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Introduction I. W hy do we have such co urse? Eng lish literature is o ne of the compulsory and most important courses. However, the Eng lish literature courses offered are m erely taught at the level of learning general information and develo ping literal understand ing. Admitted ly, such courses help them/y u a lot in their/y our acquisition of the English language. But the function of English literature reaches far bey ond that. In reading English literature, a studen t shou ld have the power to discern how human being s translate their experience into artistic expression and representation; how writers, through their creative impulses, convey to us their in sigh ts in to human destiny and human life; and how social concern is involved in a specific form of human imagination. In addition, studen ts sho uld elevate to the level of cultivating a curiosity for the unknown, thin king cogently and log ically, expressing themselves clearly and concisely, and observing the world around them critically and objectively. But most stu dents are still at a lo ss as to how they can effectively analy ze a literary work by themselves in any of these respects, even though they have read plenty of excerpts from repres entative works in the British and American literary canon. And they tend to have little idea what role the beginn ing part play s in the whole story, how the plot develop s and comes to resolution, in what way point of v iew determines a reader s understanding of the story, and how the images and sy mbols are related to the th eme. Upon consideration of these factors, we have such course with the inten tion of cultivating bo th students literary sensibilities and their /y our critical power when reading English short stories and novels. II. Intro ductio n a bout reading a story 1. What is Story Yes oh, dear, y es—the novel tells a story. This is Forster s 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 q uestio ns lik e what happened next? and and what wo uld 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 no vel, and in deed the basis of narrative wor of all in ds. 2. T he structure and functions of a story Plot; character; point of view; theme; sty le 3. What is Fictio n? Fiction, the general term for invented stories, now u sually applied to novels, short stories, n ovella, romances, fables, and other narrative work s in prose, even though most play s and narrative poems are also fictional. (P. 83. Concise Dictionary of Literary Terms) 4. The Story and the Novel To read novels for story is noth ing wrong, but noth ing professio nal either. One mark of a second-rate mind is to be alway s telling stories. The remark by the French writer jean de La Bruy ere (1645~1696) is a lso 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 people s desire for stories abo ut bo th present and past, and even about future. In fact, man newapapermen have been dissatisfied w ith their job of reporting and come into the field of novel writing. Defoe, Dic ens, Joy ce, Hemingway and Camus were among the most famous and the most successful converts. Even h istorians may feel obliged to do more than mere stories or facts. Edward Gibborn s Decline and Fall of the Roman Empire is praised not o nly for its multitudin ous facts and ratio nalistic analy sis, but more for its beauty of narrative sty le. In telling stories, the novelist a ims at somet hing hig her or he intends to a dd so mething to t he mere facts. As indicated in the definitio n of the novel, w hat ma kes a novel is the novelist s style (persona lized presentation of the story) and interpretation of t he story. Chapter One Plot I. What is P lot? 1. According to Aristotle what are the six elements of the structure of tragedy Traged as a whole has just six constituent elements… and they are plot, characters, verbal expression, t ho ught, v isual a dornment, and so ng—co mposition. For the elements by which they imitate are two (verbal expression and song—composition), the manner in which they imitate is one (visual adornment), the th ings they imitate are three (plot, characters, thought), and there is noth ing more bey ond these. 2. What is Plot under the pens of modern novelists and story tellers? And how to understan d Plot in a story―‖ppt: The queen died, no one new why, until it was discovered that it was through grief at the death of the ing.‘…P. 6 It suspend s the time-sequence, it moves as far away from the story as its limitations w ill allow.) The story and the character alone can not mak e a novel y e. To mak e a novel, a plot is prerequisite. A loo at the example suggested by E.M. Forster will help to distin guish between the story and the plo t. The in g died and then the queen died is not a p lot, b ut a story. If we mak e it The ing d ied and then the queen died of grief, we have a plot. T his causal p hrase of grief indicates our interpretation and thus arrangement of the happenings. In the world of reality events tak e p lace one after another in the natural temporal order, but in the world of fiction it is the no velist s design that one particular event occur after another particular event. The very word plot implies the novelist s rebellion again st the natural law and his endeavor to mak e meanings ou t of the happenin gs that may otherwise be meaningless. The happenings may or may not be real happenings.(So w hat plot is --) A plot is a particular arrangement of happenings in a novel that is aimed at revealing their causal relationsh …… 此处隐藏：519522字，全部文档内容请下载后查看。喜欢就下载吧 ……