【正文】 and how soci al concer n i s invol ved in a speci fi c f orm of human imagi nati on. I n addi ti on, students should el evate t o t he l evel of cult ivat ing a curi osit y for the unknown, t hi nki ng cogentl y and l ogical ly, expr essi ng t hemsel ves cl earl y and conci sely, and obser vi ng t he worl d ar ound them cr it ical ly and obj ecti vel y. But most st udent s ar e sti l at a l oss as t o how t hey can ef fect ivel y analyze a li terar y wor k by t hemselves i n any of t hese r espects, even t hough t hey have read pl enty of excer pt s f rom r epr esentati ve wor ks in t he Bri ti sh and Am eri can li terary canon. And they t end t o have l it le i dea what role t he begi nning part plays i n the whole story, how t he plot devel ops and es to r esol ut ion, i n what way poi nt of vi ew determi nes a reader ‘s understandi ng of t he st or y, and how the images and symbol s ar e related to t he t hem e. Upon consider at ion of t hese f act or s, we have such cour se wit h the intent ion of culti vati ng both student s‘ li terar y sensibili ti es and t heir / your cri tical power when r eadi ng English short st or ies and novels. II. Int roducti on about reading a st ory 1. What is St ory? ―Yes –oh, dear, yes—the novel t el s a st or y. ‖ This i s Forster‘ s rem ar k, which is wor t h special at enti on, for he i s om eone i n the tr ade and wit h ri ch experi ence. In his Aspect s of t he Novel he l ist s ―stor y‖ as t he f ir st aspect. People readi ng novels f or st ories usual ly ask quest i ons l ike ―what happened next?‖ and ―and‖ what would he do next ?‖ These questi ons atest t o t he t wo basic el em ents of a st or y. The one i s the event and t he other t he time. A st or y i s a seri es of happeni ngs ar ranged in t he nat ural t emporal or der as t hey occur. Stor y i s the basi s of t he novel, and i ndeed the basis of nar ati ve wor ks of al ki nds. 2. The str ucture and f uncti ons of a story Pl ot。 poi nt of vi ew。 charact er 。 poi nt of view。 theme。 charact er 。 how wr it er s, through t heir creat ive impul ses, convey t o us t heir insi ght s i nt o human dest iny and hum an li fe。 char acter。 and how soci al concer n i s invol ved in a speci fi c f orm of human imagi nati on. I n addi ti on, students should el evate t o t he l evel of cult ivat ing a curi osit y for the unknown, t hi nki ng cogentl y and l ogical ly, expr es si ng t hemsel ves cl earl y and conci sely, and obser vi ng t he worl d ar ound them cr it ical ly and obj ecti vel y. But most st udent s ar e sti l at a l oss as t o how t hey can ef fect ivel y analyze a li terar y wor k by t hemselves i n any of t hese r espects, even t hough t hey have read pl enty of excer pt s f rom r epr esentati ve wor ks in t he Bri ti sh and Am eri can li terary canon. And they t end t o have l it le i dea what role t he begi nning part plays i n the whole story, how t he plot devel ops and es to r esol ut ion, i n what way poi nt of vi ew determi nes a reader ‘s understandi ng of t he st or y, and how the images and symbol s ar e related to t he t hem e. Upon consider at ion of t hese f act or s, we have such cour se wit h the intent ion of culti vati ng both student s‘ li terar y sensibili ti es and t heir / your cri tical power when r eadi ng English short st or ies and novels. II. Int roducti on about reading a st ory 1. What is St ory? ―Yes –oh, dear, yes—the novel t el s a st or y. ‖ This i s Forster‘ s rem ar k, which is wor t h special at enti on, for he i s om eone i n the tr ade and wit h ri ch experi ence. In his Aspect s of t he Novel he l ist s ―stor y‖ as t he f ir st aspect. People readi ng novels f or st ories usual ly ask quest i ons l ike ―what happened next?‖ and ―and‖ what would he do next ?‖ These questi ons atest t o t he t wo basic el em ents of a st or y. The one i s the event and t he other t he time. A st or y i s a seri es of happeni ngs ar ranged in t he nat ural t emporal or der as t hey occur. Stor y i s the basi s of t he novel, and i ndeed the basis of nar ati ve wor ks of al ki nds. 2. The str ucture and f uncti ons of a story Pl ot。 t heme。 st yl e 3. What i s Fi ct ion? Ficti on, the gener al term for invent ed stori es, now usualy appl ied to novels, short stori es, novel a, romances, fabl es, and other nar rative works in prose, even t hough most plays and nar at ive poems ar e al so f ict ional . ( P. 83. Concise Di ct ionar y of Lit er ar y Terms) 4. The St or y and the Novel To r ead novel s for story i s nothing wr ong, but nothing pr of essi onal eit her. ―One mark of a second rate mi nd i s t o be always t el li ng stori es.‖ The r emark by the French wr iter jean de La Br uyere ( 1645~1696) i s al so t rue of the reader. If the pur pose of the novel i s only t o tel st or ies, it could as wel l r emain unborn, for newspapers and history books are suf ficient t o sati sf y people‘s desir e for st or ies about bot h pr esent and past, and even about f ut ur e. In f act, many newapapermen have been di sat isf ied wit h thei r j ob of repor ting and e into the fi el d of novel wr it ing. Defoe, Dickens, Joyce, Hemi ngway and Camus wer e among the most famous and the most succesful convert s. Even historians may f el obli ged to do more than mer e st or ies or facts. Edwar d Gi bbor n‘ s Decli ne and Fal of t he Roman Empir e is praised not onl y for its mult itudinous facts and r at ionali sti c analysi s, but more for it s beauty of nar at ive st yl e. In teli ng stories, the novelist ai ms at somethi ng higher or he intends to add something t o the mere “fact s. ” As i ndi cated in t he defi ni ti on of the novel , what makes a novel is t he noveli st ?s st yle (personali zed presentati on of the st ory) and int erpretati on of the st ory. Chapt er One Pl ot I. What is Plot? 1. According to Ar istotle what are t he six elements of the str uct ur