置业顾问专业培训.doc

summing up the plot. a theme is usually stated in general words. another try sounds like this: “solitary people need a orderly place where they can drink with dignity.” that is a little better. we have indicated that hemingways story is more than merely about an old man and two waiters. we remember that at the end the story is entirely confined to the older waiters thoughts and perceptions. how do we understand his mediation on “nada,” nothingness, which bears so much emphasis? no good statement of the theme of the story can leave it out. then we have still another try: “solitary people need a place of refuge from their terrible awareness that their life (or perhaps, human life) is essentially meaningless.” neither this nor any other statement of the storys theme is unarguably appropriate, but the statement at least touches one primary idea that hemingway seems to be driving at. after we read “a clean, well-lighted place,” we feel that there is such a theme, a unifying vision, even though we cannot reduce it to a tag and we may still vary in our opinion about, and statement of, the theme. moral inferences drawn from most stories: moral inferences may be drawn from most stories, no doubt, even when an author does not intend his/her story to be read this way. in “a clean, well-lighted place”, we feel that hemingway is indirectly giving us advice for properly regarding and sympathizing the lonely, the uncertain, and the old. but obviously the story does not set forth a lesson that we are supposed to put into practice. we can say for sure that “a clean, well-lighted place” contains several themes and other statements could be made to take in hemingways view of love, of communication between people, of dignity. great stories, like great symphonies, frequently have more than one theme. when we say that the title of pride and prejudice conveys the theme of the novel or that uncle toms cabin and the grapes of wrath treat the themes of slavery and migratory labor respectively, this is to use theme in a larger and more abstract sense than it is in our discussion of hemingways “a clean, well-lighted place.” in this larger sense it is relatively easy to say that mark twains huckleberry finn, updikes a & p, and faulkners barn burning concern the theme of “initiation into maturity.” such general descriptions of theme can be useful, especially if we want to sort a large number of stories and novels into rough categories, but the fact that they are similar in theme does not mean that they mean the same thing. the attitude towards the theme may be very different: the tone of treatment may be, for example, either comic or tragic, straightforward or ironic. the writers vision of life is the special underlying fact of a story, and a theme, abstractly stated, is not the same thing as a vision of life. and we suggest anyway that, in the beginning, you look for whatever truth or insight you think the writer of a story intends to reveal. try to state a theme in a sentence. by doing so, we will find ourselves looking closely at the story. kennedy and gioia make a helpful suggestion to consider the following points when we think about the theme of a story:look back once more at the title of the story. what does it indicate in relation to the whole story?does the main character in any way change in the story? does this character arrive at any eventual realization or understanding? are you left with any realization or understanding after finishing reading the story?does the author (through the narrator) make any general observations about life or human nature? do the characters make any (caution: characters now and again will utter opinions with which the reader is not necessarily supposed to agree.)does the story contain any especially curious objects, mysterious flat characters, significant animals, repeated names, special allusions, or whatever, that hint towards meanings larger than such things ordinarily have? in literary stories, such symbols or metaphors may point to central themes.when we have worked our statement of theme, have we cast our statement into general language, not just given a plot summary? does our statement hold true for the story as a whole, not just part of it?chapter four setting“once upon a time there lived a king named midas in phrygia. he loved gold more than anything else but his little daughter.” this is the opening sentences of “golden touch”, which introduces the time, place, and the usual mentality of the character. what is setting?an event occurs and a character exists in a particular time and place. this particular time and place is referred to as setting. a setting is the background against which a character is depicted or an event narrated. its purpose is to provide an imaginary link between what happens in the novel and what the reader takes to be reality. like some other elements, setting is not peculiar to the novel. the reader finds it serving the same purpose in different genres. the traditional way to tell a story reveals much about setting.usually, a setting consists of time and place. it can also mean circumstances such as midass mentality. a setting may be detailed or sketchy. it depends on the novelists purpose of writing and his idea of works of art. a setting may or may not be symbolic. generally, a setting is more concerned with the physical aspects. setting is closely related with exposition in that they both help to make possible the events in the novel. in fact, an exposition must have a setting. but setting goes along with every event in the novel whereas exposition is only the initiating action.1. the elements making up a settingby the setting of a story, we simply mean its place and time, the physical, and sometimes spiritual, background against which the action of a narrative takes place. every a story as short as the one at the beginning of the introduction must be set in a certain place and time: we have an “old, shuttered house” and the present tense suggests time (though the present tense indicates much more than time itself in the story). the elements making up a setting are generally: (1) the actual geographical location, its topography, scenery, and such physical arrangements as the location of the windows and doors in a room; (2) the occupations and daily manner of living of the characters; (3) the time or period in which the action takes place, for example, the late eighteenth century in history or winter of the year; (4) the general environment of the characters, for example, religious, mental, moral, social, and emotional conditions through which characters in the story move. (holman and harman, a handbook to literature, 1986) but often, in an effective story, setting may figure as more than mere background. it can make things happen. it can prompt characters to act, bring them to realizations, or cause them to reveal their innermost natures, as we shall see in john cheevers short story “the swimmer”.first, as we have said, the idea of setting includes the physical environment of a story: a region, a landscape, a city, a village, a street, a housea particular place or a series of places where a story occurs. (where a story takes place is sometimes called its locale.) places in fiction not only provide a location for an action or an event of the story but also provoke feelings in us. a sight of a green field dotted with fluttering daffodils affects us very differently from a sight of a dingy alley, a tropical jungle, or a small house crowded with furniture. in addition to a sense of beauty or ugliness, we usually build up certain associations when we put ourselves in such a scene. we are depressed by a dingy alley, not only because it is ugly, but because it may arouse a feeling, perhaps sometimes unconsciously, of poverty, misery, violence, viciousness, and the struggles of human beings who have to live under such conditions. a tropical jungle, for example, in joseph conrads heart of darkness, might involve a complicated analysis: the pleasure of the colours and forms of vegetation, the discomfort of humidity, heat, and insects, a sense of mystery, horror, etc. the popularity of sir walter scotts “waverley” novels is due in part to their evocation of a romantic mood of scotland. the english novelist graham greene apparently needed to visit a fresh scene in order to write a fresh novel. his ability to encapsulate the essence of an exotic setting in a single book is exemplified in the heart of the matter; his contemporary evelyn waugh stated that the west africa of that book replaced the true remembered west africa of his own experience. such power is not uncommon: the yorkshire moors have been romanticized because emily bronte wrote of them in wuthering heights, and literary tourists have visited stoke-on-trent in northern england because it comprises the “five towns” of arnold bennets novels of the early twentieth century. thus, a readers reaction to a place is not merely based upon the way it looks, but upon the potentialities of action suggested by it. places matter greatly to many writers. for instance, the french novelist balzac, before writing a story set in a town, he would go and visit that town, select a few lanes and houses, and describes them in detail, down to their very smells. in his view the place in which an event occurs was of equal moment with the event itself, and it has a part to play. another example is thomas hardy, under whom the presentation of setting assumes an unusual importance. his “wessex” villages cast intangibly such as spell upon the villagers that once they leave their hometowns they will inevitably suffer from disasters, and the farther they are away from their hometowns, the more, terrible their disasters will be. for example, in the tess of the durbervilles, the vale of blakemore was the place where tess was born and her life was to unfold. every contour of the surrounding hills was as personal to her as that of her relatives faces; she loved the place and was loved in the place. the vale, far from the madding crowd of the civilized city, was as serene and pure as the inhabitants. tess, imbued deeply with the natural hue of the vale and bound closely to this world of simplicity and seclusion, experienced her own delight and happiness though her family was poor. it was, to some extent, her departure from her native place that led to her tragedy. in the return of the native, the atmosphere of egdon heath prevails over the whole book; as an environment, it absorbs some and repels others of the characters: those who are absorbed achieve a somber integration with it, but those who are repelled and rebel suffer disaster.sometimes an environment serves as more than a mere place to set the story. often, it is inextricably entangled with the protagonist, and even carries strong symbolic meanings. cathy as an image of the feminine personality, for example, in emily brontes wuthering heights, is not supposed to possess the “wilderness” characteristic of masculinity and symbolized by the locales of heathcliff and wuthering heights. in some fiction, setting is closely bound with theme. in the scarlet letter, even small details afford powerful hints at the theme of the story. at the start of the story, the narrator describes a colonial jailhouse: before this ugly edifice, and between it and the wheeltrack of the street, was a grass-plot, much overgrown with burdock, pigweed, apple-peru, and such unsightly vegetation, which evidently found something congenial in the soil that had so early borne the black flower of civilized society, a prison. but, on one side of the portal, and rooted almost at the threshold, was a wild rosebush, covered, in this month of june, with its delicate gems, which might be imagined to offer their fragrance and fragile beauty to the prisoner as he went in, and to the condemned criminal as he came forth to his doom, in token that the deep heart of nature could pity and be kind to him.apparently, the author makes a contrast between the ugly jailhouse with a tangled grass-plot overgrown with burdock and pigweed and something as beautiful as a wild rose. as the story unfolds, he will further suggest that secret sin and a pretty child may go together like a pigweed and wild roses. in this artfully crafted novel, setting is intimately blended with characters, symbolism, and theme.in addition to place, setting may crucially involve the time of the storycentury, year, or even specific hour. it may matter greatly that a story takes places in the morning or at noon. the medieval background informs us differently from the twentieth century. kennedy and gioia note that in the scarlet letter, the nineteenth-century author nathaniel hawthrone, utilizes a long introduction and a vivid description of the scene at a prison door to inform us that the events in the story took place in the puritan community of boston of the earlier seventeenth century. this setting, to which hawthorne pays so much attention, together with our schemata concerning puritan practice, helps us understand what happens in the novel. we can understand to some extent the agitation in the town when a woman is accused of adultery, for adultery was a flagrant defiance of church for the god-fearing new england puritan community, and an illegitimate child was evidence of sin. without information about the seventeenth-century puritan background, a reader today may be perplexed at the novel. the fact that the story in hawthornes novel took place in a time remote from our own leads us to expect different attitudes and customs of the characters, is strongly suggestive of the whole society, which is crucial to an essential understanding of the scarlet letter as a whole.besides place and time, setting may also include the weather, which, indeed, may be crucial in some stories. 2. local color writing /regionalism and the writer, a regional writer.when setting dominates, or when a piece of fiction is written largely to present the manners and customs of a locality, the writing is often called local color writing or regionalism and the writer, a regional writer.a regional writer usually sets his/her stories in one geographic area and tries to bring it alive to readers everywhere. thomas hardy, in his portrayal of life in wessex, wrote regional novels. arnold bennetts novels of the “five towns” are markedly regional. willliam faulkner, known as a distinguished regional writer, almost always set his novels and stories in his native mississippi.3. the setting of a novel is not always drawn from a real-life locale.the setting of a novel is not always drawn from a real-life locale. literary artists sometimes prefer to create the totality of their fictionthe setting as well as characters and their actions.the creation of setting can be a magical fictional gift in a novelist or storyteller. but whatever the setting of his/her work, a true novelist is concerned with making an environment credible for his/ her characters and their actions and in accord with the development of the plot.in some stories, a writer seems to draw a setting mainly to evoke atmosphere. in such a story, setting starts us feeling whatever the storyteller would have us feel. thus atmosphere is a metaphor for a feeling or an impression which we cannot readily attach to some tangible cause. we say that an old farmhouse set among large maples, on a green lawn, has an atmosphere of peace. here what we mean is that the house, by reason of the look of quietness and by reason of a number of pleasant associations we have with the kind of life lived there, stirs a certain reaction in us which we do not attach to any single incident or object, but generally to the whole scene. in the same way we may say that the setting of a story contributes to defining its atmosphere. for instance, in “the tell-tale heart,” poes setting the action in an old, dark,专业知识培训办法第一章：置业顾问专业培训第一部分、如何掌握顾客 （一）如何了解顾客购买意见的信号. 1、口头语信号. （1）顾客问提转向有关商品的细节，如费用、付款方式、价格等. （2）详细了解售后服务. （3）对销售人员的介绍表示赞扬和肯定. （4）询问优劣程度. （5）对目前使用的商品表示不满. （6）向销售人员打探交楼的时间可否提前. （7）接过销售人员的介绍提出反问. （8）对商品提出某些异议.2、表情语言信号： （1）顾客面部表情从冷漠、怀疑、深沉变成自然、大方、亲切、附和. （2）眼睛转动由慢变快，眼睛发亮而有神采. （3）由若有所思变为明朗、放松，嘴唇开始抿紧，好象品味、权衡着什么。 （4）开始仔细观察商品. （5）转身靠近销售人员，进入闲聊状态. （6）忽然用手轻敲桌子或身体某部位的动作来帮助自己集中思维，作最后决定。（二）怎样接待难以接近的顾客. 1、对销售人员的介绍毫无反映，既不赞同也不反对，始终闭口不答。 方法：既要讲礼貌和颜悦色，又要仔细观察顾客的表情，判断他需要什么样的，适时的以热情及简明的话语给予配合。忌：以冷对冷轻易放弃，要用你的热情和专业性来感染对方。 2、喜欢自命不凡，好为人师，只对商品服务品头论足，根本不愿和别的销售人员说话。 方法：态度要谦恭、热情。忌：与其反唇相讥。让他充分的发表意见把话说完，对他话的含理之处不妨稍加赞同和应和，对说的不对之处也不要急于反驳，待对方把话说完后，先对其意见进行充分肯定，在委婉的补充和更正。（三）怎样对待不同的顾客. 1夜郎型：生性高傲，说话居高临下，盛气凌人，容不的别人反对的意见，大有拒销售人员千里之外之势。 方法：应保持恭敬，不卑不亢的态度，对其正确加以恭维以适应其心理需求，切忌让步。 2挑剔型： 既有合理的需求，又有过分要求，喜欢无休止的挑剔。如销售人员稍加解释就会用更苛刻的语言顶回去。（以此换以折扣） 方法：不必与他纠缠，一般情况下应少说话，如果某些关键问题不给予澄清便会严重影响信誉和形象的话，则着重事实说话，如果对方挑剔当中提出问题，销售人员应抓住机会，有理有据的加以回答，附带澄清一些其它方法不正确的挑剔之点。 3急噪型：这类顾客性格比较暴躁或心情、身体不佳，表现为说话急噪，易发脾气。 方法：销售人员要切记“忍”字，尽量以温和态度及谈笑风声的语气，创造轻松愉快的气氛来改变对方的心态与情绪对顾客提到的反对意见，不要忌讳对方暴躁的态度，耐心合理的给顾客加以解释，即使对方不服，大发雷霆，销售人员不应硬碰硬，应婉言相劝，以柔克钢。 4自私型：这类可户私心重，往往在各个方面，诸多挑剔，同时提出过分要求，斤斤计较，寸利必争。 方法：销售人员要有耐性，不要因为对方的自私言行而挖苦、讽刺。应就事论事，以事实解释无理要求，并在商品的质量上下工夫，促使双方及早成交。 5多疑型：这类顾客往往缺少经营商品知识，购物时有过上当受骗的教训，因而，购物时抱有怀疑态度。 方法：应针对这种心理，诚肯、详细的做介绍，介绍中着重以事实说话，多以其它用户的反映向他保证。 6、沉稳型：这类顾客老成持重，一向三思. 方法：推销员应力求周全稳重，说话可以慢一点，留有余地，稳扎稳打。 7、独尊型：这类顾客自以为是，夸夸其谈。 方法：心平气和，洗耳恭听，梢加应和，进而婉转以事实说话做以更正、补充。 8、率直型：性情急噪，褒贬分明。 方法：应保持愉快，以柔克刚，为其设身处地、出谋划策，处其当机立断。 9、忧郁型：患得患失，优柔寡断。 方法：边谈边察言观色，不时捕捉矛盾的所在，有的放矢，抓住要害之处，小知以利，促发购买冲动，并步步为赢扩大战果，促成其下定决心，达成结束。 （四）怎样化解顾客的疑义. 1、欣然接受 有时顾客提出反对意见正好言重了我们商品的服务，严重明显的缺点，不妨诚恳谦逊的表示接受顾客的批评意见，表达对顾客爱护企业信誉与长远利益的谢意，并及时改正，以虚心接受妥善处理的诚意化解疑义挽回影响。 2、有条件的接受 有的疑义本来提的并不确切，或者有片面性，但对商品和企业无关