毕业论文-沿海地区村头大树的作用.doc

村头的大树闽南师范大学纳米科技导论小论文题目： 沿海地区村头大树的作用 姓 名： 系 别： 化学与环境学院 专 业： 科学教育 年 级： 2012级 指导教师： 2015年5月2日【摘要】随着社会的发展,各地区开始有了文化交流,渐渐东南沿海地区的人们发现了许多自然村的村口都有大树,通过自然村特点、东南沿海气候地形特点、台风的危害、村口大树的种类与作用等因素分析,我初步的出了一些关于村口种大树的作用,感觉劳动人民的智慧真是无穷.【关键词】自然村;台风;大树;把树这个字拆开来看，是什么？一个“木”，一个“对”。它的意思就是，种树是对的。百姓用最朴素的语言，解释一个汉字，却让我们觉得不无道理。他们想说的“生态文明”、“绿色环保”、“永续发展”这样的大道理，都化作了最简单的群众语言。那么为什么村子村口通常都会有一棵大树呢?目 录摘 要（2）一、沿海村落的基本情况（4）（一）自然村特点（4）（二）东南沿海气候地形特点（4）（三）台风的危害（5）二、树木（6）（一）奇特的大树（6）（二）村口大树的种类（7）（三）大树的作用（7）结 论（8）参考文献（8）心得与疑问（9）致 谢（9）一、沿海村落的基本情况(一)自然村特点村落（聚落），为众多居住房屋构成的集合或人口集中分布的区域。“村落”为中文常见词语，在考古学和其他语言汉译时，“村落”和“聚落”常混合使用来表示同一概念，含义类似于日语的集落，属于地理学、人类学和社会学相关的概念词汇。特征一：普遍贫穷相对于城市，村落由于资源、人才、环境、教育等因素，往往经济较为落后，生产力水平较低，人们生活比较朴素。特征二：多靠山和依河而建村落的生存方式多为自给自足，仰赖于自然，需要靠山和水。随着经济的发展，出现越来越多的城中村，尽管这些城中村不再依赖于山和水，但从村址仍然可以看出，村庄从前依山或傍水。特征三：民风民俗比较醇厚与城市的快节奏不同，村落生活普遍比较缓慢，对于传统的民俗文化，村落中也比城市保持和传承得更完善，也更喜欢沿袭一些民俗传统。（二）东南沿海气候特点我国东南沿海地区属于亚热带季风气候, 亚热带季风气候，分布在北纬2535亚热带大陆东岸，其典型分布区在中国东部秦岭淮河以南，青藏高原以东、热带季风气候以北的地带，以及日本南部等地。该气候区域风冬季不冷，1月平均温普遍在0以上，夏季较热，7月平均温一般为25左右，冬夏风向有明显变化，年降水量一般在800毫米以上，且主要集中在夏季，冬季较少。又称为亚热带季风性湿润气候。因为本气候在夏季时雨热同期，最适宜农作物生长。 1主要特征(1)、夏季高温多雨：夏季太阳高度角大，气温较高，亚热带几分气候从热海洋吹来的东南季风带来丰沛的降水。(2)、冬季温和少雨：最冷的月份平均温度在18以下，0以上，冬季较温和，因为本地纬度较低，受黑潮影响，离冬季季候风源地远，地形起伏使冬季季候风受削弱。但台湾北部与日本群岛南部因季风过海，削弱了冬季季候风的强度，故冬季气候比起相同纬度的沿海城市显得特别温和多雨的型态。(3)、季候风显着。(4)、夏秋常受热带气旋也就是台风影响。（三）台风的危害台风的危害 台风给广大的地区带来了充足的雨水，成为与人类生活和生产关系密切的降雨系统。但是，台风也总是带来各种破坏，它具有突发性强、破坏力大的特点，是世界上最严重的自然灾害之一。 台风的破坏力主要由强风、暴雨和风暴潮三个因素引起。1、 强风 台风是一个巨大的能量库，其风速都在17米/秒以上，甚至在60米/秒以上。据测，当风力达到12级时，垂直于风向平面上每平方米风压可达230公斤。 2、 暴雨 台风是非常强的降雨系统。一次台风登陆，降雨中心一天之中可降下100300毫米的大暴雨，甚至可达500800毫米。台风暴雨造成的洪涝灾害，是最具危险性的灾害。台风暴雨强度大，洪水出现频率高，波及范围广，来势凶猛，破坏性极大。3、 风暴潮 所谓风暴潮，就是当台风移向陆地时，由于台风的强风和低气压的作用，使海水向海岸方向强力堆积，潮位猛涨，水浪排山倒海般向海岸压去。强台风的风暴潮能使沿海水位上升56米。风暴潮与天文大潮高潮位相遇，产生高频率的潮位，导致潮水漫溢，海堤溃决，冲毁房屋和各类建筑设施，淹没城镇和农田，造成大量人员伤亡和财产损失。风暴潮还会造成海岸侵蚀，海水倒灌造成土地盐渍化等灾害。例:2010年的第11号超强“台风凡亚比”在中国东南部、台湾总共造成101人死亡，41人失踪。因灾伤病328人，紧急转移安置12.9万人，直接经济损失51.5亿元人民币。其替补名为“雷伊【Rai】”。【密克罗尼西亚命名】2009年的第8号台风“莫拉克”在台、闽、浙、赣造成巨大损失，遇难人数600人以上，8000余人被困，造成台湾数百亿台币损失，大陆损失近百亿人民币，被除名，替补名为“艾莎尼【Atsani】”。【泰国命名】2006年的1号强台风“珍珠”【Chanchu】，在菲律宾、中国东南部、台湾总共造成104人死亡以及12亿美元的损失，替补命名为“三巴”【Sanba】。【澳门命名】2006年的8号超强台风“桑美”【Saomai】，在马利安那群岛、中国东南沿海以及台湾省总共造成458人死亡以及25亿美元的经济损失，替补命名为“山神”【Son-Tinh】。【越南命名】2004年的14号强”台风云娜”【Rananim】，“云娜”台风登陆中国东南沿海。造成164人死亡，24人失踪，直接经济损失达181.28亿元。替补命名为凡亚比（Fanapi）。（密克罗尼西亚命名）二、树木（一）奇特的大树福建省建阳市破石自然村村口的千年古樟“树抱佛”千年古樟离地面1米高处有个洞口仅巴掌大的小洞（3月1日摄）。在福建省建阳市破石自然村村口，伫立着一棵盘根错节、枝繁叶茂的千年古樟树，树高约36米，胸围10.5米，树冠覆盖900平方米。让人称奇的是，在离地面1米高处的樟树身上有个洞口仅巴掌大的小洞，洞内藏有一尊60多厘米高的佛像，当地人称“将军爷”。相传朱熹逝世后，人们在古樟树主干的裂缝中塑一神像，以表纪念。岁月流逝，如今古樟树的裂口慢慢愈合，形成现在的奇观。新华社记者张国俊摄桐庐“村村有大树”覆盖八成乡村村口树 归去来浙江日报讯树有多茂盛，村子就有多兴旺。南方有嘉木，十年蔚成林。4年时间，桐庐人要让402个村，村村有大树。由于得到村民的广泛支持，今年，“村口树”已经种遍了全县80%的乡村。（二）村口大树的种类村口的大树一般是大型的乔木樟树：樟科植物樟树，常绿高大乔木，单叶互生，叶片卵形或卵状椭圆形。悬铃木：悬铃木科悬铃木属植物，落叶高大乔木，单叶互生，叶基部呈微心形，有托叶。鸭掌形（特殊）。杨树：杨柳科杨属，落叶高大乔木，单叶互生，叶片卵形或圆形。柳树：杨柳科植物，落叶乔木，叶互生，叶片形状为缐状披针形或狭披针形。柏树：柏科植物（裸子植物）常绿乔木。单叶对生，叶全为鳞片状。松树：常绿乔木，少数为灌木。叶小枝簇生，叶针形。银杏：高大落叶乔木，单叶互生呈簇生状，叶片扇形。广玉兰：常绿高大乔木，单叶互生，叶片扇形。鹅掌楸：高大落叶乔木，单叶互生，叶片马褂形（奇特）。水杉：高大落叶乔木，单叶对生，叶片线形。榕树（小叶榕）:高大乔木, 树冠扩展很大，具奇特板根（三）大树的作用1自然作用(1)、树木能调节气候,保持生态平衡.树木通过光合作用,吸进二氧化碳,吐出氧气,使空气清洁,新鲜.一亩树林放出的氧气够65人呼吸. (2)、树能防风固沙,涵养水土,还能吸收各种粉尘,一亩树林一年可吸收各种粉尘2060吨.(3)、树林能减少噪音污染.40米宽的林带可减弱噪音1015分贝. (4)、树木的分泌物能杀死细菌.空地每立方米空气中有3,4万个细菌,森林里只有3,4百个2信仰作用(1)标志村子里都会与偶这样的说法, 村庄的村口几乎都有大树的, 村庄里的人是将村口的大树看成一个村的风水树的, 村口一株大树，那是一个村庄的图腾，一个村庄的灵魂。要是大树不幸被风吹折了，被雷电击跨了，被野兽害虫所伤，枯死了，那么一个村庄的标志也就倒了。回乡的游子就会寻不着根找不到路，村庄在游子的心中陌生，他回家的路就会犹豫、彷徨，游移不定。他会在心中千百遍地发问，这是我的村庄吗？这是我的家园吗？(2)心灵归属一棵大树，象征一个村庄。男人在树下聊天，女人在树边的溪沟里洗菜洗衣，几乎是标准的乡村生活场景。很多村庄都会有这样的习俗，村里很多孩子会拜树为“干爹干娘”。按照当地的风俗，小孩子如果生下来体质差，就会被爹妈领着到百年大树下祭拜磕头，再起个带“树”或带“根”的小名，求长久健康。“这多少是一种民间期待，但从自然的角度来讲，人天然与树木亲近，中国老话说：大树底下好乘凉，更多指的是心灵上的归属与寄托。”结 论通过对以上材料的分析,首先我们可以知道自然村最大的特点是第一、仰赖于自然，需要靠山和水;第二、民风民俗比较醇厚. 一些位于东南沿海的村子,依山伴谁水,受季候风影响显着。夏秋常受热带气旋也就是台风影响。而台风作为一种常见的自然灾害,往往会对我国东南沿海造成大规模的破坏,而一般的自然村相对落后或者因为历史悠久,没有能很好抵御台风的防护措施,所以伟大的劳动人民就学会利用自然来抵御自然灾害,通过对树木种类,作用等分析,能够了解到树木可以树能防风固沙,涵养水土,还能吸收各种粉尘,所以村口的大树就能初步抵抗台风带来的强风、暴雨、与风潮暴.与此同时与城市的快节奏不同，村落生活普遍比较缓慢，对于传统的民俗文化，村落中也比城市保持和传承得更完善，也更喜欢沿袭一些民俗传统。村民们把美好的愿望,都寄托于自然,自然的角度来讲，人天然与树木亲近,所以人们都把村口的树木作为村子的标志, 更多的是心灵上的归属与寄托.是一种信仰的体现,也更加体现了劳动人民将“生态文明”、“绿色环保”、“永续发展”这样的大道理一更加朴素的方式表达出来.参考文献1老虎纪事的博客2浙江在线浙江日报作者：记者 蒋蕴 县委报道组 唐志立编辑：陈铖3建筑环境设计中的风水与应用4风水是一棵树兼谈阳宅“树木风水”功用心得与疑问通过这段时间的学习,最让我印象深刻的是老师您上课给我们讲的科学小故事,你将讲深奥难懂的知识转化成身边的小故事讲解给我们听,还有就是老师说的中国古代的建筑特点,我很想将上课所学的这些知识加入到今后的小学教育中,很想请教老师的是这些知识就我所理解的比较深奥,我该用什么形式或是用什么方法教给小朋友呢?致谢这篇小论文写作是在上了林老师的课后,根据老师上课时候的讲解与课后查阅的一些资料写出来的,林老师她严谨的治学精神，精益求精的工作作风，深深地感染、激励着我，她严谨细致、一丝不苟的作风是我们工作、学习中的榜样，她循循善诱的教导和不拘一格的思路让我们受益匪浅,。也让我对自然很多东西有了不一样的理解,感谢老师给我这次机会.为你提供优秀的毕业论文参考资料，请您删除以下内容，O(_)O谢谢！A large group of tea merchants on camels and horses from Northwest Chinas Shaanxi province pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. I can still recall the days when I toured with the troupe in the early 80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldnt help but sing the folk songs, Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. The nomadic people were very excited about our visits, Nasun recalls. We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in. For him, the rewarding part about touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as red burgeon, and todays performers of the troupe still tour the regions villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. Being from the region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged, Nasun, the art troupes president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle.Although I learned the piano since childhood and grew up listening to various kinds of music, to me, the folk music of Inner Mongolia is the root, he says. Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled. The first round of spring auction season in Beijing ended last week, but it failed to create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous representative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China Guardians Hu Yanyan. Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, highly anticipated as a milestone in Chinas cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. Whats lost, I believe, are the interesting setups and pauses that illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly competent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has becomehow shall I put it?a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emersons essay titled Self-Reliance. If youve not yet read it, I strongly encourage you to do so. In this essay, the venerable Emerson talks about eschewing the trappings of society and finding ones own path. He urges the reader to find rectitude and lead a moral life. He professes that, only by being self reliant, as opposed to relying on the government and being dictated to by society, can one begin leading a decent and purposeful life. He avers that such a life is the only life worth living. I agree with him. This essay was written during a time of social upheaval in America, and it is rather odd that Emerson authored it, as he was a part of the upper crust of society at the time. It just so happened that he looked around him, at the indolence and the wantonness of the people in his circle; he wondered how in the world he came to belong there. Indeed his penning and publishing this essay caused his excommunication from high society and also caused him a lot of legal trouble. The legal trouble came as a result of the fact that he was speaking out against the government. I like