Plot 文学原理教程（课堂PPT）

Fiction虚构，小说----Aprosenarrativethatistheproductoftheimagination.①Storiesatleastpartiallyimagined;②Anarrativetoldinprose.Novel小说----Longfictionalprosenarrative;ShortStory----Ashortworkofnarrativeprosefiction.Thedistinctionbetweentheshortstoryandnovelismainlyoneoflength.ElementsofFictionPlotCharacter&CharacterizationThemePointofviewToneStyleSymbolPlotStory----Anarrativeofeventsarrangedinatemporalsequence.Plot(AStoryLine)----Aparticulararrangementofeventsinanovelaimedatrevealingtheircausalrelationshipsoratconveyingthenovelist’sideas.Eg:Thekingdiedandthenthequeendied.----AstoryThekingdiedandthenthequeendiedofgrief.----Aplot情节与 故事 滥竽充数故事班主任管理故事5分钟二年级语文看图讲故事传统美德小故事50字120个国学经典故事ppt 故事是按照时间顺序加以排列的事件叙述；而小说情节虽也是事件叙述，但着重因果关系，（当然可以由果求因，也可以由因及果）于是就会加强对矛盾、冲突的描写，而对结果提出合理的解释。所以面对故事，我们最常问的是『然后呢？』然而面对情节，我们要问的反而是『为什么？』，因为一本结构紧密的小说，其中必然是相关因果互击，当中千头万绪，繁杂错乱，读者必须运用记忆----掌握因果始终，同时加上智慧----对情节中的悬宕（suspension），加以推敲。如此阅读小说的目的反而不是快得到结局，而是过程中抽丝剥茧，步步为营的乐趣了。Plot----Theelementoffictionthatsetsup,develops,andresolvesaconflict.Conflict冲突Theessenceoffictioncreatingplot;----Thestruggleorencounterwithintheplotoftwoopposingforcesthatservestocreatereaderoraudienceinterestandsuspense.KindsofConflictExternalConflict外部冲突----Physical,moralorpsychologicalcontestbetweenantagonisticcharacters.ManversusManManversusNatureManversusSocietyManvs.ManTheprotagonistinthestoryexperiencesconflictwithothers,especiallytheantagonist.Manvs.NatureTheprotagonistinthestoryexperiencesconflictwiththeelementsofnature.Manvs.SocietyTheprotagonistinthestoryexperiencesconflictwithsocietyasawhole.InternalConflict内部冲突----Moral,psychological,orspiritualstrugglewithinthecharacteritself.ManversusSelfManvs.SelfTheprotagonistinthestoryexperiencesconflictwithherorhisconscience.FiveStagesofPlot213451.Exposition开端InitiatingAction----Thepartofaworkthatprovidesnecessarybackgroundinformation.Thisusuallyoccursatthebeginningofashortstory.Herethecharactersareintroduced.Wealsolearnaboutthesettingofthestory.Mostimportantly,weareintroducedtothemainconflict(mainproblem).2.Complication发展RisingAction----Thepartoftheplotinwhichtheconflictisdevelopedandintensified.Abuildingofinterestorsuspenseoccurs.2.Complication3.Crisis高潮Climax----Thatpointduringtheplotwhentheactionreachesitsturningpoint.Thisistheturningpointofthestory.Usuallythemaincharactercomesfacetofacewithaconflict.Themaincharacterwillchangeinsomeway.4.FallingAction逆转----Themomentwhenthetensionsubsidesandtheplotmovestowardsitsresolution.4.FallingActionAlllooseendsoftheplotaretiedup.Theconflict(s)andclimaxaretakencareof.5.Resolution结局----Thefinalsectionoftheplotinwhichthemajorconflict,issue,orproblemisresolved.5.ResolutionThestorycomestoareasonableending.PuttingItAllTogether1.Exposition2.Complication3.Crisis4.FallingAction5.ResolutionBeginningofStoryMiddleofStoryEndofStoryDifferentWaysofArrangingEventsinPlot1.Arrangingtheeventschronologically/accordingtotheiroccurrenceintime;2.Rearrangingthechronologyandinvertingtheusualorderofbeginningandending.SpecialTechniquesofPlot1.Flashback倒叙Retrospect----Theinterruptionofastory’snarrativeinordertopresentanearliersceneorepisode.AmethodofExpositionEg:Shiftfrompresidentinovalofficetoascenefromhishighschoolexperience2.Foreshadowing铺垫，伏笔----Adevicebymeansofwhichtheauthorhintsatsth.tofollow.Eg:Violentstormsindicateviolencetocomeinplot.3.Suspense悬念----Thepsychologicaltensionoranxietyresultingfromthereader’soraudience’suncertaintyofjusthowasituationorconflictislikelytoend.4.Subplot次要情节MinorPlot/Underplot----Asecondaryactionorcomplicationwithinafictionalordramaticworkthatoftenservestoreinforceorcontrastthemainplot.AnalyzingPlot1.Whataretheconflictsonwhichtheplotturns?Aretheyexternal,internal,orsomecombinationofthetwo?2.Whatarethechiefepisodesorincidentsthatmakeuptheplot?Isitsdevelopmentstrictlychronological,oristhechronologyrearrangedinsomeway?3.Comparetheplot’sbeginningandend.Whatessentialchangeshavetakenplace?4.Describetheplotintermsofitsexposition,complication,crisis,fallingactionandresolution.5.Istheplotunified?Dotheindividualepisodeslogicallyrelatetooneanother?6.Istheendingappropriatetoandconsistentwiththerestoftheplot?7.Istheplotplausible?Whatrole,ifany,dochanceandcoincidenceplay?TheStoryofanHourEpisodes"TheStoryofanHour"isaverybriefshortstoryaboutonehourinthelifeofLouiseMallard.Asthestorybegins,thenarratorrevealsthatMrs.Mallardhas“hearttrouble.”HersisterJosephineandherhusband’sfriendRichardshavecometoherafterhearingofarailroaddisasterthathasresultedinthedeathofMr.Mallard.BothareconcernedthatthenewswillmakeMrs.MallardillandJosephinetakesgreatcaretotellherthenewsascautiouslyassheisable.Mrs.Mallardreactstothenewswith“sudden,wildabandonment”andlocksherselfinherbedroom.InthesolitudeofherroomMrs.Mallardunderstandsthefundamentalchangetakingplaceinherlife.Shesitsinachair,nolongercrying,lookingoutthewindowatthe“newspringlife.”She“suspendsintelligentthought”andfearfullywaitsfora“subtleandelusive”ideato“possessher.”Shebeginstocomprehendthatsheisjoyfulthatherhusbandisdead,butsheattemptstosuppressthethought.OnceMrs.Mallardacceptsthefeeling,eventhoughsheknowsthatherhusbandhadreallylovedher,sheisecstaticthatshewillneverhavetobendherwilltohisagain.Nowthatherhusbandisdead,shewillbefreetoassertherselfinwayssheneverbeforedreamedwhilehewasalive.Sherecognizesthatshehadlovedherhusbandsometimes,butthatnowshewouldbe“Free!Bodyandsoulfree!”Shebeginstolookforwardtotherestofherlifewhenjustthedaybeforesheshudderedatthethoughtofit.Mrs.Mallardleavesherroomandrejoinshersisterwhohasbeenoutsidethedoorworrying.Shecarriesherself“likeagoddessofVictory”asshejoinshersistertoreturndownstairswhereRichardsstillwaits.Ontheirwaydownthestairs,theyhearthefrontdooropenandseeMr.Mallardwalkin.Hehadbeennowhereneartheaccidentscene.TheshortstoryendswiththeabruptdeathofMrs.Mallard,whoseheartgivesout.Herdoctorsexplainthatshedied“ofjoythatkills.”ConflictTheconflictisthatMrs.Mallardishappythatherhusbanddiedbecausesheisfinallyfreefromtheunhappylifeshewaslivingbutsheshouldreallybesaddenedbythedeathofthemanshemarried.Mrs.MallardInthebeginningofthestoryMrs.Mallardisknownsimplybyhermarriedname.Awifewhosuffersfrom“hearttrouble,”sheisdescribedas“young,withafair,calmface,whoselinesbespokerepressionandevenacertainstrength.”WhenMrs.Mallardlearnsofherhusband’sdeath,shebecomes“Louise,”awomanawareofherowndesires,enjoyingtheprospectofbeingfreedfromtheconfinesofmarriage.Louisediesofa“joythatkills”whenherhusbandreappears.Hercharacterrepresentsfeminineindividuality;sheisastrong-willed,independentwomanexcitedbytheprospectofbeginningherlifeagainafterthereporteddemiseofherhusband.EndingAttheendofthisstory,LouiseMallarddropsdeadwhensheseesherhusbandenterthehouse.Thedoctorandothercharacterspresumethatshehasbeenovercomewith"joythatkills"sinceshehadbeentoldthatBrently,herhusband,waskilledinatrainaccident.ThisisaperfectexampleofDRAMATICIRONY,whichoccurswhentheaudienceknowswhatcharactersdonot.We,thereaders,knowthatLouisewas,afterherinitialshock,relievedthatherhusbandwasdead,notbecauseshehatedhim,butbecauseshefeltsuffocatedbyhermarriageandherlackofpersonalidentity.Weknowthisfromanumberofcluesinthestory--theopenwindowshelooksoutwiththecloudspartingcouldsymolizeshernewopenlife.Butthemostclearevidenceofherhappinessoverherhusband'sdeathisherrealizationthatsheis"free--bodyandsoulfree."Sowhensheseesherhusbandatthedoor,sheisn'tsooverjoyedthatherheartfails,sheissodissappointedthatherheartfails.Herconflictisreallyinternal.Shehasstruggledallherlifewithnothavinganidentity.WomenduringtheVictorianerawereseldomgiventheopportunitytomaketheirowndecisions.Firsttheywereconsideredthepropertyoftheirfathers,andthenoftheirhusbands.Notmarryingwassomewhatofadisgrace.Louisehadjustgainedheridentity.Notethatshedidn'tbecomeLOUISEuntilherhusband'sdeath,butwasonlyMRS.MALLARD.WhenBrentlyreturns,sheiscrushed.