榆林远洋煤炭运销有限公司项目建设可研报告

1、summing up the plot. a theme is usually stated in general words. another try sounds like this: “solitary people need a orderly place where they can drink with dignity.” that is a little better. we have indicated that hemingways story is more than merely about an old man and two waiters. we remember

2、that at the end the story is entirely confined to the older waiters thoughts and perceptions. how do we understand his mediation on “nada,” nothingness, which bears so much emphasis? no good statement of the theme of the story can leave it out. then we have still another try: “solitary people need a

3、 place of refuge from their terrible awareness that their life (or perhaps, human life) is essentially meaningless.” neither this nor any other statement of the storys theme is unarguably appropriate, but the statement at least touches one primary idea that hemingway seems to be driving at. after we

4、 read “a clean, well-lighted place,” we feel that there is such a theme, a unifying vision, even though we cannot reduce it to a tag and we may still vary in our opinion about, and statement of, the theme.  moral inferences drawn from most stories:  moral inferences may be drawn from most

5、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 advice for properly regarding and sympathizing the lonely, the uncertain, and the old. but obviously the story does not set forth

6、 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 in hemingways view of love, of communication between people, of dignity. great stories, like great symphonies, frequently hav

7、e 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 slavery and migratory labor respectively, this is to use theme in a larger and more abstract sense than it is in our disc

8、ussion 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 concern the theme of “initiation into maturity.” such general descriptions of theme can be useful, especially if we w

9、ant 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 the theme may be very different: the tone of treatment may be, for example, either comic or tragic, straightforward or

10、 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 the beginning, you look for whatever truth or insight you think the writer of a story intends to reveal. try to sta

11、te 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 about the theme of a story: look back once more at the title of the story. what does it indicate in relation to

12、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 understanding after finishing reading the story? does the author (through the narrator) make any general ob

13、servations 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 contain any especially curious objects, mysterious flat characters, significant animals, repeated

14、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 statement of theme, have we cast our statement into general language, not just given a p

15、lot 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 little daughter.”  this is the opening sentences of “golden to

16、uch”, 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 is the background against which a character is depi

17、cted 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 purpose in different genres. the traditional way to t

18、ell 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 of art. a setting may or may not be symbolic

19、. 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 event in the novel whereas exposition is only

20、the initiating action. 1. the elements making up a setting by 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 at the beginning of the introduc

21、tion 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 geographical location, its topography, scen

22、ery, 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 winter of the year; (4) the general

23、 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 mere background. it can make thing

24、s 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: a region, a landscape, a

25、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. a sight of a green field

26、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 scene. we are depressed by a

27、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 conrads heart of darkness, mi

28、ght 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 mood of scotland. the english

29、 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 africa of that book replaced th

30、e 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 the “five towns” of arnold b

31、ennets 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 writing a story set in a town, h

32、e 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, under whom the presentation of

33、 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 disasters will be. for example,

34、 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 from the madding crowd of

35、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 departure from her native

36、 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 repelled and rebel suffer di

37、saster. 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 heights, is not suppose

38、d 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 start of the story, t

39、he 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 so early born

40、e 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 went in, and t

41、o 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 wild rose.

42、 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 t

43、he 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, ut

44、ilizes 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 concerning

45、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 of

46、 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 suggestive

47、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. w

48、hen setting dominates, 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 trie

49、s to bring it alive to 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 mi

50、ssissippi. 3. the setting 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

51、 creation of setting can be a magical fictional 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

52、, a writer seems to draw a setting mainly to evoke atmosphere. 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

53、among large maples, on a green lawn, has an atmosphere 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 i

54、ncident or object, but generally to the whole scene. 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,榆林远洋煤炭运销有限公司项目可行性研究报告榆林市远洋建筑工程有限公司二一年七月榆林目录第一章项目总论2第二章项目建设环境11第三章项目建设的必要

55、性21第四章市场分析与建设规模的确定29第五章区域建设条件及选址39第六章技术方案44第七章环境保护与安全生产50第八章人防、消防、节能及地震设防53第九章项目组织管理和劳动定员54第十章项目实施进度安排56第十一章投资估算与资金筹措58第十二章财务效益分析61第十三章可行性结论与建议64榆林远洋煤炭运销有限公司项目可行性研究报告第一章 项目总论一、项目概况(一)项目名称榆林远洋东山建材批发建材(二)项目建设单位榆林市远洋建筑工程有限公司(三)项目拟建地点和建设内容榆林远洋东山建材中心拟建于榆阳区牛家梁林场附近，毗邻榆林市规划的两个物流中心区之一的东沙物流园区，榆林城区通往麻黄梁工业园区的榆麻

56、路、210国道新建过境线边、西包铁路贷物专线边。建设区域占地150亩，总建筑面积5万 m2。项目由建材销售和物流仓储两大部分组成，分三个专业区，分别是建材交易区；物流仓库区；商务酒店、服务生活区。项目功能：贸易功能-建材贸易。仓储功能-项目拟建大型钢材库、水泥库、木材库、材料周转库等。服务功能-设有宾馆、物流信息中心、娱乐中心。质量监督功能-项目设有质量监测中心、环保检测中心，跟踪监督项目区域内建材的环保质量。(四)建设单位基本情况榆林市远洋建筑工程有限公司成立于2002年7月，现有员工156人，注册资本6000万元，拥有固定资产2000万元，累计上缴利税600万元。已经成为榆林市实力比较雄厚

57、、规模较大、效益良好的民营企业之一。(五)可行性研究报告编制单位榆林市远洋建筑工程设计公司。(六)研究工作依据1、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；2、榆林市国民经济和社会发展第十一个五年规划纲要；3、国家和省市有关工业项目建设政策、法令和法规。4、国家和省市有关物流项目建设政策、法令和法规；5、榆林市有关房地产业的相关政策；6、 榆林市有关招商引资的相关政策；7、 项目建设单位提供的有关基础资料；8、根据项目需要进行调查和收集的设计基础资料。(七)项目提出的背景榆林市位于陕西省最北端，地处晋、陕、蒙、宁、甘五省交界处，是国内外少有的能源矿产资源富集区，目前已发现8大类40

58、 多种矿产资源，其中煤炭、天然气、石油和盐四大资源储量十分丰富，据勘探，榆林煤炭预测储量2714亿吨，探明储量1460亿吨，占全国探明储量的15%，含煤面积占全市土地面积的54%，为世界七大煤田之一。随着我国经济的迅速发展，能源需求与供给之间的矛盾日显突出，为确保经济建设可持续发展的后劲，上世纪90年代初期，国家进一步加大了能源开发的力度，榆林作为国家级能源重化工基地，迎来了历史性的发展机遇。省第十次党代会也把能源化工确定为我省六大特色产业之一，明确提出，要以国家“西电东送”、“西气东输”为契机，加决陕北能源化工基地建设，形成对全省经济最具贡献的新的支柱产业群，成为新世纪我国现代化建设的一个重

59、要能源接续地。榆林市依托其资源优势，大力发展煤炭、电力、油气、化工四大支柱产业，积极推进“煤向电力转化、煤电向载能工业转化、煤油气盐向化工产品转化”的经济发展战略，自西部大开发实施以来，榆林市国民经济以年均15%的速度快速增长，其增幅高于全省的平均水平。近年来,榆林国家能源化工基地的建设已形成跨越发展的态势,2008年,全市地区生产总值跨上千亿元台阶,达到1008.26亿元,稳居全省第二,同比增长23%,增速连续7年保持全省第一。规模以上工业总产值超过千亿元,达到1229.34亿元。全社会固定资产投资突破600亿元大关,达到600.52亿元。财政总收入突破200亿元,达到221.2亿元,其中地方财政收入达到70亿元,同比增长39.7%。社会消费品零售总额突破100亿元,达到118.