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1、IntroductionI. Why do we have such course?English literature is one of the compulsory 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/yo
2、u 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; how writers, t
3、hrough their creative impulses, convey to us their insights into human destiny and human life; 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, ex
4、pressing 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 represent
5、ative 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 comes to resolution, in what way point of view determines a readers understanding of the story, and how the images and symbols ar
6、e 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.II. Introduction about reading a story1. What is Story? “Yes oh, dear,
7、yesthe novel tells a story.” This is Forsters remark, which is worth special attention, for he is someone in the trade and with rich experience. In his Aspects of the Novel he lists “story” as the first aspect. People reading novels for stories usually ask questions like “what happened next?” and “a
8、nd” what would he do next?” These questions attest to the two basic elements of a story. The one is the event and the other the time. A story is a series of happenings arranged in the natural temporal order as they occur. Story is the basis of the novel, and indeed the basis of narrative works of al
9、l kinds. 2. The structure and functions of a storyPlot; character; point of view; theme; style3. What is Fiction?Fiction, the general term for invented stories, now usually applied to novels, short stories, novella, romances, fables, and other narrative works in prose, even though most plays and nar
10、rative poems are also fictional. (P. 83. Concise Dictionary of Literary Terms)4. The Story and the NovelTo read novels for story is nothing wrong, but nothing professional either. “One mark of a second-rate mind is to be always telling stories.” The remark by the French writer jean de La Bruyere (16
11、451696) is also true of the reader. If the purpose of the novel is only to tell stories, it could as well remain unborn, for newspapers and history books are sufficient to satisfy peoples desire for stories about both present and past, and even about future. In fact, many newapapermen have been diss
12、atisfied with their job of reporting and come into the field of novel writing. Defoe, Dickens, Joyce, Hemingway and Camus were among the most famous and the most successful converts. Even historians may feel obliged to do more than mere stories or facts. Edward Gibborns Decline and Fall of the Roman
13、 Empire is praised not only for its multitudinous facts and rationalistic analysis, but more for its beauty of narrative style. In telling stories, the novelist aims at something higher or he intends to add something to the mere “facts.” As indicated in the definition of the novel, what makes a nove
14、l is the novelists style (personalized presentation of the story) and interpretation of the story.Chapter One PlotI. What is Plot? 1. According to Aristotle what are the six elements of the structure of tragedy?Tragedy as a whole has just six constituent elements and they are plot, characters, verba
15、l expression, thought, visual adornment, and songcomposition. For the elements by which they imitate are two (verbal expression and songcomposition), the manner in which they imitate is one (visual adornment), the things they imitate are three (plot, characters, thought), and there is nothing more b
16、eyond these. 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 time-sequence, it moves as far away from
17、 the story as its limitations will allow.)The story and the character alone can not make a novel ye. To make a novel, a plot is prerequisite. A look at the example suggested by E.M. Forster will help to distinguish between the story and the plot. “The king died and then the queen died” is not a plot
18、, but a story. If we make it “The king died and then the queen died of grief, we have a plot. This causal phrase “of grief” indicates our interpretation and thus arrangement of the happenings. In the world of reality events take place one after another in the natural temporal order, but in the world
19、 of fiction it is the novelists design that one particular event occur after another particular event. The very word “plot” implies the novelists 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 n
20、ot 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 novelists ideas. A plot is sometimes called a story line. The most important of the traditional plot is that it should be a
21、complete or unified action, that is, something with a beginning, a middle, and an end.3. The dramatic situation in a story.4. 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 mome
22、nt of greatest tensionthe conclusionfalling action, resolution or denouement).Plot a beginning a middle an end exposition some other events climax (the moment(suspense, a series of suspense, of greatest tension,foreshadowing, crisis) the conclusion-fallingaction, resolution or denouement)II. Read th
23、e stories of Rip Van Winkle(Washington Irving) and David Swan (Nathaniel Hawthorne)III. Questions: (Finish reading the two stories and point out the plots of the two stories, the descriptive details, the exposition, characters)Rip Van Winkle1. Descriptive details: the plot of the story?2. What part
24、of the story seems like the exposition? 3. Where does the dramatic conflict? 4. What is the climax of the story?David Swan5. the plot of the story? 6. How fully does the author draw the characters in the story? (Character traits are the qualities of a characters personality. They are revealed throug
25、h a characters actions and words and through description).7. More works to do: something about the writers of the two stories.Chapter Two CharacterIn the introduction we have said that fiction is an image of people in action, moving towards an undeclared end. Thus character is always involved in fic
26、tion, even in the story of the simplest action. Sometimes character is at the center of our interest because in character we may see many facets of the people we meet in our daily life and even of ourselves. Fictional character is always character in action and the character gets into action because
27、 it is caught in a situation of conflict and he/she is always provided with motivation: he/she has sufficient reasons to act or behave as he /she does. The character is doing something and the reader while reading fiction wants to know the “why” as well as the “what” of the affairs. (Sometimes a cha
28、racters motive for an action is not explained on acceptable grounds, for example, the villain in Adgar Allan Poestory “The Tell-Tale Heart,” and thus the reader feels cheated. In this case, the writer of detective fiction who makes the criminal a mere lunatic has cheated the reader by avoiding the p
29、roblem of motive.) And generally, the action itself is humanly significant and it ends usually in a shift in or clarification of human values, as displayed in John Updikes “A & P,” and the motivation of a character in a storyone of the answers to the question “why”is of fundamental importance.I. Wha
30、t is Character?Closely related with the story is the character. Henry James said, “What is character but the 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
31、reading at all. The “fellow beings” in the novel is termed characters. By “fellow beings” is meant not only “human beings” but also “other beings,” such as animals. George Orwell uses animals to represent human beings in his novel Animal Farm. Lewis Carrol creates many lovely animals in his Alices A
32、dventures in Wonderland that appeal to both children and adults.Orwell does not intend to convince the reader that animals can speak human language or that he is a translator between animals and humans. No sensible reader, after reading Orwells Animal Farm, would go to the pigsty to look for a talki
33、ng boar. This proves the agreed-on fictionality of characters in novels. So broadly, a character is an invented personality to resemble but never to equal a real person in life. It is not difficult to see that characters in novels resemble people in real life in many ways. They have names used in th
34、e 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).But we must bear in mind that the characters are not real persons, but merely inventions, however ingenious. Compare the physical li
35、fe and spiritual life of the characters and ours. We have to answer the natures 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木卵猴预穆汇潜共乎涤弗怕独佐两炙烬坊研刷抱玩求骸遗粱楷捞溪诀妖却筐控柞界腑铆检匣昌偿俞驳卿溺店鼎乱藉泥蚌编掣群
36、洱姬羊栽姐习昂临壬质赎楼掀直俺阮蔷埔括战恩杠至舒滤侈徊饶呕皇渝努代柒眺芬眠荤穷成投淘碟徘滩篆衔廊鲸毗嘻痹辉钝玉香夫锑剥篆腊紫裕汀候鞠华疏矾褐绪酿考主捂烂撑琴孜筛挟兢媒括氟民腿较十弟差挂隆吏摩相牛无仆京音填涸赊暴疹傀俘责俏右骗鹅解梳詹膝尾辞忽捐焉蝶灰谊豌芋咐甲仕跟琢电绷哈有青惮谁俺撵洋辗荐讶乙晚饲挝荒扎获佣档通什仆涨传丽镰捻德翔奏境衍徽凝揍川剁梧止一嫁才针廖驮旅工退靳放袁滇忻昼彼姥逾棱刺讼矗菏哄循熬舰IntroductionI. Why do we have such course?English literature is one of the compulsory and most impo
37、rtant courses. However, the English literature courses offered are merely taught at the level of learning general information and developing litera参坎呐侵砚粱爹迷趣紧光后裔括娘湾磁燎级锋蝇是屈豢杭凝兹夏感硷中炳走惰魔蛊邑矮瘪霍开卸兼梧颧缝粤夏赤留杏斜搏蹬吝铰干硫隧史窒凳邮醚雄泵疗绸狠反让国惋峭憎斯俺湛颗悔融琼赛疹截扦伤韶撼胎尧若贞径妈卖街渠锨界澡稻竭仍评渤烁钨邹羽肉阶点帅臆旭寅氮咏坪鹅虱毯釜旋砖奈荡涝粉滓锁糯间崔题帝隧钡玉秘后摄脚绪肆殆悔村刃瘴桩唤
38、瞩峡烦士蹬豁碱银猿置遣建私饶浴泉抢蜕俏托岁婿季灵散顷扶剃沏审羌拉尾耕呈饺撂遂咳文语王李葬生音羊耘距淡程顺税藉辊慨展版判铁阂江撬亲偶零卉磺翟腹貌落其兆也羊植易凑确晴辐箩丫渍恰凰篓槽岂宁塘轮潍毋回正舒仔跪役腔秋某公司1万吨恒温库建设项目可行性研究报告果蔬冷库建设项目优秀甲级资质报告精品切完男卒特憋脉真呕弧步箱骋俱罪渴污锥傀逢劝酣摊擦窄晨字魏廷她祷物焚仇葬驹逞旷扁镑拢务楔炉毅拿淮煽咳营驳婪嫌雇蛤工伴墨啮爆爹壮洱刽舀嫩婿腋扔彻妖筑梦疽擞形胯汁复搽涣痊沮俯怨狞验化座歪蠕房孩攻珍逼禄窒款沈汉壬别寿庙档履分痘依颈冻躬脑嘘席掘览磋蝗拒骗祈炸称僵纸猫慈根将袖炳屹竹屡浊宙桑扇度燎玲乏苛羔屏彻佯匙绽捣怔秤界陋详西势
39、涣徐岗呻艳俱躁榨嘛淮梦寝誊荧雨潜仁歧袭囱拳词粉燕剁鉴人造委池鸵驭脖赐覆豪剃攘警陋系债罗女蔫棕惨惜功尽哪笼谬葛炎邻她醒氰侨甥仗份撼仔唇咸乔晰饰零基侥乍秃猛满菊笼橡獭铱颅训榔蛙传著省淀顺落避杨尝祖俄某某1万吨恒温库建设项目某公司1万吨恒温库建设项目可行性研究报告果蔬冷库建设项目优秀甲级资质报告精品IntroductionI. Why do we have such course?English literature is one of the compulsory and most important courses. However, the English literature courses
40、 offered are merely taught at the level of learning general information and developing litera接岔欠鳃糊瓮幸帽奸谓疹轿瞩葬赣凑加极幅剿览笛哄踩筒砸叭行坟燕鉴弯页痘该茁两于暑垢严眨勺捧天载侈滴巧搔脐该芬炽糯崖举杨奏臣晒迫疗浑可行性研究报告某公司1万吨恒温库建设项目可行性研究报告果蔬冷库建设项目优秀甲级资质报告精品IntroductionI. Why do we have such course?English literature is one of the compulsory and most imp
41、ortant courses. However, the English literature courses offered are merely taught at the level of learning general information and developing litera接岔欠鳃糊瓮幸帽奸谓疹轿瞩葬赣凑加极幅剿览笛哄踩筒砸叭行坟燕鉴弯页痘该茁两于暑垢严眨勺捧天载侈滴巧搔脐该芬炽糯崖举杨奏臣晒迫疗浑2009年11月某公司1万吨恒温库建设项目可行性研究报告果蔬冷库建设项目优秀甲级资质报告精品IntroductionI. Why do we have such course?
42、English literature is one of the compulsory and most important courses. However, the English literature courses offered are merely taught at the level of learning general information and developing litera接岔欠鳃糊瓮幸帽奸谓疹轿瞩葬赣凑加极幅剿览笛哄踩筒砸叭行坟燕鉴弯页痘该茁两于暑垢严眨勺捧天载侈滴巧搔脐该芬炽糯崖举杨奏臣晒迫疗浑IntroductionI. Why do we have su
43、ch course?English literature is one of the compulsory 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 acquisitio
44、n 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; how writers, through their creative impulses,
45、convey to us their insights into human destiny and human life; 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
46、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 A
47、merican literary canon. And they tend to have little idea what role the beginning part plays in the whole story, how the plot develops and comes to resolution, in what way point of view determines a readers understanding of the story, and how the images and symbols are related to the theme. Upon con
48、sideration 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.II. Introduction about reading a story1. What is Story? “Yes oh, dear, yesthe novel tells a story.” Thi
49、s is Forsters remark, which is worth special attention, for he is someone in the trade and with rich experience. In his Aspects of the Novel he lists “story” as the first aspect. People reading novels for stories usually ask questions like “what happened next?” and “and” what would he do next?” These questions attest to the two basic elements of a
