【正文】 foreshadowing, crisis) the conclusionfalling exposition some other events climax (the moment4. The three parts of a plot: a beginning (exposition), a middle (suspense or a series of suspense ….foreshadowing… crisis –a moment of high tension), and an end(a climax, the moment of greatest tension…the conclusion—falling action, resolution or denouement). In the world of reality events take place one after another in the natural temporal order, but in the world of fiction it is the novelist’s design that one particular event occur after another particular event. The very word “plot” implies the novelist’s rebellion against the natural law and his endeavor to make meanings out of the happenings that may otherwise be meaningless. “The happenings” may or may not be real happenings.(So what plot is ) A plot is a particular arrangement of happenings in a novel that is aimed at revealing their causal relationships or at conveying the novelist’s ideas. A plot is sometimes called a story line. The most important of the traditional plot is that it should be a plete or unified action, that is, something with a beginning, a middle, and an end.2. What is Plot under the pens of modern novelists and storytellers? And how to understand “Plot” in a story? (“”ppt: ‘The queen died, no one knew why, until it was discovered that it was through grief at the death of the king.’…P. 6 It suspends the timesequence, it moves as far away from the story as its limitations will allow.)1. According to Aristotle what are the six elements of the structure of tragedy?Chapter One Plot4. The Story and the Novel3. What is Fiction? theme。 character。2. The structure and functions of a story1. What is Story? and how social concern is involved in a specific form of human imagination. In addition, students should elevate to the level of cultivating a curiosity for the unknown, thinking cogently and logically, expressing themselves clearly and concisely, and observing the world around them critically and objectively. But most students are still at a loss as to how they can effectively analyze a literary work by themselves in any of these respects, even though they have read plenty of excerpts from representative works in the British and American literary canon. And they tend to have little idea what role the beginning part plays in the whole story, how the plot develops and es to resolution, in what way point of view determines a reader’s understanding of the story, and how the images and symbols are related to the theme. Upon consideration of these factors, we have such course with the intention of cultivating both students’ literary sensibilities and their /your critical power when reading English short stories and novels.English literature is one of the pulsory and most important courses. However, the English literature courses offered are merely taught at the level of learning general information and developing literal understanding. Admittedly, such courses help them/you a lot in their/your acquisition of the English language. But the function of English literature reaches far beyond that. In reading English literature, a student should have the power to discern how human beings translate their experience into artistic expression and representation。The main or major characters are those in close and dynamic relation with the hero or heroine. Close relation does not mean good relation. Pablo in For Whom the Bell Tolls is constantly finding大連星海高爾夫項(xiàng)目可行性研究報(bào)告目 錄第一章 總 論 4第一節(jié) 項(xiàng)目概述 4第二節(jié) 項(xiàng)目主要技術(shù)經(jīng)濟(jì)指標(biāo) 5第三節(jié) 編制依據(jù) 8第二章 市場分析與預(yù)測 9第一節(jié) 大連市宏觀情況分析 9第二節(jié) 大連市房地產(chǎn)發(fā)展特征 12第三節(jié) 大連市高新園區(qū)區(qū)域總體分析 20第三章 市場調(diào)查及項(xiàng)目分析 35第一節(jié) 高新園區(qū)房地產(chǎn)市場調(diào)查 35第二節(jié) 項(xiàng)目SWOT分析 38第三節(jié) 項(xiàng)目定位及目標(biāo)消費(fèi)群體分析 40第四章 項(xiàng)目戶型產(chǎn)品定位 43第五章 建設(shè)規(guī)模及方案 45第六章 相關(guān)單位簡介 52第七章 銷售價格與銷售收入估算 53第八章 投資估算 55第九章 投資計(jì)劃與資金籌措 60第十章 風(fēng)險分析與防范對策 61第十一章 綜合評價與建議 63IntroductionThe character on whom a novel is called the hero or heroine when it is a female Usually, a novel has more than one character. They interact with each other and make up the however ingenious. Compare the physical life and spiritual life of the characters and ours. We have to answer the nature’s call several times a day, but characters seldom do this, even in the most realistic or naturalistic novels. We have to live our life hour by hour and day by day, but characters never do this. They choose to live some time more fully than others, and are able to skip over periods on ten months or twenty years without seeming weird, a feat which we can never attempt. In our life, our minds are a gray matter even to scientists. We can not know what is going on in other’s mind. But in novels, the minds of the characters are open or can be made open to the reader if the novelist so chooses. The reader does not only see their clothes, but also see their minds. One character may be enemy to other characters, but he is friend to the reader, before whom he can think aloud, to borrow Emerson’s words. Characters do not live, but act. When we watch actors speak aloud to themselves on the stage as if they were alone, we know they are acting and they are different from what they represent in real life. The characters in novels exist in a similar manner.They have names used in the same way ours are used, they have hatred and love, and they have desires and fears. Above all, they act the way we act or the way we can understand (like or dislike).he is a translator between animals and humans. No sensible reader, after reading Orwell’s Animal Farm, would go to the pigsty to look for a talking boar. This proves the agreedon fictionality of characters in novels. So broadly, a character is an invented personality to resemble but never to equal a real person in life. determination of incident? What is incident but the illustration of character?” (The Art of Fiction”) When we read a novel, we read about our fellow beings, and that is one of the motives in reading