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湖北光伏發(fā)電系統(tǒng)項(xiàng)目可行性研究報(bào)告(完整版)

  

【正文】 t icular t ime and pl ace i s ref er red t o as set ti ng. A set ti ng is t he background agai nst whi ch a char act er i s depi cted or an event nar r at ed. I ts purpose is t o pr ovi de an imaginar y li nk bet ween what happens i n the novel and what t he r eader takes to be r eal it y. Li ke some ot her el em ent s, set ing i s not pecul iar to the novel . The reader f inds it serving the sam e purpose in di f er ent genres. The tr adi ti onal way to tel a st or y r eveals m uch about set ing. Usual ly, a set ti ng consists of t ime and pl ace. It can also mean cir cum st ances such as Midas’ s mentali ty. A set ing may be detai led or sket chy. It depends on t he noveli st ’s pur pose of wr it ing and his i dea of wor ks of ar t. A set ing m ay or may not be symboli c. General ly, a set ti ng is mor e concerned wi th the physi cal aspects. Set ti ng is cl osely related wi t h exposit ion i n that they both hel p to m ake possi ble t he events in t he novel. I n f act , an exposi ti on must have a set ti ng. But seti ng goes al ong wit h ever y event i n the novel wher eas exposi ti on is only the ini ti at ing acti on. 1. The element s making up a set t ing By the set ing of a st ory, we sim pl y mean i ts place and ti me, the physi cal , and someti mes spi ri tual, backgr ound agai nst whi ch the action of a nar rati ve takes place. Every a st ory as shor t as the one at the begi nning of the i ntr oducti on must be set in a cer tain pl ace and t im e: we have an “old, shut tered house” and t he present tense suggest s ti me ( though the pr esent t ense i ndi cat es much more than ti me i tself in the stor y). The elements m aki ng up a set ti ng ar e gener al y: ( 1) the actual geographical ocat ion, it s topogr aphy, scenery, and such physi cal ar angements as t he locat ion of t he windows and doors i n a r oom 。opi ni on about, and statement of , the t hem e. Moral i nferences drawn f rom most st ories: Mor al infer ences may be drawn fr om m ost stori es, no doubt, even when an author does not i nt end his /her st ory t o be r ead t his way. In “A Clean, Wel Li ght ed Place”, we f eel t hat Hemi ngway is i ndi rectl y givi ng us advice f or proper ly regarding and sympathizi ng the l onel y, t he uncert ai n, and t he old. But obvi ously the stor y does not set f ort h a lesson that we are supposed to put i nt o practi ce. We can say f or sur e that “A Clean, Wel Li ght ed Place” contai ns several themes and ot her st at ement s coul d be made t o take in Hemingway’s vi ew of love, of muni cat ion between peopl e, of digni ty. Great st ori es, li ke great symphonies, f requent ly have mor e than one t heme. When we say t hat t he ti tle of Pr ide and Pr ej udice conveys the t heme of t he novel or that Uncle Tom’ s Cabi n and The Gr apes of Wr ath t reat the t hemes of slaver y and m i gr at or y labor respect ively, this i s to use t hem e in a larger and more abstr act sense t han i t is i n our discussion of Hemi ngway’s “A Clean, Wel Li ght ed Place. ” In this larger sense it i s relat ively easy to say t hat Mar k Twain’ s Huckl eber ry Fi nn, Updi ke’ s A amp。 as an envir onm ent , i t absor bs som e and repels other s of t he char act er s: those who ar e absor bed achieve a somber integrat ion wi th it , but those who are repel led and r ebel suf fer disaster. Someti mes an environm ent serves as m ore t han a m ere pl ace t o set t he story. Of t en, i t i s inextr icably entangled wi th the prot agonist , and even car ri es st rong symboli c meani ngs. Cathy as an i mage of t he femi nine personal it y, f or exampl e, i n Emi ly Br onte’s W utheri ng Heights , is not supposed t o possess the “wil derness” character isti c of masculi nity and symboli zed by the l ocales of Heathcli f and Wut heri ng Heights. In some fi ct ion, set ti ng is closely bound wi th t hem e. I n The Scarl et Let ter, even smal l det ail s af for d powerf ul hi nts at the t heme of the story. At the st ar t of the story, t he nar rator descr ibes a colonial jail house: Bef ore t his ugly edi fi ce, and bet ween it and the wheelt rack of the str eet, was a grass plot , much overgr own wi th bur dock, pigweed, appleper u, and such unsightl y veget at i on, which evidentl y found something congeni al i n t he soi l t hat had so earl y bor ne the bl ack f lower of civi lized soci ety, a pri son. But, on one side of the por tal, and root ed al most at the t hreshol d, was a wil d r osebush, covered, in this m ont h of June, wit h i ts deli cat e gem s, whi ch might be im agi ned t o of fer their f ragr ance and fr agi le beauty t o t he pr isoner as he went in, and to the condemned cri mi nal as he cam e for th t o his doom, i n token that the deep hear t of Nat ure could pi ty and be ki nd to hi m. Appar ently, the author makes a cont rast bet ween the ugly j ail house wi th a t angl ed grass plot over gr own wi th bur dock and pi gwed and somethi ng as beauti ful as a wil d r ose. As the stor y unfol ds, he wi l fur ther suggest t hat secr et si n and a pret y chil d may go t oget her l ike a pi gweed and wi ld r oses. In this ar tf ul ly cr aft ed novel, set ing i s inti matel y blended wi t h char act er s, symboli sm , and t hem e. I n additi on to place, set ti ng may cruci al l y i nvol ve t he ti me of t he st ory—centur y, year, or even speci fi c hour . It m ay mater gr eat ly t hat a stor y t akes places i n t he morni ng or at noon. The m edi eval background i nf orm s us di f erentl y f rom the t went ieth centur y. Kennedy and Gioi a not e t hat in The Scarlet Let er, the ni enth cent ur y author Nathaniel Hawthr one, uti li zes a l ong int roduct ion and a vi vi d descr ipti on of the scene at a pr ison door t o inf orm us that the event s in the story took place i n the Pur itan m uni ty of Boston of t he ear li er se
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