| The omniscient point of view produces a relatively complex style. The first person point of view results in a simple style if it is recorded as “spoken", more complex if written; and central intelligence generates a style that typically is slightly elevated above the intelligence level of the focal character. The simple, economical style of American Ernest Hemingway and his selection of images reveal subtle shifts in his characters' psychological states. Hemingway's style was particularly effective first person narration. In the following session, we shall talk about plot and structure. There is a wide range of plot forms and structures found in the short story. A traditional plot has a beginning (introduction of the problem), middle (development of the problem), and an end (resolution of the problem). | |
| 无所不知的视角能产生一种相对复杂的风格；如果第一人称视觉以“口语”形式记录，其风格就比较简单，但如果是书面形式,就变得更复杂些；中央情报形成一种风格,通常是比核心人物的智力水平稍高些。美国作家欧内斯特•海明威的通俗易懂、简洁明了的风格以及他对意象的选择揭示了他的人物心理微妙的变化状态。海明威的风格尤其令人印象深刻，即使用第一人称叙事。在接下来部分,我们将讨论情节和结构。在短篇小说中能发现各种不同的情节形式和结构。传统的情节包括开端(引入问题)、中间(发展问题),以及结束(解决问题)。一些作家冒险写一些难以预料的情节,甚至可能看起来几乎没有情节的故事。 |
| The omniscient point of view produces a relatively complex style. The first person point of view results in a simple style if it is recorded as " spoken", more complex if written and central intelligence generates a style that typically is slightly elevated above the intelligence level of the focal character. The simple, economical style of American Ernest Hemingway and his selection of images reveal subtle shifts in his characters' psychological states. Hemingway' s style was particularly effective first person narration. In the following session, we shall talk about plot and structure. There is a wide range of plot forms and structures found in the short story. A traditional plot has a beginning introduction of the problem, middle development of the problem, and an end resolution of the problem. | |
| wu suo bu zhi de shi jiao neng chan sheng yi zhong xiang dui fu za de feng ge ru guo di yi ren cheng shi jue yi" kou yu" xing shi ji lu, qi feng ge jiu bi jiao jian dan, dan ru guo shi shu mian xing shi, jiu bian de geng fu za xie zhong yang qing bao xing cheng yi zhong feng ge, tong chang shi bi he xin ren wu de zhi li shui ping shao gao xie. mei guo zuo jia ou nei si te hai ming wei de tong su yi dong jian jie ming liao de feng ge yi ji ta dui yi xiang de xuan ze jie shi le ta de ren wu xin li wei miao de bian hua zhuang tai. hai ming wei de feng ge you qi ling ren yin xiang shen ke, ji shi yong di yi ren cheng xu shi. zai jie xia lai bu fen, wo men jiang tao lun qing jie he jie gou. zai duan pian xiao shuo zhong neng fa xian ge zhong bu tong de qing jie xing shi he jie gou. chuan tong de qing jie bao kuo kai duan yin ru wen ti zhong jian fa zhan wen ti, yi ji jie shu jie jue wen ti. yi xie zuo jia mao xian xie yi xie nan yi yu liao de qing jie, shen zhi ke neng kan qi lai ji hu mei you qing jie de gu shi. |
| The omniscient point of view produces a relatively complex style. The first person point of view results in a simple style if it is recorded as " spoken", more complex if written and central intelligence generates a style that typically is slightly elevated above the intelligence level of the focal character. The simple, economical style of American Ernest Hemingway and his selection of images reveal subtle shifts in his characters' psychological states. Hemingway' s style was particularly effective first person narration. In the following session, we shall talk about plot and structure. There is a wide range of plot forms and structures found in the short story. A traditional plot has a beginning introduction of the problem, middle development of the problem, and an end resolution of the problem. | |
| wú suǒ bù zhī de shì jiǎo néng chǎn shēng yī zhǒng xiāng duì fù zá de fēng gé rú guǒ dì yī rén chēng shì jué yǐ" kǒu yǔ" xíng shì jì lù, qí fēng gé jiù bǐ jiào jiǎn dān, dàn rú guǒ shì shū miàn xíng shì, jiù biàn de gèng fù zá xiē zhōng yāng qíng bào xíng chéng yī zhǒng fēng gé, tōng cháng shì bǐ hé xīn rén wù de zhì lì shuǐ píng shāo gāo xiē. měi guó zuò jiā ōu nèi sī tè hǎi míng wēi de tōng sú yì dǒng jiǎn jié míng liǎo de fēng gé yǐ jí tā duì yì xiàng de xuǎn zé jiē shì le tā de rén wù xīn lǐ wēi miào de biàn huà zhuàng tài. hǎi míng wēi de fēng gé yóu qí lìng rén yìn xiàng shēn kè, jí shǐ yòng dì yī rén chēng xù shì. zài jiē xià lái bù fèn, wǒ men jiāng tǎo lùn qíng jié hé jié gòu. zài duǎn piān xiǎo shuō zhōng néng fā xiàn gè zhǒng bù tóng de qíng jié xíng shì hé jié gòu. chuán tǒng de qíng jié bāo kuò kāi duān yǐn rù wèn tí zhōng jiān fā zhǎn wèn tí, yǐ jí jié shù jiě jué wèn tí. yī xiē zuò jiā mào xiǎn xiě yī xiē nán yǐ yù liào de qíng jié, shèn zhì kě néng kàn qǐ lái jī hū méi yǒu qíng jié de gù shì. |
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