-
The Bride Comes to Yellow
Sky
新娘来到黄天镇——
Stephen Crane
斯蒂芬
·
克莱恩
Christmas Day in the
Morning
在圣诞节的早上——
赛珍珠
The Catbird
Seat
胜券在握——
James Thurber
詹姆斯
·
瑟伯
Two kinds
喜福会——
Amy
Tan
谭恩美
To Build
a Fires
生火——
Jack London
杰克
·
伦敦
A Horseman in the
sky
空中骑士——
Bierce Ambrose
比尔斯
A
Clean
，
Well-lighted
Place
一个干净而明亮的地方——
Ernest
Hemingway
海明威
The
Broken Globe
残破的世界——
Henry
Kreisel
亨利
Yellow
Woman
黄女人——
Leslie
Silko
莱斯利
Rain
雨——
et Maugham
毛姆
My Oedipus
Complex
我的恋母情结——
Frank O
’
Connor
奥康纳
Haircut
剪发——
Ring
Lardner
拉德纳
The
Horse Dealer's Daughter
马贩子的女儿——
< br>ce
劳伦斯
Luck
好运气——
Mark
Twain
马克吐温
The
Chrysanthemums
菊花——
John
Steinbeck
约翰斯坦贝克
The Egg
蛋——
Sherwood
Anderson
安德森
Old
Rogaum and
His
Th
eresa
老罗格姆和他的特里萨——
Theodore
Dreiser
西奥多
Everything That Rises Must
Converge
上升的一切必将汇合——
Flannery
O
’
Connor
奥康纳
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:
①
External
Conflict:
Man
and
nature,
man
and
society,
and
man
and man.
②
Internal 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<
/p>
)
：
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. <
/p>
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 <
/p>
plot
—
Chronological
plotting
—
Flashbac
k:
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 his
or 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
characte
rs
—
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