(优选)小说的要素英文
小说要素简介
Theme is the central idea or message of a story or it is the basic meaning or underlying idea of a story, often a perception about life or human nature.•Stated themes are directly presented in a story.•Implied themes must be inferred by considering all the elements of a story and asking what message about life is conveyed. You will need to infer what the theme is from the work’s title, key scenes, characters, symbols, and plot events.Theme can be found in any of these:--Direct statements by the authorial voice ------Theme may be stated by characters or transmitted through author’s narrative.– Direct statements by a first-person speaker– Dramatic statements by characters– Figurative language, characters who stand for ideas–The work itself–ThemeTheme is the underlying meaning of the story, a universal truth, a significant statement the story is making about society, human nature, or the human condition.A book's theme must be described in universal terms, not in terms of the plot. The plot is the way the universal theme is carried out in that particular book. Themes can be applied to the reader's own life or to other literature.Although themes can convey important messages, they should never be overtly didactic. Didacticism is preaching and teaching so explicitly that children lose pleasure in the story and reject its message.The primary theme is most important theme in the story; children's books usually have one primary theme. There may be other secondary themes as well.Types of themes:∙An explicit theme is one that is stated openly in the book. It is stated in universal terms in the book itself.∙An implicit theme is one which is not directly stated, but which the reader can infer. Many times, readers will not notice that an explicit theme is directly stated, but they can often infer the theme anyway.Themes must be clearly stated; one word is not usually enough. To say that a book's theme is "friendship" is not clear. It may mean, "Friends are a person's most valuable possession." It may also mean, "Friends can never be trusted if their own interests are opposed to yours."An understanding of theme is dependent upon one's previous experience of life and literature. At the same time, theme in literature can enlarge one's understanding of life.Not every good book has a significant theme; some books' value lies in the pleasure they give, rather than the message they bring. Books of humor, for instance, may or may not have a significant theme.If you could talk about the where and when of a story, what you’re really talking about is the story’s setting, including everything that characters know and own (place, time, objects)Setting is a work’s natural, manufactured, political, cultural and temporal environment;Function:1.Understanding a story’s setting can give you a context forthe events of the plot. It can also give you clues about the mood, or atmosphere, of a storyFunction:2.Setting may reinforce characters and theme, in order to establish expectations .●Setting as mood.●Setting as antagonist.●Setting as historical background.●Setting as symbolism.Setting includes the place and the time period in which the story takes place.Setting may or may not have an important influence on the story:∙An integral setting is essential to the plot; it influences action, character or theme.∙ A backdrop setting is relatively unimportant to the plot; it is like the featureless curtain or flat painted scenery of a theater.∙Readers may interpret the importance of the setting differently; one may say that the setting is integral because the story must happen in a big city; another may say the same thing is backdrop because it may happen in any big city.(The former statement is probably more accurate, but either is acceptable if the meaning is clear.)Setting can clarify conflict, illuminate character, affect the mood, and act as a symbol. The setting itself can be an antagonist in a person-against-nature conflict.Plot is the action of a story. It is the series of related events that the author describes from the beginning of the story to the end.Most plots follow a chronological order. In other words, they proceed in the order in which the events happen, which forms the structure of fiction, structure defines the layout of the workPlot is the literary element that describes the structure of a story. It shows arrangement of events and actions within a story.Other Elements of Plot•Exposition– the beginning of the story, which explains the characters and the situation•Rising Action – complications that cause building tension •Climax / Crisis– the peak or turning point•Falling Action– explanations that lead into the resolution •Resolution/ denouement ----Closed ending ----story is completed •Cliffhanger悬疑: an abrupt ending to keep the reader reading •Suspense– makes you want to keep readingForeshadowing– planting hints about what will happen later in the story Conflict is the usual and the most important source of plot in literature. Conflict is the dramatic struggle between two forces in a story. Without conflict, there is no plot.•Person against person•Person against society•Person against nature•Person against self1. Character vs Character:This type of conflict finds the main character in conflict with another character, human or not human.2. Character vs Nature:This type of conflict finds the main character in conflict with the forces of nature, which serve as the antagonist.3. Character vs Society:This type of conflict has the main character in conflict witha larger group: a community, society, culture, etc.4. Character vs Self:In this type of conflict, the main character experiences some kind of inner conflict.PlotPlot is the literary element that describes the structure ofa story. It shows arrangement of events and actionswithin a story.Exposition:the start of the story,the situation before the action starts Rising Action:the series ofconflicts and crisis in the story thatlead to the climax Climax: the turning point, the mostintense moment —either mentallyor in actionFalling Action:all of the action which follows the climaxRe solution: the conclusion, the tying together of all of the threadsPlot ComponentsPlotPlot is the sequence of events which involves the characters in conflict.The sequence of events is called the narrative order :∙The most common type of narrative order in children's books is chronological . In this case, the events are told in the order they happen.∙ A flashback occurs when the author narrates an event that took place beforethe current time of the story. Flashbacks are uncommon in children's literature because the passage of time is difficult for children to understand. The opposite effect, a flash forward , is even rarer.∙ A time lapse occurs when the story skips a period of time that seems unusualcompared to the rest of the plot. There is no standard amount of time that might constitute a time lapse; it depends upon the reader's sense that a longer than usual period of time has passed since the previous episode. Conflict is the struggle between the protagonist and an opposing force. There are several types of conflict:∙ Internal conflict , or person-against-self , occurs when the protagoniststruggles within himself or herself. The protagonist is pulled by two courses of action or by differing emotions. This is often considered a characteristic offine literature because it frequently leads to a dynamic change in the protagonist.∙Interpersonal conflict, or person-against-person, pits the protagonist against someone else.∙Conflict of person-against-society happens when the protagonist is in conflict with the values of his or her society. This is a difficult concept for small children to grasp.∙Conflict of person-against-nature takes place when the protagonists is threatened by an element of nature.∙Conflict of person-against-fate occurs when the protagonist must contend against a fact or life or death over which people have little control, such as death or disability. Some literary critics, however, see this conflict as a type of person-against-nature.∙Several types of conflict may be present in any one story.∙Sometimes it is difficult to distinguish between two types of conflict. If a teenager is arrested by a policeman for breaking a law, the conflict is probably person-against-society. If, however, a personal animosity develops between the two, so that the boy taunts the policeman and the policeman harasses the boy because they dislike each other, the conflict becomes person-against-person. Likewise, if a character is attacked by a strange dog, the conflict is person-against-nature. But if the dog knows and dislikes the character, it could be considered person-against-person. If the protagonist is diagnosed with a fatal disease, he or she has a conflict with fate or nature, but also probably has an internal conflict in learning to accept his or her fate. Most plots have certain common elements:∙ A story commonly begins with exposition, an explanation of the situation and the condition of the characters. In children's books, the exposition is usually woven into the action.∙ A plot usually begins with a problem which the protagonist must meet or solve.During the story, tension is built through a series of complications, incidents which either help or hinder the protagonist in finding a solution. This is the rising action.∙The climax is the peak or turning point of the action; at this point we know the outcome.∙The denouement or falling action is the part after the climax. It gives any necessary explanation and ends with resolution, the sense of at the end of the story that it is complete.∙The ending of the story may be either open or closed:o In a closed ending, the most usual one in children's books, readers feel that they know what will happen. The various parts of the plot are tiedtogether satisfactorily, and the reader feels a sense of completion.o In an open ending, readers must draw their own conclusions; they do not know what will happen.o A cliffhanger is an abrupt ending at an exciting and often dangerous time in the plot. Its purpose is to keep the reader reading. It is usuallyfound at the end of a chapter, but occasionally a book will end this way.(Not all open endings are suspenseful enough to be called cliffhangers.)Recently, books in some science fiction and fantasy series have endedin cliffhangers, which encourages the reading of the other books in theseries.Other elements which may be found in plots include:∙Suspense is a state of tension, a sense of uncertainty, an emotional pull which keeps the reader reading. All plots need some suspense to sustain interest.∙Foreshadowing is the planting of hints about what will happen later in the story. It prepares children for the outcome and reassures them when the suspense is very high. Good foreshadowing is subtle and often contributes to high quality in a story.∙Coincidence, the concurrence of events which happen by chance, is a fact in real life. However, real life is not a plot that moves from problem to climax to resolution. In fiction, coincidence seems contrived; it weakens the plot.Coincidence in a plot is acceptable if it is carefully but subtly foreshadowed.∙Inevitability is the sense that the outcome is necessary and inescapable. It had to happen, given these characters and this situation; it is not contrived. It is a sign of high quality in writing.∙Sensationalism is unrelieved suspense; it often includes violence and may produce fear in the reader. Readers often like it, as the popularity of horror books and films attest, but it is usually considered a sign of poor quality. Even the Disney Studio, known for wholesome entertainment, is guilty of sensationalism. Sixty years ago, many children were frightened by the witch in Snow White. More recently The Lion King was criticized for excessive violence. In films, suspense is often heightened by cutting quickly between scenes and by the adroit use of background music to create a mood. Sentimentality is the opposite of sensationalism; it is the overuse of sentiment (a natural concern for another person) that produces a tear-jerker. It is dwelling too much on the "cute" and the "precious." Like sensationalism, it is a sign of poor quality but is often popular. Movies such as Love Story and Terms of Endearment are examples of sentimentality. Many popular children's books are overly sentimental. Black Beauty, The Velveteen Rabbit, The Giving Tree, I'll Love You Forever, and the works of Joan Walsh Anglund have all been criticized for this.•Chronological events•Flashback–an event that takes place before the current time of the story•Flash forward– opposite of flashback•Time Lapse– the story skips a period of timeA character is a person, an animal, or an imaginary creature that takes part in the action of a story.Sometimes the author will directly describe a character’s appearance, personality, or feelings.•Physical appearance and personality•Speech, behavior, and actions•Thoughts and feelings•Interactions with other charactersOther times the author will leave clues and expect you to draw conclusions about what the person or animal is like. CHARACTERIZATION:An author can give information about a character by describing several aspects of the character:CHARACTER TYPES:Most stories have both main and minor characters. The main character,or protagonist, is the most important character. The action of the plot revolves around him or her.The antagonist, the person or thing working against the protagonist, is also a main character.Round CharacterA character is complex and has many sides or traits with unpredictable behavior and a fully developed personality. A round character is usually dynamic.Flat CharacterA character does not change or develop beyond the way in which she or he is first presented.A flat character is usually static.Characterization– The artistic representation of the appearance and personality of characters in a literary work.The methods to characterize:Characters are revealed through dialogue (what they say and what others say about them), their actions, their appearance, their interior feelings and motivations, and through explicit narrative description.CharacterCharacter can be revealed through the character's actions, speech, and appearance. It also can be revealed by the comments of other characters and of the author.Certain types of characters appear in many stories. Describe the following types if they appear in your book:∙The protagonist is the central character (person, animal, or personified object) in the plot's conflict.∙The antagonist is the force in conflict with the protagonist. It may be society, nature, or fate, as well as another person. It can also be the protagonist's own self, if he or she has an internal conflict.∙ A character foil is a character whose traits are in direct contrast to those of the principal character. The foil therefore highlights the traits of the protagonist. The foil is usually a minor character, although if there are two protagonists, they may be foils of each other.∙ A stereotype is a character who possesses expected traits of a group rather than being an individual. Using stereotypes is usually considered an indication of poor quality, especially in cases such as members of minority groups, people with disabilities, or women. However, stereotypes can be useful in furthering the story quickly and are acceptable in minor roles if they do not provide hurtful portraits of the groups in question.Character development is showing the multitude of traits and behaviors that give the literary character the complexity of a human being. The amount of character development affects the quality of the story:∙ A flat character is not fully developed; we know only one side of the character.∙ A round character is fully-developed, with many traits--bad and good--shown in the story. We feel that we know the character so well that he or she has become a real person.∙Character development is a continuum with perfectly flat characters at one end and very round ones at the other. Every character lies somewhere on this continuum. Round characters are usually considered an indication of literary quality. However, characters in folktales are almost always flat, and flatness is appropriate for minor characters in modern literature for children. A character foil is often flat, even if the protagonist is round.The amount of change in a character over the course of the story also affects its quality:∙ A static character is one who does not experience a basic character change during the course of the story.∙ A dynamic character is one who experiences a basic change in character through the events of the story. This change is internal and may be sudden, but the events of the plot should make it seem inevitable.∙There is also a continuum of character change in a story, with very static characters at one end, and very dynamic ones at the other. Every character liessomewhere on this continuum. Dynamism in the protagonist is usually considered an indication of quality, but many characters, especially in stories for younger children, have only the mild amount of change which can be expected from growing and maturing from day to day.A character may thus be round and dynamic, round and static, or flat and static.A flat character cannot usually be dynamic, because you do not know enoughabout the flat character to notice a change. If a character seems flat and yet seems to change, it is usually because the characterization is not well written.The following table summarizes how the development and change in characters interact:Point of View: Who is telling the story and how much the narrator willknow about the thoughts of others.1.First-person Point of View: in the first-person point of view, the storyis told by one of the characters. The character uses pronouns such as I orwe and usually participates in much of the action.First-person point of view–speaks through the ―I‖ of one of thecharacters and records his/her own thoughts and actions but cannot retellthe thoughts of others unless those characters reveal themselves inconversation.2.Third-person Point of View: in the third-person point of view, the story is told by a narrator who is not a character in the story. (Pronouns such as she, he, and they are used when writing in third-person point of view)•Omniscient point of view – tells story in third person (they, he, or she) and is not limited in reporting details of thethoughts, actions and conversations of all characters.•Limited omniscient point of view–tells story in third person and is limited to reporting the thoughts and feelingsof only one or a few characters.•Objective point of view–author does not reveal the thoughts of the characters, instead the reader’s interpretationresults from presentation of action and conversation.Point of ViewPoint of view depends upon who the narrator is and how much he or she knows. Point of view may be:∙First person - uses "I" - A character is telling the story.∙Second person- uses "you" - The author speaks directly to the reader.Second person is seldom used; it is found most often in nonfiction today.∙Third person- uses "he," "she," or "it" - The author is telling about the characters. There are three third person points of view:o Limited omniscient- We are told the thoughts and feelings of only one character (sometimes, but very seldom, of two or three characters).o Omniscient- We are told everything about the story, including the thoughts and feelings of all the characters, and even information in theauthor's mind which no character knows.Dramatic or objective - We are told only what happens and what is said; we do not know any thoughts or feelings of the characters. It is called "dramatic" because it includes the words and actions, just what you would see and hear if it were in a play or film.Style is the way writers express their ideas. It’ s how they say something, not what they say. Style involves these three elements:Means:Style uses language to create plots, characters and settings and to express themes.•Word choice (Essential aspect of style is diction)•Sentence structure and length•Literary devices, such as figurative language, symbols, dialogue, and imagery•Formal = standard or elegant words•Neutral = everyday standard vocabulary•Informal = colloquial, substandard language, slangDevices of style include figurative language (e.g. similes and metaphors), symbols, allusions, wordplay, understatement, hyperbole, imagery, rhythm and repetition.StyleStyle is the language used in a book, the way the words are put together to create the story.∙Most children's books use standard written style. This style sounds natural, but when carefully analyzed, it is clear that it is more formal than most speech.Sentences are complete; expressions like "um," "you know," and "like--," are avoided; contractions are used less often than in ordinary speech. Lots of conversation may included, but the style as a whole does not sound like speech.∙In conversational style, the language is more informal, it sounds more like the way people really talk. The narration as well as the character's speeches sounds conversational.∙Dialect is easiest for children to read if word order or a few unusual words and expressions are used to suggest a difference from normal speech. Other languages may be suggested in the same way through speech patterns and foreign words. Foreign and unusual words should be explained naturally in context. An eye dialect, in which words are spelled the way they sound, is sometimes very hard to read.∙An ornate or unusual style is sometimes used, especially in some high fantasy and historical fiction. Older editions of traditional literature and older poetry may also have such styles.Writers use many devices of style to make stories interesting.∙Imagery is the most frequently used device. It is an appeal to any of the senses--taste, touch, sight, sound, and smell. It paints pictures in our mind.∙Figurative language uses words in a nonliteral way, giving them a meaning beyond their ordinary one.o Personification gives human traits to animals, nonhuman beings, or inanimate objects: "The trees bowed before the wind."o A simile compares two different things, using the words "as," "like," or "than": "The snowbank looked like a huge pile of marshmallow syrup."o A metaphor is an implied comparison stating the resemblance between two things: "Her presence was a ray of light in a dark world."∙Devices of sound can increase pleasure and clarity. Books which use many such devices should be read aloud. Poetry is particularly rich in such devices.o Onomatopoeia is the use of words that sound like their meaning: a skirt "swishes," a bat "cracks," a hasty eater "gulps" his food.o Alliteration is repetition of initial consonants: "the soft surge of the sea."o Consonance is repetition of consonants sounds anywhere in the words: "The sight of the ap pl e and ma pl e trees pl eased the peo pl e."o Rhyme is the repetition of a stressed sound, usually the final syllable: "His aim was to bl ame the d ame."o Assonance is repetition of vowel sounds in a phrase: The ow l swept ou t of the woods and circled the h ou se."o Rhythm is the recurring flow of strong and weak beats in a phrase: "Chicka, chicka, boom, boom! Will there be enough room?" Meter isthe regular rhythmic pattern of stressed and unstressed syllables foundin a line of poetry. The less regular rhythm sometimes found in prose isoften called cadence.∙Puns and other plays on words add interest and humor: "By the time the milking was finished, the new farmhand was thoroughly cowed." Puns are said to be "the lowest form of wit," but people usually enjoy them even as they groan.∙Hyperbole is exaggeration: "He was frightened out of his wits."Understatement is the opposite: "He was upset when he learned he had AIDS."∙Allusion is an indirect reference to something outside the current literary work: "He was a veritable Hercules." The reference may be to something in literature, history, modern culture, or another area. Allusion is often difficult for children to recognize because they lack the necessary background knowledge. The proponents of "cultural literacy" believe that all children should acquire a common fund of knowledge in order to understand allusions.∙ A symbol is something--a person, object, situation, or action--which operates on two levels, the literal and the symbolic. For instance, an engagement ring isa real object, but it is also stands for the abiding love of the engaged couple.Symbols add depth and meaning to a story. Symbols may be universal (as the engagement ring) or specific to a particular story.Qualities which should be avoided in style include triteness (dull, stale, overused expressions), condescension(talking down to children, making them feel unintelligent or immature), didacticism, sensationalism, and sentimentality. In poetry, avoid a too regular meter which can become a sing-song rhythm.A symbol: is something concrete—such as a person, place, or object—that signifies something more than just itself, something abstract, such as a concept or an idea. And it is a mode that expands meaning Function:Symbol creates a direct, meaningful equation between a specific object, scene, character, or action and Ideas, values, persons or ways of life• Symbols may be divided into:1. Cultural (universal) symbols : known by most literate people(e.g: white snow, red rose, snake, water)2. Contextual (authorial) symbols = private, created by the authorThe use of words to express something different from and often opposite to their literal meaning. A literary style employs such contrasts for humorous or rhetorical effect.Method:Irony can always be realized by satire:In satire, an author ridicules the subject through the use of techniques such as exaggeration, reversal, incongruity, and parody in order to make a comment or criticism about it.Techniques of Satire:1.Exaggeration( 夸张；夸大)To enlarge, increase, or represent something beyond normal bounds so that it becomes ridiculous and its faults can be seen.2.Incongruity ( n.不调和, 不适宜):To present things that are out of place or are absurd in relation to their surroundings.3.Reversal( n.颠倒, 反转, 逆转):To present the opposite of the normal order (e.g the order of events,hierarchical order).Classification:1.Verbal Irony (Say one thing but mean the opposite)In verbal irony, a speaker says one thing but means the opposite. Verbal irony: is the simplest kind of irony and can become sarcasm( n.挖苦, 讽刺) if taken to a harsh extremeEG: Shakespeare The Merchant of VeniceJane Austen’s Pride and Prejudice―It is a truth universally acknowledged, that a single man in possession ofa good fortune must be in want of a wife.2. Situational Irony (What happens is the opposite of what is expected.) In situational irony, what actually happens is the opposite of what is expected or appropriate.Situational irony is often humorous or may mock human plans and intentions, which in real life often come to little result.3. Dramatic Irony (We know something a character does not know.) Dramatic irony occurs when the reader or the audience knows something important that the character does not know.Dramatic irony adds greatly to the tension in stories, plays, and movies. It heightens the sense of humor in comedies and deepens meaning and the sense of dread in tragediesEg. Fielding The Scandal School。
小说的要素 英文ppt
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Theme
is the central meaning or dominant idea in a literary work. A theme provides a unifying point around which the plot, characters, setting, point of view, symbols, and other elements of a work are organized. It is important not to mistake the theme for the actual subject of the work; the theme refers to the abstract concept that is made concrete through the images, characterization, and action of the text.
The Elements of Fiction
Fiction refers to any imaginary work portraying characters and
events
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Elements of fiction
Classification of fiction : novel, novelette, short story. Short short story.
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A hero or heroine, often called the PROTAGONIST, is the central character who engages the reader’s interest and
empathy（同感，共鸣 ）.
英美小说要素解析
Plot: A Sequence of Interrelated Actions or Events. Plot, or the structure of action, it generally refers to the scheme or pattern of events in a work of fiction. A plot is a plan or groundwork for a story, based on conflicting human motivations, with the actions resulting from believable and realistic human response.Types of Conflict:①External Conflict: Man and nature, man and society, and man and man.②Internal Conflict: It focuses on two or more elements contesting within the protagonist’s own character.Exposition(情节交代): It is where everything is introduced is the beginning section in which the author provides the necessary background information, sets and scene, establishes the situation, and dates the action. It usually introduces the characters and the conflict, or at least the potential for conflict.Complication(纠葛): Which is sometimes referred to as the rising action, develops and intensifies the conflict. The rising action(起始行动) is when things begin to escalate. It takes the reader from the exposition and leads them towards the climax. This part tends to be dramatic and suspenseful.Climax(高潮)：When you finally take a breath after holding it in suspense. This is the most emotional part of the book.Crisis(关子)：It( also referred to as the climax) is that moment at which the plot reaches its point of greatest emotional intensity; it is the turning point of the plot, directly precipitating the resolution. It is the reversal or” turning point”.Falling action(下降行动)：Once the crisis, or turning point, has been reached, the tension subsides and the plot moves toward its conclusion. It is when everything tends to slow down, and the climax is over.Resolution(冲突解开)：It is the final section of the plot which records the outcome of the conflict and establishes some new equilibrium. The resolution is also referred to as the conclusion, the end or the denouement. This is the final part of the story when everything is wrapped up. Sometimes the story is finished off completely, answering every reader's question. Sometimes authors leave mysterious, to intrigue the reader. Or sometimes authors leave hints of a sequel.Catastrophe: Applied to tragedy only.Denouement：Applied to both comedy and tragedy.The ordering of plot—Chronological plotting—Flashback: It is interpolated narratives or scenes( often justified, or naturalized, as a memory, a reverie, or a confession by one of the characters) which represent events that happened before the time at which the work opened.Character：They are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it –the dialogue—and from what they do—the action. A character may remain essentially“stable,”or unchanged in outlook and disposition, from beginning to end of a work, or may undergo a radical change, either through a gradual process of development, or as the result of a crisis. Whether a character remains stable or changes, the reader of a traditional and realistic work expects “consistency”--- ---the character should not suddenly break off and act in a way not plausibly grounded in hisor her temperament as we have already come to know it.Motivation: The grounds in the characters temperament, desires, and moral nature for their speech and actions.Types of characters—protagonist: The chief character in a plot, on whom our interest centers.(or alternatively, the hero or heroine) It is the major, or central, character of the plot.Antagonist: If the plot is such that he or she is pitted against and important opponent, that character is called the antagonist. It is his opponent, the character against whom the protagonist struggles or contends.Flat characters: they are those who embody or represent a single characteristic, trait, or idea, or at most a very limited number of such qualities. Flat characters are also referred to as type characters, as one-dimensional characters, or when they are distorted to create humor, as caricatures.Stock characters: Flat characters have much in common with the kind of stock characters who appear again and again in certain types of literary works. A flat character (also called a type, or “two-dimensional”), Forster says, is built around “a single idea or quality”and is presented without much individualizing detail, and therefore can be fairly adequately described in a single phrase or sentence.Round characters: They are just the opposite. They embody a number of qualities and traits, and are complex multidimensional characters of considerable intellectual and emotional depth who have the capacity to grow and change. A round character is complex in temperament and motivation and is represented with subtle particularity; such a character therefore is as difficult to describe with any adequacy as a person in real life, and like real persons, is capable of surprising us.Dynamic characters: They exhibit a capacity to change; static characters do not. As might be expected, the degree and rate of character change varies widely even among dynamic characters.Static characters: They leave the plot as they entered it, largely untouched by the events that have taken place.Methods of characterization-- Telling: It relies on exposition and direct commentary by the author.In telling, the author intervenes authoritatively in order to describe, and often to evaluate, the motives and dispositional qualities of the characters. Characterization through the use of names, through appearance, and by the author. Showing: It involves the author’s stepping aside, as it were, to allow the characters to reveal themselves directly through their dialogue and their actions. In showing(also called“the dramatic method”), the author simply presents the characters talking and acting and leaves the reader to infer the motives and dispositions that lie behind what they say and do.The author may show not only external speech and actions, but also a character’s inner thoughts, feelings, and responsiveness to events; for a highly developed mode of such inner showing, see stream of consciousness. Characterization through dialogue, and action.Setting: The stage against which the story unfolds.( Place and objects in fiction) The overall setting of a narrative or dramatic work is the general locale, historical time, and social circumstances in which its action occurs; the setting of a single episode orscene within such a work is the particular physical location in which it takes place. Types of setting—Natural and ManufacturedThe language used in description of settingThe functions of setting: Setting as a background for action, antagonist, a means of creating appropriate atmosphere, a means of revealing character, and a means of reinforcing theme.Point of view: The events of a story may be told as they appear to one or more participants or observers. In first-person narration the point of view is automatically that of the narrator.More variation is possible in third-person narration, where the author may choose to limit his or her report to what could have been observed or known by one of the characters at any given point in the action--- or may choose to report the observations and thoughts of several characters. The author might choose to intrude his or her own point of view.Narrator: It is the speaker or the voice of the literary text, the agent who does the narration. The narrator, like any character in fiction, only exists in a narrative, and he cannot be identified with anything of the real-life author of a literary work.Various points of view—First person:①Advantages: First, he creates an immediate sense of reality. Second, the writer has a ready-made principle of selection.② Difficulties: It may only strike us when we try to write stories ourselves.Second personThird person: There are three variants: omniscient, limited omniscient, and objective or dramatic.Mingling of points of view: It is because for the purpose of sustaining interest or creating suspense.A brief summary: 1. First person( I): All these first-person narrators may have(1) complete understanding,(2) partial or incorrect understanding, or(3) no understanding at all.①Major participantⅰtelling his or her story as a major mover,ⅱtelling a story about others and also about herself or himself as one of the major inter-actors,ⅲtelling a story mainly about others; this narrator is on the spot and completely involved but is not a major mover.②Minor participant, telling a story about events experienced and/ or witnessed.③Uninvolved character, telling a story not witnessed but reported to the narrator by other means. 2. Second person( you): Occurs only when speaker has more authority on a character’s action than the character himself or herself. Occurs only in brief passages when necessary. 3. Third person( she, he, it, they):①Omniscient. Omniscient speaker sees all, reports all, knows inner workings of minds of characters.②Limited omniscient. Action is focused on one major character.③Dramatic or third-person objective. Speaker reports only actions and speeches. Thoughts of characters can be expressed only as dialogue.Theme: It is the central idea or a statement about life that unifies and controls the total work.Points of theme:1. A theme does not exist as an intellectual abstraction that an author superimposes on the work like icing on a cake.2. The theme may be less prominent and less fully developed in some works of fiction than in others.3. It is entirely possible that intelligent readers will differ, at times radically, on just what the themeof a given a work is.4. The theme of a given work need not be in accord with the reader’s particular beliefs and values. As a general rule, then, we should assume that the ideas of authors grow out of their values, and that values are embodied in their stories along with the ideas. But we must remember that although literature is full of ideas that may strike us, at least initially, as unpleasant, controversial, or simply wrongheaded, literary sophistication and plain common sense should warn us against dismissing them out of hand.Identifying theme:1. It is important to avoid confusing a work’s theme with its subject or situation.2. We must be as certain as we can that our statement of theme does the work full.3. The test of any theme we may propose is whether it is fully and completely supported by the work’s other elements.4. The title an author gives the work often suggests a particular focus or emphasis for the reader’s attention.Style: It has traditionally been defined as the manner of linguistic expression in Prose or verse--as how speakers or writers say whatever it is that they say. TheWord style, derived from the Latin word stilus, is understood to mean the way in which writers assemble words to tell the story, develop the argument, dramatize the play, or compose the poem. Style is to be judged on the degree of its adaptability. Elements of style—Diction: Choice of words, and Syntax: Construction of sentences.Oedipus complex: ①It is a term coined by Sigmund Freud to designate a son’s subconscious feeling of love toward his mother and jealousy and hatred toward his father. ②D.H. Lawrence’s Sons and Lovers is a case in point.Tone: It refers to the methods by which writers convey attitudes, it refers not to attitudes but to those techniques and modes of presentation that reveal or create these attitudes. It is a means of creating a relationship or conveying an attitude.Types of irony:1. Verbal irony: It is a statement in which one thing is said and another is meant.2. Situational irony: It or irony of situation, refers to conditions that are measured against forces that transcend and overpower human capacities.3. Dramatic irony: It is a special kind of situational irony; it applies when a character perceives a situation in a limited way while the audience, including other characters, may see it in greater perspective.1.1 The Bride Comes to Yellow Sky—Stephen Crane 1.2 Christmas Day in the Morning—Pearl S. Buck2.1 The Catbird Seat—James Thurber 2.2 Two kinds—Amy Tan3.1 To Build a Fire—Jack London 3.2 A Horseman in the Sky—Ambrose Bierce4.1 A Clean, Well-lighted Place—Ernest Hemingway 4.2 The Broken Globe—Henry Kreisel5.1 Yellow Woman—Leslie Silko 5.2 Rain—W. Somerset Maugham6.1 My Oedipus Complex—Frank O’Connor 6.2 Haircut—Ring Lardner7.1 The Horse Dealer’s Daughter—D.H. Lawrence 7.2 Luck—Mark Twain。
英美小说要素解析1
Further definition of the genre is historically difficult. The construction of the narrative, the plot, the way reality is created in the works of fiction, the fascination of the character study, and the use of language are usually discussed to show a novel's artistic merits.
A specific novel can have these "eternal qualities" of art, this "deeper meaning" an interpretation tries to reveal.
/techniques/medi a/forster.html
A novelist can only begin to explore the value of human experiences by developing the characters of the story. But Forster emphasizes that characters are not real people; rather they are like real people.
<<霍华德庄园>>围绕家产继承权和女主人公的婚姻
铺叙了一个传统的“故事”。但是，在更重要的层面 上，这是一部有关英国以及人类文明的寓言。
英语作文小说写作模板
英语作文小说写作模板英文回答：Crafting a Compelling Novel: A Comprehensive Guide。
Outline:I. Introduction。
Define the concept of a novel。
Discuss the essential elements of a novel。
II. Character Development。
Creating relatable and memorable characters。
Developing character arcs。
Exploring character motivations and conflicts。
III. Plot Structure。
Understanding the different types of plot structures。
Structuring a logical and engaging plotline。
Incorporating subplots and character arcs。
IV. Setting and Atmosphere。
Establishing a vivid and immersive setting。
Creating a cohesive atmosphere that enhances the plot and characters。
V. Conflict and Tension。
Exploring different types of conflict。
Building tension and suspense through pacing and foreshadowing。
VI. Point of View。
Choosing the appropriate point of view。
Exploring the impact of point of view on the narrative。
小说要素(Factors of Fiction)美国文学
小说是以刻画人物为中心，通过完 整的故事情节和具体的环境描写来 反映社会生活的一种文学体裁。.
• 小说有三个要素：人物、故事情节、环境 （自然环境和社会环境）。
小说各要素的作用
• 人物是小说的核心 • 情节是小说的骨架 • 环境是小说的依托
• 主要手段是塑造人物形象 • 小说中的人物，称为典型人物.可以通过人 物的外貌、动作，语言，心理，神态进行 描写 ； • 环境包括自然环境和社会环境 ； • 故事情节包括 开端，发展，高潮，结局.
Байду номын сангаас 代表作品
• 代表作品：小说《黑猫》、《厄舍府的倒 塌》，诗《乌鸦》
• 爱伦· 坡、安布鲁斯.布尔斯（1842～ 1914？）和H.P.洛夫克拉夫特（1890～ 1937）并称为美国三大恐怖小说家
Edgar Allan Poe 埃德加.爱伦.坡
• • • • • • • 国籍：美国 出生地：波士顿 出生日期：1809年1月19日 逝世日期：1849年10月7日 职业：诗人，小说家，评论家 毕业院校：弗吉尼亚大学 主要成就：侦探小说、恐怖小说、效果论、
• 侦探小说(detective story)鼻祖、科幻小说 (science fiction)先驱之一、恐怖小说(horror fiction)大师、短篇哥特小说巅峰、象征主义 (symbolism)先驱之一，唯美主义 (aestheticism)者。
各种体裁的英语表达
各种体裁的英语表达如下：1.小说（Fiction）：是虚构的文学作品，通常包括情节、角色和背景。
常见的小说类型包括小说、短篇小说、长篇小说等。
2.散文（Prose）：是一种非诗歌的文学形式，通常包括叙述、描写、议论和抒情等元素。
常见的散文类型包括随笔、杂文、游记等。
3.诗歌（Poetry）：是一种有节奏、有韵律的文学作品，通常包括抒情和表达思想情感等元素。
常见的诗歌类型包括诗、歌谣、叙事诗等。
4.戏剧（Drama）：是一种通过对话和表演来展示人类生活的文学作品，通常包括情节、角色和舞台说明等元素。
常见的戏剧类型包括喜剧、悲剧、历史剧等。
5.传记（Biography）：是一种记述个人生平事迹的文学作品，通常包括传主的基本信息、成长经历、职业和家庭等元素。
常见的传记类型包括自传、他传等。
6.报告文学（Reportage）：是一种以新闻报道为主要内容的文学作品，通常包括事件、人物和背景等元素。
常见的报告文学类型包括特写、新闻报道等。
7.儿童文学（Children's literature）：是一种专门为儿童创作的文学作品，通常包括童话、寓言、故事等类型。
8.科普读物（Popular science）：是一种以普及科学知识为主要目的的文学作品，通常包括天文、地理、生物等方面的知识。
常见的科普读物类型包括科普杂志、科普书籍等。
9.哲学作品（Philosophy）：是一种探讨人类存在和意义的文学作品，通常包括哲学理论、哲学观点和哲学思考等元素。
常见的哲学作品类型包括哲学论文、哲学小说等。
10.寓言（Fable）：是一种以动物或物品为主角的虚构故事，通常用于教育人们某种道理或道德规范。
6.1 Some Aspects of Novel
Woolf’s Mrs. Dalloway (stream of consciousness technique) Objective end (exterior point-of-view) 作者-观察者角度，即外在角 度 e.g. Hills Like White Elephants by Ernest Hemingway Middle of the subjective/objective spectrum 全知作者视角 e.g. Hardy’s Tess of the D'Ubervilles , Leo Tolstoy’s Anna Karenina
Narrative Tense 叙述时态
Past tense
Present tense Future tense
Characterization 人物塑造
The term characterization was introduced in
mid 19th century
Cf. Aristotle promoted the primacy of plot over
The Development of Setting
1.
2.
3.
Non-existent in the earliest folk-tales (no definite localization, "once upon a time“) For decorative purpose (No necessary relation to the figures in the foreground). An utilitarian relation (18th century)
Narrative point-of-view 叙述视角（1）
介绍英语小说作文
介绍英语小说作文Introduction to English Novel。
English novels are a rich and diverse literary formthat has been a popular choice for readers around the world for centuries. From classic works of literature to contemporary bestsellers, English novels offer a wide range of themes, styles, and characters that captivate and entertain readers of all ages.One of the most enduring and beloved genres of English novels is the classic novel. These timeless works of literature, such as "Pride and Prejudice" by Jane Austen, "Great Expectations" by Charles Dickens, and "To Kill a Mockingbird" by Harper Lee, have stood the test of time and continue to be read and cherished by readers of all generations. These novels often explore universal themes of love, friendship, and social justice, and their enduring appeal lies in their ability to resonate with readers from all walks of life.In addition to classic novels, contemporary English novels also offer a wealth of compelling stories and characters. From the gripping thrillers of authors like Stephen King and Gillian Flynn to the heartwarming tales of love and friendship in novels by authors like Jojo Moyes and Nicholas Sparks, there is truly something for everyone in the world of contemporary English novels. These novels often reflect the issues and concerns of our modern world, and their diverse voices and perspectives make them an important and relevant form of literature.English novels also encompass a wide range of genres, including historical fiction, science fiction, fantasy, and romance. Whether readers are looking for an escape into a different time and place, a thrilling adventure in a fantastical world, or a heartwarming love story, the world of English novels has something to offer for every reader.In conclusion, English novels are a rich and diverse literary form that continues to captivate and entertain readers around the world. From classic works of literatureto contemporary bestsellers, English novels offer a wide range of themes, styles, and characters that resonate with readers of all ages. Whether readers are looking for timeless tales of love and friendship or gripping thrillers that keep them on the edge of their seat, the world of English novels has something to offer for every reader.。
英文小说从要素分析
Elements of Fiction - A Brief IntroductionA. Primary Elements: Plot, Character, Theme, Points of View, Symbol, SettingB. Secondary Elements: Imagery, Irony, Style & Tone, Exposition1. Plot - the sequence of events or incidents of which the story is composed/the arrangement of events that make up a story/the complete pattern or design of the work.A. Conflict is a clash of actions, ideas, desires or wills.a.Person against person.b.P erson against environment- external force, physicalnature, society, or "fate."c.Person againstherself/himself - conflictwith some element inher/his own nature; maybephysical, mental, emotional,or moral.d.P erson against God-Greekmythology.B. Artistic Unity - essential to a good plot; nothing irrelevant that does not contribute to the total meaning; nothing that is there only for its own sake or its own excitement.C. Plot Manipulation and Fabulation - a good plot should not have any unjustified or unexpected turns or twists, no false leads, and no deliberate and misleading information; fabulation is the introduction of the fabulous or unrealistic or gothic elements in an otherwise realistic setting.D. Story Ending: In a Happy Ending thestereotypical expectation is that the protagonist must solve all the problems, defeat the villain, win the girl, and live happily everafter. Unfortunately, many real life situations have unhappy endings; for the writers of serious fiction, the unhappy endings are more likely to raise significant issues concerning life and living.E. Types of Plot:a. Tragedy(noble)b. Comedy(less great/noble)c. Romance(less great/noble)d. Satire (used to teach lesson or present a point of viewF. Use of Plot:a. The structure of its actionsb. Order: 1st, 2nd, 3rd…c. To create(The author uses actions as a painter uses paints to create)d. To achieve particular words to create certain effect2. CharacterA. Direct Presentation - author tells us straight out, by exposition or analysis, or through another character.B. Indirect Presentation - author shows us the character in action; the reader infers what a character is like from what she/he thinks, or says, or does. These are also called dramatized characters and they are generally consistent (in behavior), motivated (convincing), and plausible (lifelike).C. Character Types - a Flat character is known by one or two traits; a Round character is complex and many-sided; aStock character is a stereotyped character (a mad scientist, the absent-minded professor, the cruel mother-in-law); a Static character remains the same from the beginning of the plot to the end; and a Dynamic (developing) character undergoes permanent change. This change must be a. within the possibilities of the character; b. sufficiently motivated; and c. allowed sufficient time for change.D. Protagonist and Antagonist - the protagonist is the central character, sympathetic or unsympathetic. The forces working against her/him, whether persons, things, conventions of society, or traits of their own character, are the antagonists.3. Theme - the controlling idea or central insight. It can be 1. a revelation of human character; 2. may be stated briefly or at great length; and 3. a theme is not the "moral" of the story.A. A theme must be expressible in the form of a statement - not "motherhood" but "Motherhood sometimes has more frustration than reward."B. A theme must be stated as a generalization about life; names of characters or specific situations in the plot are not to be used when stating a theme.C. A theme must not be a generalization larger than is justified by the terms of the story.D. A theme is the central and unifying concept of the story. It must adhere to the following requirements:1. It must account for all the major details of the story.2. It must not be contradicted by any detail of the story.3. It must not rely on supposed facts - facts not actually stated or clearly implied by the story.E.There is no one way of stating the theme of a story.F. Any statement that reduces a theme to some familiar saying, aphorism, or clichéshould be avoided. Do not use "A stitch in time saves nine," "You can't judge a book by its cover, " "Fish and guests smell in three days," and so on.。
英文小说从要素分析
英文小说从要素分析(总8页)--本页仅作为文档封面，使用时请直接删除即可----内页可以根据需求调整合适字体及大小--Elements of Fiction - A Brief IntroductionA. Primary Elements: Plot, Character, Theme, Points of View, Symbol,SettingB. Secondary Elements: Imagery, Irony, Style & Tone, Exposition1. Plot - the sequence of events or incidents of which the story is composed/the arrangement of eventsthat make up a story/the complete pattern or design of the work.A. Conflict is a clash of actions, ideas, desires or wills.a.Person against person.b.Person againstenvironment - externalforce, physical nature,society, or "fate."c.Person againstherself/himself -conflict with someelement in her/his ownnature; maybe physical,mental, emotional, ormoral.d.Person against God-Greek mythology.B. Artistic Unity - essential to a good plot; nothing irrelevant that does not contribute to the total meaning; nothing that is there only for its own sake or its own excitement.C. Plot Manipulation and Fabulation - a good plot should not have any unjustified orunexpected turns or twists, no false leads, and no deliberate and misleading information; fabulation is the introduction of the fabulous or unrealistic or gothic elements in an otherwise realistic setting.D. Story Ending: In a Happy Ending the stereotypical expectation is that the protagonist must solveall the problems, defeat the villain, win the girl, and live happily everafter. Unfortunately, many real life situations have unhappy endings; for the writers of serious fiction, the unhappy endings are more likely to raise significant issues concerning life and living.E. Types of Plot:a. Tragedy(noble)b. Comedy(less great/noble)c. Romance(less great/noble)d. Satire (used to teach lesson or present a point of viewF. Use of Plot:a. The structure of its actionsb. Order: 1st, 2nd, 3rd…c. To create(The author uses actions as a painter uses paints to create)d. To achieve particular words to create certain effect2. CharacterA. Direct Presentation - author tells us straight out, byexposition or analysis, or through another character.B. Indirect Presentation - author shows us the character in action; the reader infers what a character is like from what she/he thinks, or says,or does. These are also called dramatized characters and they are generally consistent (in behavior), motivated (convincing), and plausible (lifelike).C. Character Types - a Flat character is known by one or two traits; a Round character is complex and many-sided; a Stock character is a stereotyped character (a mad scientist, the absent-minded professor, the cruel mother-in-law); a Static character remainsthe same from the beginning of the plot to the end; and a Dynamic (developing) character undergoespermanent change. This change mustbe a. within the possibilities ofthe character; b. sufficiently motivated; and c. allowedsufficient time for change.D. Protagonist and Antagonist - the protagonist is the central character, sympathetic or unsympathetic. The forces working against her/him, whether persons, things, conventions of society, or traits of their own character, are the antagonists.3. Theme - the controlling idea or central insight. It can be 1. a revelation of human character; 2. may be stated briefly or at great length; and 3. a theme is not the "moral" of the story.A. A theme must be expressible inthe form of a statement - not"motherhood" but "Motherhood sometimes has more frustration than reward."B. A theme must be stated as a generalization about life; names of characters or specific situations in the plot are not to be used when stating a theme.C. A theme must not be a generalization larger than is justified by the terms of the story.D. A theme is the central and unifying concept of the story. It must adhere to the following requirements:1. It must account for all the major details of the story.2. It must not be contradicted by any detail of the story.3. It must not rely on supposed facts - facts not actually stated or clearly implied by the story.E. There is no one way of stating the theme of a story.F. Any statement that reduces a theme to some familiar saying, aphorism, or cliché should be avoided. Do not use "A stitch in time saves nine," "You can't judge a book by its cover, " "Fish and guests smell in three days," and so on.。
小说构成要素
小说构成要素March,2007 A Structured Approach to the Short StoryThe term structure as applied to a short story, or to any form of literary art, is a metaphorical expression referring to the architectural-like pattern of the work. Much like a building, a short story is an orderly arrangement of individual parts put together to form a cohesive whole. In a building, the constituent elements are physical and exist in space; in a short story, the elements are intangibles, but they too are arranged in accordance with a carefully conceived plan. Instead of existing in space, these elements exist as ideas in the mind of the writer that are transferred to the mind of the reader through the medium of the printed page. The structure is then re-created in the reader’s mind as the story is read. Behind this concept of structure lies the assumption that the author has an awareness and understanding of the need for the structure in the work and that, in writing the story, has made deliberate choices in the selection of details and has carefully arranged these details into ameaningful, aesthetic pattern. A further assumption is that full of appreciation of a story by the reader demands some awareness and understanding of its structure.In its broadest sense, structure includes all the elements in a story: plot, character and characterization, point of view, language, which can be realistic, symbolic or allegory, and theme. In studying literature from a structural point of view, one may deal with these elements separately, at first; however, the ultimate objective is to see the work as a whole and to become aware of how the parts are integrated to produce a composite effect.Elements of PlotSimply stated,plot is the arrangement of the events in a story into a causal sequences. Although the short story is one of the most flexible vehicles for the diverse elements of a plot, this flexibility and variety does not reduce the value of a systematic and even orthodox approach to plot construction.Among the formal elements of plot are: exposition, background; conflict, the opposition of forces, internal or external; complication, the development of predictable or unforeseen contingencies in the action; foreshadowing, a hint ofwhat is to come;reversal,a change in fortune experienced by the protagonist; denouement, the final outcome of the sequence of events; and insight,recognition by the protagonist of his or her nature or fate.Character and CharacterizationCharacter and characterization are closely related but essentially different concepts. Character refers to one of the persons in the story----the end result of the author’s effort to create a fictional personality. Characterization, on the other hand, refers to the means by which the writer creates the sum of traits, thoughts, and actions which, taken together, constitute a character.At the simplest level, literary characters may belong to a number of stock types. ……. With creative imagination, however, a writer may start out with commonplace characters and develop them into universal figures, far beyond the original cardboard dimensions of the stereotypes to which they are related. Don Quixote, Hamlet, or Huck Fin, to name a few, escape the confines of their types---the impractical do-gooder, the slow-to-act intellectual, and the boy who rebels against the mores of his society---and transcend their literary confines tobecome symbols of human aspirations.Another concept relating to character is that of flatness, or its opposite, roundedness. If the story is a short one, the author may create only flat characters, that is, characters whose essence may be summed up in a phrase. If the story requires it, as is usually the case, a writer may create a rounded character, that is, a character who is so complex as to require extended analysis. Both types of characters may appear in the same story, depending on their importance and the length of the story.Literary characters have also been described as being static or developing,depending upon whether they remain the same from the beginning to the end of the story or whether they undergo some significant, internal change in the course of the events. The concept of developing suggests that the character achieves a different view of life as a result of some insight gained from conflict and is no longer quite the same person as before. The concept of static suggests the opposite.Point of ViewThe concept of point of view introduced in the discussion on character and characterization requires a more detailed explanation because of its importance to the structure of a story.There are several questions about the way a story can be told that will help lead us to an understanding of exactly what point of view is, what varieties there are, and how different purposes are served by these different varieties. Chief among these questions are the following: through whose eyes and ears do we know what is going on? How much does this observer-spokesperson, or narrator, know about the people and events in the story? Does he or she know all there is to know about everyone and everything or is the knowledge possessed less than total? Does the spokesperson see into the minds of all the major characters or into the mind of just one?For ease of naming and for the subsequent identification, we may ask: in what person is the story being told----first or third? We also need to consider the degree of participation that the author’s spokesperson—observer has in the action of the story. For example, is this spokesperson an agent in the events merely an observer at the periphery of the action, or an outsider reporting second-hand information? Finally we might inquire: how does the point of view chosen serve the author’s purposes and how is it better suited to the needs of the story than other options might have been when one considers the overall effect the author is attempting to produce? In asking all of thesequestions, and particularly the last one, one should keep in mind that the point of view selected by the author should unify and give a sense of direction to the story. At the same time, it should also blend smoothly with all the elements of the story.For the purpose of convenient reference, several different points of view have been traditionally distinguished and named. One of the earliest employed and most familiar is the first-person point of view, in which the narrator may be a major character, a minor character, or a bystander. The narrator may give a first-hand account, or one mixed with conjecture and hearsay. The narrator may be at the edge of the action and basically objective in attitude, as is the case in “The Fall of the House of Usher.”Or the narrator may be at the center of the action and highly involved emotionally, as is the young man in “I’m a Fool.” On the other hand, the author may elect to use the third-person point of view, in which the reader sees and interprets everything through the mind of a single character, who may be at the center of the story, as with Miss Brill in the Mansfield selection; or at the periphery, as with the townsman-narrator in “A Rose for Emily”(who are totally operates from the third person point of view, even though he employs the pronoun “we”); or outside the action entirely, as in“The Minister’s Black Veil.”When a single character at the center of the action is used as the focus of impressions, the term central intelligence is often applied. In the central intelligence point of view, the character is aware of all that occurs in the story and every significant thought he or she has is made known to the reader. Although a central intelligence character is involved in or witnesses all that is happening, the character may be temporarily confused, self-deluded, or naïve enough to be unaware of its full meaning. However, even in such instances, the reader may expect to be provided with the necessary information to allow a correct interpretation of the significance of what is going on. Sometimes this point of view is referred to as limited omniscience, since the author provides access to the mind of only one character in the story.Another possibility is the one in which the writer may choose not to invade the inner sanctum of the mind of any of the characters. Instead, the author may decide to function as the “camera-eye”and “tape-recorder”and abstain from any judgmental comment, relying only on the careful selection of significant details, as Hemingway does in “The Killers.”This ostensibly objective point of view is variously referred to as “the stage-setting” or “scenic” technique of telling a story because ofits emphasis on straightforward representation and deliberate avoidance of explicit interpretation of motives and actions.Opposed to these points of view with varying degrees of limited knowledge is the omniscient point of view, one in which the author provides the access to the thoughts of any and all the characters, in any place at any time he or she chooses. Usually the author speaks in the third person, but the method may, once in a while, be used with a first-person narrator. Although writers of the eighteenth and nineteenth centuries who employed this point of view often indulged in comments made directly to the reader, modern writers using this method usually refrain from such statements. Instead, they maintain an aesthetic distance through irony, scrupulous attempts at impartiality, or some other tonal device, as in the case with Fitzgerald and Maugham.LanguageLinked as it is to the pattern of action, character and characterization, and point of view, language, besides being the medium, is also another important element in the structure of the story. As the term is used here, language refers to the way in which words are put together for the creation of special effects. Among these effects are: attitude, tone, atmosphere and mood,setting, pace and rhythm, and dialogue.The attitude of a work is the relation the author assumes toward the subject, character, and action in the story. Usually it can be described on a continuum from sympathetic, through neutral, to antipathetic. Tone is the verbal stance the author assumes toward the reader. It may be anything from sober earnestness to tongue-in-cheek levity. The author’s tone may be straightforward and explicit or devious and ironic..The atmosphere is a feeling of “something in the air” that the author develops through either description or dialogue, to serve as a conditioning or motivating force in the action.The term mood is applied to the emotional content of a scene or entire story and it is created by the combined effect of atmosphere and setting, exposition and foreshadowing, dialogue and action. It can range from happiness to sadness, from complacency to fear, from contentment to deep frustration, and so forth.Along with atmosphere and mood, the author may employ a spatial and temporal setting, which helps determine the outcome of the conflict and the protagonist’s fate.Language also helps to establish any underlying motif,as used in this connection, is any recurring idea, phrase, image, oraction that unifies a story by repeatedly recalling its earlier occurrences.Language also helps to establish the pace and rhythm of a story. Pace and rhythm may be achieved through variations in the length of words and word groups, through contrasting or matching syntactic constructions, through the sense of pauses or the rapid flow of speech, through the deliberate selection of words for ease or difficulty of pronunciation, and through the verbatim repetition of words or phrases.Another function of language is the expression of character through speech, that is, dialogue.Symbolism and AllegoryIn a story employing symbolism, the literal element remains basic and is not merely a vehicle for ideas. In such a story, the emphasis is on the characters who exhibit varying degrees of roundedness, and on the pattern of action, which is usually realistically oriented. Symbols are employed to amplify meaning and to extend the scope of meaning through metaphor, figurative language. Symbols express the relationship of the literal figure to its real world by establishing a parallel relationship on the non-literal level.In a story organized as fully developed allegory, which is like symbolism in that it, too, is a non-literal mode of expression, every character, object, and place stands more for abstract idea than for the literal figure in the narrative. It is the idea represented that is important, not the semi-realistic character, object, or place. Since characters in allegory personify abstract concepts such as “Love,”“Mercy,”“Forgiveness,”“Sin,”and “Death”the characters are of necessity flat and undeveloped, having little real personality of their own apart from what they represent.ThemeThe theme of a story is the generalization about human life that can be drawn from the outcome of the conflict and from the support provided by the tone, attitude, atmosphere, setting, and symbolism and allegory. In attempting to come to grips with the meaning of a story, the reader should not be mislead into accepting the statement of any of the characters as necessarily accurate or complete expression.。
英美小说要素解析
英美小说要素解析Plot: A Sequence of Interrelated Actions or Events. Plot, or the structure of action, it generally refers to the scheme or pattern of events in a work of fiction. A plot is a plan or groundwork for a story, based on conflicting human motivations, with the actions resulting from believable and realistic human response.Types of Conflict:①External Conflict: Man and nature, man and society, and man and man.②Internal Conflict: It focuses on two or more elements contesting within the protagonist’s own character.Exposition(情节交代): It is where everything is introduced is the beginning section in which the author provides the necessary background information, sets and scene, establishes the situation, and dates the action. It usually introduces the characters and the conflict, or at least the potential for conflict.Complication(纠葛): Which is sometimes referred to as the rising action, develops and intensifies the conflict. The rising action(起始行动) is when things begin to escalate. It takes the reader from the exposition and leads them towards the climax. This part tends to be dramatic and suspenseful.Climax(高潮)：When you finally take a breath after holding it in suspense. This is the most emotional part of the book.Crisis(关子)：It( also referred to as the climax) is that moment at which the plot reaches its point of greatest emotional intensity; it is the turning point of the plot, directly precipitating the resolution. It is the reversal or” turning point”.Falling action(下降行动)：Once the crisis, or turning point, has been reached, the tension subsides and the plot movestoward its conclusion. It is when everything tends to slow down, and the climax is over.Resolution(冲突解开)：It is the final section of the plot which records the outcome of the conflict and establishes some new equilibrium. The resolution is also referred to as the conclusion, the end or the denouement. This is the final part of the story when everything is wrapped up. Sometimes the story is finished off completely, answering every reader's question. Sometimes authors leave mysterious, to intrigue the reader. Or sometimes authors leave hints of a sequel.Catastrophe: Applied to tragedy only.Denouement：Applied to both comedy and tragedy.The ordering of plot—Chronological plotting—Flashback: It is interpolated narratives or scenes( often justified, or naturalized, as a memory, a reverie, or a confession by one of the characters) which represent events that happened before the time at which the work opened.Character：They are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it –the dialogue—and from what they do—the ac tion. A character may remain essentially“stable,”or unchanged in outlook and disposition, from beginning to end of a work, or may undergo a radical change, either through a gradual process of development, or as the result of a crisis. Whether a character remains stable or changes, the reader of a traditional and realistic work expects “consistency”--- ---the character should not suddenly break off and act in a way not plausibly grounded in hisor her temperament as we have already come to know it.Motivation: The grounds in the characters temperament, desires, and moral nature for their speech and actions.Types of characters—protagonist: The chief character in a plot, on whom our interest centers.(or alternatively, the hero or heroine) It is the major, or central, character of the plot.Antagonist: If the plot is such that he or she is pitted against and important opponent, that character is called the antagonist. It is his opponent, the character against whom the protagonist struggles or contends.Flat characters: they are those who embody or represent a single characteristic, trait, or idea, or at most a very limited number of such qualities. Flat characters are also referred to as type characters, as one-dimensional characters, or when they are distorted to create humor, as caricatures.Stock characters: Flat characters have much in common with the kind of stock characters who appear again and again in certain types of literary works. A flat character (also called a type, or “two-dimensional”), Forster says, is built around “a single idea or quality”and is presented without much individualizing detail, and therefore can be fairly adequately described in a single phrase or sentence.Round characters: They are just the opposite. They embody a number of qualities and traits, and are complex multidimensional characters of considerable intellectual and emotional depth who have the capacity to grow and change. A round character is complex in temperament and motivation and is represented with subtle particularity; such a character therefore is as difficult to describe with any adequacy as a person in real life, and like real persons, is capable of surprising us.Dynamic characters: They exhibit a capacity to change; static characters do not. As might be expected, the degree and rate of character change varies widely even among dynamic characters.Static characters: They leave the plot as they entered it, largely untouched by the events that have taken place.Methods of characterization-- Telling: It relies on exposition and direct commentary by the author.In telling, the author intervenes authoritatively in order to describe, and often to evaluate, the motives and dispositional qualities of the characters. Characterization through the use of names, through appearance, and by the author. Showing: It involves the author’s stepping aside, as it were, to allow the characters to reveal themselves directly through their dialogue and their actions. In showing(also called“the dramatic method”), the author simply presents the characters talking and acting and leaves the reader to infer the motives and dispositions that lie behind what they say and do.The author may show not only external speech and actions, but also a character’s inner thoughts, feelings, and responsiveness to events; for a highly developed mode of such inner showing, see stream of consciousness. Characterization through dialogue, and action.Setting: The stage against which the story unfolds.( Place and objects in fiction) The overall setting of a narrative or dramatic work is the general locale, historical time, and social circumstances in which its action occurs; the setting of a single episode orscene within such a work is the particular physical location in which it takes place. Types of setting—Natural and Manufactured The language used in description of settingThe functions of setting: Setting as a background for action,antagonist, a means of creating appropriate atmosphere, a means of revealing character, and a means of reinforcing theme.Point of view: The events of a story may be told as they appear to one or more participants or observers. In first-person narration the point of view is automatically that of the narrator.More variation is possible in third-person narration, where the author may choose to limit his or her report to what could have been observed or known by one of the characters at any given point in the action--- or may choose to report the observations and thoughts of several characters. The author might choose to intrude his or her own point of view.Narrator: It is the speaker or the voice of the literary text, the agent who does the narration. The narrator, like any character in fiction, only exists in a narrative, and he cannot be identified with anything of the real-life author of a literary work.Various points of view—First person:①Advantages: First, he creates an immediate sense of reality. Second, the writer has a ready-made principle of selection.② Difficulties: It may only strike us when we try to write stories ourselves.Second personThird person: There are three variants: omniscient, limited omniscient, and objective or dramatic.Mingling of points of view: It is because for the purpose of sustaining interest or creating suspense.A brief summary: 1. First person( I): All these first-person narrators may have(1) complete understanding,(2) partial or incorrect understanding, or(3) no understanding at all.①Major participantⅰtelling his or her story as a major mover,ⅱtelling a story about others and also about herself or himself as one ofthe major inter-actors,ⅲtelling a story mainly about others; this narrator is on the spot and completely involved but is not a major mover.②Minor participant, telling a story about events experienced and/ or witnessed.③Uninvolved character, tellin g a story not witnessed but reported to the narrator by other means.2. Second person( you): Occurs only when speaker has more authority on a character’s action than the character himself or herself. Occurs only in brief passages when necessary.3. Third p erson( she, he, it, they):①Omniscient. Omniscient speaker sees all, reports all, knows inner workings of minds of characters.②Limited omniscient. Action is focused on one major character.③Dramatic or third-person objective. Speaker reports only actions and speeches. Thoughts of characters can be expressed only as dialogue.Theme: It is the central idea or a statement about life that unifies and controls the total work.Points of theme:1. A theme does not exist as an intellectual abstraction that an author superimposes on the work like icing on a cake.2. The theme may be less prominent and less fully developed in some works of fiction than in others.3. It is entirely possible that intelligent readers will differ, at times radically, on just what the themeof a given a work is.4. The theme of a given work need not be in accord with the reader’s particular beliefs and values. As a general rule, then, we should assume that the ideas of authors grow out of their values, and that values are embodied in their stories along with the ideas. But we must remember that although literature is full of ideas that may strike us, at least initially, as unpleasant, controversial, or simply wrongheaded, literary sophistication and plain common sense should warn usagainst dismissing them out of hand.Identifying theme:1. It is important to avoid confusing a work’s theme with its subject or situation.2. We must be as certain as we can that our statement of theme does the work full.3. The test of any theme we may propose is whether it is fully and completely supported by the work’s other elements.4. The title an author gives the work often suggests a particular focus or emphasis for the reader’s attention.Style: It has traditionally been defined as the manner of linguistic expression in Prose or verse--as how speakers or writers say whatever it is that they say. TheWord style, derived from the Latin word stilus, is understood to mean the way in which writers assemble words to tell the story, develop the argument, dramatize the play, or compose the poem. Style is to be judged on the degree of its adaptability. Elements of style—Diction: Choice of words, and Syntax: Construction of sentences.Oedipus complex: ①It is a term coined by Sigmund Freud to designate a son’s subconscious feel ing of love toward his mother and jealousy and hatred toward his father. ②D.H. Lawrence’s Sons and Lovers is a case in point.Tone: It refers to the methods by which writers convey attitudes, it refers not to attitudes but to those techniques and modes of presentation that reveal or create these attitudes. It is a means of creating a relationship or conveying an attitude.Types of irony:1. Verbal irony: It is a statement in which one thing is said and another is meant.2. Situational irony: It or irony of situation, refers to conditions that are measured against forces that transcend and overpower human capacities.3. Dramatic irony: It is a special kind of situational irony; it applies when acharacter perceives a situation in a limited way while the audience, including other characters, may see it in greater perspective.1.1 The Bride Comes to Yellow Sky—Stephen Crane 1.2 Christmas Day in the Morning—Pearl S. Buck2.1 The Catbird Seat—James Thurber 2.2 Two kinds—Amy Tan3.1 To Build a Fire—Jack London 3.2 A Horseman in the Sky—Ambrose Bierce4.1 A Clean, Well-lighted Place—Ernest Hemingway 4.2 The Broken Globe—Henry Kreisel5.1 Yellow Woman—Leslie Silko 5.2 Rain—W. Somerset Maugham6.1 My Oedipus Complex—Frank O’Connor 6.2 Haircut—Ring Lardner7.1 The Horse D ealer’s Daughter—D.H. Lawrence 7.2 Luck—Mark Twain。
小说要素解析
Plot
Plot is the literary element that describes the structure of a story. It shows arrangement of events and actions within a story.
itshowsarrangementofeventsandactionsotherelementsofplot?expositionthebeginningofthestorywhichexplainsthecharactersandthesituationgpcausebuildingtension?risingactioncomplicationsthat?climaxcrisisthepeakorturningpoint?fallingactionexplanationsthatleadintotheresolution?resolutiondenouementclosedendingstoryiscompletedotherelementsofplot?cliffhanger悬疑
TYPES OFቤተ መጻሕፍቲ ባይዱPLOT:
1. Character vs Character: This type of conflict finds the main character in conflict with another character, human or not human. 2. Character vs Nature: This type of conflict finds the main character in conflict with the forces of nature, which serve as the antagonist.
英文小说从要素分析
Eleme nts of Fictio n - A Brief In troductio nA.P rimary Eleme nts: P lot, Character, Theme, P oi nts of View, Symbol, Sett ingB.Secon dary Eleme nts: Imagery, Iro ny, Style& Tone, Exp ositi on1.Plot - the seque nee of eve nts or in cide nts of which the story is composed/the arran geme nt of eve nts that make up a story/the complete patter n or desig n of the work.A.Conflict is a clash of actions, ideas, desires or wills.a.P ers on aga inst p ers on.b.P ers on aga inst en viro nment-external force, physical n ature,society, or "fate."c.P erson aga instherself/himself - con flict withsome element in her/his ownnature; maybe physical, mental,emotional, or moral.d.Person against God-Greekmythology.B.Artistic Unity - essential to a good plot; nothing irrelevant that does not contribute to the total meaning; nothing that is there only for its own sake or its own excitement.C.Plot Manipulation and Fabulation - a good plot should not have any unjustified or unexpected turns or twists, no false leads, and no deliberate and misleading information; fabulation is the introduction of the fabulous or unrealistic or gothic elements in an otherwise realistic setting.D.Story Ending: In a Happy Ending the stereotypical expectation is that the protagonist must solve all the problems, defeat the villain, win the girl, and live happily everafter. Unfortunately, many real life situations have unhappy endings; for the writers of serious fiction, the unhappy endings are more likely to raise significant issues concerning life and living.E.Types of Plot:a.Tragedy(noble)edy(less great/noble)c.Romance(less great/noble)d.Satire (used to teach lesson or present a point of viewe of Plot:a.The structure of its actionsb.Order: 1st, 2nd, 3rd…c.T o create(The author uses actions as a painter uses paints to create)d.To achieve particular words to create certain effect2.CharacterA.Direct Presentation - author tells us straight out, by exposition or analysis, or through another character.B.Indirect Presentation - author shows us the character in action; the reader infers what a character is like from what she/he thinks, or says, or does. These are also called dramatized characters and they aregenerally consistent motivated (convincing), (lifelike).C.Character Types - a known by one or two character is complex and (in behavior), and plausibleFlat character is traits; amany-sided; a Stock character is a stereotyped character (a mad scientist, the absent-minded professor, the cruel mother-in-law); a Static character remains the same from the beginning of the plot to the end; and a Dynamic (developing) character undergoes permanent change. This change must be a. within the possibilities of the character; b. sufficiently motivated; and c. allowed sufficient time for change.D.Protagonist and Antagonist - the protagonist is the central character, sympathetic or unsympathetic. The forces working against her/him, whether persons, things, conventions of society, or traits of their own character, are the antagonists. 3.Theme - the controlling idea or central insight. It can be 1. a revelation of human character; 2. may be stated briefly or at great length; and 3. a theme is not the "moral" of the story.A. A theme must be expressible in the formof a statement - not "motherhood" but "Motherhood sometimes has more frustration than reward."B. A theme must be stated as ageneralization about life; names of characters or specific situations in theplot are not to be used when stating a theme.C. A theme must not be a generalization larger than is justified by the terms of the story.D. A theme is the central and unifying concept of the story. It must adhere to the following requirements: 1. It must account for all the major details of the story.2. It must not be contradicted by any detail of the story.3. It must not rely on supposed facts -facts not actually stated or clearly implied by the story.E.There is no one way of stating the themeof a story.F.Any statement that reduces a theme to some familiar saying, aphorism, or clich e should be avoided. Do not use "A stitch in time saves nine," "You can't judge a book by its cover, " "Fish and guests smell in three days," and so on.。
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Characterization is the process by which a writer makes the character seem real to the reader.
Methods of Characterization :
1.Direct: “he was an old man..” (The Old Man and the Sea) 2.Own Words and Actions 3.Reaction of other Characters 4.Physical appearance 5.Own thoughts
Falling Action or
RESOLUTION
the conclusion of a plot’s conflicts and complications. The resolution follows the climax in the plot.
Character
a person or animals or objects presented in a dramatic or narrative work
A static character does not change throughout the work, and the reader’s knowledge of that character does not grow, whereas a dynamic character undergoes some kind of change because of the action in the plot. A flat character embodies one or two qualities, ideas, or traits that can be readily described in a brief summary. They are not psychologically complex characters and therefore are readily accessible to readers.
A hero or heroine, often called the PROTAGONIST, is the central character ThwehAoNeTnAgaGgOesNItSheT riesathdeerc’shainratecrteesr,t faonrcde, or colleecmtipoanthoyf （for同ce感s ，tha共t 鸣sta）nd. directly opposed to the protagonist and gives rise to the conflict of the story.
Some flat characters are recognized as stock characters; they embody stereotypes such as the “dumb blonde” or the “mean stepfather.” They become types rather than individuals.
• Setting • Irony
• Point of View • Tone and Style
PLOT
An author’s selection and arrangement of incidents in a story to shape the action and give the story a particular focus.
Setting
The setting is the physical and social context in which the action of a story occurs. The major elements of setting are the time, the place, and the social environment that frames the characters. Setting can be used to ell prepare the reader for what is to come. Sometimes, writers choose a particular setting because of traditional associations with that setting that are closely related to the action of a story.
Rising Action
Complication(s) creates some sort of conflict for the protagonist (the main character).
Climax
the moment of greatest emotional tension in a narrative, usually marking a turning point in the plot at which the rising action reverses to become the falling action.
Round characters are more complex than flat or stock characters, and often display the inconsistencies and internal conflicts found in most real people. They are more fully developed, and therefore are harder to summarize. Journey to the West
（优选）小说的要素英文
Elements of fiction
Classification of fiction : novel, novelette, short story. Short short story.
The Elements Include:
• Plot • Symbolism
• Character • Theme
Discussions of plot include not just what happens, but also how and why things happen the way they do.
Plot may have three parts:
• Rising Action • Climax • Falling Action