公路建设可行性研究报告(范文)(编辑修改稿)

公路建设可行性研究报告(范文)(编辑修改稿)内容摘要：

at i mport ant mom ent s, i t m ay poi nt to t he theme of the novel. A good exam ple i s the l et ter “A” i n The Scarl et Let er. Important speeches. Char acters t alk and i n their t al k are reveal ed their j udgments of t he other character s or event. The char act ers ’ judgment s may gi ve i m por t ant clues to t he theme. V. Obvi ous and unobvious theme O bvi ous theme: The theme of a st or y, si nce we know, i s what ever gener al i dea or i nsi ght t he ent ir e stor y reveal s. I n some stor ies, t he theme i s rat her obvious. For exam pl e, i n Aesop’s f abl e about the counci l of t he mi ce that cannot decide who wi l bel t he cat , the theme i s stated i n the m oral at t he end: “It i s easier t o propose a thing than to car ry i t out .” I n some novel s, t he ti tl e may off er a suggest ion about t he main theme. For example, Jane Austen’s Pride and Prejudi ce i s named aft er i ts t hem e, and the whol e story unf olds i tsel f around that theme. In some novels, the t itl e i s not so named but t he plot exi sts pr imar ily to i l ust rat e the t heme and i t is not ver y di f icult f or us t o inf er what i t is. For example, Uncle Tom’ s Cabi n by H. owe and The Grapes of Wrath by John St ei nbeck voice t he themes of sl aver y and migr atory labor respecti vel y. The t it le of The Grapes of Wrat h es fr om a l ine i n an extr em el y f am ous Ci vil War song, “The Bat le Hymn of the Republic. ” The li ne is, “He is t rampl ing out the vint age wher e the Gr apes of wr ath ar e stored,” which means “an unj ust or oppr esive sit uat ion, act ion or poli cy that may i nf l am e desir e for vengeance: an explosive condi ti on. ” The song was wr i t en by a famous and inf luenti al soci al acti vist, J uli a Ward Howe. Unobvious them e: But in m ost l it er ary wor ks of fi ct ion, the t hem e is seldom so obvious. That is, gener al ly a theme i s not a m oral nor a m esage, neither is it clearl y conveyed in t he ti tl e. When we fi nish r eading a fi nel y wr ought story, i t i s easi er t o sum up t he pl ot—to say what happens—t han t o descr ibe the m ai n i dea. To say of James Joyce’s “Araby” t hat i t is about a boy who goes to a bazaar to buy a gi ft f or a young wom an but ar ives too late i s to summ ar ize pl ot , not t hem e. I n many f ine shor t stori es, t heme is t he center , t he moving f orce, the pri nci ple of unit y. Cl ear ly, such a theme i s somet hi ng mor e than t he character s and events of the st or y. Most of t he shor t stor ies chal lenge an easye t heme. I n Hemi ngway’ s “A Cl ean, Wel Li ghted Place,” as obser ved by Kennedy and Gioi a, t he events ar e rat her sim pl e—a young wait er manages to get r id of t he ol d man f r om t he caf 233。 and the older wait er st ops at a coff e bar on his way hom e—but whil e the event s themselves seem relat ively sli ght, the stor y as a whole i s f ul l of meani ng. For a deep under st andi ng of t he m eani ng, we have t o l ook t o ot her el em ent s of t he st or y besi des what happens i n i t : nar r at i ve, sym b ol s, t one, t he di al ogue bet ween t he t wo wai t er s, t he m onol ogue of t he ol der wai t er , et c. Evi dent l y t he aut hor i nt ends us t o pay m or e at t ent i on t o t he t hought s and f eel i ngs of t he ol der wai t er , t he char act er whose wor ds echo t he aut hor ’s voi ce. One t r y on t he t hem e m ay be: “The ol der wai t er under st ands t he ol d m an and sym pat hi zes wi t h hi s need f or a cl ean, wel l l i ght ed pl ace. ” But her e we ar e st i l l t al ki ng about what happens i n t he st or y, t hough we ar e not t r oubl e wi th the hero Jordan, yet he i s a main character as his wi fe Pi lar i s. Minor char acter s are t hose i n remot e and st ati c relat ion wi th the hero. It i s wr ong t o t hi nk that mi nor characters ar e al unimpor tant. I n som e novels, one or some of t he minor char act ers m ay ser ve a cr it ical rol e, str uct ural y or int er pret at ional y. Foil charact ers are ones that hel p enhance the i ntensi ty of t he hero by strengt heni ng or cont rast ing. They may be m ain charact ers or m inor characters. I n a wor d, they ser ve as foil s to the hero or heroi ne. Cohn i n The Sun Also Ri ses i s a good exampl e. He is one of the mai n charact ers. Like Jake, he is al so “l ost ,” t rying vai nl y t o escape the past by court ing wom en and drinking. But during t heir stay i n Spai n, Cohn di spl ays quali ti es i n cont rast to t hose cheri shed by Jake, whi ch makes Jake reali ze hi s own pr obl ems and fi nal ly f ind a sol ut ion, though tempor ar il y. Cohn wor ks mainl y by cont rast. Wilson i n The Gr eat Gatsby wor ks by present ing. Gat sby lost hi s lover to Tom and Wi lson lost hi s wi fe t o Tom. By presenting Wil son’s case t he noveli st i ntends t o point out the profound cause of Gat sby’s tragedy. Dr. Wat son i n the st or ies of Sher l ock Hol mes ser ves as a f oil t o t he her o, r enderi ng t he det ecti ve smart er t han he woul d other wise appear to the r eader. By t he degr ee of t heir devel opm ent , charact ers can be grouped as round charact ers and f lat characters. Thi s di vision i s proposed by Forster. Round charact ers ar e ful ly developed whil e fl at characters ar e not. Or we can say that round charact ers gr ow whi le f lat charact ers do not. Usual y the r eader is al lowed access to t he inner li fe of t he round char act er and perm it ted t o learn about many si des of t he round charact er. The fl at character i s a “cl osed” charact er t o whose inner thought s the r eader is denied access. Usual y one si de of the f lat char act er i s shown in t he novel. Most heroes are round charact ers who grow em ot ional y or spi ri tual y. Chapt er Three Them e Ari stotl e in Poet ics。