开发区道路工程可行性研究报告范本.doc

summing up the plot. a theme is usually stated in general words. another try sounds like this: “solitary people need a orderly place where they can drink with dignity.” that is a little better. we have indicated that hemingways story is more than merely about an old man and two waiters. we remember that at the end the story is entirely confined to the older waiters thoughts and perceptions. how do we understand his mediation on “nada,” nothingness, which bears so much emphasis? no good statement of the theme of the story can leave it out. then we have still another try: “solitary people need a place of refuge from their terrible awareness that their life (or perhaps, human life) is essentially meaningless.” neither this nor any other statement of the storys theme is unarguably appropriate, but the statement at least touches one primary idea that hemingway seems to be driving at. after we read “a clean, well-lighted place,” we feel that there is such a theme, a unifying vision, even though we cannot reduce it to a tag and we may still vary in our opinion about, and statement of, the theme. moral inferences drawn from most stories: moral inferences may be drawn from most stories, no doubt, even when an author does not intend his/her story to be read this way. in “a clean, well-lighted place”, we feel that hemingway is indirectly giving us advice for properly regarding and sympathizing the lonely, the uncertain, and the old. but obviously the story does not set forth a lesson that we are supposed to put into practice. we can say for sure that “a clean, well-lighted place” contains several themes and other statements could be made to take in hemingways view of love, of communication between people, of dignity. great stories, like great symphonies, frequently have more than one theme. when we say that the title of pride and prejudice conveys the theme of the novel or that uncle toms cabin and the grapes of wrath treat the themes of slavery and migratory labor respectively, this is to use theme in a larger and more abstract sense than it is in our discussion of hemingways “a clean, well-lighted place.” in this larger sense it is relatively easy to say that mark twains huckleberry finn, updikes a & p, and faulkners barn burning concern the theme of “initiation into maturity.” such general descriptions of theme can be useful, especially if we want to sort a large number of stories and novels into rough categories, but the fact that they are similar in theme does not mean that they mean the same thing. the attitude towards the theme may be very different: the tone of treatment may be, for example, either comic or tragic, straightforward or ironic. the writers vision of life is the special underlying fact of a story, and a theme, abstractly stated, is not the same thing as a vision of life. and we suggest anyway that, in the beginning, you look for whatever truth or insight you think the writer of a story intends to reveal. try to state a theme in a sentence. by doing so, we will find ourselves looking closely at the story. kennedy and gioia make a helpful suggestion to consider the following points when we think about the theme of a story:look back once more at the title of the story. what does it indicate in relation to the whole story?does the main character in any way change in the story? does this character arrive at any eventual realization or understanding? are you left with any realization or understanding after finishing reading the story?does the author (through the narrator) make any general observations about life or human nature? do the characters make any (caution: characters now and again will utter opinions with which the reader is not necessarily supposed to agree.)does the story contain any especially curious objects, mysterious flat characters, significant animals, repeated names, special allusions, or whatever, that hint towards meanings larger than such things ordinarily have? in literary stories, such symbols or metaphors may point to central themes.when we have worked our statement of theme, have we cast our statement into general language, not just given a plot summary? does our statement hold true for the story as a whole, not just part of it?chapter four setting“once upon a time there lived a king named midas in phrygia. he loved gold more than anything else but his little daughter.” this is the opening sentences of “golden touch”, which introduces the time, place, and the usual mentality of the character. what is setting?an event occurs and a character exists in a particular time and place. this particular time and place is referred to as setting. a setting is the background against which a character is depicted or an event narrated. its purpose is to provide an imaginary link between what happens in the novel and what the reader takes to be reality. like some other elements, setting is not peculiar to the novel. the reader finds it serving the same purpose in different genres. the traditional way to tell a story reveals much about setting.usually, a setting consists of time and place. it can also mean circumstances such as midass mentality. a setting may be detailed or sketchy. it depends on the novelists purpose of writing and his idea of works of art. a setting may or may not be symbolic. generally, a setting is more concerned with the physical aspects. setting is closely related with exposition in that they both help to make possible the events in the novel. in fact, an exposition must have a setting. but setting goes along with every event in the novel whereas exposition is only the initiating action.1. the elements making up a settingby the setting of a story, we simply mean its place and time, the physical, and sometimes spiritual, background against which the action of a narrative takes place. every a story as short as the one at the beginning of the introduction must be set in a certain place and time: we have an “old, shuttered house” and the present tense suggests time (though the present tense indicates much more than time itself in the story). the elements making up a setting are generally: (1) the actual geographical location, its topography, scenery, and such physical arrangements as the location of the windows and doors in a room; (2) the occupations and daily manner of living of the characters; (3) the time or period in which the action takes place, for example, the late eighteenth century in history or winter of the year; (4) the general environment of the characters, for example, religious, mental, moral, social, and emotional conditions through which characters in the story move. (holman and harman, a handbook to literature, 1986) but often, in an effective story, setting may figure as more than mere background. it can make things happen. it can prompt characters to act, bring them to realizations, or cause them to reveal their innermost natures, as we shall see in john cheevers short story “the swimmer”.first, as we have said, the idea of setting includes the physical environment of a story: a region, a landscape, a city, a village, a street, a housea particular place or a series of places where a story occurs. (where a story takes place is sometimes called its locale.) places in fiction not only provide a location for an action or an event of the story but also provoke feelings in us. a sight of a green field dotted with fluttering daffodils affects us very differently from a sight of a dingy alley, a tropical jungle, or a small house crowded with furniture. in addition to a sense of beauty or ugliness, we usually build up certain associations when we put ourselves in such a scene. we are depressed by a dingy alley, not only because it is ugly, but because it may arouse a feeling, perhaps sometimes unconsciously, of poverty, misery, violence, viciousness, and the struggles of human beings who have to live under such conditions. a tropical jungle, for example, in joseph conrads heart of darkness, might involve a complicated analysis: the pleasure of the colours and forms of vegetation, the discomfort of humidity, heat, and insects, a sense of mystery, horror, etc. the popularity of sir walter scotts “waverley” novels is due in part to their evocation of a romantic mood of scotland. the english novelist graham greene apparently needed to visit a fresh scene in order to write a fresh novel. his ability to encapsulate the essence of an exotic setting in a single book is exemplified in the heart of the matter; his contemporary evelyn waugh stated that the west africa of that book replaced the true remembered west africa of his own experience. such power is not uncommon: the yorkshire moors have been romanticized because emily bronte wrote of them in wuthering heights, and literary tourists have visited stoke-on-trent in northern england because it comprises the “five towns” of arnold bennets novels of the early twentieth century. thus, a readers reaction to a place is not merely based upon the way it looks, but upon the potentialities of action suggested by it. places matter greatly to many writers. for instance, the french novelist balzac, before writing a story set in a town, he would go and visit that town, select a few lanes and houses, and describes them in detail, down to their very smells. in his view the place in which an event occurs was of equal moment with the event itself, and it has a part to play. another example is thomas hardy, under whom the presentation of setting assumes an unusual importance. his “wessex” villages cast intangibly such as spell upon the villagers that once they leave their hometowns they will inevitably suffer from disasters, and the farther they are away from their hometowns, the more, terrible their disasters will be. for example, in the tess of the durbervilles, the vale of blakemore was the place where tess was born and her life was to unfold. every contour of the surrounding hills was as personal to her as that of her relatives faces; she loved the place and was loved in the place. the vale, far from the madding crowd of the civilized city, was as serene and pure as the inhabitants. tess, imbued deeply with the natural hue of the vale and bound closely to this world of simplicity and seclusion, experienced her own delight and happiness though her family was poor. it was, to some extent, her departure from her native place that led to her tragedy. in the return of the native, the atmosphere of egdon heath prevails over the whole book; as an environment, it absorbs some and repels others of the characters: those who are absorbed achieve a somber integration with it, but those who are repelled and rebel suffer disaster.sometimes an environment serves as more than a mere place to set the story. often, it is inextricably entangled with the protagonist, and even carries strong symbolic meanings. cathy as an image of the feminine personality, for example, in emily brontes wuthering heights, is not supposed to possess the “wilderness” characteristic of masculinity and symbolized by the locales of heathcliff and wuthering heights. in some fiction, setting is closely bound with theme. in the scarlet letter, even small details afford powerful hints at the theme of the story. at the start of the story, the narrator describes a colonial jailhouse: before this ugly edifice, and between it and the wheeltrack of the street, was a grass-plot, much overgrown with burdock, pigweed, apple-peru, and such unsightly vegetation, which evidently found something congenial in the soil that had so early borne the black flower of civilized society, a prison. but, on one side of the portal, and rooted almost at the threshold, was a wild rosebush, covered, in this month of june, with its delicate gems, which might be imagined to offer their fragrance and fragile beauty to the prisoner as he went in, and to the condemned criminal as he came forth to his doom, in token that the deep heart of nature could pity and be kind to him.apparently, the author makes a contrast between the ugly jailhouse with a tangled grass-plot overgrown with burdock and pigweed and something as beautiful as a wild rose. as the story unfolds, he will further suggest that secret sin and a pretty child may go together like a pigweed and wild roses. in this artfully crafted novel, setting is intimately blended with characters, symbolism, and theme.in addition to place, setting may crucially involve the time of the storycentury, year, or even specific hour. it may matter greatly that a story takes places in the morning or at noon. the medieval background informs us differently from the twentieth century. kennedy and gioia note that in the scarlet letter, the nineteenth-century author nathaniel hawthrone, utilizes a long introduction and a vivid description of the scene at a prison door to inform us that the events in the story took place in the puritan community of boston of the earlier seventeenth century. this setting, to which hawthorne pays so much attention, together with our schemata concerning puritan practice, helps us understand what happens in the novel. we can understand to some extent the agitation in the town when a woman is accused of adultery, for adultery was a flagrant defiance of church for the god-fearing new england puritan community, and an illegitimate child was evidence of sin. without information about the seventeenth-century puritan background, a reader today may be perplexed at the novel. the fact that the story in hawthornes novel took place in a time remote from our own leads us to expect different attitudes and customs of the characters, is strongly suggestive of the whole society, which is crucial to an essential understanding of the scarlet letter as a whole.besides place and time, setting may also include the weather, which, indeed, may be crucial in some stories. 2. local color writing /regionalism and the writer, a regional writer.when setting dominates, or when a piece of fiction is written largely to present the manners and customs of a locality, the writing is often called local color writing or regionalism and the writer, a regional writer.a regional writer usually sets his/her stories in one geographic area and tries to bring it alive to readers everywhere. thomas hardy, in his portrayal of life in wessex, wrote regional novels. arnold bennetts novels of the “five towns” are markedly regional. willliam faulkner, known as a distinguished regional writer, almost always set his novels and stories in his native mississippi.3. the setting of a novel is not always drawn from a real-life locale.the setting of a novel is not always drawn from a real-life locale. literary artists sometimes prefer to create the totality of their fictionthe setting as well as characters and their actions.the creation of setting can be a magical fictional gift in a novelist or storyteller. but whatever the setting of his/her work, a true novelist is concerned with making an environment credible for his/ her characters and their actions and in accord with the development of the plot.in some stories, a writer seems to draw a setting mainly to evoke atmosphere. in such a story, setting starts us feeling whatever the storyteller would have us feel. thus atmosphere is a metaphor for a feeling or an impression which we cannot readily attach to some tangible cause. we say that an old farmhouse set among large maples, on a green lawn, has an atmosphere of peace. here what we mean is that the house, by reason of the look of quietness and by reason of a number of pleasant associations we have with the kind of life lived there, stirs a certain reaction in us which we do not attach to any single incident or object, but generally to the whole scene. in the same way we may say that the setting of a story contributes to defining its atmosphere. for instance, in “the tell-tale heart,” poes setting the action in an old, dark,第一章 概述第一节 园区概况及自然条件一、园区概况乌海市海南经济开发区是2001年规划建设的新兴工业区，地处宁蒙陕经济区结合部和沿黄经济带的中心环节，临近丹拉高速公路、109国道一级公路，海拉铁路、包兰铁路，交通便利，区位优势明显。开发区周边地区富含优质焦煤、石灰岩、石英砂等矿产资源，工业利用价值高；临近黄河，水资源充裕，且地下水储量丰富。到目前为止基础设施建设已累计投资9亿元，实现了“七通一平”，修建道路40公里，铺设供水管网62公里，建成110千伏变电站三座，220千伏变电站两座，500千伏超高压变电站一座；完成了开发区文化广场、商业服务楼等一批配套设施，安装了程控电话，实现了宽带接入，开通了公交线路，设立了联通、移动、邮政等服务网点，入区铁路专用线和开发区污水处理厂也已经建成。开发区管理委员推行“一站式”办公、“封闭式”管理，努力为投资者提供便捷高效的服务。丰富的资源及优质的服务，显著提升了海南经济开发区的吸纳能力和集聚效应。目前海南经济开发区已吸引了国内20多个省市的投资商前来投资兴业，引进各类企业124户，投资总额近100亿元，已逐步形成了以化学、冶金、建材为支柱产业，以白灰、腐植酸、泡花碱、耐火材料为特色产品的产业格局，并初步形成了四个相互关联、相互促进的产业链条。一是“煤-煤焦-煤焦油-煤化工产品”，已形成了年产400万吨煤焦、2万吨煤焦油、5000吨粗苯、2万吨碳黑的生产能力，30万吨煤焦油深加工项目建成后，还将延伸出近30余种煤化工产品。二是“煤-电-电石-电石化工产品”，已形成了年产50万吨电石、2.5万吨石灰氮、7000吨双氢胺的生产能力。三是“煤-电-硅铁-硅系列产品”，已形成了年产50万吨硅铁、10万吨硅锰、4.5万吨硅铬合金、1万吨工业硅的生产能力。四是“煤-电-重化工产品”，已形成了9万吨纯碱、2万吨烧碱、1000吨白碳黑的生产能力。2005年以来，神华集团投资200亿元规划建设500万吨捣固焦、4200兆瓦煤矸石电厂、30万吨煤焦油深加工、50万吨煤气制甲醇、8万吨苯加氢以及一批煤焦化下游产品项目。以及佳鑫、泰和等4个年产100万吨捣固焦项目，这些项目致力于发展煤焦产业循环经济，对加速地区资源转换、提升产业层次具有重要的推动作用。经过几年的发展建设，海南经济开发区已被列为自治区20个重点工业园区之一，成为本地区对外开放的窗口，招商引资的载体，推动地区经济的重要增长点。不久的将来，海南经济开发区将依靠资源优势，依托重点项目，发展配套产业，推进循环经济，形成自治区发展煤化工、硅化工、电石化工的重化工工业基地。二、自然条件1、地理位置海南经济开发区位于内蒙古自治区西南部黄河之滨，东、南北三面与鄂尔多斯市毗连，西与阿拉善左旗为邻，西南临黄河与宁夏回族自治区石嘴山市隔水相望，地理位置为东经1063810643、北纬39263929之间，属中纬度区。2、水文海南警戒主要地表水为黄河，自海勃湾区和海南区南侧及乌达区东侧流经乌海市，多年平均径流1017m3/秒，最大5820 m3/秒，最小60.8 m3/秒，水位标高10631069m，水深2.511.6m。3、气象海南区最属干旱大陆性气候区，因受西伯利亚气候的影响，冬委较冷，最低气温-32.6，夏季炎热，最高气温达39.4，年平均气温9.7，年平均地温11.77，。其气候特征是：少雨干燥，炎热多风和昼夜温差大。本市年平均降雨量160170mm，年蒸发量为3496mm。年平均日照3047.3小时，日照百分率为69%，无霜期约156165天，年平均冻土深度为1.46米，最大冻土深度为1.78米。本市多风，党年主导风向为东南风、南风，其次为西北风。年平均风速2.1m/秒，最大风速28m/秒，年 风沙日6697天。4、地质、地形该区分布在山前倾斜平原，地形较为平坦，佩倾于黄河，由于山岳的隆起及黄河下切，形成级基座附地，级附地宽0.151km，标高10771082m，高出黄河河床35m，级附地宽0.31km，标高10821100m；级地宽4.57km,标高11001200m; 级阶地宽0.52.8km,标高12001300m。土壤载力