【正文】 per ience into art ist ic expr essi on and repr esent ati on。 P, ‖ and the m ot ivat ion of a charact er i n a st or y—one of t he answers to t he questi on ―why‖—is of fundam ental i mpor tance. I. What is Charact er? Closel y r el at ed wi th t he story i s t he char acter. Henr y Jam es sai d, “What is character but he det ermi nati on of i ncident ? What i s i nci dent but he il ust rati on of character?‖ (The Art of Ficti on‖) When we read a novel, we read about our fel ow beings, and t hat i s one of t he m oti ves in r eadi ng at al l. The “fel ow bei ngs” i n the novel is t erm ed char acters. By “fel ow bei ngs” i s meant not only “human beings” but also “other bei ngs, ” such as animals . Gee Orwel l uses anim al s to r epresent hum an bei ngs i n hi s novel Ani mal Farm. Lewis Car ol cr eat es m any l ovel y animal s 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 s peak human language or t hat he is a translat or betwen ani mal s and humans. No sensible reader, 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 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。 四、資金籌措 本項(xiàng)目建設(shè)資金擬通過(guò)三個(gè)渠道來(lái)籌措，分別是： 20xx年農(nóng)業(yè)綜合開發(fā)農(nóng)業(yè)部專項(xiàng)資金 ； 萬(wàn)元，由 市承擔(dān)； 。 st yl e 3. What is Ficti on? Fi ct ion, t he general t erm f or i nvent ed s tori es, now usual ly appli ed t o novel s, short st or ies, novel a, rom ances, f abl es, and ot her nar at ive wor ks i n pr ose, even t hough most plays and nar at ive poem s ar e also fi ct ional. ( P. 83. Conci se Di ct ionar y of Lit er ar y Terms) 4. The St or y and the Novel To r ead novel s for st or y i s not hi ng wr ong, but not hi ng pr of essi onal eit her. ―One mar k of a second rate mi nd i s t o be al ways t el li ng stori es.‖ The r em ar k by t he Fr ench wr it er jean de La Bruyer e ( 1645~1696) is al so t rue of t he r eader. I f t he purpose of t he nove l i s onl y t o tel st or ies, it coul d as wel l rem ai n unbor n, f or newspaper s and hi st or y books ar e suf fi ci ent to sati sf y peopl e‘ s desi re f or stori es about bot h present and past, and even about future. I n f act , m any newapaperm en have been dissati sfi ed wi th t heir job of r eporti ng and e i nt o t he f ield of novel wri ti ng. Def oe, Di ckens, Joyce, Hem ingway and Cam us wer e among t he m ost f amous and the m ost succesful convert s. Even hi st or ians may feel obl i ged t o do m or e than mer e stori es or fact s. Edwar d Gi bborn‘s Decl ine and Fal of the Roman Em pi re i s pr aised not only f or it s m ul ti udi nous f act s and rati onal ist ic anal ysis, but m or e f or i ts beaut y of nar rati ve style. In t el ing st ori es, t he noveli st aims at som et hing hi gher or he i nt ends t o add som et hi ng to t he mere “f acts.” As indicat ed i n t he def init ion of t he novel, what m akes a novel i s t he novel ist?s st yl e ( personal ized present at ion of t he st ory) and i nterpret at ion of t he st ory. Chapter One Plot I. What i s Pl ot ? 1. Acording to Ari st ot le what are t he si x el em ents of t he str uctur e of tr agedy? Tragedy as a whol e has j ust si x consti tuent el em ents… and t hey are plot, characters, verbal expresion, t hought , visual adornm ent, and song— posit on. For t he elem ents by whi ch t hey imi tate are t wo ( ver bal expr esi on and song— posit on) , t he m anner in which they im it at e i s one (visual adornm ent) , t he t hi ngs t hey imit at e ar e three (plot, charact er s, t hought), and t her e i s not hi ng more beyond t hese. 2. What is Pl ot under t he pens of moder n novel ist s and st orytel er s? And how t o under st and ―Pl ot ‖ i n a st or y? ( ―‖ ppt : ? The queen di ed, no one knew why, unti l i t was discover ed t hat i t was thr ough gri ef at he deat h of t he king. ‘… P. 6 It suspends t he tim e sequence, i t m oves as far away fr om the st or y as it s limi tati ons wil al ow.) The st or y and the charact er al one can not m ake a novel ye. To m ake a novel, a plot is pr erequisit e. A l ook at t he exam pl e suggest ed by . For st er wil l help t o di sti nguish bet wen the st or y and the pl ot . ―The ki ng died and t hen the queen died‖ i s not a pl ot , but a story. If we m ake it ―The king di ed and then t he queen di ed of gr ief, ‘ we have a plot. Thi s causal phr ase ―of gri