婚慶公司創(chuàng)業(yè)計(jì)劃書(shū)

1、IntroductionI.WhydowehavesuchcourseEnglishliteratureisoneofthecompulsymostimptantcourses.HowevertheEnglishliteraturecoursesofferedaremerelytaughtattheleveloflearninggeneralinfmationdevelopingliteralundersting.Admittedlys

2、uchcourseshelpthemyoualotintheiryouracquisitionoftheEnglishlanguage.ButthefunctionofEnglishliteraturereachesfarbeyondthat.InreadingEnglishliteratureastudentshouldhavethepowertodiscernhowhumanbeingstranslatetheirexperienc

3、eintoartisticexpressionrepresentationhowwritersthroughtheircreativeimpulsesconveytoustheirinsightsintohumandestinyhumanlifehowsocialconcernisinvolvedinaspecificfmofhumanimagination.Inadditionstudentsshouldelevatetothelev

4、elofcultivatingacuriosityftheunknownthinkingcogentlylogicallyexpressingthemselvesclearlyconciselyobservingthewldaroundthemcriticallyobjectively.Butmoststudentsarestillatalossastohowtheycaneffectivelyanalyzealiterarywkbyt

5、hemselvesinanyoftheserespectseventhoughtheyhavereadplentyofexcerptsfromrepresentativewksintheBritishAmericanliterarycanon.theytendtohavelittleideawhatrolethebeginningpartplaysinthewholestyhowtheplotdevelopscomestoresolut

6、ioninwhatwaypointofviewdeterminesareader’sunderstingofthestyhowtheimagessymbolsarerelatedtothetheme.Uponconsiderationofthesefactswehavesuchcoursewiththeintentionofcultivatingbothstudents’literarysensibilitiestheiryourcri

7、ticalpowerwhenreadingEnglishshtstiesnovels.II.Introductionaboutreadingasty1.WhatisSty“Yes–ohdearyes—thenoveltellsasty.”ThisisFster’sremarkwhichiswthspecialattentionfheissomeoneinthetradewithrichexperience.InhisAspectsoft

8、heNovelhelists“sty”asthefirstaspect.Peoplereadingnovelsfstiesusuallyaskquestionslike“whathappenednext”“”whatwouldhedonext”Thesequestionsattesttothetwobasicelementsofasty.Theoneistheeventtheotherthetime.Astyisaseriesofhap

9、peningsarrangedinthenaturaltempalderastheyoccur.Styisthebasisofthenovelindeedthebasisofnarrativewksofallkinds.2.ThestructurefunctionsofastyPlotacterpointofviewthemestyle3.WhatisFictionFictionthegeneraltermfinventedstiesn

10、owusuallyappliedtonovelsshtstiesnovellaromancesfablesothernarrativewksinproseeventhoughmostplaysnarrativepoemsarealsofictional.(P.83.ConciseDictionaryofLiteraryTerms)4.TheStytheNovelToreadnovelsfstyisnothingwrongbutnothi

11、ngprofessionaleither.“Onemarkofasecondratemindistobealwaystellingsties.”TheremarkbytheFrenchwriterjeandeLaBruyere(1645~1696)isalsotrueofthereader.Ifthepurposeofthenovelisonlytotellstiesitcouldaswellremainunbnfnewspapersh

12、istybooksaresufficienttosatisfypeople’sdesirefstiesaboutbothpresentpastevenaboutfuture.Infactmanynewapapermenhavebeendissatisfiedwiththeirjobofreptingcomeintothefieldofnovelwriting.DefoeDickensJoyceHemingwayCamuswereamon

13、gthemostfamousthemostsuccessfulconverts.Evenhistiansmayfeelobligedtodomethanmerestiesfacts.EdwardGibbn’sDeclineFalloftheRomanEmpireispraisednotonlyfitsmultitudinousfactsrationalisticanalysisbutmefitsbeautyofnarrativestyl

14、e.Intellingstiesthenovelistaimsatsomethinghigherheintendstoaddsomethingtothemere“facts.”Asindicatedinthedefinitionofthenovelwhatmakesanovelisthenovelist’sstyle(personalizedpresentationofthesty)interpretationofthesty.Chap

15、terOnePlotI.WhatisPlot1.AccdingtoAristotlewhatarethesixelementsofthestructureoftragedyTragedyasawholehasjustsixconstituentelements…theyareplotactersverbalexpressionthoughtvisualadnmentsong—composition.Ftheelementsbywhich

16、theyimitatearetwo(verbalexpressionsong—composition)themannerinwhichtheyimitateisone(visualadnment)thethingstheyimitatearethree(plotactersthought)thereisnothingmebeyondthese.2.WhatisPlotunderthepensofmodernnovelistsstytel

17、lershowtounderst“Plot”inasty(“”ppt:‘Thequeendiednooneknewwhyuntilitwasdiscoveredthatitwasthroughgriefatthedeathoftheking.’…P.6Itsuspendsthetimesequenceitmovesasfarawayfromthestyasitslimitationswillallow.)Thestytheacteral

18、onecannotmakeanovelye.Tomakeanovelaplotisprerequisite.AlookattheexamplesuggestedbyE.M.Fsterwillhelptodistinguishbetweenthestytheplot.“Thekingdiedthenthequeendied”isnotaplotbutasty.Ifwemakeit“Thekingdiedthenthequeendiedof

19、grief’wehaveaplot.Thiscausalphrase“ofgrief”indicatesourinterpretationthusarrangementofthehappenings.Inthewldofrealityeventstakeplaceoneafteranotherinthenaturaltempalderbutinthewldoffictionitisthenovelist’sdesignthatonepa

20、rticulareventoccurafteranotherparticularevent.Theverywd“plot”impliesthenovelist’srebellionagainstthenaturallawhisendeavtomakemeaningsoutofthehappeningsthatmayotherwisebemeaningless.“Thehappenings”maymaynotberealhappening

21、s.(Sowhatplotis)Aplotisaparticulararrangementofhappeningsinanovelthatisaimedatrevealingtheircausalrelationshipsatconveyingthenovelist’sideas.Aplotissometimescalledastyline.Themostimptantofthetraditionalplotisthatitshould

22、beacompleteunifiedactionthatissomethingwithabeginningadleanend.3.Thedramaticsituationinasty.4.Thethreepartsofaplot:abeginning(exposition)adle(suspenseaseriesofsuspense….feshadowing…crisis–amomentofhightension)anend(aclim

23、axthemomentofgreatesttension…theconclusion—fallingactionresolutiondenouement).Plotabeginningadleanendexpositionsomeothereventsclimax(themoment(suspenseaseriesofsuspenseofgreatesttensionfeshadowingcrisis)theconclusionfall

24、ingactionresolutiondenouement)II.Readthestiesof‘RipVanWinkle’(WashingtonIrving)‘DavidSwan’(NathanielHawthne)III.Questions:(Finishreadingthetwostiespointouttheplotsofthetwostiesthedeivedetailstheexpositionacters)RipVanWin

25、kle1.Deivedetails:theplotofthesty2.Whatpartofthestyseemsliketheexposition3.Wheredoesthedramaticconflict4.WhatistheclimaxofthestyDavidSwan5.theplotofthesty6.Howfullydoestheauthdrawtheactersinthesty(actertraitsarethequalit

26、iesofaacter’spersonality.Theyarerevealedthroughaacter’sactionswdsthroughdeion).7.Mewkstodo:somethingaboutthewritersofthetwosties.ChapterTwoacterIntheintroductionwehavesaidthatfictionisanimageofpeopleinactionmovingtowards

27、anundeclaredend.Thusacterisalwaysinvolvedinfictioneveninthestyofthesimplestaction.Sometimesacterisatthecenterofourinterestbecauseinacterwemayseemanyfacetsofthepeoplewemeetinourdailylifeevenofourselves.Fictionalacterisalw

28、aysacterinactiontheactergetsintoactionbecauseitiscaughtinasituationofconflicthesheisalwaysprovidedwithmotivation:heshehassufficientreasonstoactbehaveasheshedoes.Theacterisdoingsomethingthereaderwhilereadingfictionwantsto

29、knowthe“why”aswellasthe“what”oftheaffairs.(Sometimesaacter’smotivefanactionisnotexplainedonacceptablegroundsfexamplethevillaininAdgarAllanPoe’sty“TheTellTaleHeart”thusthereaderfeelscheated.Inthiscasethewriterofdetectivef

30、ictionwhomakesthecriminalamerelunatichascheatedthereaderbyavoidingtheproblemofmotive.)generallytheactionitselfishumanlysignificantitendsusuallyinashiftinclarificationofhumanvaluesasdisplayedinJohnUpdike’s“Ahowwritersthro

31、ughtheircreativeimpulsesconveytoustheirinsightsintohumandestinyhumanlifehowsocialconcernisinvolvedinaspecificfmofhumanimagination.Inadditionstudentsshouldelevatetothelevelofcultivatingacuriosityftheunknownthinkingcogentl

32、ylogicallyexpressingthemselvesclearlyconciselyobservingthewldaroundthemcriticallyobjectively.Butmoststudentsarestillatalossastohowtheycaneffectivelyanalyzealiterarywkbythemselvesinanyoftheserespectseventhoughtheyhaveread

33、plentyofexcerptsfromrepresentativewksintheBritishAmericanliterarycanon.theytendtohavelittleideawhatrolethebeginningpartplaysinthewholestyhowtheplotdevelopscomestoresolutioninwhatwaypointofviewdeterminesareader’sunderstin

34、gofthestyhowtheimagessymbolsarerelatedtothetheme.Uponconsiderationofthesefactswehavesuchcoursewiththeintentionofcultivatingbothstudents’literarysensibilitiestheiryourcriticalpowerwhenreadingEnglishshtstiesnovels.II.Intro

35、ductionaboutreadingasty1.WhatisSty“Yes–ohdearyes—thenoveltellsasty.”ThisisFster’sremarkwhichiswthspecialattentionfheissomeoneinthetradewithrichexperience.InhisAspectsoftheNovelhelists“sty”asthefirstaspect.Peoplereadingno

36、velsfstiesusuallyaskquestionslike“whathappenednext”“”whatwouldhedonext”Thesequestionsattesttothetwobasicelementsofasty.Theoneistheeventtheotherthetime.Astyisaseriesofhappeningsarrangedinthenaturaltempalderastheyoccur.Sty

37、isthebasisofthenovelindeedthebasisofnarrativewksofallkinds.2.ThestructurefunctionsofastyPlotacterpointofviewthemestyle3.WhatisFictionFictionthegeneraltermfinventedstiesnowusuallyappliedtonovelsshtstiesnovellaromancesfabl

38、esothernarrativewksinproseeventhoughmostplaysnarrativepoemsarealsofictional.(P.83.ConciseDictionaryofLiteraryTerms)4.TheStytheNovelToreadnovelsfstyisnothingwrongbutnothingprofessionaleither.“Onemarkofasecondratemindistob

39、ealwaystellingsties.”TheremarkbytheFrenchwriterjeandeLaBruyere(1645~1696)isalsotrueofthereader.Ifthepurposeofthenovelisonlytotellstiesitcouldaswellremainunbnfnewspapershistybooksaresufficienttosatisfypeople’sdesirefsties

40、aboutbothpresentpastevenaboutfuture.Infactmanynewapapermenhavebeendissatisfiedwiththeirjobofreptingcomeintothefieldofnovelwriting.DefoeDickensJoyceHemingwayCamuswereamongthemostfamousthemostsuccessfulconverts.Evenhistian

41、smayfeelobligedtodomethanmerestiesfacts.EdwardGibbn’sDeclineFalloftheRomanEmpireispraisednotonlyfitsmultitudinousfactsrationalisticanalysisbutmefitsbeautyofnarrativestyle.Intellingstiesthenovelistaimsatsomethinghigherhei

42、ntendstoaddsomethingtothemere“facts.”Asindicatedinthedefinitionofthenovelwhatmakesanovelisthenovelist’sstyle(personalizedpresentationofthesty)interpretationofthesty.ChapterOnePlotI.WhatisPlot1.AccdingtoAristotlewhatareth

43、esixelementsofthestructureoftragedyTragedyasawholehasjustsixconstituentelements…theyareplotactersverbalexpressionthoughtvisualadnmentsong—composition.Ftheelementsbywhichtheyimitatearetwo(verbalexpressionsong—composition)

44、themannerinwhichtheyimitateisone(visualadnment)thethingstheyimitatearethree(plotactersthought)thereisnothingmebeyondthese.2.WhatisPlotunderthepensofmodernnovelistsstytellershowtounderst“Plot”inasty(“”ppt:‘Thequeendiednoo

45、neknewwhyuntilitwasdiscoveredthatitwasthroughgriefatthedeathoftheking.’…P.6Itsuspendsthetimesequenceitmovesasfarawayfromthestyasitslimitationswillallow.)Thestytheacteralonecannotmakeanovelye.Tomakeanovelaplotisprerequisi

46、te.AlookattheexamplesuggestedbyE.M.Fsterwillhelptodistinguishbetweenthestytheplot.“Thekingdiedthenthequeendied”isnotaplotbutasty.Ifwemakeit“Thekingdiedthenthequeendiedofgrief’wehaveaplot.Thiscausalphrase“ofgrief”indicate

47、sourinterpretationthusarrangementofthehappenings.Inthewldofrealityeventstakeplaceoneafteranotherinthenaturaltempalderbutinthewldoffictionitisthenovelist’sdesignthatoneparticulareventoccurafteranotherparticularevent.Theve

48、rywd“plot”impliesthenovelist’srebellionagainstthenaturallawhisendeavtomakemeaningsoutofthehappeningsthatmayotherwisebemeaningless.“Thehappenings”maymaynotberealhappenings.(Sowhatplotis)Aplotisaparticulararrangementofhapp

49、eningsinanovelthatisaimedatrevealingtheircausalrelationshipsatconveyingthenovelist’sideas.Aplotissometimescalledastyline.Themostimptantofthetraditionalplotisthatitshouldbeacompleteunifiedactionthatissomethingwithabeginni

50、ngadleanend.3.Thedramaticsituationinasty.4.Thethreepartsofaplot:abeginning(exposition)adle(suspenseaseriesofsuspense….feshadowing…crisis–amomentofhightension)anend(aclimaxthemomentofgreatesttension…theconclusion—fallinga

51、ctionresolutiondenouement).Plotabeginningadleanendexpositionsomeothereventsclimax(themoment(suspenseaseriesofsuspenseofgreatesttensionfeshadowingcrisis)theconclusionfallingactionresolutiondenouement)II.Readthestiesof‘Rip