冷水滩商业中心110kv输变电工程可行性研究报告(编辑修改稿)

冷水滩商业中心110kv输变电工程可行性研究报告(编辑修改稿)内容摘要：

i nd t o hi m. Appar entl y, the author makes a cont r ast between t he ugly jail house wit h a tangled grasplot over grown with burdock and pigweed and somet hi ng as beaut iful as a wi ld rose. As the stor y unfolds, he wil f ur ther suggest hat secret sin and a pret y chil d may go toget her li ke a pigwed and wil d roses. I n this artf ul ly craft ed novel, set ing is inti mat el y bl ended wi th charact er s, symbolism, and theme. In addi tion to place, set ing may crucialy i nvolve the time of the st or y—century, year , or even specif ic hour . I t may mater gr eatl y that a story takes places in the morning or at noon. The medieval background i nf or ms us dif ferent ly f rom the twentieth cent ur y. Kennedy and Gi oi a note t hat in The Scarlet Let er , the ni eenth cent ur y aut hor Nat hani el Hawthrone, ut il izes a long introducti on and a vi vi d descri ption of t he scene at a prison door t o inform us t hat he events i n the stor y took place i n the Pur itan munity of Boston of t he ear li er seventeent h century. This set ing, t o whi ch Hawthor ne pays so much atention, t ogether wit h our schemata concer ni ng Puri tan pr acti ce, helps us understand what happens in t he novel. We can understand t o some ext ent t he agitati on i n the town when a woman i s accused of adul tery, f or adul tery was a f lagr ant defi ance of church for the God fear ing New England Puri tan muni ty, and an il legi ti mat e child was evi dence of sin. Wit hout i nf or mat ion about t he sevent ent h century Purit an background, a r eader today may be perplexed at he novel. The f act that the st ory in Hawthorne’ s novel took pl ace in a ti me remot e fr om our own l eads us to expect dif ferent ati tudes and customs of t he char acters, i s str ongly suggesti ve of the whole society, whi ch i s crucial t o an esent ial understanding of The Scarlet Leter as a whole. Besi des pl ace and ti me, set ting may al so include t he weather, which, i ndeed, may be cr ucial in some stori es. 2. Local color wri ti ng / regionali sm and t he writ er, a regi onal writ er. When set ing domi nates, or when a pi ece of f iction is wr it en l ar gely t o pr esent the manner s and customs of a local ity, the writ ing is oft en cal led local color writ ing or r egional ism and t he wr iter, aregional wr it er . A r egi onal wr iter usual y sets his/her stori es in one geogr aphic ar ea and tr ies t o br ing it alive to r eader s ever ywhere. Thomas Hardy, in his portr ayal of li fe in Wessex, wrote r egional novels. Ar nold Ben’ s novel s of the “Fi ve Towns” ar e mar kedly regional. Wil l iam Faulkner , known as a di st inguished regional wri ter, al most always set his novels and stori es in his native Missisippi. 3. The set ing of a novel i s not always drawn f rom a real li fe local e. The set ti ng of a novel is not always drawn fr om a real l ife l ocal e. Lit er ar y ar ti st someti mes prefer to creat e the totalit y of t heir fi ct ion—the set ing as wel as characters and t heir act ions. …… The cr eati on of set ing can be a magical fi ct ional gi ft in a noveli st or storytel er . But whatever the set ing of his/her work, a t rue novel ist i s concerned wi th maki ng an envir onment credi bl e for hi s/ her charact er s and their acti ons and in accord wi th the devel opment of the pl ot . I n some st or ies, a wri ter seems to draw a set ing mainly t o evoke atmosphere. In such a st or y, set ing st ar ts us f eeli ng whatever the st or yt el ler would have us f eel. Thus atmospher e is a met aphor f or a feeling or an impr essi on which we cannot readi ly atach t o some tangi bl e cause. We say t hat an old f ar mhouse set among large mapl es, on a green l awn, has an atmospher e of peace. Here what we mean is t hat the house, by reason of t he l ook of quietness and by reason of a number of pl easant asoci ati ons we have with t he kind of lif e lived ther e, stir s a cert ai n reaction i n us which we do not at ach to any single incident or obj ect, but gener al ly t o the whole scene. In t he same way we may say t hat the set ing of a story contr ibut es t o defi ni ng i ts atmospher e. For instance, in “The Tel Tal e Heart ,” Poe’s set ting t he act ion in an ol d, dar k, lanternl it house great ly contr ibutes t o the reader’ s ense of unease, and so hel ps t o buil d the st or y’ s ef fect iveness. Anot her exampl e is Lawr ence’s “The Horse Deal er’s Daughter, ” the descri pt ion at the beginning of which contri but es much t o the at mosphere of the stor y. 4. The import ance of atmosphere in creati ng t he seti ng But it is a mistake to say that he atmospher e of a piece of fi ct ion depends on the set ing al one. ( As il ustr at ed i n Shakespear e’ s Haml et, t he dialogue at he very 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, gener at ed by a num ber of f act or s ( set t i ng, char act er , act i on, and st yl e) t hat i s opi ni on about , and statement of, t he t heme. Moral i nf erences drawn f rom most st ori es: Moral inferences may be dr awn fr om most stori es, no doubt , even when an author does not intend his /her story to be r ead t hi s way. In “A Clean, Wel Light ed Place”, we f eel t hat Hemi ngway is indi rect ly giving us advi ce f or pr operly regar di ng and sympa。