大连星海高尔夫项目可行性研究报告2008年-63doc(编辑修改稿)

大连星海高尔夫项目可行性研究报告2008年-63doc(编辑修改稿)内容摘要：

by day, but charact er s never do t his. They choose t o li ve some tim e m ore f ul y than ot hers, and ar e able t o skip over peri ods on ten m ont hs or t went y year s wi t hout sem ing wei rd, a f eat whi ch we can never at tem pt . I n our li fe, our m inds are a gray m at ter even t o scient ists. We can not know what is goi ng on i n ot her‘s m ind. But i n novel s, the m inds of the charact ers are open or can be m ade open to t he r eader if t he novelist so chooses. The r eader does not onl y see thei r cl ot hes, but al so see t heir mi nds. One charact er may be enemy t o ot her char act er s, but he i s fri end t o t he r eader , before whom he can think al oud, t o bor ow Em er son‘s words. Characters do not l i ve, but act . When we wat ch actors speak al oud to t hemselves on t he st age as i f they were alone, we know t hey ar e acti ng and they ar e dif ferent f rom what t hey repr esent i n r eal lif e. The char act er s i n novel s exist i n a sim ilar m anner . II. Ki nds of Charact ers Usual y, a novel has more t han one charact er . They interact wit h each ot her and m ake up the story. But they ar e not equal y important or have the sam e functi on t o the novel ist. By thei r ol es i n the novel , t he char acters can be gr ouped as her oes, main char acters and mi nor charact er s, and f oil s. The character on whom a novel i s call ed t he hero or heroi ne when it i s a f em al e charact er. The word ―hero‖ origi nal l y refers to a man, i n m yt hology and legend, oft en of di vi ne ancest ry, who is endowed wit h great courage and st rengt h, celebrated for hi s hold expl oit s, and f avored by t he gods. In the novel, the word “hero” is freed of such noble requirements and any central characters can be l abeled as heroes. Jonat han Wil d is t he her o in t he novel of t he same name by Henr y Fi el di ng, though he i s a notori ous hi ghwayman. Some critics, annoyed by the connotati on of “hero,” prefer the word “protagonist, ” which sounds neutral. The enemy or rival of the prot agoni st is cal led ―antagonist.‖ The main or major charact ers are those i n cl ose and dynami c relati on wi th t he hero or heroi ne. Close rel at ion does not mean good relation. Pablo in For Whom t he Bel Tol ls is constant ly fi nding 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 discern how human beings translate t heir experience i nt o ar tisti c expresion and represent at ion。 how wri ters, t hr ough thei r creative impulses, convey to us t heir i nsights into human desti ny and human lif e。 a nd how social concer n is invol ved in a specif ic form of human i magination. I n additi on, st udent s hould elevat e t o the level of cul ti vati ng a cur iosi ty f or the unknown, thinki ng cogently and logi cal y, expresing themselves clear ly and concisel y, and observing the wor ld around t hem cri ticaly and objectively. But most students are st il l at a loss as t o how t hey can ef ecti vely analyze a lit er ar y wor k by themsel ves in any of these respect s, even though they have r ead plent y of excer pts fr om repr esent at ive wor ks i n the Br it ish and Amer ican l iterary canon. And they t end to have l it le idea what role the beginning part plays i n the whole story, how the plot develops and es t o resoluti on, in what way point of view det er mines a r eader ‘s under st anding of the story, and how t he i mages and symbols are r el at ed t o the theme. Upon consi derati on of these fact ors, we have such course wi th t he i nt enti on of cult ivat ing both students‘ l it er ar y sensibil it es and thei r / your cr it cal power when r eading Engli sh short stori es and novels. II. Int roduct ion about reading a st ory 1. What is Story? ―Yes –oh, dear, yes—the novel t el ls a st or y. ‖ This i s Forster‘ s r emar k, which is wor th special at enti on, for he is someone i n the trade and wit h rich experience. I n his Aspects of the Novel he li st s ―st ory‖ as the fi rst aspect . People r eading novel s for stori es usualy ask questi ons li ke ―what happened next ?‖ and ―and‖ what would he do next ?‖ These questi ons atest t o the two basic elements of a story. The one i s the event and the other the ti me. A story i s a ser ies of happenings ar ranged in the natur al tempor al order as they occur. St or y is t he basis of the novel, and i ndeed t he basi of nar at ive wor ks of al l ki nds. 2. The str uctur e and functi ons of a story Plot。 char acter。 poi nt of view。 theme。 styl e 3. What is Ficti on? Fiction, t he general term f or i nvent ed stori es, now usual ly appli ed t o novel s, short st or ies, novela, romances, f abl es, and ot her nar at ive wor ks i n pr ose, even though most plays and nar at ive poems are also fi ct ional. (P. 83. Conci se Di ct ionary of Literary Terms) 4. The Story and the Novel To read novels f or story i s nothing wrong, but not hi ng prof essi onal eit her. ―One mark of a second rate mind is t o be always t el ling st ories. ‖ The r emark by the French wri ter j ean de La Br uyere (1645~1696) i s also tr ue of the reader. If the pur pose of the novel is only to t el l stori es, it could as wel remain unborn, f or newspapers and hi story books ar e suff icient to satisfy people‘s desir e for stor ies about both present and past, and even about futur e. In f act, many newapapermen have been dissati sf ied with t heir j ob of report ing and e。