大连星海高尔夫项目可行性研究报告20xx年-63doc

大连星海高尔夫项目可行性研究报告20xx年-63doc内容摘要：

bear in m ind t hat t he char act er s are not r eal per sons, but m er el y i nventi ons, however i ngenious. Com par e t he physical if e and spi ri t ual li f e of t he char act er s and ours. We have to answer t he nat ure‘s cal l several tim es a day, but charact ers sel dom do t hi s, even i n the m ost reali st ic or nat ur al isti c novel s. We have t o l ive our li fe hour by hour and day by day, but char act er s never do t hi s. They choose t o l ive som e ti me m ore f ull y t han ot her s, and are abl e t o skip over per i ods on t en m onths or t went y year s wit hout seem ing wei rd, a f eat whi ch we can never at t em pt . In our li f e, our m i nds ar e a gray m at ter even t o sci enti st s. We can not know what is goi ng on in ot her‘s m ind. But i n novel s, t he mi nds of t he char act er s are open or can be m ade open t o t he r eader if t he noveli st so chooses. The reader does not onl y see t hei r cl othes, but al so se t hei r mi nds. One char act er m ay be enem y to ot her characters, but he i s f ri end t o t he reader, before whom he can t hi nk al oud, t o borrow Emerson‘s words. Charact ers do not l i ve, but act. When we watch actor s speak aloud t o themsel ves on the stage as if t hey wer e al one, we know t hey ar e act i ng and t hey ar e dif f er ent f r om what they r epr esent i n r eal li f e. The char act ers i n novel s exi st i n a sim il ar m anner. II. Ki nds of Charact ers Usual l y, a novel has m or e t han one char act er . They int er act wi th each other and m ake up the stor y. But t hey ar e not equal l y i m port ant or have t he sam e f uncti on t o t he novel i st. By t heir r oles i n the novel , the char act ers can be gr ouped as her oes, mai n char act er s and m i nor char act ers , and foil s. The charact er on whom a novel i s cal led t he hero or heroi ne when it i s a f em al e character. The word ―hero‖ ori gi nal y r efer s t o a m an, i n myt hol ogy and l egend, of t en of di vi ne ancest r y, who i s endowed wit h great cour age and str engt h, celebr at e d for his hol d expl oi ts, and favored by t he gods. In the novel, the word “hero” i s freed of such nobl e requirements and any central charact ers can be l abel ed as heroes. Jonat han Wil d is t he her o i n t he novel of t he sam e nam e by Henry Fi el di ng, t hough he is a not ori ous hi ghwayman. Some cri ti cs, annoyed by the connotation of “hero, ” prefer the word “protagoni st,” which sounds neutral . The enemy or rival of the prot agonist is cal ed ―ant agoni st.‖ The mai n or maj or charact ers are t hose i n close and dynamic relat ion wit h t he hero or heroine. Cl ose rel ati on does not mean good relati on. Pablo in For Whom t he Bel l Tol ls i s constant ly f inding I nt r oduct i on I. Why do we have such course? Engl ish l it er atur e is one of the pulsory and m ost i mpor t ant cour ses. However , the Engli sh li terat ur e cour ses of fer ed ar e mer el y t aught at t he level of l ear ning gener al i nfor mati on and developing l it eral underst anding. Admi t edl y, such cour ses help t hem /you a l ot i n t hei r/ your acqui si ti on of the Engli sh language. But t he functi on of Engl ish li ter at ure r eaches far beyond t hat . In readi ng Engli sh l it eratur e, a st udent should have t he power t o discer n how human beings t ransl ate t hei r experi ence i nto ar tist ic expressi on and represent at ion。 how wr it ers, through t hei r cr eat ive i mpulses, convey t o us their i nsi ghts i nt o human dest iny and human li fe。 and how soci al concer n i s involved in a specif ic f orm of human imagi nat ion. In addit ion, st udent s should el evate to t he level of cult ivati ng a curi osit y f or the unknown, thi nki ng cogentl y and logi cal ly, expressing t hemselves clearl y and concisely, and observing t he wor ld ar ound t hem cri ti cal ly and objecti vel y. But most st udent s ar e sti l at a loss as t o how they can ef ect ively analyze a li ter ar y wor k by t hemselves in any of t hese r espect s, even though they have read ple nty of excerpts f r om r epr esentati ve works i n the Br i ti sh and Am er ican l it er ary canon. And t hey tend to have l it tl e idea what role the begi nning part plays in the whol e st ory, how the pl ot develops and es t o r esolut ion, in what way point of view deter mines a r eader‘ s under st andi ng of the stor y, and how t he images and symbol s ar e r el ated t o the t heme. Upon consi der ati on of t hese f act ors, we have such cour se wit h t he intenti on of cul ti vat ing both st udent s‘ li ter ar y sensi bi li ti es and t hei r /your cr i tical power when r eadi ng Engl ish short stor ies and novels. I. Introduct ion about readi ng a story 1. What is St or y? ―Yes –oh, dear , yes—t he novel tel s a stor y. ‖ This i s Forster ‘s r emar k, which i s wort h special at ent ion, for he i s someone in the t rade and wit h r ich exper ience. I n his Aspect s of the Novel he list s ―st or y‖ as the f ir st aspect. People r eadi ng novels f or st ori es usualy ask quest ions l ike ―what happened next ?‖ and ―and‖ what woul d he do next?‖ These quest ions at est to the t wo basi c elements of a stor y. The one i s the event and the ot her t he ti me. A st ory is a seri es of happeni ngs ar ranged in t he nat ural temporal order as they occur . St ory is t he basis of t he novel, and indeed the basi s of nar rat ive wor ks of al l ki nds. 2. The str ucture and f unct ions of a stor y Plot。 character。 point of view。 t heme。 style 3. What i s Ficti on? Ficti on, t he general ter m f or invented stori es, now usual ly appl ied to novels, shor t st ori es, novel a, romances, fables, and ot her nar ati ve works i n prose, even though most pl ays and nar ati ve poems ar e also fi cti onal. ( P. 83. Conci se Dict ionar y of Lit erar y Ter ms) 4. The St ory and。