文学原理教程

.,Fiction虚构，小说,-Aprosenarrativethatistheproductoftheimagination.Storiesatleastpartiallyimagined;Anarrativetoldinprose.,.,Novel小说-Longfictionalprosenarrative;ShortStory-Ashortworkofnarrativeprosefiction.,.,Thedistinctionbetweentheshortstoryandnovelismainlyoneoflength.,.,ElementsofFiction,PlotCharacter-Thestruggleorencounterwithintheplotoftwoopposingforcesthatservestocreatereaderoraudienceinterestandsuspense.,.,KindsofConflict,ExternalConflict外部冲突-Physical,moralorpsychologicalcontestbetweenantagonisticcharacters.ManversusManManversusNatureManversusSociety,.,Manvs.Man,Theprotagonistinthestoryexperiencesconflictwithothers,especiallytheantagonist.,.,Manvs.Nature,Theprotagonistinthestoryexperiencesconflictwiththeelementsofnature.,.,Manvs.Society,Theprotagonistinthestoryexperiencesconflictwithsocietyasawhole.,.,InternalConflict内部冲突-Moral,psychological,orspiritualstrugglewithinthecharacteritself.ManversusSelf,.,Manvs.Self,Theprotagonistinthestoryexperiencesconflictwithherorhisconscience.,.,FiveStagesofPlot,2,1,3,4,5,.,1.Exposition,开端InitiatingAction-Thepartofaworkthatprovidesnecessarybackgroundinformation.,.,Thisusuallyoccursatthebeginningofashortstory.Herethecharactersareintroduced.Wealsolearnaboutthesettingofthestory.Mostimportantly,weareintroducedtothemainconflict(mainproblem).,.,2.Complication,发展RisingAction-Thepartoftheplotinwhichtheconflictisdevelopedandintensified.Abuildingofinterestorsuspenseoccurs.,.,2.Complication,.,3.Crisis,高潮Climax-Thatpointduringtheplotwhentheactionreachesitsturningpoint.,.,Thisistheturningpointofthestory.Usuallythemaincharactercomesfacetofacewithaconflict.Themaincharacterwillchangeinsomeway.,.,4.FallingAction,逆转-Themomentwhenthetensionsubsidesandtheplotmovestowardsitsresolution.,.,4.FallingAction,Alllooseendsoftheplotaretiedup.Theconflict(s)andclimaxaretakencareof.,.,5.Resolution,结局-Thefinalsectionoftheplotinwhichthemajorconflict,issue,orproblemisresolved.,.,5.Resolution,Thestorycomestoareasonableending.,.,PuttingItAllTogether,1.Exposition2.Complication3.Crisis4.FallingAction5.Resolution,BeginningofStory,MiddleofStory,EndofStory,.,DifferentWaysofArrangingEventsinPlot,1.Arrangingtheeventschronologically/accordingtotheiroccurrenceintime;2.Rearrangingthechronologyandinvertingtheusualorderofbeginningandending.,.,SpecialTechniquesofPlot,1.Flashback倒叙Retrospect-Theinterruptionofastorysnarrativeinordertopresentanearliersceneorepisode.AmethodofExposition,.,Eg:Shiftfrompresidentinovalofficetoascenefromhishighschoolexperience,.,2.Foreshadowing铺垫，伏笔-Adevicebymeansofwhichtheauthorhintsatsth.tofollow.Eg:Violentstormsindicateviolencetocomeinplot.,.,3.Suspense悬念-Thepsychologicaltensionoranxietyresultingfromthereadersoraudiencesuncertaintyofjusthowasituationorconflictislikelytoend.,.,4.Subplot次要情节MinorPlot/Underplot-Asecondaryactionorcomplicationwithinafictionalordramaticworkthatoftenservestoreinforceorcontrastthemainplot.,.,AnalyzingPlot,1.Whataretheconflictsonwhichtheplotturns?Aretheyexternal,internal,orsomecombinationofthetwo?,.,2.Whatarethechiefepisodesorincidentsthatmakeuptheplot?Isitsdevelopmentstrictlychronological,oristhechronologyrearrangedinsomeway?,.,3.Comparetheplotsbeginningandend.Whatessentialchangeshavetakenplace?4.Describetheplotintermsofitsexposition,complication,crisis,fallingactionandresolution.,.,5.Istheplotunified?Dotheindividualepisodeslogicallyrelatetooneanother?6.Istheendingappropriatetoandconsistentwiththerestoftheplot?7.Istheplotplausible?Whatrole,ifany,dochanceandcoincidenceplay?,.,TheStoryofanHour,.,Episodes,TheStoryofanHourisaverybriefshortstoryaboutonehourinthelifeofLouiseMallard.Asthestorybegins,thenarratorrevealsthatMrs.Mallardhas“hearttrouble.”,.,HersisterJosephineandherhusbandsfriendRichardshavecometoherafterhearingofarailroaddisasterthathasresultedinthedeathofMr.Mallard.,.,BothareconcernedthatthenewswillmakeMrs.MallardillandJosephinetakesgreatcaretotellherthenewsascautiouslyassheisable.,.,Mrs.Mallardreactstothenewswith“sudden,wildabandonment”andlocksherselfinherbedroom.InthesolitudeofherroomMrs.Mallardunderstandsthefundamentalchangetakingplaceinherlife.,.,Shesitsinachair,nolongercrying,lookingoutthewindowatthe“newspringlife.”She“suspendsintelligentthought”andfearfullywaitsfora“subtleandelusive”ideato“possessher.”,.,Shebeginstocomprehendthatsheisjoyfulthatherhusbandisdead,butsheattemptstosuppressthethought.,.,OnceMrs.Mallardacceptsthefeeling,eventhoughsheknowsthatherhusbandhadreallylovedher,sheisecstaticthatshewillneverhavetobendherwilltohisagain.Nowthatherhusbandisdead,shewillbefreetoassertherselfinwayssheneverbeforedreamedwhilehewasalive.,.,Sherecognizesthatshehadlovedherhusbandsometimes,butthatnowshewouldbe“Free!Bodyandsoulfree!”Shebeginstolookforwardtotherestofherlifewhenjustthedaybeforesheshudderedatthethoughtofit.,.,Mrs.Mallardleavesherroomandrejoinshersisterwhohasbeenoutsidethedoorworrying.Shecarriesherself“likeagoddessofVictory”asshejoinshersistertoreturndownstairswhereRichardsstillwaits.,.,Ontheirwaydownthestairs,theyhearthefrontdooropenandseeMr.Mallardwalkin.Hehadbeennowhereneartheaccidentscene.TheshortstoryendswiththeabruptdeathofMrs.Mallard,whoseheartgivesout.Herdoctorsexplainthatshedied“ofjoythatkills.”,.,Conflict,TheconflictisthatMrs.Mallardishappythatherhusbanddiedbecausesheisfinallyfreefromtheunhappylifeshewaslivingbutsheshouldreallybesaddenedbythedeathofthemanshemarried.,.,Mrs.Mallard,InthebeginningofthestoryMrs.Mallardisknownsimplybyhermarriedname.Awifewhosuffersfrom“hearttrouble,”sheisdescribedas“young,withafair,calmface,whoselinesbespokerepressionandevenacertainstrength.”,.,WhenMrs.Mallardlearnsofherhusbandsdeath,shebecomes“Louise,”awomanawareofherowndesires,enjoyingtheprospectofbeingfreedfromtheconfinesofmarriage.Louisediesofa“joythatkills”whenherhusbandreappears.,.,Hercharacterrepresentsfeminineindividuality;sheisastrong-willed,independentwomanexcitedbytheprospectofbeginningherlifeagainafterthereporteddemiseofherhusband.,.,Ending,Attheendofthisstory,LouiseMallarddropsdeadwhensheseesherhusbandenterthehouse.ThedoctorandothercharacterspresumethatshehasbeenovercomewithjoythatkillssinceshehadbeentoldthatBrently,herhusband,waskilledinatrainaccident.,.,ThisisaperfectexampleofDRAMATICIRONY,whichoccurswhentheaudienceknowswhatcharactersdonot.,.,We,thereaders,knowthatLouisewas,afterherinitialshock,relievedthatherhusbandwasdead,notbecauseshehatedhim,butbecauseshefeltsuffocatedbyhermarriageandherlackofpersonalidentity.,.,Weknowthisfromanu