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【導讀】next?‖and―and‖whatwouldhedonext?

　　

【正文】 inventions, however i ngeni ous. Com pare the physi cal l ife and spi ri tual li fe of the characters and ours. We have t o answer t he nat ure‘s cal sever al tim es a day, but character s seldom do thi s, even in t he most reali st ic or natural isti c novel s. We have t o l ive our li fe hour by hour and day by day, but 某某 1 萬噸恒溫庫建設項目 可行性研究報告 2020年 11月 I nt r oduct i on I. Why do we have such course? Engl ish l it er atur e is one of the pulsory and m ost i mpor t ant cour ses. However , the Engli sh li terat ur e cour ses of fer ed ar e mer el y t aught at t he level of l ear ning gener al i nfor mati on and developing l it eral underst anding. 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 the Engli sh language. But t he functi on of Engl ish li ter at ure r eaches far beyond t hat . In readi ng Engli sh l it eratur e, a st udent should have t he power t o discer n how human beings t ransl ate t hei r experi ence i nto ar tist ic expressi on and represent at ion。 how wr it ers, through t hei r cr eat ive i mpulses, convey t o us their i nsi ghts i nt o human dest iny and human li fe。 and how soci al concer n i s involved in a specif ic f orm of human imagi nat ion. In addit ion, st udent s should el evate to t he level of cult ivati ng a curi os it y f or the unknown, thi nki ng cogentl y and logi cal ly, expressing t hemselves clearl y and concisely, and observing t he wor ld ar ound t hem cri ti cal ly and objecti vel y. But most st udent s ar e sti l at a loss as t o how they can ef ect ively analyze a li ter ar y wor k by t hemselves in any of t hese r espect s, even though they have read ple nty of excerpts f r om r epr esentati ve works i n the Br i ti sh and Am er ican l it er ary canon. And t hey tend to have l it tl e idea what role the begi nning part plays in the whol e st ory, how the pl ot develops and es t o r esolut ion, in what way point of view deter mines a r eader‘ s under st andi ng of the stor y, and how t he images and symbol s ar e r el ated t o the t heme. Upon consi der ati on of t hese f act ors, we have such cour se wit h t he intenti on of cul ti vat ing both st udent s‘ li ter ar y sensi bi li ti es and t hei r /your cr i tical power when r eadi ng Engl ish short stor ies and novels. I. Introduct ion about readi ng a story 1. What is St or y? ―Yes –oh, dear , yes—t he novel tel s a stor y. ‖ This i s Forster ‘s r emar k, which i s wort h special at ent ion, for he i s someone in the t rade and wit h r ich exper ience. I n his Aspect s of the Novel he list s ―st or y‖ as the f ir st aspect. People r eadi ng novels f or st ori es usualy ask quest ions l ike ―what happened next ?‖ and ―and‖ what woul d he do next?‖ These quest ions at est to the t wo basi c elements of a stor y. The one i s the event and the ot her t he ti me. A st ory is a seri es of happeni ngs ar ranged in t he nat ural temporal order as they occur . St ory is t he basis of t he novel, and indeed the basi s of nar rat ive wor ks of al l ki nds. 2. The str ucture and f unct ions of a stor y Plot。 character。 point of view。 t heme。 style 3. What i s Ficti on? Ficti on, t he general ter m f or invented stori es, now usual ly appl ied to novels, shor t st ori es, novel a, romances, fables, and ot her nar ati ve works i n prose, even though most pl ays and nar ati ve poems ar e also fi cti onal. ( P. 83. Conci se Dict ionar y of Lit erar y Ter ms) 4. The St ory and t he Novel To r ead novels f or st ory is nothi ng wrong, but nothi ng prof essional eit her. ―One mark of a second rate mind i s to be al ways tel ing st or ies.‖ The r emark by the French wr it er j ean de La Bruyere (1645~1696) is also t rue of t he reader . I f the pur pose of the novel is only t o t el l st ori es, it could as wel l r emain unborn, f or newspape rs and hi st or y books ar e suf fi ci ent t o sat isf y peopl e‘ s desi re f or st ori es about bot h present and past , and even about fut ure. In fact, many newapapermen have been di ssati sfi ed wit h their j ob of report ing and e i nt o t he fi el d of novel wr it ing. Defoe, Di ckens, Joyce, Hem ingway and Camus were am ong t he most famous and the most successful conver ts. Even hi st ori ans m ay feel obl iged to do more than mere st or i es or f act s. Edward Gibborn‘ s Decl ine and Fal of the Rom an Empir e is pr aised not only for i ts mul ti tudinous facts and r at ionali st ic analysis, but mor e f or i ts beaut y of nar at ive styl e. In t eli ng stories, the novelist aim s at som et hing hi gher or he i ntends t o add som ethi ng to t he m ere “f act s. ” As i ndi cat ed i n the def ini ti on of the novel, what makes a novel i s the noveli st ?s st yl e ( personal ized presentat ion of t he st ory) and i nterpret ati on of the story. Chapt er One Plot I. What is Pl ot? 1. Accor ding t o Ar istotl e what ar e t he si x elements of t he st ructur e of tr agedy? Tragedy as a whol e has just si x consti t uent el em ent s… and they are pl ot, charact ers, verbal expression, thought, visual adornment , and song—posit ion. For the elements by whi ch they i mit ate ar e two (verbal expr ession and song—posi ti on) , the manner i n whi ch they im it at e is one ( visual adornment) , the t hings they im it at e are three ( plot, characters , thought ), and t her e is not hi ng mor e beyond t hese. 2. What is Pl ot under the pens of m oder n novel ists and stor yt el er s? And how t o under st and ―Pl ot ‖ i n a story? (―‖ppt : ?The queen died, no one knew why, unti l i t was discovered t hat i t was thr ough gr ief at he deat h of the king. ‘… P. 6 It suspends the t ime sequence, it moves as far away fr om t he st ory as i ts l im it at ions wi l al ow. ) The story and t he char act er al one can not make a novel ye. To make a novel,