ng or r egional ism and the wr it er , a regional wri ter . A regional wr iter usual ly sets hi s/ her stor ies in one geographic ar ea and t ri es to br ing i t al ive t o r eaders everywhere. Thomas Hardy, i n his por tr ayal of li fe i n Wessex, wr ote r egi onal novel s. Ar nold Ben’s novel s of the “Five Towns” ar e mar kedl y regional. Wil li am Faulkner, known as a disti ngui shed r egi onal wr it er, almost always set his novels and stor ies in hi s nat ive Mississi ppi . 3. The set ti ng of a novel is not al ways drawn from a real li fe locale. The set ing of a novel i s not al ways dr awn f rom a r eal l if e local e. Li ter ar y ar tist s somet imes pr ef er to cr eat e the t ot ali ty of t hei r fi ct ion—the set ti ng as wel as char act er s and their acti ons. …… The cr eat ion of set ti ng can be a m agi cal f i ct i onal gif t in a noveli st or stor yt el er . But what ever the set ing of his/her wor k, a t rue noveli st i s concer ned wi th m aki ng an envi ronment cr edi ble f or hi s/ her char act ers and their acti ons and i n accor d wi th t he development of the plot . In some stor ies, a wri ter sems t o draw a set i ng mainl y t o evoke at mosphere. I n such a story, 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 armhouse set among lar ge mapl es, on a gr een l awn, has an atm osphere of peace. Here what we m ean i s that the house, by r eason of the l ook of quiet ness and by reason of a num ber of pleasant associ ations we have wi th the kind of l if e li ved there, st ir s a cert ai n r eacti on in us whi ch we do not at ach t o any si ngle i nci dent or obj ect , but gener al y to the whole scene. I n the same way we may say that he set ti ng of a st ory contr ibut es t o defi ni ng it s atm ospher e. For i nst ance, in “The Tel Tale H eart, ” Poe’s set ti ng the acti on in an ol d, dar k, l ant ernl it house gr eat ly contr i but es t o t he reader ’s sense of unease, and so hel ps t o bui ld t he story’s ef ect iveness. Anot her exam ple i s Lawr ence’s “The Horse Dealer’s Daught er,” the descri pti on at he begi nni ng of which contr ibutes much t o the at mosphere of t he st ory. 4. The importance of atm osphere in creat ing the set ing But i t is a m istake to say t hat t he at mospher e of a pi ece 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 beginning of the pl ay hel ps power ful ly t o establish t he atmospher e of uncert ainty, in addi tion to t he set ting—the cold midnight cast le.) The vocabular y, t he fi gur es of speech, and the r hyt hm of t he sentence also hel p defi ne the gener al at mospher e, f or by these f act ors 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 h。