电子元器件零部件精密模具加工设备技术改造项目立项可行性研究报告书

电子元器件零部件精密模具加工设备技术改造项目可行性研究报告2009年2月目 录 TOC \o "1-2" \h \z \u HYPERLINK \l "_Toc263357972" 第一章

I.Whydowehavesuchcourse? IntroductionEnglishliteratureisoneofthecompulsoryandmostimportantcourses.However,theEnglishliteraturecoursesofferedaremerelytaughtattheleveloflearninggeneralinformationanddevelopingliteralunderstanding.Admittedly,suchcourseshelpthem/youalotintheir/youracquisitionoftheEnglishlanguage.ButthefunctionofEnglishliteraturereachesfarbeyondthat.InreadingEnglishliterature,astudentshouldhavethepowertodiscernhowhumanbeingstranslatetheirexperienceintoartisticexpressionandrepresentation;howwriters,throughtheircreativeimpulses,conveytoustheirinsightsintohumandestinyandhumanlife;andhowsocialconcernisinvolvedinaspecificformofhumanimagination.Inaddition,studentsshouldelevatetothelevelofcultivatingacuriosityfortheunknown,thinkingcogentlyandlogically,expressingthemselvesclearlyandconcisely,and II.Introductionaboutreadingastory observingtheworldaroundthemcriticallyandobjectively.Butmoststudentsarestillatalossastohowtheycaneffectivelyanalyzealiteraryworkbythemselvesinanyoftheserespects,eventhoughtheyhavereadplentyofexcerptsfromrepresentativeworksintheBritishandAmericanliterarycanon.Andtheytendtohavelittleideawhatrolethebeginningpartplaysinthewholestory,howtheplotdevelopsandcomestoresolution,inwhatwaypointofviewdeterminesareader’sunderstandingofthestory,andhowtheimagesandsymbolsarerelatedtothetheme.Uponconsiderationofthesefactors,wehavesuchcoursewiththeintentionofcultivatingbothstudents’literarysensibilitiesandtheir/yourcriticalpowerwhenreadingEnglishshortstoriesandnovels.1.WhatisStory?“Yes–oh,dear,yes—thenoveltellsastory.”ThisisForster’sremark,whichisworthspecialattention, forheissomeoneinthetradeandwithrichexperience.InhisAspectsoftheNovelhelists“story”asthefirstaspect.Peoplereadingnovelsforstoriesusuallyaskquestionslike“whathappenednext?”and“and”whatwouldhedonext?”Thesequestionsattesttothetwobasicelementsofastory.Theoneistheeventandtheotherthetime.Astoryisaseriesofhappeningsarrangedinthenaturaltemporalorderastheyoccur.Storyisthebasisofthenovel,andindeedthebasisofnarrativeworksofallkinds.2.ThestructureandfunctionsofastoryPlot;character;pointofview;theme;style3.WhatisFiction?Fiction,thegeneraltermforinventedstories,nowusuallyappliedtonovels,shortstories,novella,romances,fables,andothernarrativeworksinprose,eventhoughmostplaysandnarrativepoemsarealsofictional.(P.83.ConciseDictionaryofLiteraryTerms)4.TheStoryandtheNovelToreadnovelsforstoryis Intellingstories,thenovelistaimsat nothingwrong,butnothingprofessionaleither.“Onemarkofasecond-ratemindistobealwaystellingstories.”TheremarkbytheFrenchwriterjeandeLaBruyere(1645~1696)isalsotrueofthereader.Ifthepurposeofthenovelisonlytotellstories,itcouldaswellremainunborn,fornewspapersandhistorybooksaresufficienttosatisfypeople’sdesireforstoriesaboutbothpresentandpast,andevenaboutfuture.Infact,manynewapapermenhavebeendissatisfiedwiththeirjobofreportingandcomeintothefieldofnovelwriting.Defoe,Dickens,Joyce,HemingwayandCamuswereamongthemostfamousandthemostsuccessfulconverts.Evenhistoriansmayfeelobligedtodomorethanmerestoriesorfacts.EdwardGibborn’sDeclineandFalloftheRomanEmpireispraisednotonlyforitsmultitudinousfactsandrationalisticanalysis,butmoreforitsbeautyofnarrativestyle. somethinghigherorheintendstoaddsomethingtothemere“facts.”Asindicatedinthedefinitionofthenovel,whatmakesanovelisthenovelist’sstyle(personalizedpresentationofthestory)andinterpretationofthestory.I.WhatisPlot?plot,characters,verbalexpression,thought,visualadornment,andsong—composition. ChapterOnePlot1.AccordingtoAristotlewhatarethesixelementsofthestructureoftragedy?Tragedyasawholehasjustsixconstituentelements…andtheyareFortheelementsbywhichtheyimitatearetwo(verbalexpressionandsong—composition),themannerinwhichtheyimitateisone(visualadornment),thethingstheyimitatearethree(plot,characters,thought),andthereisnothingmorebeyondthese.2.WhatisPlotunderthepensofmodernnovelistsandstorytellers?Andhowtounderstand“Plot”inastory?(“”ppt:‘Thequeendied,nooneknewwhy,untilitwas discoveredthatitwasthroughgriefatthedeathoftheking.’…P.6Itsuspendsthetime-sequence,itmovesasfarawayfromthestoryasitslimitationswillallow.)Thestoryandthecharacteralonecannotmakeanovelye.Tomakeanovel,aplotisprerequisite.AlookattheexamplesuggestedbyE.M.Forsterwillhelptodistinguishbetweenthestoryandtheplot.“Thekingdiedandthenthequeendied”isnotaplot,butastory.Ifwemakeit“Thekingdiedandthenthequeendiedofgrief,’wehaveaplot.Thiscausalphrase“ofgrief”indicatesourinterpretationandthusarrangementofthehappenings.Intheworldofrealityeventstakeplaceoneafteranotherinthenaturaltemporalorder,butintheworldoffictionitisthenovelist’sdesignthatoneparticulareventoccurafteranotherparticularevent.Theveryword“plot”impliesthenovelist’srebellionagainstthenaturallawandhisendeavortomakemeaningsoutof Sowhatplotis thehappeningsthatmayotherwisebemeaningless.“Thehappenings”mayormaynotberealhappenings.(--)Aplotisaparticulararrangementofhappeningsinanovelthatisaimedatrevealingtheircausalrelationshipsoratconveyingthenovelist’sideas.Aplotissometimescalledastoryline.Themostimportantofthetraditionalplotisthatitshouldbeacompleteorunifiedaction,thatis,somethingwithabeginning,amiddle,andanend.3.Thedramaticsituationinastory.4.Thethreepartsofaplot:abeginning(exposition),amiddle(suspenseoraseriesofsuspense….foreshadowing…crisis–amomentofhightension),andanend(aclimax,themomentofgreatesttension…theconclusion—fallingaction,resolutionordenouement).Plotabeginningamiddleanendexpositionsomeothereventsclimax(the II.Readthestoriesof‘RipVanWinkle‘DavidSwanIII.QuestionsChapterTwoCharacter moment(suspense,aseriesofsuspense,ofgreatesttension,foreshadowing,crisis)theconclusion-fallingaction,resolutionordenouement)’(WashingtonIrving)and’(NathanielHawthorne):(Finishreadingthetwostoriesandpointouttheplotsofthetwostories,thedescriptivedetails,theexposition,characters)RipVanWinkle1.Descriptivedetails:theplotofthestory?2.Whatpartofthestoryseemsliketheexposition?3.Wheredoesthedramaticconflict?4.Whatistheclimaxofthestory?DavidSwan5.theplotofthestory?6.Howfullydoestheauthordrawthecharactersinthestory?(Charactertraitsarethequalitiesofacharacter’spersonality.Theyarerevealedthroughacharacter’sactionsandwordsandthroughdescription).7.Moreworkstodo:somethingaboutthewritersofthetwostories.Intheintroductionwe havesaidthatfictionisanimageofpeopleinaction,movingtowardsanundeclaredend.Thuscharacterisalwaysinvolvedinfiction,eveninthestoryofthesimplestaction.Sometimescharacterisatthecenterofourinterestbecauseincharacterwemayseemanyfacetsofthepeoplewemeetinourdailylifeandevenofourselves.Fictionalcharacterisalwayscharacterinactionandthecharactergetsintoactionbecauseitiscaughtinasituationofconflictandhe/sheisalwaysprovidedwithmotivation:he/shehassufficientreasonstoactorbehaveashe/shedoes.Thecharacterisdoingsomethingandthereaderwhilereadingfictionwantstoknowthe“why”aswellasthe“what”oftheaffairs.(Sometimesacharacter’smotiveforanactionisnotexplainedonacceptablegrounds,forexample,thevillaininAdgarAllanPoe’story“TheTell-TaleHeart,”andthusthereaderfeelscheated.Inthiscase,thewriterofdetective I.WhatisCharacter?“Whatischaracterbutthedeterminationofincident?Whatisincidentbuttheillustrationofcharacter?“fellowbeings”By“fellowbeings”ismeantnotonly“humanbeings”butalso“otherbeings,”suchasanimals fictionwhomakesthecriminalamerelunatichascheatedthereaderbyavoidingtheproblemofmotive.)Andgenerally,theactionitselfishumanlysignificantanditendsusuallyinashiftinorclarificationofhumanvalues,asdisplayedinJohnUpdike’s“A&P,”andthemotivationofacharacterinastory—oneoftheanswerstothequestion“why”—isoffundamentalimportance.Closelyrelatedwiththestoryisthecharacter.HenryJamessaid,”(TheArtofFiction”)Whenwereadanovel,wereadaboutourfellowbeings,andthatisoneofthemotivesinreadingatall.Theinthenovelistermedcharacters..GeorgeOrwellusesanimalstorepresenthumanbeingsinhisnovel AnimalFarmAlice’sAdventuresinWonderlandAnimalFarm acharacterisaninventedpersonalitytoresemblebutnevertoequalarealpersoninlife. .LewisCarrolcreatesmanylovelyanimalsinhisthatappealtobothchildrenandadults.Orwelldoesnotintendtoconvincethereaderthatanimalscanspeakhumanlanguageorthatheisatranslatorbetweenanimalsandhumans.Nosensiblereader,afterreadingOrwell’s,wouldgotothepigstytolookforatalkingboar.Thisprovestheagreed-onfictionalityofcharactersinnovels.Sobroadly,Itisnotdifficulttoseethatcharactersinnovelsresemblepeopleinreallifeinmanyways.Theyhavenamesusedinthesamewayoursareused,theyhavehatredandlove,andtheyhavedesiresandfears.Aboveall,theyactthewayweactorthewaywecanunderstand(likeordislike).Butwemustbearinmindthatthecharactersarenotrealpersons,butmerelyinventions, howeveringenious.Comparethephysicallifeandspirituallifeofthecharactersandours.Wehavetoanswerthenature’scallseveraltimesaday,butcharactersseldomdothis,eveninthemostrealisticornaturalisticnovels.Wehavetoliveourlifehourbyhouranddaybyday,butcharactersneverdothis.Theychoosetolivesometimemorefullythanothers,andareabletoskipoverperiodsontenmonthsortwentyyearswithoutseemingweird,afeatwhichwecanneverattempt.Inourlife,ourmindsareagraymattereventoscientists.Wecannotknowwhatisgoingoninother’smind.Butinnovels,themindsofthecharactersareopenorcanbemadeopentothereaderifthenovelistsochooses.Thereaderdoesnotonlyseetheirclothes,butalsoseetheirminds.Onecharactermaybeenemytoothercharacters,butheisfriendtothereader,beforewhomhecanthinkaloud,toborrowEmerson’swords.Characters II.KindsofCharactersThecharacteronwhomanoveliscalledtheheroorheroinewhenitisafemalecharacter.heroInthenovel,theword“hero”isfreedofsuchnoblerequirementsand donotlive,butact.Whenwewatchactorsspeakaloudtothemselvesonthestageasiftheywerealone,weknowtheyareactingandtheyaredifferentfromwhattheyrepresentinreallife.Thecharactersinnovelsexistinasimilarmanner.Usually,anovelhasmorethanonecharacter.Theyinteractwitheachotherandmakeupthestory.Buttheyarenotequallyimportantorhavethesamefunctiontothenovelist.Bytheirrolesinthenovel,thecharacterscanbegroupedasheroes,maincharactersandminorcharacters,andfoils.Theword“”originallyreferstoaman,inmythologyandlegend,oftenofdivineancestry,whoisendowedwithgreatcourageandstrength,celebratedforhisholdexploits,andfavoredbythegods. anycentralcharacterscanbelabeledasheroes.Somecritics,annoyedbytheconnotationof“hero,”prefertheword“protagonist,”whichsoundsneutralantagonistThemainormajorcharactersarethoseincloseanddynamicrelationwiththeheroorheroine.Closerelationdoesnotmeangoodrelation. JonathanWildistheherointhenovelofthesamenamebyHenryFielding,thoughheisanotorioushighwayman..Theenemyorrivaloftheprotagonistiscalled“.”PabloinForWhomtheBellTollsisconstantlyfinding 电子元器件零部件精密模具加工设备技术改造 项目可行性研究报告 2009年2月 I.Whydowehavesuchcourse? IntroductionEnglishliteratureisoneofthecompulsoryandmostimportantcourses.However,theEnglishliteraturecoursesofferedaremerelytaughtattheleveloflearninggeneralinformationanddevelopingliteralunderstanding.Admittedly,suchcourseshelpthem/youalotintheir/youracquisitionoftheEnglishlanguage.ButthefunctionofEnglishliteraturereachesfarbeyondthat.InreadingEnglishliterature,astudentshouldhavethepowertodiscernhowhumanbeingstranslatetheirexperienceintoartisticexpressionandrepresentation;howwriters,throughtheircreativeimpulses,conveytoustheirinsightsintohumandestinyandhumanlife;andhowsocialconcernisinvolvedinaspecificformofhumanimagination.Inaddition,studentsshouldelevatetothelevelofcultivatingacuriosityfortheunknown,thinkingcogentlyandlogically,expressingthemselvesclearlyandconcisely,and II.Introductionaboutreadingastory observingtheworldaroundthemcriticallyandobjectively.Butmoststudentsarestillatalossastohowtheycaneffectivelyanalyzealiteraryworkbythemselvesinanyoftheserespects,eventhoughtheyhavereadplentyofexcerptsfromrepresentativeworksintheBritishandAmericanliterarycanon.Andtheytendtohavelittleideawhatrolethebeginningpartplaysinthewholestory,howtheplotdevelopsandcomestoresolution,inwhatwaypointofviewdeterminesareader’sunderstandingofthestory,andhowtheimagesandsymbolsarerelatedtothetheme.Uponconsiderationofthesefactors,wehavesuchcoursewiththeintentionofcultivatingbothstudents’literarysensibilitiesandtheir/yourcriticalpowerwhenreadingEnglishshortstoriesandnovels.1.WhatisStory?“Yes–oh,dear,yes—thenoveltellsastory.”ThisisForster’sremark,whichisworthspecialattention, forheissomeoneinthetradeandwithrichexperience.InhisAspectsoftheNovelhelists“story”asthefirstaspect.Peoplereadingnovelsforstoriesusuallyaskquestionslike“whathappenednext?”and“and”whatwouldhedonext?”Thesequestionsattesttothetwobasicelementsofastory.Theoneistheeventandtheotherthetime.Astoryisaseriesofhappeningsarrangedinthenaturaltemporalorderastheyoccur.Storyisthebasisofthenovel,andindeedthebasisofnarrativeworksofallkinds.2.ThestructureandfunctionsofastoryPlot;character;pointofview;theme;style3.WhatisFiction?Fiction,thegeneraltermforinventedstories,nowusuallyappliedtonovels,shortstories,novella,romances,fables,andothernarrativeworksinprose,eventhoughmostplaysandnarrativepoemsarealsofictional.(P.83.ConciseDictionaryofLiteraryTerms)4.TheStoryandtheNovelToreadnovelsforstoryis Intellingstories,thenovelistaimsat nothingwrong,butnothingprofessionaleither.“Onemarkofasecond-ratemindistobealwaystellingstories.”TheremarkbytheFrenchwriterjeandeLaBruyere(1645~1696)isalsotrueofthereader.Ifthepurposeofthenovelisonlytotellstories,itcouldaswellremainunborn,fornewspapersandhistorybooksaresufficienttosatisfypeople’sdesireforstoriesaboutbothpresentandpast,andevenaboutfuture.Infact,manynewapapermenhavebeendissatisfiedwiththeirjobofreportingandcomeintothefieldofnovelwriting.Defoe,Dickens,Joyce,HemingwayandCamuswereamongthemostfamousandthemostsuccessfulconverts.Evenhistoriansmayfeelobligedtodomorethanmerestoriesorfacts.EdwardGibborn’sDeclineandFalloftheRomanEmpireispraisednotonlyforitsmultitudinousfactsandrationalisticanalysis,butmoreforitsbeautyofnarrativestyle. somethinghigherorheintendstoaddsomethingtothemere“facts.”Asindicatedinthedefinitionofthenovel,whatmakesanovelisthenovelist’sstyle(personalizedpresentationofthestory)andinterpretationofthestory.I.WhatisPlot?plot,characters,verbalexpression,thought,visualadornment,andsong—composition. ChapterOnePlot1.AccordingtoAristotlewhatarethesixelementsofthestructureoftragedy?Tragedyasawholehasjustsixconstituentelements…andtheyareFortheelementsbywhichtheyimitatearetwo(verbalexpressionandsong—composition),themannerinwhichtheyimitateisone(visualadornment),thethingstheyimitatearethree(plot,characters,thought),andthereisnothingmorebeyondthese.2.WhatisPlotunderthepensofmodernnovelistsandstorytellers?Andhowtounderstand“Plot”inastory?(“”ppt:‘Thequeendied,nooneknewwhy,untilitwas discoveredthatitwasthroughgriefatthedeathoftheking.’…P.6Itsuspendsthetime-sequence,itmovesasfarawayfromthestoryasitslimitationswillallow.)Thestoryandthecharacteralonecannotmakeanovelye.Tomakeanovel,aplotisprerequisite.AlookattheexamplesuggestedbyE.M.Forsterwillhelptodistinguishbetweenthestoryandtheplot.“Thekingdiedandthenthequeendied”isnotaplot,butastory.Ifwemakeit“Thekingdiedandthenthequeendiedofgrief,’wehaveaplot.Thiscausalphrase“ofgrief”indicatesourinterpretationandthusarrangementofthehappenings.Intheworldofrealityeventstakeplaceoneafteranotherinthenaturaltemporalorder,butintheworldoffictionitisthenovelist’sdesignthatoneparticulareventoccurafteranotherparticularevent.Theveryword“plot”impliesthenovelist’srebellionagainstthenaturallawandhisendeavortomakemeaningsoutof Sowhatplotis thehappeningsthatmayotherwisebemeaningless.“Thehappenings”mayormaynotberealhappenings.(--)Aplotisaparticulararrangementofhappeningsinanovelthatisaimedatrevealingtheircausalrelationshipsoratconveyingthenovelist’sideas.Aplotissometimescalledastoryline.Themostimportantofthetraditionalplotisthatitshouldbeacompleteorunifiedaction,thatis,somethingwithabeginning,amiddle,andanend.3.Thedramaticsituationinastory.4.Thethreepartsofaplot:abeginning(exposition),amiddle(suspenseoraseriesofsuspense….foreshadowing…crisis–amomentofhightension),andanend(aclimax,themomentofgreatesttension…theconclusion—fallingaction,resolutionordenouement).Plotabeginningamiddleanendexpositionsomeothereventsclimax(the II.Readthestoriesof‘RipVanWinkle‘DavidSwanIII.QuestionsChapterTwoCharacter moment(suspense,aseriesofsuspense,ofgreatesttension,foreshadowing,crisis)theconclusion-fallingaction,resolutionordenouement)’(WashingtonIrving)and’(NathanielHawthorne):(Finishreadingthetwostoriesandpointouttheplotsofthetwostories,thedescriptivedetails,theexposition,characters)RipVanWinkle1.Descriptivedetails:theplotofthestory?2.Whatpartofthestoryseemsliketheexposition?3.Wheredoesthedramaticconflict?4.Whatistheclimaxofthestory?DavidSwan5.theplotofthestory?6.Howfullydoestheauthordrawthecharactersinthestory?(Charactertraitsarethequalitiesofacharacter’spersonality.Theyarerevealedthroughacharacter’sactionsandwordsandthroughdescription).7.Moreworkstodo:somethingaboutthewritersofthetwostories.Intheintroductionwe havesaidthatfictionisanimageofpeopleinaction,movingtowardsanundeclaredend.Thuscharacterisalwaysinvolvedinfiction,eveninthestoryofthesimplestaction.Sometimescharacterisatthecenterofourinterestbecauseincharacterwemayseemanyfacetsofthepeoplewemeetinourdailylifeandevenofourselves.Fictionalcharacterisalwayscharacterinactionandthecharactergetsintoactionbecauseitiscaughtinasituationofconflictandhe/sheisalwaysprovidedwithmotivation:he/shehassufficientreasonstoactorbehaveashe/shedoes.Thecharacterisdoingsomethingandthereaderwhilereadingfictionwantstoknowthe“why”aswellasthe“what”oftheaffairs.(Sometimesacharacter’smotiveforanactionisnotexplainedonacceptablegrounds,forexample,thevillaininAdgarAllanPoe’story“TheTell-TaleHeart,”andthusthereaderfeelscheated.Inthiscase,thewriterofdetective I.WhatisCharacter?“Whatischaracterbutthedeterminationofincident?Whatisincidentbuttheillustrationofcharacter?“fellowbeings”By“fellowbeings”ismeantnotonly“humanbeings”butalso“otherbeings,”suchasanimals fictionwhomakesthecriminalamerelunatichascheatedthereaderbyavoidingtheproblemofmotive.)Andgenerally,theactionitselfishumanlysignificantanditendsusuallyinashiftinorclarificationofhumanvalues,asdisplayedinJohnUpdike’s“A&P,”andthemotivationofacharacterinastory—oneoftheanswerstothequestion“why”—isoffundamentalimportance.Closelyrelatedwiththestoryisthecharacter.HenryJamessaid,”(TheArtofFiction”)Whenwereadanovel,wereadaboutourfellowbeings,andthatisoneofthemotivesinreadingatall.Theinthenovelistermedcharacters..GeorgeOrwellusesanimalstorepresenthumanbeingsinhisnovel AnimalFarmAlice’sAdventuresinWonderlandAnimalFarm acharacterisaninventedpersonalitytoresemblebutnevertoequalarealpersoninlife. .LewisCarrolcreatesmanylovelyanimalsinhisthatappealtobothchildrenandadults.Orwelldoesnotintendtoconvincethereaderthatanimalscanspeakhumanlanguageorthatheisatranslatorbetweenanimalsandhumans.Nosensiblereader,afterreadingOrwell’s,wouldgotothepigstytolookforatalkingboar.Thisprovestheagreed-onfictionalityofcharactersinnovels.Sobroadly,Itisnotdifficulttoseethatcharactersinnovelsresemblepeopleinreallifeinmanyways.Theyhavenamesusedinthesamewayoursareused,theyhavehatredandlove,andtheyhavedesiresandfears.Aboveall,theyactthewayweactorthewaywecanunderstand(likeordislike).Butwemustbearinmindthatthecharactersarenotrealpersons,butmerelyinventions, howeveringenious.Comparethephysicallifeandspirituallifeofthecharactersandours.Wehavetoanswerthenature’scallseveraltimesaday,butcharactersseldomdothis,eveninthemostrealisticornaturalisticnovels.Wehavetoliveourlifehourbyhouranddaybyday,butcharactersneverdothis.Theychoosetolivesometimemorefullythanothers,andareabletoskipoverperiodsontenmonthsortwentyyearswithoutseemingweird,afeatwhichwecanneverattempt.Inourlife,ourmindsareagraymattereventoscientists.Wecannotknowwhatisgoingoninother’smind.Butinnovels,themindsofthecharactersareopenorcanbemadeopentothereaderifthenovelistsochooses.Thereaderdoesnotonlyseetheirclothes,butalsoseetheirminds.Onecharactermaybeenemytoothercharacters,butheisfriendtothereader,beforewhomhecanthinkaloud,toborrowEmerson’swords.Characters II.KindsofCharactersThecharacteronwhomanoveliscalledtheheroorheroinewhenitisafemalecharacter.heroInthenovel,theword“hero”isfreedofsuchnoblerequirementsand donotlive,butact.Whenwewatchactorsspeakaloudtothemselvesonthestageasiftheywerealone,weknowtheyareactingandtheyaredifferentfromwhattheyrepresentinreallife.Thecharactersinnovelsexistinasimilarmanner.Usually,anovelhasmorethanonecharacter.Theyinteractwitheachotherandmakeupthestory.Buttheyarenotequallyimportantorhavethesamefunctiontothenovelist.Bytheirrolesinthenovel,thecharacterscanbegroupedasheroes,maincharactersandminorcharacters,andfoils.Theword“”originallyreferstoaman,inmythologyandlegend,oftenofdivineancestry,whoisendowedwithgreatcourageandstrength,celebratedforhisholdexploits,andfavoredbythegods. anycentralcharacterscanbelabeledasheroes.Somecritics,annoyedbytheconnotationof“hero,”prefertheword“protagonist,”whichsoundsneutralantagonistThemainormajorcharactersarethoseincloseanddynamicrelationwiththeheroorheroine.Closerelationdoesnotmeangoodrelation. JonathanWildistheherointhenovelofthesamenamebyHenryFielding,thoughheisanotorioushighwayman..Theenemyorrivaloftheprotagonistiscalled“.”PabloinForWhomtheBellTollsisconstantlyfinding