某市道路工程可行性研究报告(编辑修改稿)

某市道路工程可行性研究报告(编辑修改稿)内容摘要：

ed achi eve a somber int egr at ion wi t h it , but t hose who ar e repel ed and r ebel suff er di saster. Someti mes an environment serves as m ore t han a m ere pl ace t o set the story. Oft en, i t is i next ri cably ent angled wi t h the pr ot agoni st , and even car r ies st r ong symboli c meanings. Cathy as an i mage of t he f em i ni ne personalit y, f or exampl e, i n Emi ly Bronte’s Wutheri ng Heights , is not supposed to possess the “wi lderness” character isti c of masculi nit y and symbol ized by the l ocal es of Heathcli f and Wut heri ng Height s. I n som e fi ction, set ti ng is cl osely bound wi th t hem e. I n The Scarl et Let ter , even smal detail s af f or d powerf ul hi nts at the t hem e of the stor y. At t he st ar t of the stor y, t he nar rat or descr ibes a colonial jai lhouse: Bef ore this ugl y edi fi ce, and between it and t he wheel tr ack of t he st reet, was a grass plot , much over gr own wi th bur dock, pigweed, apple per u, and such unsight ly veget ati on, whi ch evi dentl y f ound somethi ng congenial in t he soi l that had so earl y borne t he black fl ower of ci vi li zed society, a pri son. But, on one side of t he por tal, and r oot ed almost at t he thr eshold, was a wi ld r osebush, cover ed, i n thi s month of June, wi th i ts deli cat e gems, whi ch mi ght be i magi ned to of fer t hei r fr agr ance and f ragil e beauty to t he pri soner as he went i n, and t o the condem ned cr i m i nal as he cam e for th t o his doom, i n token that the deep hear t of Nat ure could pi ty and be ki nd to hi m. Appar ent ly, the author makes a cont rast bet ween t he ugly j ailhouse wit h a t angl ed gr as pl ot over gr own wi th bur dock and pi gweed and something as beaut if ul as a wil d r ose. As the stor y unfol ds, he wil l fur ther suggest t hat secr et si n and a pret y chil d may go t ogether li ke a pigweed and wi ld r oses. In t his ar tf ul ly cr aft ed novel, seti ng is inti mately blended wi t h char act er s, symboli sm , and t heme. I n addi ti on to pl ace, set ti ng may crucial ly i nvol ve the t ime of the stor y—cent ury, year , or even specif ic hour. I t may mat er gr eat ly that a st ory t akes pl aces in the mor ni ng or at noon. The medi eval backgr ound i nfor ms us dif fer ent ly f rom the t wenti et h cent ury. Kennedy and Gi oia note t hat i n The Scarl et Let ter, t he nieent hcentury aut hor Nat hani el Hawt hrone, ut il izes a long i nt r oducti on and a vivid descri pt ion of t he scene at a pr ison door to i nfor m us t hat t he events i n the stor y t ook pl ace i n the Puri tan muni ty of Boston of t he ear lier seventeenth centur y. This set ing, to which Hawt hor ne pays so m uch at tention, together wi th our schemata concer ning Pur it an pr act ice, hel ps us understand what happens in t he novel . We can under st and t o some extent the agit at ion i n the t own when a wom an is accused of adul tery, for adult er y was a f lagrant def iance of chur ch for t he God fear ing New Engl and Pur it an munit y, and an il legit im at e child was evi dence of sin. Wi thout i nfor mati on about the sevent enth centur y Puri tan backgr ound, a r eader today may be perpl exed at the novel . The fact that the story in Hawt horne’s novel took place in a ti me r em ot e f rom our own leads us t o expect dif fer ent at it udes and cust om s of the char act ers, is str ongl y suggestive of t he whole soci ety, which i s cr ucial to an essenti al understanding of The Scarl et Let ter as a whole. Besi des pl ace and t ime, set ti ng may also i ncl ude the weather, whi ch, i ndeed, may be crucial i n som e st or i es. 2. Local color wri ti ng /regionalism and t he writ er, a regi onal wri ter. When set ti ng dom inates, or when a pi ece of f icti on is wr i ten l argely t o pr esent t he manner s and custom s of a local it y, t he wr it ng is of ten cal ed local color wr it ing or r egi onal ism and t he wr it er , a regional wri ter. A regional wri ter usual ly sets his/ her stor ies in one geographic ar ea and t ri es to br ing i t al ive t o readers ever ywhere. Thom as Har dy, i n his por tr ayal of li fe i n Wessex, wr ot e r egi onal novel s. Ar nol d Ben t’s novel s of t he “Five Towns” ar e mar kedly regional. Wil li am Faulkner, known as a disti ngui shed r egi onal wr it er , almost al ways set his novels and stori es in hi s nat ive Missi ssi ppi . 3. The set ing of a novel is not always drawn f rom a real li fe local e. The set ing of a novel i s not al ways dr awn f rom a real li fe local e. Li ter ar y art ists somet imes pref er t o create the t ot alit y of their f ict ion—t he set ti ng as wel as char acter s and their acti ons. …… The cr eat ion of set ti ng can be a magi cal f i ct i onal gif t in a noveli st or stor yt el er . But what ever the set ing of his/her wor k, a t rue noveli st i s concer ned wi th m aki ng an envi ronment cr edi ble f or hi s/ her char act ers and their acti ons and i n a ccor d wi th t he development of the plot . In some stor ies , a wri ter sems t o draw a set i ng mainl y t o evoke at mosphere. I n such a story, set ti ng st art s us feeli ng what ever t he st orytel ler would have us feel. Thus atmospher e is a metaphor f or a feeli ng or an impr esion whi ch we cannot r eadil y at ach to some t angi bl e cause. We say that an ol d f armhouse set among lar ge mapl es, on a gr een l awn, has an atm osphere of peace. Here what we m ean i s that the house, by r eason of the l ook of quiet ness and by reason of a num ber of pleasant associ ations we have wi th the kind of l if e li ved there, st ir s a cert ai n r eacti on in us whi ch we do not at ach t o any si ngle i nci dent or obj ect , but gener al y to the whole scene. I n the same way we may say that he set ti ng of a st ory contr ibut es t o def i ni ng i t s at m ospher e. F。