【正文】 y. 4. The three part s of a plot: a beginni ng ( exposit ion) , a mi ddl e (suspense or a seri es of suspense … .f or eshadowi ng… cr isis –a m oment of hi gh t ension) , and an end( a cl imax, t he mom ent of great est tension… the concl usion—fal ing acti on, resol uti on or denouem ent) . Pl ot abeginni ng a mi ddle an end exposi ti on some other events cl imax (t he mom ent (suspense, a seri es of suspense, of gr eatest tensi on, f or eshadowing, crisis) t he conclusi onf al li ng act ion, r esol ut ion or denouement ) I. Read the st ori es of ?Rip Van Wi nkl e‘( Washingt on Ir vi ng) and ?David Swan‘ ( Nathani el Hawt hor ne) II. Q uesti ons: ( Fi ni sh r eading the t wo st ori es and poi nt out t he pl ots of the t wo st ori es, t he descri pti ve details, t he exposit on, charact er s) Rip Van Winkl e 1. Descri pt ive detail s: t he pl ot of the st or y? 2. What par t of the st or y sems l ike the exposit ion? 3. Wher e does t he dram at ic confl ict? 4. What i s the cli max of t he st ory? David Swan 5. the pl ot of the st or y? 6. How f ul ly does the aut hor dr aw the char act er s i n the st or y? ( Charact er t raits are t he quali ti es of a char acter‘ s personalit y. They are r eveal ed t hr ough a char act er‘ s acti ons and words and t hr ough descri pt ion) . 7. More works to do: somet hi ng about t he wr it er s of the t wo stori es. Chapt er Two Charact er I n t he i nt roducti on we have sai d t hat fi ct ion is an im age of peopl e i n acti on, m ovi ng t owards an undecl ared end. Thus char acter i s al ways invol ved in fi ct ion, even i n t he st or y of t he sim pl est acti on. Sometim es charact er i s at the cent er of our interest because in char act er we may se m any f acet s of t he people we m eet in our dail y l if e and even of our sel ves. Fi ct ional charact er i s al ways char acter in acti on and the charact er get s i nto acti on because it i s caught i n a si tuat ion of confl ict and he/she i s al ways pr ovi ded wit h m ot ivat ion: he/ she has suf fi ci ent r easons to act or behave as he /she does. The charact er is doi ng som et hi ng and the reader whil e readi ng fi ct ion wants t o know t he ―why‖ as wel as t he ―what ‖ of the af fair s. ( Som et imes a char act er‘ s mot ive for an acti on is not expl ai ned on accept abl e gr ounds, f or example, t he vil lain i n Adgar Al lan Poe‘ st or y ―The Tel l Tale Hear t,‖ and t hus t he r eader feel s cheat ed. I n this case, t he wri ter of det ecti ve fi ct ion who m akes t he crim inal am ere lunati c has cheat ed t he r eader by avoiding the pr obl em of m oti ve. ) And general y, the acti on i tsel f i s humanl y si gnif icant and it ends usual y i n a shi ft i n or cl ar if cati on of human val ues, as di splayed i n John Updi ke‘ s ―A amp。 P, ‖ and the mot ivat ion of a char acter i n a st or y—one of t he answers to t he questi on ―why‖—is of fundamental impor tance. I. What is Character? Closel y related with t he story i s t he char acter. Henr y James sai d, “What i s character but he determi nat ion of incident ? What i s i ncident but the il ust rati on of character?‖ (The Art of Ficti on‖) When we read a novel, we read about our fel ow beings, and that i s one of t he moti ves in readi ng at al l. The “fel ow beings” i n the novel is termed characters. By “felow beings” is meant not only “human bei ngs” but also “other beings, ” such as ani mals. Geor ge Or wel l uses ani mal s to represent human bei ngs in his novel Animal Farm. Lewis Car rol cr eates many lovel y animals i n hi s Ali ce’s Advent ures i n Wonderland that appeal to bot h chil dr en and adults. Orwel does not i nt end to convince the reader t hat animals can speak human language or t hat he is a tr anslat or betwen ani mal s and humans. No sensible r eader , aft er readi ng Orwel l‘s Animal Farm, woul d go t o the pi gsty t o look f or a t al ki ng boar . This proves the agreed on f icti onal it y of charact er s in novels. So broadly, a character i s an i nvented personal ity t o resemble but never to equal a real person in li fe. I t i s not di fi cult t o see that charact er s in novels resemble people in r eal lif e in many ways. They have names used in t he same way our s are used, they have hat red and love, and t hey have desi res and fears. Above al, they act the way we act or t he way we can under st and (l ike or disli ke). But we must bear in mind that he char acters are not r eal persons, but merely i nvent ions, however ingenious. Compare t he physical li fe and spi ri tual li fe of the characters and ours. We have t o answer the nature‘s cal several tim es a day, but char acters sel dom do this, even i n the most real istic or naturali st ic novels. We have to l ive our li fe hour by hour and day by day, but 第一章 總 論 一、項目名稱和建設(shè)單位 ： 省 市隴中苜蓿良種繁育基地建設(shè)項目 ：新 建 ： 市 鎮(zhèn)原黃花農(nóng)場 ： 大禹農(nóng)牧科技發(fā)展有限公司 ： ： ： 省農(nóng)牧廳 二、建設(shè)內(nèi)容與規(guī)模 本項目總投資規(guī)模為 萬元，包括固定資產(chǎn)投資 萬元 ,技術(shù)培訓(xùn)及技術(shù)推廣費 萬元，基本預(yù)備費用 。 t heme。 五、投資使用計劃 本項目固定資產(chǎn)投資 萬元，其中土建工程投資 萬元，設(shè)備購置及安裝投資 萬元，牧草種子引進(jìn)及繁育試驗費用15萬元，工程建設(shè)其它費用 ；項目技術(shù)培訓(xùn)和技術(shù)推廣費用，基本預(yù)備費用 。 how wri ters, t hr ough thei r creative impulses, c onvey to us t heir i nsights into human desti ny and human lif e。I nt r oducti on I. Why do we have such course? Engli sh l it er at ur e i s one of t he pulsory and m ost im port ant courses. However, the Engli sh l it er at ur e cour ses of fered ar e m er el y taught at the level of l earning gener al i nf orm at ion and devel opi ng l it er al under st anding. Adm it edl y, such cour ses hel p t hem/ you a lot i n thei r/ your acquisit on of t he Engli sh l anguage. But t he f unct ion of Engl ish lit er at ure reaches f ar beyond t hat. I n r eading Engli sh li teratur e, a st udent shoul d have t he power t o di scer n how hum an bei ngs tr anslate t hei r ex