英语小说选读Word文档格式.docx
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英语小说选读Word文档格式.docx
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II.Introductionaboutreadingastory
1.WhatisStory?
“Yes–oh,dear,yes—thenoveltellsastory.”ThisisForster’sremark,whichisworthspecialattention,forheissomeoneinthetradeandwithrichexperience.InhisAspectsoftheNovelhelists“story”asthefirstaspect.Peoplereadingnovelsforstoriesusuallyaskquestionslike“whathappenednext?
”and“and”whatwouldhedonext?
”Thesequestionsattesttothetwobasicelementsofastory.Theoneistheeventandtheotherthetime.Astoryisaseriesofhappeningsarrangedinthenaturaltemporalorderastheyoccur.Storyisthebasisofthenovel,andindeedthebasisofnarrativeworksofallkinds.
2.Thestructureandfunctionsofastory
Plot;
character;
pointofview;
theme;
style
3.WhatisFiction?
Fiction,thegeneraltermforinventedstories,nowusuallyappliedtonovels,shortstories,novella,romances,fables,andothernarrativeworksinprose,eventhoughmostplaysandnarrativepoemsarealsofictional.(P.83.ConciseDictionaryofLiteraryTerms)
4.TheStoryandtheNovel
Toreadnovelsforstoryisnothingwrong,butnothingprofessionaleither.“Onemarkofasecond-ratemindistobealwaystellingstories.”TheremarkbytheFrenchwriterjeandeLaBruyere(1645~1696)isalsotrueofthereader.Ifthepurposeofthenovelisonlytotellstories,itcouldaswellremainunborn,fornewspapersandhistorybooksaresufficienttosatisfypeople’sdesireforstoriesaboutbothpresentandpast,andevenaboutfuture.Infact,manynewapapermenhavebeendissatisfiedwiththeirjobofreportingandcomeintothefieldofnovelwriting.Defoe,Dickens,Joyce,HemingwayandCamuswereamongthemostfamousandthemostsuccessfulconverts.Evenhistoriansmayfeelobligedtodomorethanmerestoriesorfacts.EdwardGibborn’sDeclineandFalloftheRomanEmpireispraisednotonlyforitsmultitudinousfactsandrationalisticanalysis,butmoreforitsbeautyofnarrativestyle.Intellingstories,thenovelistaimsatsomethinghigherorheintendstoaddsomethingtothemere“facts.”Asindicatedinthedefinitionofthenovel,whatmakesanovelisthenovelist’sstyle(personalizedpresentationofthestory)andinterpretationofthestory.
ChapterOnePlot
I.WhatisPlot?
1.AccordingtoAristotlewhatarethesixelementsofthestructureoftragedy?
Tragedyasawholehasjustsixconstituentelements…andtheyareplot,characters,verbalexpression,thought,visualadornment,andsong—composition.Fortheelementsbywhichtheyimitatearetwo(verbalexpressionandsong—composition),themannerinwhichtheyimitateisone(visualadornment),thethingstheyimitatearethree(plot,characters,thought),andthereisnothingmorebeyondthese.
2.WhatisPlotunderthepensofmodernnovelistsandstorytellers?
Andhowtounderstand“Plot”inastory?
(“”ppt:
‘Thequeendied,nooneknewwhy,untilitwasdiscoveredthatitwasthroughgriefatthedeathoftheking.’…P.6Itsuspendsthetime-sequence,itmovesasfarawayfromthestoryasitslimitationswillallow.)
Thestoryandthecharacteralonecannotmakeanovelye.Tomakeanovel,aplotisprerequisite.AlookattheexamplesuggestedbyE.M.Forsterwillhelptodistinguishbetweenthestoryandtheplot.“Thekingdiedandthenthequeendied”isnotaplot,butastory.Ifwemakeit“Thekingdiedandthenthequeendiedofgrief,’wehaveaplot.Thiscausalphrase“ofgrief”indicatesourinterpretationandthusarrangementofthehappenings.
Intheworldofrealityeventstakeplaceoneafteranotherinthenaturaltemporalorder,butintheworldoffictionitisthenovelist’sdesignthatoneparticulareventoccurafteranotherparticularevent.Theveryword“plot”impliesthenovelist’srebellionagainstthenaturallawandhisendeavortomakemeaningsoutofthehappeningsthatmayotherwisebemeaningless.“Thehappenings”mayormaynotberealhappenings.(Sowhatplotis--)Aplotisaparticulararrangementofhappeningsinanovelthatisaimedatrevealingtheircausalrelationshipsoratconveyingthenovelist’sideas.Aplotissometimescalledastoryline.Themostimportantofthetraditionalplotisthatitshouldbeacompleteorunifiedaction,thatis,somethingwithabeginning,amiddle,andanend.
3.Thedramaticsituationinastory.
4.Thethreepartsofaplot:
abeginning(exposition),amiddle(suspenseoraseriesofsuspense….foreshadowing…crisis–amomentofhightension),andanend(aclimax,themomentofgreatesttension…theconclusion—fallingaction,resolutionordenouement).
Plot
abeginningamiddleanend
expositionsomeothereventsclimax(themoment
(suspense,aseriesofsuspense,ofgreatesttension,
foreshadowing,crisis)theconclusion-falling
action,resolutionordenouement)
II.Readthestoriesof‘RipVanWinkle’(WashingtonIrving)and‘DavidSwan’(NathanielHawthorne)
III.Questions:
(Finishreadingthetwostoriesandpointouttheplotsofthetwostories,thedescriptivedetails,theexposition,characters)
RipVanWinkle
1.Descriptivedetails:
theplotofthestory?
2.Whatpartofthestoryseemsliketheexposition?
3.Wheredoesthedramaticconflict?
4.Whatistheclimaxofthestory?
DavidSwan
5.theplotofthestory?
6.Howfullydoestheauthordrawthecharactersinthestory?
(Charactertraitsarethequalitiesofacharacter’spersonality.Theyarerevealedthroughacharacter’sactionsandwordsandthroughdescription).
7.Moreworkstodo:
somethingaboutthewritersofthetwostories.
ChapterTwoCharacter
Intheintroductionwehavesaidthatfictionisanimageofpeopleinaction,movingtowardsanundeclaredend.Thuscharacterisalwaysinvolvedinfiction,eveninthestoryofthesimplestaction.Sometimescharacterisatthecenterofourinterestbecauseincharacterwemayseemanyfacetsofthepeoplewemeetinourdailylifeandevenofourselves.Fictionalcharacterisalwayscharacterinactionandthecharactergetsintoactionbecauseitiscaughtinasituationofconflictandhe/sheisalwaysprovidedwithmotivation:
he/shehassufficientreasonstoactorbehaveashe/shedoes.Thecharacterisdoingsomethingandthereaderwhilereadingfictionwantstoknowthe“why”aswellasthe“what”oftheaffairs.(Sometimesacharacter’smotiveforanactionisnotexplainedonacceptablegrounds,forexample,thevillaininAdgarAllanPoe’story“TheTell-TaleHeart,”andthusthereaderfeelscheated.Inthiscase,thewriterofdetectivefictionwhomakesthecriminalamerelunatichascheatedthereaderbyavoidingtheproblemofmotive.)Andgenerally,theactionitselfishumanlysignificantanditendsusuallyinashiftinorclarificationofhumanvalues,asdisplayedinJohnUpdike’s“A&
P,”andthemotivationofacharacterinastory—oneoftheanswerstothequestion“why”—isoffundamentalimportance.
I.WhatisCharacter?
Closelyrelatedwiththestoryisthecharacter.HenryJamessaid,“Whatischaracterbutthe
determinationofincident?
Whatisincidentbuttheillustrationofcharacter?
”(TheArtofFiction”)Whenwereadanovel,wereadaboutourfellowbeings,andthatisoneofthemotivesinreadingatall.The“fellowbeings”inthenovelistermedcharacters.By“fellowbeings”ismeantnotonly“humanbeings”butalso“otherbeings,”suchasanimals.GeorgeOrwellusesanimalstorepresenthumanbeingsinhisnovelAnimalFarm.LewisCarrolcreatesmanylovelyanimalsinhisAlice’sAdventuresinWonderlandthatappealtobothchildrenandadults.
Orwelldoesnotintendtoconvincethereaderthatanimalscanspeakhumanlanguageorthat
heisatranslatorbetweenanimalsandhumans.Nosensiblereader,afterreadingOrwell’sAnimalFarm,wouldgotothepigstytolookforatalkingboar.Thisprovestheagreed-onfictionalityofcharactersinnovels.Sobroadly,acharacterisaninventedpersonalitytoresemblebutnevertoequalarealp
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