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苜蓿種植與良種繁育的可行性研究報告-文庫吧資料

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【正文】 i on i t is the novel ist‘s desi gn t hat one part icul ar event occur af ter anot her part icul ar event. The ver y wor d ―pl ot ‖ im pl ies the novel ist ‘s r ebel li on agai nst he nat ural aw and hi s endeavor t o m ake m eani ngs out of t he happeni ngs that may ot her wi se be meaningl es. ―The happeni ngs‖ may or may not be real happenings.( So what pl ot i s ) A pl ot is a part icul ar ar angement of happenings i n a novel that i s aimed at r eveali ng t heir causal r elati onshi ps or at conveying the novel ist ‘s i deas. A pl ot i s ometi mes cal ed a st or y li ne. The most im port ant of t he tr adit ional pl ot i s t hat it shoul d be a pl et e or uni fi ed act ion, t hat i s, somet hi ng wit h a beginni ng, a m iddl e, and an end. 3. The dr amati c sit uati on i n a st or 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。 poi nt of view。 and how soci al concer n i s invol ved in a speci fi c f orm of human imagi nati on. I n addi ti on, students should el evate t o t he l evel of cult ivat ing a curi osit y for the unknown, t hi nki ng cogentl y and l ogical ly, expr es si ng t hemsel ves cl earl y and conci sely, and obser vi ng t he worl d ar ound them cr it ical ly and obj ecti vel y. But most st udent s ar e sti l at a l oss as t o how t hey can ef fect ivel y analyze a li terar y wor k by t hemselves i n any of t hese r espects, even t hough t hey have read pl enty of excer pt s f rom r epr esentati ve wor ks in t he Bri ti sh and Am eri can li terary canon. And they t end t o have l it le i dea what role t he begi nning part plays i n the whole story, how t he plot devel ops and es to r esol ut ion, i n what way poi nt of vi ew determi nes a reader ‘s understandi ng of t he st or y, and how the images and symbol s ar e related to t he t hem e. Upon consider at ion of t hese f act or s, we have such cour se wit h the intent ion of culti vati ng both student s‘ li terar y sensibili ti es and t heir / your cri tical power when r eadi ng English short st or ies and novels. II. Int roducti on about reading a st ory 1. What is St ory? ―Yes –oh, dear, yes—the novel t el s a st or y. ‖ This i s Forster‘ s rem ar k, which is wor t h special at enti on, for he i s om eone i n the tr ade and wit h ri ch experi ence. In his Aspect s of t he Novel he l ist s ―stor y‖ as t he f ir st aspect. People readi ng novels f or st ories usual ly ask quest i ons l ike ―what happened next?‖ and ―and‖ what would he do next ?‖ These questi ons atest t o t he t wo basic el em ents of a st or y. The one i s the event and t he other t he time. A st or y i s a seri es of happeni ngs ar ranged in t he nat ural t emporal or der as t hey occur. Stor y i s the basi s of t he novel, and i ndeed the basis of nar ati ve wor ks of al ki nds. 2. The str ucture and f uncti ons of a story Pl ot。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
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