昆山市化工物流仓储中心项目可行性研究报告

1、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 adv

2、ice 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

3、 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 s

4、lavery 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 c

5、oncern 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 th

6、e 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

7、 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 a

8、bout 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 understa

9、nding 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 contai

10、n 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 st

11、atement 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

12、 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 i

13、s 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 pur

14、pose 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

15、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 ev

16、ent 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

17、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 geographica

18、l 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 win

19、ter 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 me

20、re 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:

21、 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.

22、 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 sce

23、ne. 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 Con

24、rads 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 moo

25、d 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 Afric

26、a 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 th

27、e “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 writin

28、g 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, unde

29、r 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 disas

30、ters 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

31、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

32、 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 re

33、pelled 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 Hei

34、ghts, 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 s

35、tart 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

36、 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

37、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 wi

38、ld 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

39、 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,

40、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 concernin

41、g 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

42、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 suggestiv

43、e 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 domi

44、nates, 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

45、 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 setti

46、ng 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 fictiona

47、l 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 a

48、tmosphere. 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 atmosphe

49、re 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.

50、 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, lantern-lit house greatly contributes to the readers sense of unease, and so helps to build the storys effectiveness. Anoth

51、er example is Lawrences “The Horse Dealers Daughter,” the description at the beginning of which contributes much to the atmosphere of the story.4. The importance of atmosphere in creating the settingBut it is a mistake to say that the atmosphere of a piece of fiction depends on the setting alone. (A

52、s illustrated in Shakespeares Hamlet, the dialogue at the very beginning of the play helps powerfully to establish the atmosphere of uncertainty, in addition to the settingthe cold midnight castle.) The vocabulary, the figures of speech, and the rhythm of the sentence also help define the general at

53、mosphere, for by these factors the writer manages to control the kind of associations that come to the readers mind. Atmosphere also depends on character and action. In short, we may say that the atmosphere of fiction is the pervasive, general feeling, generated by a number of factors (setting, char

54、acter, action, and style) that is危险品物流项目可行性研究报告连云港市共济化工有限公司二一年十月第一章 总论一、危险品物流项目背景1项目名称连云港市共济化工有限公司危险品物流项目2承办单位概况连云港共济化工有限公司名称已经连云港工商行政管理局核准，该名称保留期至2010年12月23日，注册资本为人民币200万元，主要从事化工原料的储存、运输及销售。公司化工原料的经营范围：剧毒化学品：液氯、三氯化磷、氯乙酸、黄磷；其他危险化学品：氯化苄、漂白粉、氢氧化钠、合成盐酸、甲醇、乙醇、双氧水、硫酸、甲苯、冰醋酸、氢气、液氧、液氮、液氩、二氧化碳、乙炔气、天然气。（以工商机

55、关核准为准）公司目前正在筹建中，选址在东海县山左口乡工业园区，占地面积50亩，预计建筑面积12000，并于2010年8月正式动工兴建。现有职工15人，其中管理人员6人。现有大型运输车辆3台，小型车辆4台，年营业额将达到1500万元，公司建成后，营业额将成倍增长。3危险品物流项目可行性研究报告编制依据1、国家十一五发展规划纲要2、江苏省国民经济和社会发展第十一个五年规划3、江苏省发展现代物流业若干政策意见4、化学危险物品安全管理条例5、建设项目经济评价方法与参数（第三版）二、危险品物流项目概况1危险品物流项目拟建地点本项目位于江苏省连云港市东海县山左口工业集中区内。山左口乡交通便捷。310国道和

56、东郯公路横贯东西，铁路、机场、港口近在咫尺，距京沪高速公路10公里，已与连霍、同三高速并网，交通条件优越，是苏北鲁南地区人流、物流、信息流的集散地。2危险品物流项目建设规模与产品方案建设规模：本项目总占地54亩，其中综合办公楼600平方米；停车场地一期5000平方米，二期5000平方米；配套消防加压站、道路管网。场地、道路、绿化10000平方米。AR98%硫酸经营量100000吨/年，乙醇的经营量60000吨/年，盐酸的经营量100000吨/年，双氧水的经营量50000吨/年3危险品物流项目主要建设条件江苏省是化工大省，各类危险化学品从业单位数万家，小规模的小化工企业随处可见，在进料、出货过程

57、中，对危险品物流的安全性、便利性、经济性提出了新的要求。东海县的硅产业、电子产业对化工原料的需求逐年增加，而该县的化工产业主要集中在山左口乡，危化品物流项目就是在此背景下应运而生的。4化学品物流仓储交易中心项目投入总资金及效益情况本项目总投资800万元，项目达产后实现年营业收入1200万元,年实现平均利润200万元,投资可以在4年（不含建设期的动态投资回收期）内收回,具有很好的经济效益。项目正常经营后，每年上缴税金30万元以上，年递增前为30%以上。能够带动全县约90人就业，具有良好的社会效益。5危险品物流项目主要技术经济指标表1 项目主要技术经济指标指标数值单位占地面积54亩建筑面积2300

58、0平方米容积率0.34投资总额800万元财务内部收益率25%财务净现值24499.56元静态投资回收期4.9年动态投资回收期5年投资净利率30%三、项目可行性与必要性1区位优势山左口乡地理位置优异，与山东省临沂市郯城县接壤，区内交通便捷，310国道和东郯公路横贯东西，铁路、机场、港口近在咫尺，距京沪高速公路10公里，已与连霍、同三高速并网，交通条件优越。2政策优势20世纪七十年代末以来，我国物流发展经历了从引入物流发展理念，到物流产业得到国家层面认可，并列入“十一五”国民经济发展规划纲要的历程。在此期间，从中央到地方各级政府都相继出台了一系列物流产业发展规划，以推动我国物流业的发展，实现我国从传统物流向现代绿色物流的转变，包括：1）2008年3月3日，为适应全面建设小康社会的需要，促进我国流通领域现代物流持续、快速、协调发展，根据中华人民共和国国民经济和社会发展第十一个五年规划纲要和国务院关于加快发展服务业的若干意见（国发20077号）要求，商务部发布关于加快我国流通领域现代物流发展的指导意见。2）2009年2月25日，国务院出台了物流业调整振兴规划。物流行业是和国民经济密切相关的基础产业，能够纳入十大振兴规划，这表明了国家对于物流业的关注和认可。3）发展危险化学品物流除了积极的经济效益外，还具有明显的社会效益。目前许多危险化学品的生产、经营和使用企业为了节约成本，往往