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trouble with the hero Jordan, yet he is a main character as his wife Pilar is. Minor characters are those in remote and static relation with the hero. It is wrong to think that minor characters are all unimportant. In some novels, one or some of the minor characters may serve a critical role, structurally or interpretationally.Foil characters are ones that help enhance the intensity of the hero by strengthening or contrasting. They may be main characters or minor characters. In a word, they serve as foils to the hero or heroine. Cohn in The Sun Also Rises is a good example. He is one of the main characters. Like Jake, he is also “lost,” trying vainly to escape the past by courting women and drinking. But during their stay in Spain, Cohn displays qualities in contrast to those cherished by Jake, which makes Jake realize his own problems and finally find a solution, though temporarily. Cohn works mainly by contrast. Wilson in The Great Gatsby works by presenting. Gatsby lost his lover to Tom and Wilson lost his wife to Tom. By presenting Wilsons case the novelist intends to point out the profound cause of Gatsbys tragedy. Dr. Watson in the stories of Sherlock Holmes serves as a foil to the hero, rendering the detective smarter than he would otherwise appear to the reader.By the degree of their development, characters can be grouped as round characters and flat characters. This division is proposed by E.M Forster. Round characters are fully developed while flat characters are not. Or we can say that round characters grow while flat characters do not. Usually the reader is allowed access to the inner life of the round character and permitted to learn about many sides of the round character. The flat character is a “closed” character to whose inner thoughts the reader is denied access. Usually one side of the flat character is shown in the novel. Most heroes are round characters who grow emotionally or spiritually.Chapter Three ThemeAristotle in Poetics lists six basic elements of tragedy. Melody (song) and diction (language) fall in the general category of style, and spectacle is relevant to setting in our discussion of fiction. The other three aspects are mythos or plot, ethos or character, and dianoia, which we generally translate into “thought” in English. According to Aristotle, plot is the “soul” or shaping principle or fiction, and characters exist primarily as functions of the plot. In most of the stories, plot plays the role of principal structure of the story. But, as Northrop Frye points out, besides the internal fiction of the character and his/her society, there is an external fiction consisting of a relation between the writer and the writers society. We indeed have literary works by the likes of Shakespeare and Homer in which artistry is completely absorbed in their internal characters and we can hardly perceive the existence of the author. However, as soon as the authors personality appears on the horizon, a relation with the reader is established, and sometimes there seems no story at all apart from what the author is conveying to his/her reader. In this case, the primary interest in dianoia, the idea or thought that reader gets from the writer, which in modern criticism we generally call “theme”.I. What Is Theme?One of the safest comments to make about novels is on the theme. Everyone is entitled to extract a theme based upon his understanding of the novel. Theme may be the most democratic elements in literature, because its definition is the least restrictive. The theme of a novel is its controlling idea or its central insight. Being an idea or an insight, the theme should be abstract and it should generalize about life. Labeled as controlling or central, the theme should be capable of unifying the whole novel. So the theme of a story, then, is whatever general idea or insight the entire story reveals. II. Clarification about ThemeCommon as it is, theme suffers some misunderstandings. One misconception about theme is that each novel has a theme or themes, or theme is important to all novels. In fact, some novels, interesting ones though, do not provide any insight into life. For example, many novels of ratiocination and novels of horror. These novels are aimed at entertaining the reader, not at improving his understanding of life. They may sometimes touch upon the human nature or social problems, but these issues are only used to push the plot forward and they are not mentioned for their own value. Theme exists only in the novel that seriously attempts to reflect life faithfully or intends to reveal truth about life, or in the novels that are based on ideas or theories of life. (for example, novels of ideas).Another misconception about theme is that the theme is largely what the novel is. Some people discard the novel when they think that they have got the theme. It should be made clear that the novel is not written to convey an idea but to convey an idea artistically. The novel is a work of art whereas the theme is only an abstract idea. An analogy from daily life may help clarify this question. People all need vitamins and get them from various kinds of vegetables and fruits. Only those with deficiency of one kind or another have to take vitamin pills to get the required amount. The difference between the theme and the novel is much like that between the vitamins and the vegetables. The reader sometimes finds that the theme of a novel is similar to or even the same as what he has already known about life and that he is still fascinated by the novel. Theme appeals solely to the intellectual level of reading while the novel as a whole mainly appeals to the emotional level.Another pitfall concerning the theme is to confuse a theme with moral or lesson. Usually, a moral or a lesson is the advice stated or implied in a parable or fable. It is something of a rule by which one can regulate his behavior. For example, “Be kind to your neighbors,” or “Honesty is the best policy.” But a theme is more complicated than this as a novel is to enhance ones awareness of life rather than simply to tell him how to behave.A novel is a complicated matter and different readers may have different interpretations of the same novel, so it is incorrect to presume that one novel has only one theme. In some cases, there are several subthemes to the main theme. In reality, some novels are appreciated for their thematic ambiguity. For example, Moby Dick can be interpreted in more ways than one.Finally, the theme is not to be confused with the subject. The theme is an idea while the subject is a matter or an affair. “Love is invincible” may be a theme, but “love” is only a subject. A subject may be universal. The subjects of The Scarlet Letter, The Great Gatsby, and Women in Love are all “love.” But these novels have different themes. A theme is particular to its novel, though there are many similar themes to be found in other novels.III. Five Requirements for Stating a ThemeThe statement of a theme may be brief or long. And there are different ways to express oneand the same theme. But it should meet the following requirements.A theme must be expressed in the form of a statement with a subject and a predicate. For example, “Love of ones country often inspires heroic self-sacrifice.” If a theme is expressed in the form of a phrase, then the phrase must be convertible to sentence form. One can say that the theme of a novel is “futility of envy.” The phrase can be changed to “envy is futile.” When one chooses to state a theme in the phrase form, he must be very careful about its convertibility to sentence form. For instance ,the phrase “selfless maternal love” does not always mean that “maternal love is selfless.”The theme is generalization about life based on the novel, and the statement of theme should be true also of other people or life situations. Therefore, names of characters and places should not be mentioned, for they suggest specific things and invite limitations. So in thematic discussion of Wuthering Heights, one may mention “peoples psychology of revenge,” but not “Heathcliffs.”Though a theme is a generalization, over-generalization should be avoided. Since a theme is extracted from a particular novel (a particular event), it may not be applicable to all situations. So words like “always,” “never,” “all,” and “every” should be avoided. Instead, one should use words like “some,” “sometimes,” and “may.” When making a generalization, one should strictly keep to what is actually in the novel and not smuggle into it assumptions supplied from his past experience.Since theme is the central and unifying idea of the novel, it must account for all the major details and must not be contradicted by an details in the novel.Since a theme is different from a moral or a lesson, one should avoid reducing a theme to a clich or platitude like “Beauty is only skin-deep.” If one crams every new experience into an old formula, he loses the opportunity of new perception provided by reading novels.IV. Where to Look for the ThemeThe novelist may state or imply the theme. He uses every possible method to convey the theme. Though the theme is based upon the whole novel, practically, we can specify some important areas in which to look for the theme.How the novel is entitled. The title is the name of the novel and in many cases (almost all cases) the novelist intends it to tell something important about the novel. Sometimes the central theme of the novel is present in the title. For example, Pride and Prejudice is about Darcys pride and Elizabeth Bennets prejudice. Main Street is about the life of middle-class people in a Midwestern town. Think what the title of For Whom the Bell Tolls tells about its theme, and As I lay Dying.How the novelist shows his interest. If the novelist is interested in something, he would allow more space to it, describing or narrating in great detail. Yet, sometimes he emphasizes it by leaving it out, as in the case of Ernest Hemingway. The point concerned here is that why the novelist gives more attention to this particular character, since or event but not others.How the novelist deals with a common subject. Often the novelist has to include in his work some common subjects, but if he treats the common subjects in an uncommon way, it shows that he is trying to convey something new or important in the novel. Maybe it is the theme that demands him to do so.Important symbols. Symbols are loaded with important meanings. So if a symbol appears repeatedly or at important moments, it may point to the theme of the novel. A good example is the letter “A” in The Scarlet Letter.Important speeches. Characters talk and in their talk are revealed their judgments of the other characters or event. The characters judgments may give important clues to the theme.V. Obvious and unobvious themeObvious theme:The theme of a story, since we know, is whatever general idea or insight the entire story reveals. In some stories, the theme is rather obvious. For example, in Aesops fable about the council of the mice that cannot decide who will bell the cat, the theme is stated in the moral at the end: “It is easier to propose a thing than to carry it out.” In some novels, the title may offer a suggestion about the main theme. For example, Jane Austens Pride and Prejudice is named after its theme, and the whole story unfolds itself around that theme. In some novels, the title is not so named but the plot exists primarily to illustrate the theme and it is not very difficult for us to infer what it is. For example, Uncle Toms Cabin by H.B.Stowe and The Grapes of Wrath by John Steinbeck voice the themes of slavery and migratory labor respectively. The title of The Grapes of Wrath comes from a line in an extremely famous Civil War song, “The Battle Hymn of the Republic.” The line is, “He is trampling out the vintage where the Grapes of wrath are stored,” which means “an unjust or oppressive situation, action or policy that may inflame desire for vengeance: an explosive condition.” The song was written by a famous and influential social activist, Julia Ward Howe. Unobvious theme: But in most literary works of fiction, the theme is seldom so obvious. That is, generally a theme is not a moral nor a message, neither is it clearly conveyed in the title. When we finish reading a finely wrought story, it is easier to sum up the plotto say what happensthan to describe the main idea. To say of James Joyces “Araby” that it is about a boy who goes to a bazaar to buy a gift for a young woman but arrives too late is to summarize plot, not theme. In many fine short stories, theme is the center, the moving force, the principle of unity. Clearly, such a theme is something more than the characters and events of the story. Most of the short stories challenge an easy-come theme. In Hemingways “A Clean, Well-Lighted Place,” as observed by Kennedy and Gioia, the events are rather simplea young waiter manages to get rid of the old man from the caf and the older waiter stops at a coffee bar on his way homebut while the events themselves seem relatively slight, the story as a whole is full of meaning. For a deep understanding of the meaning, we have to look to other elements of the story besides what happens in it: narrative, symbols, tone, the dialogue between the two waiters, the monologue of the older waiter, etc. Evidently the author intends us to pay more attention to the thoughts and feelings of the older waiter, the character whose words echo the authors voice. One try on the theme may be: “The older waiter understands the old man and sympathizes with his need for a clean, well-lighted place.” But here we are still talking about what happens in the story, though we are not江西东江生态农业开发有限公司有机蔬菜种植基地项目建议书编写时间：二一一年八月八日第一章 项目概述1.1项目概况1.1.1项目名称有机蔬菜种植基地项目1.1.2项目建设地点江西省赣州市定南县天九镇1.1.3建设规模和内容 有机蔬菜种植基地规划建设规模1万亩，分三期，其中第一期建设3000亩。1.1.4投资估算和资金筹措 本项目总投资为5356万元，其中第一期需投入1522万元。第一期的建设资金1522万元中自筹922万元，银行贷款600万元。1.1.5经济效益和社会评价全部项目建成后，1万亩有机蔬菜基地每年可生产各类有机蔬菜3.5万吨，当年可产生经济收入14000万元。1.2编制依据 （1）中华人民共和国国家标准有机产品； （2）江西东江生态农业科技园总体规划；（3）有关蔬菜栽培技术资料第二章 项目建设背景和必要性2.1建设背景有机蔬菜是目前国际上对无污染、天然种植的蔬菜的一种提法。它要求蔬菜在种植过程中不能使用农药、化肥、生长调节剂等化学品，也不能使用转基因技术，同时要经过独立机构的认证。现在人们对安全食品的需求日益强烈，而有机蔬菜的种植讲究的是安全、自然的生产方式，可以很好地促进和维持生态平衡。有机蔬菜无化学残留，口感佳，而且已被证明比普通蔬菜更具营养。有机食品被誉为“朝阳产业”，具有广阔的市场。联合国粮食和农业组织发表的一份报告分析表明，在过去的10年间，在一些国家的市场上，有机农产品的销售额年递增率超过20%。这与一些常规食品市场的停滞不前形成了鲜明的对比。在欧美，有机蔬菜是发展速度最快的一个产业。在过去六年中，销售量以每年20的速度增长。中国的有机蔬菜目前无论是规模还是发育程度还很低，总体上还处在起步阶段，并有着巨大的发展潜力，可望成为一个新型的食品支柱产业。 从市场份额看，有机蔬菜目前在国内的市场份额几乎为零，现有的认证有机产品都是面向国际市场的。从发达国家的需求趋势看，有机蔬菜食品在今后十年时间有望达到10-15%的份额，因此从总量上将有较大的提高。国内有机蔬菜食品在未来10年内也有望达到4-5%的市场份额，市场前景非常乐观。2.2项目建设的必要性2.2.1是调整农业生产结构，促进农民增收的需要定南是以山地为主的山区县，山地面积占国土面积80%以上。长期以来，农业种植以水稻为主，结构品种单一、效益低下、综合竞争力不强成为制约当地农业发展、农民增收的主要因素。建设有机蔬菜基地，发展有机食品产业，对调整农业生产结构、提高土地单位面积的经济收益、增加农民收入具有重要的意义。第三章 市场分析3.1国际市场到20世纪90年代末，欧、美、日已经成为世界上主要的生态标志型农产品消费市场。据有机市场观察机构(OrganicMonitor)估计，2006年全球有机产品的销售额达到了386亿美元，主要消费地区集中在北美和欧洲，占全球有机消费总额的97，其余的3也基本集中在日本和澳大利亚。 美国的有机食品销售额逐年上升。1990年的销售额为10亿美元，1996年上升到33亿美元，2002年销售额达110亿美元，2005年的销售额已接近146亿美元，占美国食品销售总额的2.5。从2000年有机食品销售额的产品种类构成看，新鲜蔬菜和水果约占30。欧洲的有机产品销售额在2005年已经达到142亿欧元，增长率为1015。大部分欧洲国家销售额增长率最高的产品是蔬菜和水果，英国和德国的增长率最高。其中德国市场在20042005年间，有机销售额达到约39亿欧元，平均增长11，其中有机蔬菜销售增长21，显著高于平均水平。日本是亚洲最主要的有机农产品消费市场，也是中国有机蔬菜出口的主要市场之一。日本有机农产品的进口额约为9000万美元，其中6575为有机水果和蔬菜。2001年日本国内生产的有机蔬菜总产量为1.97万t，约占国内蔬菜生产比重的0.11，有机蔬菜进口量为2.38万t。由于有机食品生产过程的控制标准很高，生产成本会明显增加，所以有机食品的市场价格通常高出同类常规产品价格的40，有的甚至高出1倍以上。欧洲市场的有机食品大部分依赖进口，德国、荷兰、英国每年进口的有机食品分别占有机食品消费总量的60、60和70，价格通常比常规食品高2050，有些品种高出1倍以上。有机食品的价格是影响消费者购买的重要因素之一，但在人们越来越关心食品安全的时代，有机食品必将有着广阔的市场。据调查，73的法国人和60的丹麦人经常购买有机蔬菜，56的美国公民认为有机食品更为健康。美国人愿意买有机蔬菜的原因首先是健康与营养：有机蔬菜的营养成分较高；其次是支持环境保护和生态平衡；再者有机蔬菜的口味好，芳香物质和可食用纤维素多。消费者对高质量的有机食品的需求将稳步增长，特别是市场份额较高的有机食品如蔬菜和水果、婴幼儿食品、粮食类、奶制品等。美国有机食品主要有3个销售渠道，即天然食品商店、常规超级市场及农产品直销市场。2000年以前大部分的有机食品通过天然食品商店销售。其次是常规超级市场，2000年常规超级市场销售额占全美的49，超过天然食品商店的销售份额(48)，直销市场仅占3。欧洲有机食品的营销市场比较发达，大多数国家的有机食品营销渠道有普通超市、有机食品专卖店、直接销售和其他销售等4种，其中在普通食品超市中销售的有机食品所占比例较大。德国、丹麦、奥地利、瑞士等国家的有机产品畅销率是最高的。日本有机农产品流通的最大特征是直销，其流通的主要形式有6类：一是通过建立产销联合组织，实行直销；二是由专业流通配送组织实行宅配化；三是由生产协会组织配送；四是大型连锁超市、大卖场与有机农产品生产基地实行订单销售；五是设立连锁专卖店进行销售；六是加工企业与有机农产品基地实行订单直销。目前一些有机农产品生产大国，如阿根廷、巴西、中国等，国内有机消费市场也正在逐步形成，有机产品将进军主流销售渠道，而主要的消费人群是追求高质量和健康食品的中上层人士。一些大型食品公司，如麦当劳、雀巢公司也已进入有机领域。所有这一切都预示着有机农业正在全世界范围内不断发展，有机产品会越来越多的出现在世界各地的商店和餐桌上。3.2国内市场在亚洲国家中，中国有机农产品的种植面积最大，为30.1万hm2，暂居世界第13位，种植有机蔬菜的农户数为2 910户，但中国有机农产品的种植面积只占到国内农业种植面积的0.06 %。我国目前已经形成了规范的有机食品生产和认证体系，以中华人民共和国认证认可条例的正式颁布实施为起点，到2010年底，我国有机蔬菜的认证机构已有100多家，有机蔬菜的实际种植面积约2 000 hm2，其中还不包括已经认证而没有实际种植的面积。在有机蔬菜出口方面，1995年全国有机蔬菜出口值为30万美元，到2010 年就达到2.42 亿美元。从出口量来看，截止到2010 年底，中国有机蔬菜的出口量约为4.5万6万t左右，出口国家主要以日本、美国和欧盟为主。其中，出口到日本的有机蔬菜量约占总出口量的2/3。可以说，中国有机农产品生产的发展潜力较大，其推动力主要是来自合资企业对有机农业的投资和有机加工制造厂的设立。正是在外资的推动之下，国内有机蔬菜的生产和出口正在不断增加。国内仅在大城市的超级卖场中有有机蔬菜的出售，而且销售价格远远高于传统蔬菜的销售价格。据实地调查的结果，国内市场没有有效开拓的原因主要有2个方面，一方面是获得国外有机认证的企业中有大部分企业有机蔬菜加工能力只够完成国外的订单，没有能力为国内市场进行加工；另一方面是有机蔬菜的出口价格远远高于国内销售价格。根据笔者在北京家乐福超市（中关村店）的实地调查结果，从总体来看，与传统蔬菜销售价格相比，有机蔬菜的价格较高，如有机荷兰豆价格就比传统荷兰豆每千克高出18.6元，但这个价格与出口价格比还是要低很多。从销售情况来看，购买有机蔬菜的人数仍远远少于购买传统蔬菜的人数，所以国内居民的购买力也是一个重要的限制因素。今后开拓和建立国内有机蔬菜的销售渠道尚需时日，而且在国内现有收入水平上，大规模消费有机蔬菜的经济基础的建立、消费习惯的形成以及物流设施、识别标志的完善等还需要进一步提高和加强。3.3市场预测当前，中国有机蔬菜的出口额仅为2.4亿美元，约占世界有机农产品市场450亿美元的0.56 %，可谓是冰山一角。虽然各个发达国家有机蔬菜在有机农产品市场上的份额各不相同，但基本保持在1.7 %13 % 的比重。所以从总体来看，中国有机蔬菜出口的国际空间依然很大。世界有机农产品市场正在以两位数的速度不断增长，而有机蔬菜市场的增长速度又快于整体有机农产品市场的增长速度。中国蔬菜种植面积已经达到1 756 万hm2 的水平，而有机蔬菜的种植面积仅占0.011 %。另外，有机蔬菜生产的劳动成本相对较高，而中国拥有大量的剩余劳动力，这也是中国发展有机蔬菜生产的一大优势。中国有机农产品认证体系也已基本规范，虽然获得美国、欧盟以及日本的有机认证费用较高，但通过中国的认证实体或通过国外认证实体在中国的办事处基本可以获得认证。根据有机观察（O g a n i cMonitor）的资料，目前世界有机农产品的消费有近一半是在欧洲消费，与2001 年相比扩大了8 %，达到110亿欧元，可以说一些欧洲国家的有机食品消费已经进入成熟期。其中，德国的消费量最大，约占整个欧洲消费的30 %，法国、英国、奥地利和意大利的年消费额均超过10亿欧元。第四章 地理位置和建设条件4.1定南县的地理位置和自然条件4.1.1地理位置定南县地处江西最南端，是东江发源地之一，东径1144611523，