婚庆_策划方案_策划案(编辑修改稿)

婚庆_策划方案_策划案(编辑修改稿)内容摘要：

are open or can be made open to t he reader if t he novelist so chooses. The r eader does not onl y see thei r clothes, but also see t heir mi nds. One charact er may be enemy to othe r characters, but he i s fri end to t he reader, before whom he can t hi nk aloud, t o borrow Emerson‘s words. Charact ers do not l ive, but act . When we wat ch act or s speak aloud t o themsel ves on the stage as if t hey wer e al one, we know they are act ing and they ar e di f er ent from what hey represent i n real li fe. The charact er s i n novel s exist in a si milar manner . II. Ki nds of Characters Usual y, a novel has more t han one character. They interact wit h each other and make up the story. But they are not equal y impor tant or have t he same functi on t o the novel ist. By t heir r ol es i n the novel, the characters can be gr ouped as heroes, main charact er s and minor char acters, and foil s. The charact er on whom a novel is called the hero or heroine when i t is a female character. The word ―hero‖ ori gi nal y refers t o a man, i n myt hol ogy and l egend, oft en of divine ancestry, who i s endowed with gr eat courage and st rength, celebrated for hi s hold exploit s, and f avored by t he gods. In the novel, the word “hero” is fred of such noble requi rement s and any central characters can be l abeled as heroes. Jonathan Wil d is the hero i n the novel of the same name by Henry Fielding, t hough he is a not or ious highwayman. Some critcs, annoyed by the connotation of “hero, ” prefer the word “protagonist,” which sounds neutral . The enem y or ri val of t he protagonist i s cal ed ―ant agoni st .‖ The mai n or maj or characters are those in close and dynamic rel at ion wit h the hero or heroine. Cl ose relati on does not mean good rel at ion. Pabl o in For Whom the Bel l Toll s i s const antl y finding tr ouble wit h the hero Jor dan, yet he is a main character as hi s wife Pil ar i s. Minor char acters are t hose i n remot e and st at ic r el ati on with t he her o. I t i s wrong t o think that mi nor charact er s are al uni mpor tant . I n some novel s, one or some of t he mi nor charact er s m ay ser ve a cri tical r ol e, st ructuraly or interpretati onaly. Foil characters are ones t hat hel p enhance the int ensi ty of the hero by strengtheni ng or contrast ing. They may be mai n characters or minor charact ers. I n a wor d, they ser ve as foils t o the hero or heroi ne. Cohn in The Sun Also Rises is a good example. He is one of the main charact ers. Like Jake, he i s al so ―lost ,‖ tryi ng vainly to escape t he past by courti ng women and dr inking. But during their st ay i n Spain, Cohn di splays qual it es i n cont rast to t hose cher ished by Jake, whi ch makes Jake real ize hi s own problems and fi nal y find a sol ut ion, though tempor ar il y. Cohn works mai nl y by cont rast . Wi lson i n The Great Gatsby works by present ing. Gatsby lost his l over t o Tom and Wil son lost his wife to Tom. By present ing Wil son‘s case t he noveli st intends t o point out the profound cause of Gat sby‘s tragedy. Dr. Watson i n the st ories of Sherlock Holmes serves as a foil to t he her o, r ender ing the detect ive smart er than he would other wise appear t o the reader. By the degr e of thei r devel opment , characters can be grouped as round characters and f lat charact ers. This division is proposed by Forster. Round characters are f ul ly developed while f lat charact ers ar e not . Or we can say that round charact ers gr ow whi le fl at characters do not. Usual ly the reader is al lowed acces t o the inner lif e of t he r ound char acter and per mit ted t o lear n about many si des of t he round charact er. The fl at charact er is a ―cl osed‖ character t o whose i nner thought s t he reader is deni ed aces. Usual y one side of the fl at charact er i s hown i n the novel . Most heroes are round charact ers who grow emotional ly or spiri tual ly. Chapter Thre Theme Ar istotl e i n Poeti cs li st s six basi c el ement s of tr agedy. Mel ody (song) and diction (l anguage) f al i n the general categor y of style, and spectacle is r el evant to set ting in our di scussi on of fi ct ion. The other t hr ee aspect s ar e myt hos or plot, ethos or char acter, and dianoi a, which we general y tr ansl at e into ―thought ‖ in Engli sh. Acor ding to Ari st ot le, plot is the ―soul ‖ or shapi ng pr inci pl e or fi ct ion, and char acters exi st pri mar ily as funct ions of the pl ot . I n most of the stories, plot pl ays the role of pr inci pal str uct ur e of the story. But, as Nort hr op Fr ye points out , besides the i nter nal fi ct ion of t he character and hi s/ her soci et y, there is an external f icti on consisting of a r el at ion between t he wr it er and t he wr iter‘ s soci et y. We indeed have li ter ary works by t he l ikes of Shakespear e and Homer in which ar ti str y is pletely absorbed in their internal characters and we can har dly per ceive the existence of t he author . However, as soon as t he aut hor ‘ s per sonal i t y appear s on t he hor i zon, a r el at i on wi t h t he r eader i s est abl i shed, and som et i m es t her e seem s no st or y at al l apar t f r om what t he aut hor i s conveyi ng t o hi s/ her r eader . I n t hi s case, t he pr i m ar y i nt er est i n di anoi a, t he i dea or t hought t hat r eader get s f r om t he I nt r oduction I. Why do we have such course? English li terature is one of the pulsor y and most impor tant cour ses. However , t he English li ter ature courses off er ed are merely t aught at he l evel of lear ni ng general informati on and developing li teral understanding. Admit tedl y, such courses hel p them/ you a lot in t heir /your acqui si tion of t he English language. But the functi on of Engli sh l iterature r eaches far beyond that . I n reading Engl ish lit er at ur e, a st udent should have the power to。