中小企业技术改造项目资金申请报告

1、IntroductionI. Why do we have such course?English literature is one of the compulsory and most important courses. However, the English literature courses offered are merely taught at the level of learning general information and developing literal understanding. Admittedly, such courses help them/yo

2、u a lot in their/your acquisition of the English language. But the function of English literature reaches far beyond that. In reading English literature, a student should have the power to discern how human beings translate their experience into artistic expression and representation; how writers, t

3、hrough their creative impulses, convey to us their insights into human destiny and human life; and how social concern is involved in a specific form of human imagination. In addition, students should elevate to the level of cultivating a curiosity for the unknown, thinking cogently and logically, ex

4、pressing themselves clearly and concisely, and observing the world around them critically and objectively. But most students are still at a loss as to how they can effectively analyze a literary work by themselves in any of these respects, even though they have read plenty of excerpts from represent

5、ative works in the British and American literary canon. And they tend to have little idea what role the beginning part plays in the whole story, how the plot develops and comes to resolution, in what way point of view determines a readers understanding of the story, and how the images and symbols ar

6、e related to the theme. Upon consideration of these factors, we have such course with the intention of cultivating both students literary sensibilities and their /your critical power when reading English short stories and novels.II. Introduction about reading a story1. What is Story? “Yes oh, dear,

7、yesthe novel tells a story.” This is Forsters remark, which is worth special attention, for he is someone in the trade and with rich experience. In his Aspects of the Novel he lists “story” as the first aspect. People reading novels for stories usually ask questions like “what happened next?” and “a

8、nd” what would he do next?” These questions attest to the two basic elements of a story. The one is the event and the other the time. A story is a series of happenings arranged in the natural temporal order as they occur. Story is the basis of the novel, and indeed the basis of narrative works of al

9、l kinds. 2. The structure and functions of a storyPlot; character; point of view; theme; style3. What is Fiction?Fiction, the general term for invented stories, now usually applied to novels, short stories, novella, romances, fables, and other narrative works in prose, even though most plays and nar

10、rative poems are also fictional. (P. 83. Concise Dictionary of Literary Terms)4. The Story and the NovelTo read novels for story is nothing wrong, but nothing professional either. “One mark of a second-rate mind is to be always telling stories.” The remark by the French writer jean de La Bruyere (16

11、451696) is also true of the reader. If the purpose of the novel is only to tell stories, it could as well remain unborn, for newspapers and history books are sufficient to satisfy peoples desire for stories about both present and past, and even about future. In fact, many newapapermen have been diss

12、atisfied with their job of reporting and come into the field of novel writing. Defoe, Dickens, Joyce, Hemingway and Camus were among the most famous and the most successful converts. Even historians may feel obliged to do more than mere stories or facts. Edward Gibborns Decline and Fall of the Roman

13、 Empire is praised not only for its multitudinous facts and rationalistic analysis, but more for its beauty of narrative style. In telling stories, the novelist aims at something higher or he intends to add something to the mere “facts.” As indicated in the definition of the novel, what makes a nove

14、l is the novelists style (personalized presentation of the story) and interpretation of the story.Chapter One PlotI. What is Plot? 1. According to Aristotle what are the six elements of the structure of tragedy?Tragedy as a whole has just six constituent elements and they are plot, characters, verba

15、l expression, thought, visual adornment, and songcomposition. For the elements by which they imitate are two (verbal expression and songcomposition), the manner in which they imitate is one (visual adornment), the things they imitate are three (plot, characters, thought), and there is nothing more b

16、eyond these. 2. What is Plot under the pens of modern novelists and storytellers? And how to understand “Plot” in a story? (“”ppt: The queen died, no one knew why, until it was discovered that it was through grief at the death of the king.P. 6 It suspends the time-sequence, it moves as far away from

17、 the story as its limitations will allow.)The story and the character alone can not make a novel ye. To make a novel, a plot is prerequisite. A look at the example suggested by E.M. Forster will help to distinguish between the story and the plot. “The king died and then the queen died” is not a plot

18、, but a story. If we make it “The king died and then the queen died of grief, we have a plot. This causal phrase “of grief” indicates our interpretation and thus arrangement of the happenings. In the world of reality events take place one after another in the natural temporal order, but in the world

19、 of fiction it is the novelists design that one particular event occur after another particular event. The very word “plot” implies the novelists rebellion against the natural law and his endeavor to make meanings out of the happenings that may otherwise be meaningless. “The happenings” may or may n

20、ot be real happenings.(So what plot is -) A plot is a particular arrangement of happenings in a novel that is aimed at revealing their causal relationships or at conveying the novelists ideas. A plot is sometimes called a story line. The most important of the traditional plot is that it should be a

21、complete or unified action, that is, something with a beginning, a middle, and an end.3. The dramatic situation in a story.4. The three parts of a plot: a beginning (exposition), a middle (suspense or a series of suspense .foreshadowing crisis a moment of high tension), and an end(a climax, the mome

22、nt of greatest tensionthe conclusionfalling action, resolution or denouement).Plot a beginning a middle an end exposition some other events climax (the moment(suspense, a series of suspense, of greatest tension,foreshadowing, crisis) the conclusion-fallingaction, resolution or denouement)II. Read th

23、e stories of Rip Van Winkle(Washington Irving) and David Swan (Nathaniel Hawthorne)III. Questions: (Finish reading the two stories and point out the plots of the two stories, the descriptive details, the exposition, characters)Rip Van Winkle1. Descriptive details: the plot of the story?2. What part

24、of the story seems like the exposition? 3. Where does the dramatic conflict? 4. What is the climax of the story?David Swan5. the plot of the story? 6. How fully does the author draw the characters in the story? (Character traits are the qualities of a characters personality. They are revealed throug

25、h a characters actions and words and through description).7. More works to do: something about the writers of the two stories.Chapter Two CharacterIn the introduction we have said that fiction is an image of people in action, moving towards an undeclared end. Thus character is always involved in fic

26、tion, even in the story of the simplest action. Sometimes character is at the center of our interest because in character we may see many facets of the people we meet in our daily life and even of ourselves. Fictional character is always character in action and the character gets into action because

27、 it is caught in a situation of conflict and he/she is always provided with motivation: he/she has sufficient reasons to act or behave as he /she does. The character is doing something and the reader while reading fiction wants to know the “why” as well as the “what” of the affairs. (Sometimes a cha

28、racters motive for an action is not explained on acceptable grounds, for example, the villain in Adgar Allan Poestory “The Tell-Tale Heart,” and thus the reader feels cheated. In this case, the writer of detective fiction who makes the criminal a mere lunatic has cheated the reader by avoiding the p

29、roblem of motive.) And generally, the action itself is humanly significant and it ends usually in a shift in or clarification of human values, as displayed in John Updikes “A & P,” and the motivation of a character in a storyone of the answers to the question “why”is of fundamental importance.I. Wha

30、t is Character?Closely related with the story is the character. Henry James said, “What is character but the determination of incident? What is incident but the illustration of character?” (The Art of Fiction”) When we read a novel, we read about our fellow beings, and that is one of the motives in

31、reading at all. The “fellow beings” in the novel is termed characters. By “fellow beings” is meant not only “human beings” but also “other beings,” such as animals. George Orwell uses animals to represent human beings in his novel Animal Farm. Lewis Carrol creates many lovely animals in his Alices A

32、dventures in Wonderland that appeal to both children and adults.Orwell does not intend to convince the reader that animals can speak human language or that he is a translator between animals and humans. No sensible reader, after reading Orwells Animal Farm, would go to the pigsty to look for a talki

33、ng boar. This proves the agreed-on fictionality of characters in novels. So broadly, a character is an invented personality to resemble but never to equal a real person in life. It is not difficult to see that characters in novels resemble people in real life in many ways. They have names used in th

34、e same way ours are used, they have hatred and love, and they have desires and fears. Above all, they act the way we act or the way we can understand (like or dislike).But we must bear in mind that the characters are not real persons, but merely inventions, however ingenious. Compare the physical li

35、fe and spiritual life of the characters and ours. We have to answer the natures call several times a day, but characters seldom do this, even in the most realistic or naturalistic novels. We have to live our life hour by hour and day by day, but characters never do this. They choose to live some tim

36、e more fully than others, and are able to skip over periods on ten months or twenty years without seeming weird, a feat which we can never attempt. In our life, our minds are a gray matter even to scientists. We can not know what is going on in others mind. But in novels, the minds of the characters

37、 are open or can be made open to the reader if the novelist so chooses. The reader does not only see their clothes, but also see their minds. One character may be enemy to other characters, but he is friend to the reader, before whom he can think aloud, to borrow Emersons words. Characters do not li

38、ve, but act. When we watch actors speak aloud to themselves on the stage as if they were alone, we know they are acting and they are different from what they represent in real life. The characters in novels exist in a similar manner.II. Kinds of CharactersUsually, a novel has more than one character

39、. They interact with each other and make up the story. But they are not equally important or have the same function to the novelist. By their roles in the novel, the characters can be grouped as heroes, main characters and minor characters, and foils.The character on whom a novel is called the hero

40、or heroine when it is a female character. The word “hero” originally refers to a man, in mythology and legend, often of divine ancestry, who is endowed with great courage and strength, celebrated for his hold exploits, and favored by the gods. In the novel, the word “hero” is freed of such noble req

41、uirements and any central characters can be labeled as heroes. Jonathan Wild is the hero in the novel of the same name by Henry Fielding, though he is a notorious highwayman. Some critics, annoyed by the connotation of “hero,” prefer the word “protagonist,” which sounds neutral. The enemy or rival o

42、f the protagonist is called “antagonist.”The main or major characters are those in close and dynamic relation with the hero or heroine. Close relation does not mean good relation. Pablo in For Whom the Bell Tolls is constantly finding中小企业技术改造项目资金申请报告企业名称：项目名称：新型高效雕刻加工工艺及制造系统建设项目申报时间：产 品 方 案一、我公司经过周密

43、细致的前期准备工作，前几年已经投入大量的广告费，项目前期费用为我们发展奠定了坚实的基础。我们初步设想现建设一期工程，一边小规模的生产，对外销售在短时间内就能见效益。现在只需部分流动资金就能生产。即是在项目建设期我们一样生产产品，壮大公司的经济实力，保证按期还款。又能一边实施新建项目，建成高效率、高起点的规模化生产，使科技成果尽快转化为生产力，实现商品化，生产设备建成微机控制，生产规模即可达到的生产能力。产品执行部颁标准，按国家技术监督质量要求标准实施执行。二、我公司拟定方案：先占领上海市场，分阶段逐步实施，计划西出、东进、南下，同时着手南方几个省市大市场，这个如此庞大宏伟的计划，不是欠的能力所

44、决定，而是市场需求迫使我们去实现。申请专项资金的理由和政策依据我公司符合中小企业标准，所实施的项目符合国家产业政策要求；新上项目按照投资管理规定进行了核准备案，企业没有违章违规行为，企业财务制度健全，银行信誉良好。我公司新上项目投资全部为企业自筹，企业资金比较紧张，而且中小企业银行贷款举步维艰，为了更好的促进企业发展，尽快使项目投产达效，特申请国家中小企业技术改造项目资金，请予以批准为盼。可行性研究报告新型高效雕刻加工工艺及制造系统技改项目项 目 审 定：总 工 程 师：技术 负责人：经济 负责人：2010年4月目 录一、项目概况6二、企业基本情况8三、产品需求分析和改造的必要性103.1 产

45、品需求分析103.2技术产业状况103.3 改造的必要性11四、改造的主要内容和目标134.1 改造主要内容134.2 改造后达到的主要目标134.2 产品采用的标准144.3 生产技术路线154.4配套工程16五、项目总投资、资金来源和资金构成175.1 项目总投资175.2 资金来源175.3 资金构成17六、人员培训及技术来源186.1 人员培训186.2 技术来源18七、项目实施进度计划207.1 项目实施20八、项目经济效益和社会效益分析218.1 项目经济效益分析218.2 社会效益分析22附表1 项目建设投资估算表24附表2主要经济技术指标表25附表3固定资产投资估算表26附表4

46、固定资产折旧估算表27一、项目概况金属产品的高效、节能及环保加工长期以来一直困绕着产品加工企业的发展，为了更好地服务于金属产品加工企业，使其不仅具有优美、精致的外观，而且有利于环境保护和资源的节约。我公司新上了新型高效雕刻加工工艺及制造系统建设项目。该项目选用钢铁件及铝件等材料，通过在全封闭环境内进行制模、线切割、电脉冲、绿色电镀、数字化控制压件、彩印、包装等新型工艺，达到消除噪音，工业固体废料的回收利用等作用。该技术不仅国内领先，而且填补了目前工艺品高效节能加工领域的空白。该项目总投资3000万元，其中固定资产投资2700万元，用于购置设备和租赁厂房的技术改造。为了缩短项目建设工期，公司投资

47、250万元租赁了建筑面积为3000m2的标准厂房并进行了技术改造。同时根据项目的需要，已购进35万元的设备，并与 签订了2300万元的设备购置合同。并与签订了115万的高效雕刻生产线建设协议。本项目流动资金投资300万元。项目达产后，纪念币年产量可达300万枚，纪念章300万枚，年产值14000万元，可年新增销售收入4000万元，利润400万元，利税100万元。同时可新增就业人员30人，不仅具有良好的经济效益，而且社会效益显著。本项目周围主要为工业企业，无环境敏感目标，项目生产产品质量稳定，工艺先进，项目生产过程中实现了各产污环节的污染控制，基本符合清洁生产要求。二、企业基本情况是一家致力于纪

48、念章、纪念币等工艺品设计和制造的现代化专业生产企业。公司于1997年注册成立，注册资本600万元，现有职工40人，现有自创建以来始终坚持以生产时尚、精致的工艺品作为企业的发展方向。拥有一批专业的美术研发设计师、工艺工程师；生产设备先进，具有雄厚的设计、开发和生产能力，保证了郁金香品牌的时尚品质。公司通过了IS09001：2000国际质量管理体系的认证，产品种类主要有专各类材质的工艺品纪念章，纪念卡，金属邮票，徽章等。公司产品融合了国内外文化艺术之精华，深度涵盖高中端客户，深得广大消费者的喜爱。公司一直坚持“以质取胜，信誉为先”的经营理念，产品不断创新，主要面向国内大中型企业级及个人订制产品，并

49、与日本、英国、美国、澳大利亚以及港台澳等多个国家和地区建立了长期、稳定的业务关系。公司连续多年被评为“上海市诚信企业”；2007年7月，公司被奥委会指定为2008北京奥运会特许经营商品特许生产商，颁发了特许证书；2009年被指定为世博特许经营商品特许生产商。我公司截止2009年12月31日的账面实收资本为 万元，资产总额 元，负债 元，净资产总额 元。2008年销售收入 万元，实现利税万元；2009年销售收入14000万元，实现利税 万元。（详见后附的2009年企业财务审计报告）。 三、产品需求分析和改造的必要性3.1 产品需求分析以纪念章、纪念币等为主体的工艺品市场是一个最具潜力、增幅较大的

50、市场。进入九十年代以来，世界旅游产业发展迅猛，每年以两位数增长。中国旅游产业更是异军突起，发展方兴未艾，令世界注目。据世界旅游旅行理事会（WTTC）向中国政府递交的最新研究预测报告，预计2015年，即未来的十年间将增至8152亿美元（约合人民币67823亿元），每年递增10.4%。十年后，中国将成为世界第一旅游目的地，世界旅游经济头号强国。中国旅游业在未来10年中，是仅次于IT产业的强势增长产业。而工艺品作为旅游产业中具有高附加值的产品，必将随着旅游业的发展而不断发展壮大。中国的工艺品具有历史悠久、举世闻名的特点，有机会购买自己中意的具有浓厚中国特色的各类工艺品不失为一大乐事。综上所述，本项目

51、迎合了市场的需求，发展前景非常广阔。3.2技术产业状况 无论国际国内，目前都没有本项目所提出的新型高效雕刻制造系统。3.3 改造的必要性随着经济的发展，工艺品加工及其对环境的影响成为严重影响产业发展的关键因素。从目前我国的金属工艺品加工工艺来看，整体效率低下，加工自动化控制手段和设备落后，加工过程中有害物质或噪音对环境污染严重，严重制约着整个行业的可持续发展。面对当前面临的困境，必须从技术、设备等角度出发，对现有生产系统及其工艺加以改进。将计算机及信息技术引入现有金属工艺品加工过程，对加工设备和加工过程进行在线检测和控制，可以有效提高整个生产的效率，减少加工过程对环境的污染，提高材料的利用率和

52、再制造能力，其主要优点可以归纳如下：1）可以雕刻出传统设备加工不出来的曲线、曲面等复杂工艺品。 由于计算机有高超的运算能力，可以瞬时准确地计算出每个坐标轴瞬时应该运动的运动量，因此可以复合成复杂的曲线或曲面。2）可以实现加工的自动化，而且是柔性自动化，从而效率可比传统制造系统提高37倍。 由于计算机有记忆和存储能力，可以将输入的程序记住和存储下来，然后按程序规定的顺序自动去执行，从而实现加工过程的自动化。3）自动化雕刻设备只要更换一个程序，就可实现另一工件加工的自动化，从而使单件和小批生产得以自动化，实现“柔性化生产”。4）拥有自动报警、自动监控、自动补偿等多种自律功能，可降低了工人的劳动强度

53、，节省了劳动力，减少了工装，缩短了新产品试制周期和生产周期，可对市场需求作出快速反应等等。5）全封闭的加工环境降低了加工时的噪声及污染物的飞溅。随着人们生活水平的不断提高，人们对休闲旅游的需求不断增加，将会直接带动工艺品的需求，工艺品的特性化需求已将越来越多，这必将带来工艺品生产周期的革命，因此，“新型雕刻工艺及制造系统”项目的实施可使金属工艺品的生产周期大大缩短，并使产品精度、外观质量都有很大的提升，从而满足人们不断增长的需要。四、改造的主要内容和目标4.1 改造主要内容本项目主要针对金属纪念章、纪念币的新型高效雕刻工艺及制造系统进行技术改造。本项目主要单项工程如下：工艺品新型高效雕刻柔性制

54、造系统建设；工艺品制造精度在线检测及控制系统建设；加工过程噪声检测及消除附属工程建设；固体废料分离、回收及处理附属工程建设4.2 改造后达到的主要目标通过上述单项工程建设，实现如下目标：1. 新型高效雕刻柔性制造系统建设完成后，可以实现制造资源的快速重组，面向对象的加工工艺的快速编制，完成企业制造资源的信息化管理，实现单个或批量产品的高效制造。达到年产纪念章300万枚、年产纪念币300万枚，年产值14000万元的目标。除此以外还要完成银板100万枚/年、钢板200万枚/年、铜板300万枚/年、钢材0.5t/a、油墨20kg/年的生产任务。2. 工艺品制造精度在线检测及控制系统建设完成后，可以实

55、现在制产品的加工精度在线检测和加工误差的控制及调整。3. 噪声检测及消除附属工程建设完成后，可以实现加工现场噪声的实时在线检测，快速提出应对措施，由系统自动执行指令，将噪声控制在工业企业厂界环境噪声排放标准GB12348-2008中的2类。4. 固体废料分离、回收及处理附属工程建设完成后，可以实现可回收固定废料和不可回收固体废料的自动筛选、回收以及废弃处理等措施，废弃物排放标准遵循国家相关标准。4.2 产品采用的标准本项目投产后的产品均执行国家标准生产。4.3 生产技术路线图一 工艺流程图主要生产设备明细表序号设备名称数量（台）序号设备名称数量（台）1压缩机37砂轮机12冲床28车床33铣床3

56、9线切割机34液压机810五色彩印机25锯床111平面磨床26雕刻机212塑封机24.4配套工程本项目利用的主要为电能，不设锅炉。用电量12万度/年，电源由上海市松江区供电局电网提供。本项目无生产用水。员工生活用水量4t/d。五、项目总投资、资金来源和资金构成5.1 项目总投资 本项目总投资3000万元，其中固定资产投资2700，流动资金300万元。5.2 资金来源5.2.1 固定资产投资来源 固定资产2700万元，企业自筹资金2455万元，申请政府拨款245万元。5.2.2 流动资金来源 流动资金300万元，由企业自筹。5.2.3 资金使用计划（见附表1）5.3 资金构成 本项目固定资产投资

57、为2700万元，其中设备购置费2335万元，占固定资产投资的86.4%；厂房、土建工程费及生产线技术升级费为365万元，占固定资产投资的13.6%；固定资产投资估算及流动资金估算分别见附表2和3六、人员培训及技术来源6.1 人员培训为了保证企业生产计划的正常进行以及企业生产线的技术升级潜能，公司对所有员工进行定期培训，培训层次主要分为三个层次：知识培训、技能培训和素质培训。第一、知识培训 企业定期举行与公司产品、生产线及市场相关的讲座，一般一周一次，使大部分员工能够了解产品及新型生产线的基本情况，增强对新环境的适应能力。第二、技能培训 公司在招进新员工、采用新设备及引进新技术时都会针对具体人员进行技能培训，使其适应具体的操作。第三、素质培训 针对老员工，进