譬如耶鲁大学的Peter Brooks在《情节阅读》(Reading for the Plot)一书中,就特 别举了福尔摩斯的一个故事来阐释他所谓的“双重逻辑”的说法--也就是“叙述的叙述
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但是阅读这些小说让人有些兴奋——巧妙的情节,巴洛克风格以及沉重的绝望气息。
But there's a thrill in reading these stories-in the artful plots, the often baroque style, and the thick air of desperation.
你将阅读那些被送到电影公司的脚本,写关于它们的情节和基调方面的报告,并帮助电影公司决定它们是否值得制作出来。
You'll read scripts that are sent to the studio, report on the plot and tone, and help determine if they're worth producing.
写一本能良好线性阅读的书能使读者完全沉浸在故事情节中,而这也正是所有好的作者具备的技能。
Writing linear books simply requires a skill that all good authors already possess: the ability to keep readers immersed in the plot.
Okay. Now I want to turn to Tony as an instance of the way in which reading for the plot can take place.
好了,现在我想回头讲《托尼的拖车》,这是一个说明我们会去阅读情节的好例子。
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