茶东110kV输变电工程可研报告

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茶东110kv输变电工程可研报告湘西自治州电力勘察设计院二七年八月等 级： 电力行业丙级编 号： 185224-sb工程设计证书批 准 ：李 勇审 核 ：张珑玲校 核 ：李志宏编 制 ：吴永清 陈远扬目 录1 概述2 电力系统3 变电站站址选择及工程设想4 送电线路路径及工程设想5 投资估算6 结论附图1 湘西州电网2006年地理接线示意图附图2 茶东110kv变本期接入系统地理接线图附图3 湘西州电网2010年地理接线规划图附图4 茶东变电气一次接线图附图5 茶东变电气平面布置图附图6 茶东变光纤通信网络组织图附图7 茶东变光

55、纤通信接入网络拓扑图附表1 站址技术比较表附表2 站址经济比较表1 概述1.1 项目主要依据1.1.1 湖南省湘西电业局2010及2020年电网发展规范（已审稿）。1.2 工程概况1）根据湖南省湘西电业局2010及2020年电网发展规划（已审稿），电力部门拟在凤凰县茶田镇兴建一座110kv变电站，以完善凤凰县的电网结构，满足该地区日益增长的用电负荷需求。2）该变电站建设规模如下:110kv茶东变电站：变电站设计规模为：231.5mva主变，电压等级110/35/10kv；110kv出线4回，单母线双刀闸分段接线；35kv出线6回，单母线断路器分段；10kv出线16回，单母线断路器分段。变电站本

56、期规模为：131.5mva主变，电压等级110/35/10kv；110kv出线2回，单母线双刀闸分段接线；35kv出线4回，单母线断路器分段；10kv出线8回，单母线接线。本变电站按照无人值班设计，采用计算机监控系统。3）该变电站本期接入系统方案为：110kv出线2回：1回t接至110kv锦堤线（堤溪110kv变贵州铜仁锦江110kv变，lgj-185），另新建1回至堤溪110kv变（lgj-240）。1.3 凤凰县国民经济发展规划1.3.1 凤凰县社会经济基本情况凤凰县位于湖南省西南部边缘，地处武陵山脉南部，云贵高原东侧，湘西自治州境内，西邻贵州省松桃县和铜仁市，东与本省泸溪县相连，北与花垣

57、县和吉首市接壤，东南与麻阳县为邻。全县总面积1759平方公里。全境划为9个镇22个乡，344个行政村。2006年末全县总人口38.75万人，人口自然增长率6.39。凤凰历史悠久，距今已有4000多年的历史。境内古迹众多，有建于唐代的黄丝桥石头城，明万历年间的南方长城，清康熙时的凤凰古城墙和古城楼。是一个名声远播的历史文化名城，有“中国最美丽的小城”之誉。凤凰县文化旅游产业已成为拉动县域经济发展的主导产业，以旅游业为主的第三产业增加值连续四年占gdp的一半以上。2006年国内生产总值15.02亿元，比上年增长11.4%。其中，第一产业3.17亿元，比上年增长6.5%；第二产业3.07亿元，增长1

58、3.6 %；第三产业8.78亿元，增长12.5%。人均国内生产总值4280元，比上年增加512元，增长13.59%。全县农民人均纯收入1984元，比去年人均增收216元，增长12.2 %，城镇居民可支配收入6895元，增长14.7%。1.3.2 国民经济发展规划根据凤凰县国民经济和社会发展十一五规划纲要，其发展重点是：充分利用凤凰古城、南长城、历史名人资源优势，发展旅游产业，巩固发展绿色食品加工业。到2010年全县国内生产总值为19.49亿元。2 电力系统2.1 电力系统现状2.1.1 凤凰县电力系统现状凤凰县电网由湘西电业局经管，现有110kv变电站1座（堤溪变，变电容量131.5mva）、35kv变电站8座（变电容量37.75mva），较大的水电站2座：长潭岗水电站装机容量为20.4mkw，猫儿口水电站装机容量为30.25mw，丰水期平均出力14mw，枯水期平均出力4mw