《小尾寒羊良种繁育工程建设项目可行性研究报告.doc》由会员分享，可在线阅读，更多相关《小尾寒羊良种繁育工程建设项目可行性研究报告.doc（19页珍藏版）》请在三一文库上搜索。
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小尾寒羊良种繁育工程建设项目可行性研究报告第一章总论一、项目提要1、项目名称：内蒙古鄂前旗毛盖图小尾寒羊良种繁育工程建设2、建设性质
43、：新建3、项目建设单位：鄂托克前旗毛盖图苏木法人代表：林霞4、建设地点：内蒙古鄂前旗毛盖图苏木5、项目申报单位：内蒙古鄂前旗扶贫开发办法人代表：贺西格道格陶呼6、投资规模及构成：总投资40万元，其中购买种畜38万元，其它费用2万元。7、资金筹措：项目总投资40万元，其中财政扶贫资金30万元，群众自筹10万元。8、项目辐射范围及带动能力项目建成之后，将直接带动毛盖图苏木150户农牧户，可使毛盖图苏木牲畜良种率和单位产量得到进一步提高，通过良繁体系的建设，畜种质量的改善，销售利润大幅度增长，可使项目区农牧户人均纯收入增加500800元。二、可行性研究的依据1、财政部农业综合开发办农业综合开发多种经
44、营项目可研报告编制提纲；2、农业部西部地区农业开发建设规划；3、国家计委、建设部建设项目经济评价方法与参数；4、鄂前旗“十五”经济建设规划；5、鄂尔多斯市建立畜牧业强市、绿色大市的决定。三、综合评价和论证结论1、综合评价本项目建设对于该地区牲畜良种繁育体系建设具有示范带动作用。对于探索在生态建设的基础上发展优质畜牧业，从而实现生态经济和社会可持续发展具有重要意义。项目区具有良好的饲养基础，当地农牧户饲养经验丰富，经过培训，完全可以按照先进的技术规程生产建设，鄂前旗有着广阔的草原资源和庞大的牲畜养殖阵地，鄂前旗畜产品清真市场已开始投入运营，已具有很好基础，由于清真市场产品以无污染和高质量而拥有了
45、较高的信誉，对项目产品的销售极为有利。目前市场、产品已与宁夏有长期销售合同。整个项目技术先进，经济合理，相比传统牲畜饲养方式，可极大地减轻对草地资源的利用强度，提高牲畜整体质量，提高资源转化效率，因此我们认为项目可行。四、存在问题及建议1、农牧民培训和当地的技术服务是保证项目技术路线贯彻执行的基础，必须加强。在项目安排有关建设内容的基础上，当地政府应在项目实施后就此制定有效的政策。2、建议尽快实施项目。第二章项目背景及必要性第一节国家产业政策和行业发展规划毛盖图苏木是鄂前旗的一个纯牧业苏木，2003年全苏木牲畜头数达到19万头（只）。在国家西部大开发战略部署下，全苏木经济及各项事业建设迅猛发展
46、，畜牧业经济健康发展。在跨入新世纪，我国加入世贸组织的新形势下，如何使全苏木畜牧业经济结构调整优化，如何使全苏木广大农牧民增加收入，是摆在全苏木人民面前的重大问题。鄂前旗党委、政府制定“十五”规划，做出调整优化畜牧业结构，确立了鄂前旗经济发展的绿色大旗、畜牧业强旗的远景发展规划，全面推动饲养业发展。为适应国家农业部“西部地区农业开发建设规划”和国家计委、经贸委“当前国家重点鼓励发展产业、产品和技术目录”等国家产业发展和行业发展规划，特提出“鄂前旗毛盖图小尾寒羊良种繁育工程建设项目可行性研究报告”。第二节项目由来和简述跨入新世纪以来，我国开始实施西部大开发战略，鄂尔多斯市“二次创业”也向纵深方向
47、发展，2000年，农村牧区实行舍饲圈养、休牧、禁牧，农牧业经济发生了巨大的变化。鄂前旗畜牧业经济在“西部大开发”、“鄂尔多斯市二次创业”中快速发展，畜牧业经济结构得到调整优化。发展具有高质量、高效益的畜牧业势在必行。本项目由此而产生，该项目对鄂前旗畜牧业经济快速、健康发展起到带动作用。项目初步拟定以鄂前旗毛盖图苏木形成基地 农牧户的小尾寒羊改良、养殖经营格局。根据区域划分，在辖区6个嘎查150户农牧民中实施该工程，通过联户生产、经营的格局，形成一定规模的良繁网络。这将对毛盖图苏木的广大农牧民脱贫致富，增加收入，对发展舍饲圈养畜牧业，减轻草场压力，全面开展生态建设、治沙防沙、建立“生态型高效益规
48、模化家庭牧场”等都将起到推动作用。第三节项目提出的必要性及意义鄂前旗毛盖图苏木位于毛乌素沙漠腹部，自然生态环境严重恶化，草场逐年退化，十年九旱，沙尘暴频发，是边远地区。本项目建设十分必要，一是尽快解决贫困人口脱贫致富，是毛盖图苏木一切经济建设的首要问题，所以有必要认认真真、切切实实解决这一重大问题。二是随着农村牧区经济不断发展，改造沙漠，推动生态建设，恢复草场植被，给子孙后代留下“山川秀美”壮丽草原，有必要舍饲圈养、休牧、禁牧、退牧还草。而高效益、高附加值的养殖业正适合于这个形势。项目的提出正是现阶段农村牧区生态建设的必要。三是毛盖图苏木是个纯牧业苏木，而且以土种山羊和绵羊为主体经济，经济结构
49、单调，单位产量不高，且品质不优，效益低。因此，有必要以畜种改良为主调整优化牧业经济结构，大力全面发展优质畜牧业，提高现代畜牧业的经济效益和结构优势。现阶段正是产业结构调整的关键时期，因此，项目的提出正是畜牧业经济发展的必要要求，从各个方面考虑，多方面考查，建设小尾寒羊良种繁育工程是当地畜牧业经济发展的重要出路。第三章项目建设的条件第一节项目区概况牲畜良种繁育项目区选在毛盖图苏木，牲畜总饲养量为18万头（只），项目区位于鄂前旗东北部，与鄂托克旗接壤，总面积约293万亩。风大沙多，气候干燥，十年九旱，全年平均降雨量250300毫米左右，蒸发量为降雨量的四倍左右，日照时数28003000小时，无霜期130150天，平