小说的要素-英文(课堂)课件

TheElementsofFictionFictionreferstoanyimaginaryworkportrayingcharactersandevents1TheElementsofFictionFictioElementsoffictionClassificationoffiction :novel,novelette,shortstory.Shortshortstory. 22TheElementsInclude:PlotSymbolismCharacterThemeSettingIronyPointofViewToneandStyle3TheElementsInclude:PlotCharaPLOTAnauthor’sselectionandarrangementofincidentsinastorytoshapetheactionandgivethestoryaparticularfocus.Discussionsofplotincludenotjustwhathappens,butalsohowandwhythingshappenthewaytheydo.4PLOTAnauthor’sselectionandPlotmayhavethreeparts:RisingActionClimaxFallingAction5Plotmayhavethreeparts:RisiRisingActionComplication(s)createssomesortofconflictfortheprotagonist(themaincharacter).6RisingActionComplication(s)cClimaxthemomentofgreatestemotionaltensioninanarrative,usuallymarkingaturningpointintheplotatwhichtherisingactionreversestobecomethefallingaction.7Climaxthemomentofgreateste

FallingActionorRESOLUTIONtheconclusionofaplot’sconflictsandcomplications.Theresolutionfollowstheclimaxintheplot.8

FallingActionorRESOLUTION8Characterapersonoranimalsorobjectspresentedinadramaticornarrativework9Characterapersonoranimalso

Aheroorheroine,oftencalledthePROTAGONIST,isthecentralcharacterwhoengagesthereader’sinterestandempathy（同感，共鸣）.

TheANTAGONISTisthecharacter,force,orcollectionofforcesthatstanddirectlyopposedtotheprotagonistandgivesrisetotheconflictofthestory.10

Aheroorheroine,oftencaAstaticcharacterdoesnotchangethroughoutthework,andthereader’sknowledgeofthatcharacterdoesnotgrow,whereasadynamiccharacterundergoessomekindofchangebecauseoftheactionintheplot.Aflatcharacterembodiesoneortwoqualities,ideas,ortraitsthatcanbereadilydescribedinabriefsummary.Theyarenotpsychologicallycomplexcharactersandthereforearereadilyaccessibletoreaders.

11AstaticcharacterdoesnotchSomeflatcharactersarerecognizedasstockcharacters;theyembodystereotypessuchasthe“dumbblonde”orthe“meanstepfather.”Theybecometypesratherthanindividuals.

12SomeflatcharactersarerecogRoundcharactersaremorecomplexthanflatorstockcharacters,andoftendisplaytheinconsistenciesandinternalconflictsfoundinmostrealpeople.Theyaremorefullydeveloped,andthereforearehardertosummarize.

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13RoundcharactersaremorecompCharacterizationistheprocessbywhichawritermakesthecharacterseemrealtothereader.14CharacterizationistheprocesMethodsofCharacterization: 1.Direct:“hewasanoldman..”(The

OldManandtheSea)2.OwnWordsandActions3.ReactionofotherCharacters4.Physicalappearance5.Ownthoughts15MethodsofCharacterization: SettingThesettingisthephysicalandsocialcontextinwhichtheactionofastoryoccurs.Themajorelementsofsettingarethetime,theplace,andthesocialenvironmentthatframesthecharacters.Settingcanbeusedtoevokeamoodoratmospherethatwillpreparethereaderforwhatistocome.Sometimes,writerschooseaparticularsettingbecauseoftraditionalassociationswiththatsettingthatarecloselyrelatedtotheactionofastory.16SettingThesettingisthephysPointofViewReferstowhotellsusastoryandhowitistold.Whatweknowandhowwefeelabouttheeventsinaworkareshapedbytheauthor’schoiceofpointofview.Thetellerofthestory,thenarrator,inevitablyaffectsourunderstandingofthecharacters’actionsbyfilteringwhatistoldthroughhisorherownperspective.17PointofViewReferstowhotelPointofViewissimplywhoistellingthestory.

OmniscientPOV-Thestoryistoldinthirdpersonbyanarratorwhohasunlimitedknowledgeofeventsandcharacters.ThirdPersonLimitedPOV-Thestoryistoldinthirdpersonbutfromtheviewpointofacharacterinthestory.POVislimitedtothecharacter’sperceptionsandshowsnodirectknowledgeofwhatothercharactersarethinking,feeling,ordoing.

*StreamofConsciousness-presentstherandomthoughtsgoingthroughacharacter’sheadwithinacertainperiodoftime.

FirstPersonPOV-Theauthordisappearsintooneofthecharacters.Sharesthelimitationsofthirdpersonlimited.Usesthepronouns“I”and“we”.ObjectivePOV-Recordsonlywhatisseenandheard.Initspurestform,objectivePOVwouldconsistofonlydialogue.Forcestheauthortorefrainfrominterpretation.SecondPersonPOV-Usesthepronoun“you”.Infrequentlyused.18PointofViewissimplywhoisSymbolismAperson,object,image,wordoreventthatevokesarangeofadditionalmeaningbeyondandusuallymoreabstractthanitsliteralsignificance.19SymbolismAperson,object,imaTypesofSymbolsConventionalsymbolshavemeaningsthatarewidelyrecognizedbyasocietyorculture.Writersuseconventionalsymbolsforreinforcingmeanings.Aliteraryorcontextualsymbolcanbeasetting,character,action,object,nameoranythingelseinaworkthatmaintainsitsliteralsignificancewhilesuggestingothermeanings.Suchsymbolsgobeyondconventionalsymbols;theygaintheirsymbolicmeaningwithinthecontextofaspecificstory.20TypesofSymbolsConventionalsThemeisthecentralmeaningordominantideainaliterarywork.Athemeprovidesaunifyingpointaroundwhichtheplot,characters,setting,pointofview,symbols,andotherelementsofaworkareorganized.Itisimportantnottomistakethethemefortheactualsubjectofthework;thethemereferstotheabstractconceptthatismadeconcretethroughtheimages,characterization,andactionofthetext.21ThemeisthecentralmeaningorIronyaliterarydevicethatusescontradictorystatementsorsituationstorevealarealitydifferentfromwhatappearstobetrue.22IronyaliterarydevicethatusVerbalirony

（词义反讽）isafigureofspeechthatoccurswhenapersonsaysonethingbutmeanstheopposite.Sarcasmisastrongformofverbalironythatiscalculatedtohurtsomeonethrough,forexample,falsepraise.Tragicironyisaformofdramaticironyfoundintragedies.Situationalirony

（情景反讽）existswhenthereisanincongruitybetweenwhatisexpectedtohappenandwhatactuallyhappensduetoforcesbeyondhumancomprehensionorcontrol.Cosmicirony

（宇宙反讽）occurswhenawriterusesGod,destiny,orfatetodashthehopesandexpectationsofacharacterorofhumankindingeneral.Incosmicirony,adiscrepancy（矛盾）existsbetweenwhatacharacteraspirestoandwhatuniversalforcesprovide.

23Verbalirony（词义反讽）isafigureToneTheauthor’simplicitattitudetowardthereaderorthepeople,places,andeventsinaworkasrevealedbytheelementsoftheauthor’sstyle.Tonemaybecharacterizedasseriousorironic,sadorhappy,privateorpublic,angryoraffectionate,bitterornostalgic,oranyotherattitudesandfeelingsthathumanbeingsexperience.24ToneTheauthor’simplicitattiStylethedistinctiveanduniquemannerinwhichawriterarrangeswordstoachieveparticulareffects.Styleessentiallycombinestheideatobeexpressedwiththeindividualwordchoicesaswellasmatterssuchasthelengthofsentences,theirstructure,tone,anduseofirony.25StylethedistinctiveanduniquDiction-Centraltoanauthor’sstyle.Includes:

1.Vocabulary-Choiceofwords a.Simplewords-Everydaywordchoice.(Shewassickforalongtime.) b.Complexwords-Flexingintellectualmuscle(Garagesandcottonginshadencroachedandobliteratedeventheaugustnamesofthatneighborhood.) c.Concretewords-Thingswecantouch,see,etc.(Jeans,book,..) d.Abstractwords-Wordsthatexpressintangibleideas(freedom,heritage,something) 2.Syntax-arrangementofwords,theirordering,groupingandplacementwithinphrases,clauses,andsentences.26Diction-Centraltoanauthor’TheElementsofFictionFictionreferstoanyimaginaryworkportrayingcharactersandevents27TheElementsofFictionFictioElementsoffictionClassificationoffiction :novel,novelette,shortstory.Shortshortstory. 282TheElementsInclude:PlotSymbolismCharacterThemeSettingIronyPointofViewToneandStyle29TheElementsInclude:PlotCharaPLOTAnauthor’sselectionandarrangementofincidentsinastorytoshapetheactionandgivethestoryaparticularfocus.Discussionsofplotincludenotjustwhathappens,butalsohowandwhythingshappenthewaytheydo.30PLOTAnauthor’sselectionandPlotmayhavethreeparts:RisingActionClimaxFallingAction31Plotmayhavethreeparts:RisiRisingActionComplication(s)createssomesortofconflictfortheprotagonist(themaincharacter).32RisingActionComplication(s)cClimaxthemomentofgreatestemotionaltensioninanarrative,usuallymarkingaturningpointintheplotatwhichtherisingactionreversestobecomethefallingaction.33Climaxthemomentofgreateste

FallingActionorRESOLUTIONtheconclusionofaplot’sconflictsandcomplications.Theresolutionfollowstheclimaxintheplot.34

FallingActionorRESOLUTION8Characterapersonoranimalsorobjectspresentedinadramaticornarrativework35Characterapersonoranimalso

Aheroorheroine,oftencalledthePROTAGONIST,isthecentralcharacterwhoengagesthereader’sinterestandempathy（同感，共鸣）.

TheANTAGONISTisthecharacter,force,orcollectionofforcesthatstanddirectlyopposedtotheprotagonistandgivesrisetotheconflictofthestory.36

Aheroorheroine,oftencaAstaticcharacterdoesnotchangethroughoutthework,andthereader’sknowledgeofthatcharacterdoesnotgrow,whereasadynamiccharacterundergoessomekindofchangebecauseoftheactionintheplot.Aflatcharacterembodiesoneortwoqualities,ideas,ortraitsthatcanbereadilydescribedinabriefsummary.Theyarenotpsychologicallycomplexcharactersandthereforearereadilyaccessibletoreaders.

37AstaticcharacterdoesnotchSomeflatcharactersarerecognizedasstockcharacters;theyembodystereotypessuchasthe“dumbblonde”orthe“meanstepfather.”Theybecometypesratherthanindividuals.

38SomeflatcharactersarerecogRoundcharactersaremorecomplexthanflatorstockcharacters,andoftendisplaytheinconsistenciesandinternalconflictsfoundinmostrealpeople.Theyaremorefullydeveloped,andthereforearehardertosummarize.

JourneytotheWest

39RoundcharactersaremorecompCharacterizationistheprocessbywhichawritermakesthecharacterseemrealtothereader.40CharacterizationistheprocesMethodsofCharacterization: 1.Direct:“hewasanoldman..”(The

OldManandtheSea)2.OwnWordsandActions3.ReactionofotherCharacters4.Physicalappearance5.Ownthoughts41MethodsofCharacterization: SettingThesettingisthephysicalandsocialcontextinwhichtheactionofastoryoccurs.Themajorelementsofsettingarethetime,theplace,andthesocialenvironmentthatframesthecharacters.Settingcanbeusedtoevokeamoodoratmospherethatwillpreparethereaderforwhatistocome.Sometimes,writerschooseaparticularsettingbecauseoftraditionalassociationswiththatsettingthatarecloselyrelatedtotheactionofastory.42SettingThesettingisthephysPointofViewReferstowhotellsusastoryandhowitistold.Whatweknowandhowwefeelabouttheeventsinaworkareshapedbytheauthor’schoiceofpointofview.Thetellerofthestory,thenarrator,inevitablyaffectsourunderstandingofthecharacters’actionsbyfilteringwhatistoldthroughhisorherownperspective.43PointofViewReferstowhotelPointofViewissimplywhoistellingthestory.

OmniscientPOV-Thestoryistoldinthirdpersonbyanarratorwhohasunlimitedknowledgeofeventsandcharacters.ThirdPersonLimitedPOV-Thestoryistoldinthirdpersonbutfromtheviewpointofacharacterinthestory.POVislimitedtothecharacter’sperceptionsandshowsnodirectknowledgeofwhatothercharactersarethinking,feeling,ordoing.

*StreamofConsciousness-presentstherandomthoughtsgoingthroughacharacter’sheadwithinacertainperiodoftime.

FirstPersonPOV-Theauthordisappearsintooneofthecharacters.Sharesthelimitationsofthirdpersonlimited.Usesthepronouns“I”and“we”.ObjectivePOV-Recordsonlywhatisseenandheard.Initspurestform,objectivePOVwouldconsistofonlydialogue.Forcestheauthortorefrainfrominterpretation.SecondPersonPOV-Usesthepronoun“you”.Infrequentlyused.44PointofViewissimplywhoisSymbolismAperson,object,image,wordoreventthatevokesarangeofadditionalmeaningbeyondandusuallymoreabstractthanitsliteralsignificance.45SymbolismAperson,object,imaTypesofSymbolsConventionalsymbolshavemeaningsthatarewidelyrecognizedbyasocietyorculture.Writersuseconventionalsymbolsforreinforcingmeanings.Aliteraryorcontextualsymbolcanbeasetting,character,action,object,nameoranythingelseinaworkthatmaintainsitsliteralsignificancewhilesuggestingothermeanings.Suchsymbolsgobeyondconventionalsymbols;theygaintheirsymbolicmeaningwithinthecontextofaspecificstory.46TypesofSymbolsConventionalsThemeisthecentralmeaningordominantideainaliterarywork.Athemeprovidesaunifyingpointaroundwhichtheplot,characters,setting,pointofview,symbols,andotherelementsofaworkareorganized.Itisimportantnottomistakethethemefortheactualsubjectofthework;thethemereferstotheabstractconceptthatismadeconcretethroughtheimages,characterization,andactionofthetext.47ThemeisthecentralmeaningorIronyaliterarydevicethatusescontradictorystatementsorsituationstorevealarealitydifferentfromwhatappearstobetrue.48IronyaliterarydevicethatusVerbalirony

（词义反讽）isafigureofspeechthatoccurswhenapersonsaysonethingbutmeanstheopposite.Sarcasmisastrongformofverbalironythatiscalculatedtohurtsomeonethrough,forexample,falsepraise.Tragicironyisaformofdramaticironyfoundintragedies.Situationalirony

（情景反讽）existswhenthereisanincongruitybetweenwhatisexpectedtohappenandwhatactuallyhappensduetoforcesbey