婚慶策劃方案策劃案

1、introduction i. why do we have such course? english literature is one of the compulsory and most important courses. however, the english literature courses offered are merely taught at the level of learning general information and developing literal understanding. admittedly, such courses

2、help them/you a lot in their/your acquisition of the english language. but the function of english literature reaches far beyond that. in reading english literature, a student should have the power to discern how human beings translate their experience into artistic expression and representation; ho

3、w writers, through their creative impulses, convey to us their insights into human destiny and human life; and how social concern is involved in a specific form of human imagination. in addition, students should elevate to the level of cultivating a curiosity for the unknown, thinking cogently and l

4、ogically, expressing themselves clearly and concisely, and observing the world around them critically and objectively. but most students are still at a loss as to how they can effectively analyze a literary work by themselves in any of these respects, even though they have read plenty of excerpts fr

5、om representative works in the british and american literary canon. and they tend to have little idea what role the beginning part plays in the whole story, how the plot develops and comes to resolution, in what way point of view determines a readers understanding of the story, and how the images an

6、d symbols are related to the theme. upon consideration of these factors, we have such course with the intention of cultivating both students literary sensibilities and their /your critical power when reading english short stories and novels. ii. introduction about reading a story 1. what i

7、s story?  “yes oh, dear, yesthe novel tells a story.” this is forsters remark, which is worth special attention, for he is someone in the trade and with rich experience. in his aspects of the novel he lists “story” as the first aspect. people reading novels for stories usually ask questions lik

8、e “what happened next?” and “and” what would he do next?” these questions attest to the two basic elements of a story. the one is the event and the other the time. a story is a series of happenings arranged in the natural temporal order as they occur. story is the basis of the novel, and indeed the

9、basis of narrative works of all kinds.  2. the structure and functions of a story plot; character; point of view; theme; style 3. what is fiction? fiction, the general term for invented stories, now usually applied to novels, short stories, novella, romances, fables, and other na

10、rrative works in prose, even though most plays and narrative poems are also fictional. (p. 83. concise dictionary of literary terms) 4. the story and the novel to read novels for story is nothing wrong, but nothing professional either. “one mark of a second-rate mind is to be always tellin

11、g stories.” the remark by the french writer jean de la bruyere (16451696) is also true of the reader. if the purpose of the novel is only to tell stories, it could as well remain unborn, for newspapers and history books are sufficient to satisfy peoples desire for stories about both present and past

12、, and even about future. in fact, many newapapermen have been dissatisfied with their job of reporting and come into the field of novel writing. defoe, dickens, joyce, hemingway and camus were among the most famous and the most successful converts. even historians may feel obliged to do more than me

13、re stories or facts. edward gibborns decline and fall of the roman empire is praised not only for its multitudinous facts and rationalistic analysis, but more for its beauty of narrative style. in telling stories, the novelist aims at something higher or he intends to add something to the mere “fact

14、s.” as indicated in the definition of the novel, what makes a novel is the novelists style (personalized presentation of the story) and interpretation of the story. chapter one plot i. what is plot?  1. according to aristotle what are the six elements of the structure of tragedy? 

15、;tragedy as a whole has just six constituent elements and they are plot, characters, verbal expression, thought, visual adornment, and songcomposition. for the elements by which they imitate are two (verbal expression and songcomposition), the manner in which they imitate is one (visual adornment),

16、the things they imitate are three (plot, characters, thought), and there is nothing more beyond these.  2. what is plot under the pens of modern novelists and storytellers? and how to understand “plot” in a story? (“”ppt: the queen died, no one knew why, until it was discovered that it was thro

17、ugh grief at the death of the king.p. 6 it suspends the time-sequence, it moves as far away from the story as its limitations will allow.) the story and the character alone can not make a novel ye. to make a novel, a plot is prerequisite. a look at the example suggested by e.m. forster will hel

18、p to distinguish between the story and the plot. “the king died and then the queen died” is not a plot, but a story. if we make it “the king died and then the queen died of grief, we have a plot. this causal phrase “of grief” indicates our interpretation and thus arrangement of the happenings. 

19、 in the world of reality events take place one after another in the natural temporal order, but in the world of fiction it is the novelists design that one particular event occur after another particular event. the very word “plot” implies the novelists rebellion against the natural law and his ende

20、avor to make meanings out of the happenings that may otherwise be meaningless. “the happenings” may or may not be real happenings.(so what plot is -) a plot is a particular arrangement of happenings in a novel that is aimed at revealing their causal relationships or at conveying the novelists ideas.

21、 a plot is sometimes called a story line. the most important of the traditional plot is that it should be a complete or unified action, that is, something with a beginning, a middle, and an end. 3. the dramatic situation in a story. 4. the three parts of a plot: a beginning (exposition), a

22、 middle (suspense or a series of suspense .foreshadowing crisis a moment of high tension), and an end(a climax, the moment of greatest tensionthe conclusionfalling action, resolution or denouement). plot   a beginning a middle an end     exposition some other events cli

23、max (the moment (suspense, a series of suspense, of greatest tension, foreshadowing, crisis) the conclusion-falling action, resolution or denouement) ii. read the stories of rip van winkle(washington irving) and david swan (nathaniel hawthorne) iii. questions: (finish readin

24、g the two stories and point out the plots of the two stories, the descriptive details, the exposition, characters) rip van winkle 1. descriptive details: the plot of the story? 2. what part of the story seems like the exposition?  3. where does the dramatic conflict?  4. wha

25、t is the climax of the story? david swan 5. the plot of the story?  6. how fully does the author draw the characters in the story? (character traits are the qualities of a characters personality. they are revealed through a characters actions and words and through description). 7

26、. more works to do: something about the writers of the two stories. chapter two character in the introduction we have said that fiction is an image of people in action, moving towards an undeclared end. thus character is always involved in fiction, even in the story of the simplest action.

27、 sometimes character is at the center of our interest because in character we may see many facets of the people we meet in our daily life and even of ourselves. fictional character is always character in action and the character gets into action because it is caught in a situation of conflict and he

28、/she is always provided with motivation: he/she has sufficient reasons to act or behave as he /she does. the character is doing something and the reader while reading fiction wants to know the “why” as well as the “what” of the affairs. (sometimes a characters motive for an action is not explained o

29、n acceptable grounds, for example, the villain in adgar allan poestory “the tell-tale heart,” and thus the reader feels cheated. in this case, the writer of detective fiction who makes the criminal a mere lunatic has cheated the reader by avoiding the problem of motive.) and generally, the action it

30、self is humanly significant and it ends usually in a shift in or clarification of human values, as displayed in john updikes “a & p,” and the motivation of a character in a storyone of the answers to the question “why”is of fundamental importance. i. what is character? closely related

31、with the story is the character. henry james said, “what is character but the  determination of incident? what is incident but the illustration of character?” (the art of fiction”) when we read a novel, we read about our fellow beings, and that is one of the motives in reading at all. the “fell

32、ow beings” in the novel is termed characters. by “fellow beings” is meant not only “human beings” but also “other beings,” such as animals. george orwell uses animals to represent human beings in his novel animal farm. lewis carrol creates many lovely animals in his alices adventures in wonderland t

33、hat appeal to both children and adults. orwell does not intend to convince the reader that animals can speak human language or that  he is a translator between animals and humans. no sensible reader, after reading orwells animal farm, would go to the pigsty to look for a talking boar. this

34、 proves the agreed-on fictionality of characters in novels. so broadly, a character is an invented personality to resemble but never to equal a real person in life.  it is not difficult to see that characters in novels resemble people in real life in many ways.  they have names used in the

35、 same way ours are used, they have hatred and love, and they have desires and fears. above all, they act the way we act or the way we can understand (like or dislike). but we must bear in mind that the characters are not real persons, but merely inventions,  however ingenious. compare the

36、physical life and spiritual life of the characters and ours. we have to answer the natures call several times a day, but characters seldom do this, even in the most realistic or naturalistic novels. we have to live our life hour by hour and day by day, but characters never do this. they choose to li

37、ve some time more fully than others, and are able to skip over periods on ten months or twenty years without seeming weird, a feat which we can never attempt. in our life, our minds are a gray matter even to scientists. we can not know what is going on in others mind. but in novels, the minds of the

38、 characters are open or can be made open to the reader if the novelist so chooses. the reader does not only see their clothes, but also see their minds. one character may be enemy to other characters, but he is friend to the reader, before whom he can think aloud, to borrow emersons words. character

39、s do not live, but act. when we watch actors speak aloud to themselves on the stage as if they were alone, we know they are acting and they are different from what they represent in real life. the characters in novels exist in a similar manner. ii. kinds of characters usually, a novel has

40、more than one character. they interact with each other and make up the  story. but they are not equally important or have the same function to the novelist. by their roles in the novel, the characters can be grouped as heroes, main characters and minor characters, and foils. the character

41、on whom a novel is called the hero or heroine when it is a female  character. the word “hero” originally refers to a man, in mythology and legend, often of divine ancestry, who is endowed with great courage and strength, celebrated for his hold exploits, and favored by the gods. in the novel, t

42、he word “hero” is freed of such noble requirements and any central characters can be labeled as heroes. jonathan wild is the hero in the novel of the same name by henry fielding, though he is a notorious highwayman. some critics, annoyed by the connotation of “hero,” prefer the word “protagonist,” w

43、hich sounds neutral. the enemy or rival of the protagonist is called “antagonist.” the main or major characters are those in close and dynamic relation with the hero or heroine. close relation does not mean good relation. pablo in for whom the bell tolls is constantly finding trouble with the h

44、ero jordan, yet he is a main character as his wife pilar is. minor characters are those in remote and static relation with the hero. it is wrong to think that minor characters are all unimportant. in some novels, one or some of the minor characters may serve a critical role, structurally or interpre

45、tationally. foil characters are ones that help enhance the intensity of the hero by strengthening or  contrasting. they may be main characters or minor characters. in a word, they serve as foils to the hero or heroine. cohn in the sun also rises is a good example. he is one of the main cha

46、racters. like jake, he is also “l(fā)ost,” trying vainly to escape the past by courting women and drinking. but during their stay in spain, cohn displays qualities in contrast to those cherished by jake, which makes jake realize his own problems and finally find a solution, though temporarily. cohn work

47、s mainly by contrast. wilson in the great gatsby works by presenting. gatsby lost his lover to tom and wilson lost his wife to tom. by presenting wilsons case the novelist intends to point out the profound cause of gatsbys tragedy. dr. watson in the stories of sherlock holmes serves as a foil to the

48、 hero, rendering the detective smarter than he would otherwise appear to the reader. by the degree of their development, characters can be grouped as round characters and  flat characters. this division is proposed by e.m forster. round characters are fully developed while flat characters

49、are not. or we can say that round characters grow while flat characters do not. usually the reader is allowed access to the inner life of the round character and permitted to learn about many sides of the round character. the flat character is a “closed” character to whose inner thoughts the reader

50、is denied access. usually one side of the flat character is shown in the novel. most heroes are round characters who grow emotionally or spiritually. chapter three theme aristotle in poetics lists six basic elements of tragedy. melody (song) and diction (language) fall in the general categ

51、ory of style, and spectacle is relevant to setting in our discussion of fiction. the other three aspects are mythos or plot, ethos or character, and dianoia, which we generally translate into “thought” in english. according to aristotle, plot is the “soul” or shaping principle or fiction, and charac

52、ters exist primarily as functions of the plot. in most of the stories, plot plays the role of principal structure of the story. but, as northrop frye points out, besides the internal fiction of the character and his/her society, there is an external fiction consisting of a relation between the write

53、r and the writers society. we indeed have literary works by the likes of shakespeare and homer in which artistry is completely absorbed in their internal characters and we can hardly perceive the existence of the author. however, as soon as the authors personality appears on the horizon, a relation

54、with the reader is established, and sometimes there seems no story at all apart from what the author is conveying to his/her reader. in this case, the primary interest in dianoia, the idea or thought that reader gets from the 劉 陳 聯(lián) 婚（確定案）婚禮策劃方案書 策 劃 師： 聯(lián)系電話： e - mail： 時 間：2008年6月7日 方案編號： 網(wǎng) 址： 本 公 司

55、簡 介 本公司為中國婚慶行業(yè)聯(lián)盟協(xié)會會員單位，長年致力于中西方婚禮文化的研究和實踐，攜北京、上海、深圳、日本、南韓、馬來西亞等最新的婚禮策劃理念，再融合中國傳統(tǒng)的婚禮習(xí)俗文化，形成自己獨特的策劃風(fēng)格，集豐富的賓館、酒店、飯店、影樓、旅游等相關(guān)行業(yè)信息資源于一體，向新人提供全方位、個性化的專業(yè)服務(wù)。我們倡導(dǎo)健康、文明、時尚的民族婚禮文化。我們擁有最專業(yè)的婚禮策劃人，最獨特的策劃風(fēng)格，最個性化的婚典服務(wù)。為了讓新人們輕輕松松的辦好喜事，我們能夠幫您完成從策劃到實施適合您們婚禮的一切活動內(nèi)容。使得無論是西式婚禮、中式婚禮、還是中西式結(jié)合婚禮；亦無論是特色婚禮（如：草坪婚禮、別墅婚禮、游輪婚禮、空中婚

56、禮、海底婚禮、拓展婚禮、燭光婚禮等），還是主題婚禮（代表婚禮的最新策劃理念、使婚禮得到最完美演繹的婚禮形式）等，在這里都能得到最完美的呈現(xiàn)，為您人生最重要的婚禮添上最閃亮動人的一筆。 無論是喜慶、浪漫、尊貴與個性，都將在這里一一得到實現(xiàn)！ 新人情況及婚禮策劃定位新郎姓名：劉xx 電話： 新娘姓名：陳xx 電話： 婚禮時間：2008年6月19日星期四婚禮地點：xxxx酒店 預(yù)計客人：整場婚禮策劃定位： 根據(jù)新人及其長輩家人對婚禮的要求、已預(yù)定的婚宴場地，以及來賓的社會層次、結(jié)構(gòu)、人數(shù)、年齡等，建議采用中西式結(jié)合的形式來演繹整場婚禮。整個婚禮及現(xiàn)場布置的風(fēng)格集喜慶、熱鬧、莊重、

57、浪漫、神圣、現(xiàn)場來賓互動共歡、氣派氣勢于一體；讓新人與所有來賓投入和共享歡樂 的同時，感受到這是一場有檔次、集傳統(tǒng)及特色于一體、別具風(fēng)格的婚禮！甚至過后都覺回味無窮；而兩位新人經(jīng)過眾人見證、參與、認(rèn)同的婚禮形式對新人整個人生亦將顯得更有意義！ (一) 婚禮前:準(zhǔn)備事項 一新人各方負(fù)責(zé)事項 男方：6月10日前：婚禮總管人選的確定； 婚禮總管的職責(zé)：1、負(fù)責(zé)配合婚禮準(zhǔn)備事項的要求（包括新人方需準(zhǔn)備的事項及婚慶公司婚禮流程上需要配合的事項）進(jìn)行協(xié)助婚禮的人員的組織和召集； 2、對該準(zhǔn)備事項進(jìn)行分工、設(shè)定完成時間及監(jiān)督追蹤保質(zhì)保量到位；6月18日前：1、 派請貼,通知所有朋友參加婚禮;并落實參加婚禮的

58、人數(shù);2、 新郎準(zhǔn)備好結(jié)婚戒指；3、 購買喜煙喜糖、水果、飲用水、飲料、花生瓜子、茶杯、水果、婚禮上用到的利事要封好（詳見迎親篇及宴會篇）去銀行找好零錢；4、 購買好新房布置物品布置好新房（新房布置：對聯(lián)、各式喜字、鮮花擺飾、氣球、彩帶、輕紗、透明膠、繩子、剪刀）5、 準(zhǔn)備在男家附近一間餐廳定好婚禮當(dāng)日中午用餐；6、 父母親準(zhǔn)備好給新人的禮物（一般為首飾）及利事7、 問酒店拿桌位表及桌上的名單卡；女方：6月10日前：婚禮總管人選的確定；婚禮總管的職責(zé)：1、負(fù)責(zé)配合婚禮準(zhǔn)備事項的要求（包括新人方需準(zhǔn)備的事項及婚慶公司婚禮流程上需要配合的事項）進(jìn)行協(xié)助婚禮的人員的組織和召集； 2、對該準(zhǔn)備事項進(jìn)行分工、設(shè)定完成時間及監(jiān)督追蹤保質(zhì)保量到位；6月18日前：1、 派請貼,通知所有朋友參加婚禮;并落實參加婚禮的人數(shù);2、 購買喜煙喜糖、水果、飲用水、飲料、花生瓜子、茶杯、水果、婚禮上用到的利事要封好（詳見迎親篇及宴會篇）去6銀行找好零錢；3、 女家：大紅傘及婚紗禮服、新鞋、頭飾(新娘妝頭飾、首飾由化妝師帶備)、首飾、新衣服、滿地金銀（婚慶公司提供）；4、 購買好房間布置物品（參考男