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types of sentence are used, what is their function?Sentence complexity: Do sentences on whole have a simple or a complex structure? What is the average sentence length? Does complexity vary strikingly from one sentence to another? Is complexity mainly due to (i) coordination, (ii) subordination, (iii) juxtaposition of clauses or of other equivalent structures? In what parts of the text does complexity tend to occur?clause types: What types of clauses are favoredrelative clauses, adverbial clauses, or different types of nominal clauses? Are non-finite forms commonly used, and if so, of what types are they (infinitive, -ing form, -ed form, verbless structure)? What is their function?Clause structure: Is there anything significant about clause elements (eg frequency of objects, adverbials, complements; of transitive or intransitive verb constructions)? Are there any unusual orderings (initial adverbials, fronting of object or complement, etc)? Do special kinds of clause construction occur (such as those with preparatory it or there)? Noun phrases: Are they relatively simple or complex? Where does the complexity lie (in premodification by adjectives, nouns, etc, or in postmodification by preposition by prepositional phrases, relative clauses, etc)?Verb phrases: Are there any significant departures from the use of the simple past tense? For example, notice occurrences and functions of the present tense, of the progressive aspect, of the perfect aspect, of modal auxiliaries.other phrase types: Is there anything to be said about other phrases types, such as prepositional phrases, adverb phrases, adjective phrases?Word classes: Having already considered major word classes, we may consider minor word classes (eg functional words), such as prepositions, conjunctions, pronouns, determiners, auxiliaries, interjections. Are particular words of these types used for particular effect (eg demonstratives such as this and that, negatives such as not, nothing)?General: Note whether any general types of grammatical construction are used to special effect (eg comparative or superlative constructions, coordinative or listing constructions, parenthetical constructions, interjections and afterthoughts as occur in causal speech). And see to the number of lists and coordinations.Figures of SpeechHere we consider the features which are foregrounded by virtue of departing in some way from general norms of communication by means of the language code, for example, exploitation of deviations from the linguistic code. Grammatical and lexical schemes (foregrounded repetitions of expression): Are there any cases of formal and structural repetition (anaphora, parallelism, etc) or of mirror-image patterns (chiasmus)? Is the rhetorical effect of these one of antithesis, reinforcement, climax, anticlimax, etc?Phonological schemes: Are there any phonological patterns of rhyme, alliteration, assonance, etc? Are there any salient rhythmical patterns? Do vowels and consonant sounds pattern or cluster in particular ways? How do these phonological features interact with meaning?Tropes (foregrounded irregularities of content): Are there any obvious violations of or neologisms from the linguistic code? For example, are there any neologisms (such as “portentous infants”)? Are there any semantic, syntactic, phonological, or graphological deviations? Such deviations are often the clue to special interpretations associated with traditional figures of speech such as metaphor, metonymy, synecdoche, paradox, and irony. If such tropes occur, what kind of special interpretation is involved (for example, metaphor can be classified as personifying, animalizing, concretizing, synaesthetic, etc)?Context and cohesion Here we take a look at features which are generally fully dealt with in discourse analysis. Under cohesion ways in which one part of a text is linked to another are considered; for instance, the ways sentences are connected. This is the internal organization of a text. Under context, roughly the material, mental, personal, interactional, social, institutional, cultural, and historical situation in which the discourse is made, we consider the external relations of the literary text or a part of the text, seeing it as a discourse presupposing a social relation between its participants (author and reader, character and character, character and reader, etc.), and a sharing of knowledge and assumptions by participants.Cohesion: Does the text contain logical or other links between sentences (eg coordinating conjunctions, linking adverbials), or does it tend to reply on implicit connections of meaning? What sort of use is made of cross-reference by pronouns (she, it, they, etc), by substitute forms (do, so, etc), or ellipsis? Is there any use made of elegant variationthe avoidance of repetition by substitution of a descriptive phrase (as “the old lawyer” substitutes for the repetition of an earlier “Mr Jones”)? Are meaning connections reinforced by repetition of words and phrases, or by repeatedly using words from the same semantic field?Context: Does the writer address the reader directly, or through the words or thoughts of some fictional character? What linguistic clues (eg first person pronouns I, me, my, mine) are there of the addresser-addressee relationship? What attitude does the author imply towards his/her subject? If a characters words or thoughts are represented, is this done by direct quotation, or by some other method (eg indirect speech, free indirect speech)? Are there significant changes of style with respect to different persons (narrator or character) who is supposedly speaking or thinking the words on the page? What is the point of view of the story? Are the frequent shifts of point view? If so, in whose voice is the narrator speaking?Chapter Seven SymbolWhat is symbol?Symbol, in the simplest sense, anything that stands for or represents something else beyonditusually an idea conventionally associated with it. Objects like flags and crosses can function symbolically; and words are also symbols. (P. 218. Oxford Concise Dictionary of Literary Terms.) A symbol is a thing that suggests more than its literal meaning. It exists widely even in our daily life. Our language itself is symbol. The daily greetings indicate that the passage of communication is open. Ring is a symbol of eternity. The sign of cross indicates atonement. The Big Ben symbolizes London, the Great Wall China. Ritualistic acts are symbolic. In church wedding the bride is handed over from the father to the groom. Holy eating is symbolic of communion, baptizing cleansing and rebirth. The raising and lowering of a national flag certainly suggest meanings larger than the acts themselves. And finally toasting and shaking hands on formal or informal occasions.As rhetorical device, symbol is different from metaphor, which is literally false but figuratively true. Unlike allegory, which represents abstract terms like “love” or “truth,” symbols are perceptible objects. In literature almost anythingparticular objects, characters, setting, and actionscan be symbolic if the author wishes to make it so by either hinting or insisting that the material means more than it literally does. Symbols are suggested through special treatment such as imagery, repetition, connotative language, or other artistic devices. In F. Scott Fitzgeralds novel The Great Gatsby, a huge pair of bespectacled eyes stares across a wildness of ash heaps from a billboard advertising the services of an oculist. Repeatedly appearing in the story, the bespectacled eyes come to mean more than simply the availability of eye examination. A character in the story compares it to the eyes of God; he hints that some sad, compassionate spirit is brooding as it watches the passing procession of humanity. Such an object is a symbol: in literature, a symbol is a thing that refers or suggests more than its literal meaning. There are quite a lot of symbols that appear in ordinary life, for the use of symbol is by no means of limited to literature and art. For instance, a dove is a symbol of peace, the flag is the symbol of a country, and the cross is the symbol of the Christian religion. These are symbols adopted by a whole society and are recognized by all members of such a society. There are other kinds of symbols, such as figure 3, which may be abstract symbols. But symbols in literature works are different from either of the other types. Generally speaking, a literary symbol does not have a common social acceptance, as does the flag; it is, rather, a symbol the poet or the writer adopts for the purpose of his/her work, and it is to be understood only in the context of that work. It differs from the kind of symbol illustrated by the figure 3 because it is concrete and specific. A poet or a writer uses symbols for the same reason he/ she uses similes, metaphors, and images, etc: they help to express his/her meaning in a way that will appeal to the senses and to the emotions of the reader. Most symbols, in literature and everyday life as well, possess a tremendous condensing power. Their focusing on the relationships between the visible (audible) and what they suggest can kindle it into a single impact. Of course, in literary works, symbols, unlike those in ordinary life, usually do not “stand for” any one meaning, nor for anything absolutely definite; they point, they hint, or, as Henry James put it, they cast long shadows. SymbolismThe term symbolism refers to the use of symbols, or to a set of related symbols, which is one of the devices that enrich short fiction and compensate for its briefness in space.2. There are two broad types of literary symbolsSymbol is generally acknowledged to be one of the most frequently employed devices in poetry. In works of fiction it is no less frequent and no less important. The fact is that, when a reader reads a work of fiction, his focus is mostly cast upon the plot, the character, and the language used, so that the symbols are automatically backgrounded on the readers part. But in some novels and stories, the symbolism looms so large that the reader will fail to get a comprehensive understanding of the work without paying special attention to the symbols. The Scarlet Letter by Nathaniel Hawthorne is one of such works. The very title points to a double symbol: the scarlet letter A worn by Hester conveys a multiple of senses which differ greatly from what it literally stands for, and the work eventually develops into a test and critique of symbols themselves. Thomas Pynchons V. continues along much the same line, testing an alphabetical symbol. Another example is Herman Melvilles Moby-Dick, in which the huge white whale in the title of the book acquires greater meaning than the literal dictionary-definition of an aquatic mammal. It also suggests more than the devil, to whom some of the characters liken it. The huge whale, as the story unfolds, comes to imply an amplitude of meanings: among them the forces of nature and the whole universe.Literary symbols are of two broad types: one type includes those embodying universal suggestions of meaning. Flowing water suggests time and eternity, a journey into the underworld and return from it is interpreted as a spiritual experience or a dark night of the soul, and a kind of redemptive odyssey. Such symbols are used widely (and sometimes unconsciously) in western literature. The other type of symbol secures its suggestiveness not from qualities inherent in itself but from the way in which it is used in a given work, in a special context. Thus, in Moby-Dick the voyage, the land, and the ocean are objects pregnant with meanings that seem almost independent of the authors use of them in the story; on the other hand, the white whale is invested with different meanings for different crew members through the handling of materials in the novel. Similarly, in Hemingways A Farewell to Arms, rain, which is generally regarded as a symbol of life (especially in spring), and which is a mildly annoying meteorological phenomenon in the opening chapter, is converted into a symbol of death through the uses to which it is put in the work.3. Symbols in fiction are inanimate objectsOften symbols we meet in fiction are inanimate objects. In William Faulkers “A Rose for Emily,” Miss Emilys invisible but perceptible watch ticking at the end of a golden chain not only indicates the passage of time, but suggests that time passes without even being noticed by the watchs owner. The golden chain to which it is attached carries suggestions of wealth and authority. Other things may also function symbolically. In James Joyces “Araby,” the very name of the bazzar, Arabythe poetic name for Arabiasuggests magic, romance, and The Arabian Nights; its syllables, the narrator tells us, “cast an Eastern enchantment over me.” Even a locale, or a feature of physical topography, can provide rich symbolic suggestions. The caf in Ernest Hemingways “A Clean, Well-Lighted Place” is not merely a caf, but an island of refuge from sleepless night, chaos, loneliness, old age, the meaninglessness of life, and impending death. In some novels and stories, some characters are symbolic. Such characters usually appear briefly and remain slightly mysterious. In Joseph Cornards Heart of Darkness, a steamship company that hires men to work in Congo maintains in its waiting room two women who knit black woolthey symbolize the classical Fates. Such a character is seen as a portrait rather than as a person, at least portrait like. Faulkners Miss Emily, twice appears at a window of her houses “like the carven torso of an idol in the niche.” Though Faulkner invests her with life and vigor, he also clothes her in symbolic hints: she seems almost to工程咨询资质工咨甲工程实验室建设项目资金申请报告山东省食品发酵工业研究设计院二一一年五月一、 项目摘要该项目建设，依托国家“城市配电网改造工程”和“新农村电气化工程”，针对非晶铁心变压器产品研发过程中的实验室基础设施瓶颈问题，建立和完善与企业发展相适应、具有国内领先水平的采用国产非晶铁心的高效节能变压器自主创新平台，为“十一五”国家科技支撑计划重点项目“采用国产非晶铁心的高效节能变压器研制”提供配套实验基础条件。项目总投资1966万元，新建工程实验室3000平方米，新增部分关键检测试验设备仪器及辅助设计软件，提高模拟分析试验能力，提高新产品的实验检测水平和开发成功率，初步达到年产非晶铁心变压器200万kVA的中试生产规模，打破国外在关键核心技术上的垄断，提高我国在该领域的自主研发能力，推动行业技术进步，适应我国电力发展对高效节能非晶铁心变压器设备的急需。二、项目建设的依据、背景与意义1、项目建设的依据电力工业是国家经济发展战略中的重点和先行产业，输变电制造业是为我国电力工业提供制造装备的基础和支柱行业，其能力和技术水平，将直接关系到国民经济各相关行业的发展，对降低工业综合能耗，提高整个国民经济效益、实现增长方式的转变起着举足轻重的作用。变压器是输配电系统重要组成部分，在电力工业中占有十分重要的位置，截止到2008年底，我国拥有配电变压器约480万台，总容量达16.6亿kVA，占到全国变压器总量的45%左右。众所周知，变压器是输变电行业中的耗能大户。据专业统计，我国输配电损耗占电力产量的比重高达7，这种状况使我国电力利用率降低，造成巨大的电力浪费。作为输变电行业中的耗能大户，降低变压器损耗已是我国节能工作的当务之急。随着我国经济的发展，基础建设的扩张，近年来，配电变压器的需求量和产量有较大的增长，年产量已达6000万kVA左右。因此节能型变压器的推广对于解决我国电力供应紧张，建立节约型社会有着重要意义，也是势在必行。配电变压器作为电力传输系统的重要设备，在我国使用量大面广、运行时间长，具有很大的节能潜力。随着节能降耗、落实科学发展观、转变经济增长方式、促进产业结构调整已成为全社会的共识，具有高效节能特点的非晶铁心变压器逐渐走到前台。非晶铁心变压器是用新型导磁材料非晶合金制作铁心而成的变压器，由于非晶合金是一种新型导磁性能突出的材料，采用快速急冷凝固生产工艺，其物理状态表现为金属原子呈无序非晶体排列，它与硅钢的晶体结构完全不同，更利于被磁化和去磁。它比硅钢片作铁心变压器的空载损耗可下降75%左右，空载电流可下降约80%，是目前节能效果最为理想的配电变压器。山东达驰电气有限公司承担的“采用国产非晶铁心的高效节能变压器研制”项目，2008年被科技部列入“十一五”国家科技支撑计划重点项目（项目编号2007BAE21B01）。该工程实验室建设项目实施，依托国家“城市配电网建设和改造工程”和“新农村电气化工程”，紧紧围绕省级非晶铁心变压器研究试验室建设为重点，以解决企业自主创新中基础设施瓶颈问题为目标，建立和完善与企业发展相适应、具有国际领先水平的采用国产非晶铁心的高效节能变压器自主创新平台，打破国外在关键核心技术上的垄断，提高我国在该领域的自主研发能力，推动行业技术进步，适应我国电力发展对高效节能非晶铁心变压器设备的急需。 2、项目建设背景、意义2.1项目建设背景：达驰公司是国内最早研究开发非晶铁心变压器的企业之一，早在1990年，企业通过使用日立公司提供的非晶铁心成功研制了10kV级三相非晶铁心变压器，其空载损耗仅为同容量S9硅钢片变压器空载损耗的20.5%，并于1990年10月通过山东省科技厅组织的专家技术鉴定，主要性能指标达到国内领先水平，并在国内挂网运行。2005年达驰公司非晶铁心变压器年产量达到50万kVA，一度成为国内采用进口非晶铁心生产变压器的最大企业。但是由于我国非晶变压器制造需要的关键非晶铁心材料完全依赖从日本进口，非晶铁心的加工成形核心技术由国外垄断，一直存在着产品制造周期长、成本价格相对较高的问题。2007年，达驰公司与北京中机联供硅钢科技有限公司合作，在达驰（三河）科技发展有限公司建成了国内生产能力最大的（3000吨/年）进口非晶铁心加工生产线，为我国全面开展非晶铁心变压器的应用化技术研究奠立了基础。目前,日立金属公司的非晶合金带材售价高达2.7万元/吨,由于下游需求的旺盛,日立金属近期拟将产品价格上调20,因此，希望借助日立金属来推动我国非晶合金变压器产业的发展并不现实。如果我国在非晶合金带材制造技术、铁心加工技术及变压器制造技术上无法实现关键核心技术突破，整个非晶铁心变压器行业等于集体为日立金属打工。“十一五”电力发展规划为我国非晶铁心变压器发展带来了难得的市场机遇。2008年，山东达驰公司与中国钢铁研究总院控股的安泰科技公司合作，为变压器另辟“心”源，由安泰科技公司提供国产非晶带材，共同研究变压器非晶铁心加工工艺、解决变压器运行噪音、空载损耗、成本偏高等一系列问题，并将试制新一代采用国产非晶铁心的高效节能变压器列入合作计划，“采用国产非晶铁心的高效节能变压器研制项目”2008年被科技部列入“十一五”国家科技支撑计划重点项目（项目编号2007BAE21B01）。目前达驰公司已经对非晶铁心的加工技术和路线进行了初步研究，对变压器采用国产非晶铁心的研究制订了初步方案和实施步骤，为我国全面开展采用国产非晶铁心变压器的研制奠立了基础。目前我国对铁基非晶材料的研究正重点朝着推广应用的方向转移，因此具有我国自主知识产权的非晶带材提供、山东达驰（三河）科技发展有限责任公司非晶铁心加工线投产，国家推广节能变压器力度的加大，为我国进一步开展以企业为主体的采用国产非晶铁心的高效节能变压器项目开发奠定了成熟基础。2.2项目建设意义：该工程实验室建设，可以进一步完善企业的工艺技术研究、产品开发、工业性模拟试验、应用技术研究以及产品试验等创新手段，形成完善的基础研究、设计、开发、生产、应用、检测等技术研发平台，从而全面具备非晶铁心变压器的开发技术、应用技术研究功能，开发出适应我国电力发展急需的、采用国产非晶铁心的高效节能变压器，达到空载损耗降低70、空载电流降低80，价格降低30%，实现国产非晶铁心变压器与国外强势企业的技术抗衡，使国内非晶铁心变压器的价格、交货期有较大的改善，彻底摆脱我国非晶铁心变压器生产受制于国外的局面，也将为国家节约能源、保护环境、降低室温气体排放做出贡献。该工程实验室项目实施，在产品结构和原材料选用上均是对具有百年历史的传统硅钢铁心变压器的重大工艺技术突破，能够使企业在非晶变压器开发方面建立研发平台，完善学科建设，走在行业的前列，在变压器采用国产非晶铁心方面解决重大技术瓶颈问题，每年为社会和企业带来可观的效益，同时能够培养专业技术骨干，增强企业竞争力，项目实施中多项新技术、新工艺、新材料的推广应用，必将推动行业技术进步和快速发展。山东省非晶铁心变压器实验室建设，能够加强变压器行业基础研究和产业研发之间的有机衔接，从产业技术源头上强化技术创新体系，提高达驰公司节能变压器产业自主持续创新能力，探索适应新时期发展要求的技术创新长效机制，更能推动我国变压器产业的技术水平升级。非晶铁心变压器实验室建设，能够为高校、科研单位和企业搭起对接的平台，充分发挥产学研优势，形成采用国产非晶铁心的变压器研发中心、孵化中心，辐射和带动该领域的发展，解决非晶变压器领域目前存在的各种瓶颈问题：（1）跟踪国际高端的非晶铁心变压器研发方向，提高我国的研发水平和产品档次；（2）进行变压器采用国产非晶铁心的工程化技术研究，提高新技术的转化速度；（3）开展成熟的非晶铁心变压器产品的系列化工程技术的研究，满足市场的多样化需求；（4）提高非晶铁心变压器产品的制造的自动化程度及工艺水平，提高可靠性和缺陷控制的规模化制造技术，提高产品质量的批次稳定性。（5）进一步强化平台辐射功能，为国内其他企业提供技术咨询服务和产品检测服务，参与制定行业标准，带动国内非晶变压器技术的发展，赶超世界先进水平，推动行业领域的技术进步。（6）促进人才培养，更多的掌握新技术，提高模拟分析试验能力，提高新产品的试验检测水平和开发成功率，为行业持续发展提供保障。三、技术发展与应用前景分析1、国内外技术状况与发展趋势预测分析目前国内外变压器的发展有两大趋势：一是大型变压器主要向大容量、超高压方向发展，二是中小型变压器主要向节能型、低噪音、免维护方向发展。自1980年美国联信公司首次推出15kVA非晶铁心变压器以来，非晶铁心变压器研究工作在国外有了很大发展，美国的联信公司、西屋公司、通用电气公司等都对非晶铁心变压器进行了广泛的研究，在其结构和关键工艺上取得了突破性进展。他们先用小容量的模型产品进行试验，1982年4月，世界上第一台非晶铁心配电变压器挂网运行。目前，美国三家非晶铁心变压器厂的年生产能力超过10万台，美国已有100多万台非晶铁心变压器挂网运行。在日本，非晶铁心变压器的商业化也十分成功。东京电力公司、Takao电气有限公司和日立电气有限公司等6家生产厂的年产量在9万台以上，日本有大约12万台非晶铁心变压器上网运行。在英国、荷兰、瑞典、瑞士、意大利、西班牙、爱尔兰、匈牙利等国家，由于产品具有良好的节电环保性能，20世纪 90年代中期开始推广应用。在我国，1986年6月，上海钢铁研究所与上海变压器厂用美国联信公司提供的非晶铁心成功研制了一台30kVA三相非晶铁心变压器，其空载损耗仅为同容量S9硅钢片变压器空载损耗的20.7%，并于1987年12月在上海宝山挂网运行。1991年至1995年，上海冶金设备总厂试制出多台20kVA、30kVA、50k