【導(dǎo)讀】Gibborn‘sDeclineandF

　　

【正文】 sons, but mer el y i nventi ons, however ingenious. Compar e the physi cal l if e and spi ri tual if e of the characters and our s. We have t o answer the nature‘s cal several t imes a day, but charact ers seldom do t his, even i n the m ost real isti c or nat urali st ic novels. We have to l ive our li fe hour by hour and day by day, but 2020 年農(nóng)業(yè)綜合開(kāi)發(fā)農(nóng)業(yè)部專項(xiàng)項(xiàng)目 甘肅省玉門(mén)市隴中苜蓿良種繁育基地 建設(shè)項(xiàng)目 可行性研究報(bào)告 項(xiàng)目建設(shè)單位： 玉門(mén)大禹農(nóng)牧科技發(fā)展有限公司 可研編制單位： 達(dá)華工程管理（集團(tuán)）公司蘭州分公司 二○○八年九月 I ntr oduct ion I. Why do we have such course? Engli sh li t er at ure i s one of t he pul sory and m ost im por tant cour ses. However, t he Engli sh l it erat ur e cour ses of fer ed ar e mer el y t aught at t he level of l ear ni ng gener al i nf orm ati on and developi ng l it er al under st andi ng. Admi t edl y, such cour ses help t hem / you a l ot i n t hei r/ your acqui si ti on of t he Engli sh language. But t he f uncti on of Engl ish l it er atur e reaches f ar beyond that. I n r eading Engli sh li ter at ure, a st udent shoul d have t he power t o di scer n how hum an bei ngs t r anslat e their exper ience i nt o arti sti c expr esion and r epr esentati on。 how wri t er s, t hrough t heir cr eati ve im pul ses, convey t o us their i nsi ght s int o hum an desti ny and hum an li fe。 and how soci al concer n i s i nvol ved i n a specif ic f orm of hum an im agi nati on. In addit ion, st udent s should el evat e t o t he level of cult ivati ng a curi osit y f or t he unknown, t hi nki ng cogentl y and l ogi cal ly, e xpr essing t hem sel ves clearl y and conci sely, and obser vi ng the wor ld ar ound t hem cri ti cal l y and obj ecti vel y. But m ost student s are sti l at a l oss as t o how t hey can ef ect i vel y anal yze a l it er ary work by t hem sel ves i n any of these r espects, even t hough t hey have r ead pl ent y of excer pt s fr om r epr esent at ive wor ks i n t he Bri ti sh and Am eri can l it erar y canon. And t hey t end t o have lit tl e i dea what r ol e t he begi nni ng par t pl ays i n t he whol e st or y, how t he plot devel ops and es to r esol ut i on, i n what way poi nt of vi ew det ermi nes a reader ‘s underst andi ng of t he st ory, and how the im ages and sym bols ar e rel at ed t o t he them e. Upon consi der ati on of t hese f act or s, we have such cour se wi t h the i nt ent i on of cult i vati ng bot h st udent s ‘ l it erar y sensibil it ies and t heir / your cri ti cal power when r eadi ng Engli sh shor t st ori es and novel s. II. Int roducti on about reading a st ory 1. What i s Stor y? ―Yes –oh, dear, yes—t he novel t el l s a st ory. ‖ Thi s is For st er‘ s rem ar k, whi ch is wor t h speci al at t enti on, f or he is som eone i n t he tr ade and wi t h ri ch experi ence. I n hi s Aspect s of t he Novel he l ists ―st or y‖ as t he fi r st aspect. Peopl e r eadi ng novels f or st or i es usual l y ask quest ions li ke ―what happened next ?‖ and ―and‖ what woul d he do next ?‖ These quest i ons at est t o the t wo basi c elements of a st or y. The one i s the event and t he ot her t he tim e. A stor y is a seri es of happeni ngs ar ranged i n t he nat ural tem por al or der as t hey occur . Stor y is t he basi s of t he novel, and i ndeed t he basis of nar ati ve works of al ki nds. 2. The str uct ure and f uncti ons of a st or y Pl ot。 char act er。 point of view。 t heme。 st yle 3. What i s Ficti on? Fi cti on, t he gener al t erm f or i nvent ed stori es, now usual y appl ied t o novel s, shor t st ori es, novel la, r om ances, f abl es, and ot her nar rati ve wor ks i n pr ose, even t hough m ost plays and nar r at ive poem s are al so fi ct ional. ( P. 83. Conci se Dicti onar y of Lit er ar y Ter ms) 4. The St ory and t he Novel To r ead novel s for st or y is not hi ng wr ong, but not hi ng pr of esional ei ther. ―One m ar k of a secondr at e mi nd is t o be al ways t el li ng st ori es. ‖ The r em ar k by t he French wri t er j ean de La Bruyere ( 1645~1696) i s also t rue of t he r eader. I f t he pur pose of t he novel i s onl y t o t el l st ori es, it coul d as wel l remai n unbor n, f or newspaper s and hi stor y books ar e suf fi ci ent t o sat i sf y peopl e‘ s desi re f or st ori es about bot h pr esent and past , and even about f utur e. I n f act, m any newapaperm en have been dissat isfi ed wi th t hei r j ob of r epor ti ng and e int o t he f iel d of novel wri ti ng. Def oe, Di ckens, Joyce, Hemi ngway and Cam us were am ong t he m ost f am ous and t he most successful convert s. Even hi st or i ans m ay f eel obli ged to do m ore t han m ere st or ies or f acts. Edward Gibborn‘ s Decl ine and Fal of t he Rom an Em pir e is pr ai sed not only f or it s mult it udi nous f act s and r at ional i sti c anal ysi s, but mor e f or it s beaut y of nar r at ive styl e. In t el li ng stories, t he novel ist aim s at som et hi ng hi gher or he i ntends t o add som et hi ng t o t he m ere “f act s. ” As i ndi cat ed i n t he def i ni ti on of the novel , what makes a novel i s t he noveli st ?s st yl e ( personal ized present at ion of t he st ory) and i nt erpret ati on of t he st ory. Chapt er One Plot I. What is Pl ot? 1. Accor ding t o Ar ist ot le what are t he si x el em ent s of t he st r uct ur e of tr agedy? Tragedy as a whole has j ust si x const it uent el ements… and they are pl ot, charact ers, verbal expressi on, t hought, visual adornment, and song— posit ion. For t he elements by whi ch t hey im it at e ar e t wo (verbal expr ession and song— posit i on), t he manner i n whi ch t hey imi t at e is one ( vi sual adornment) , the t hi ngs they im it at e are t hree ( pl ot, char act ers , thought ), and t her e is not hi ng mor e beyond t hese. 2. What i s Pl ot under t he pens of m oder n noveli st s and st or yt el l er s? And how t o under st and ―Pl ot ‖ i n a stor y? ( ―‖ ppt : ? T