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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 reader’s understanding of the story, and how the images and symbols a

6、re 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, dea

7、r, yes—the novel tells a story.” This is Forster’s 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?” a

8、nd “and” 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

9、of all 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 an

10、d narrative 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 Bruyer

11、e (1645~1696) 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 people’s desire for stories about both present and past, and even about future. In fact, many newapapermen have be

12、en dissatisfied 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 Gibborn’s Decline and Fall of t

13、he Roman 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 make

14、s a novel is the novelist’s 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, charac

15、ters, verbal expression, thought, visual adornment, and song—composition. For the elements by which they imitate are two (verbal expression and song—composition), the manner in which they imitate is one (visual adornment), the things they imitate are three (plot, characters, thought), and there is n

16、othing more beyond 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 move

17、s as far away from 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 d

18、ied” is not a plot, 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 orde

19、r, but in the world of fiction it is the novelist’s design that one particular event occur after another particular event. The very word “plot” implies the novelist’s rebellion against the natural law and his endeavor to make meanings out of the happenings that may otherwise be meaningless. “The hap

20、penings” may or may not 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 novelist’s ideas. A plot is sometimes called a story line. The most important of the traditional plot

21、is that it should be a 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

22、 an end(a climax, the moment of greatest tension…the conclusion—falling action, resolution or denouement).Plot a beginning a middle an end exposition some other events climax (the moment(suspense, a series of sus

23、pense, of greatest tension,foreshadowing, crisis) the conclusion-fallingaction, resolution or denouement)II. Read the 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 st

24、ories, the descriptive details, the exposition, characters)Rip Van Winkle1. Descriptive details: the plot of the story?2. What part 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 th

25、e author draw the characters in the story? (Character traits are the qualities of a character’s personality. They are revealed through a character’s actions and words and through description).7. More works to do: something about the writers of the two stories.Chapter Two CharacterIn the introducti

26、on we have said that fiction is an image of people in action, moving towards an undeclared end. Thus character is always involved in fiction, 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 me

27、et in our daily life and even of ourselves. Fictional character is always character in action and the character gets into action because 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 characte

28、r is doing something and the reader while reading fiction wants to know the “why” as well as the “what” of the affairs. (Sometimes a character’s motive for an action is not explained on acceptable grounds, for example, the villain in Adgar Allan Poe’story “The Tell-Tale Heart,” and thus the reader f

29、eels cheated. In this case, the writer of detective fiction who makes the criminal a mere lunatic has cheated the reader by avoiding the problem 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 Joh

30、n Updike’s “A & P,” and the motivation of a character in a story—one of the answers to the question “why”—is of fundamental importance.I. What 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 th

31、e 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 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 ani

32、mals. George Orwell uses animals to represent human beings in his novel Animal Farm. Lewis Carrol creates many lovely animals in his Alice’s Adventures 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

33、 is a translator between animals and humans. No sensible reader, after reading Orwell’s Animal Farm, would go to the pigsty to look for a talking 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

34、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 the 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 o

35、r dislike).But we must bear in mind that the characters are not real persons, but merely inventions, however ingenious. Compare the physical life and spiritual life of the characters and ours. We have to answer the nature’s call several times a day, but characters seldom do this, even in the most re

36、alistic 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 time 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 l

37、ife, our minds are a gray matter even to scientists. We can not know what is going on in other’s mind. But in novels, the minds of the characters 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

38、 may be enemy to other characters, but he is friend to the reader, before whom he can think aloud, to borrow Emerson’s words. Characters do not live, 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 t

39、hey represent in real life. The characters in novels exist in a similar manner.II. Kinds of CharactersUsually, a novel has more than one character. 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

40、 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 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 wi

41、th 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 requirements 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 n

42、otorious highwayman. Some critics, annoyed by the connotation of “hero,” prefer the word “protagonist,” which sounds neutral. The enemy or rival of the protagonist is called “antagonist.”The main or major characters are those in close and dynamic relation with the hero or heroine. Close relation doe

43、s not mean good relation. Pablo in For Whom the Bell Tolls is constantly finding 中小企業(yè)技術改造項目資金申請報告 企業(yè)名稱： 項目名稱：新型高效雕刻加工工藝及制造系統(tǒng)建設項目 申報時間： 產(chǎn) 品 方 案 一、我公司經(jīng)過周密細致的前期準備工作，前幾年已經(jīng)投入大量的廣告費，項目前期費用為我們發(fā)展奠定了堅實的基礎。我們初步設想現(xiàn)建設一期工程，一邊小規(guī)模的生產(chǎn)，對外銷售在短時間內(nèi)就能見效益?，F(xiàn)在只需部分流動資金就能生產(chǎn)。即是在項目建設期我們一樣生產(chǎn)產(chǎn)品，壯大公司的經(jīng)濟實力，

44、保證按期還款。又能一邊實施新建項目，建成高效率、高起點的規(guī)模化生產(chǎn)，使科技成果盡快轉(zhuǎn)化為生產(chǎn)力，實現(xiàn)商品化，生產(chǎn)設備建成微機控制，生產(chǎn)規(guī)模即可達到的生產(chǎn)能力。產(chǎn)品執(zhí)行部頒標準，按國家技術監(jiān)督質(zhì)量要求標準實施執(zhí)行。 二、我公司擬定方案：先占領上海市場，分階段逐步實施，計劃西出、東進、南下，同時著手南方幾個省市大市場，這個如此龐大宏偉的計劃，不是欠的能力所決定，而是市場需求迫使我們?nèi)崿F(xiàn)。 申請專項資金的理由和政策依據(jù) 我公司符合中小企業(yè)標準，所實施的項目符合國家產(chǎn)業(yè)政策要求；新上項目按照投資管理規(guī)定進行了核準備案，企業(yè)沒有違章違規(guī)行為，企業(yè)財務制度健全，銀行信譽良好。 我公司新上項目投資

45、全部為企業(yè)自籌，企業(yè)資金比較緊張，而且中小企業(yè)銀行貸款舉步維艱，為了更好的促進企業(yè)發(fā)展，盡快使項目投產(chǎn)達效，特申請國家中小企業(yè)技術改造項目資金，請予以批準為盼。  可行性研究報告 新型高效雕刻加工工藝及制造系統(tǒng)技改項目 項 目 審 定： 總 工 程 師： 技術 負責人： 經(jīng)濟 負責人： 2010年4月 目 錄 一、項目概況 6 二、企業(yè)基本情況 8 三、產(chǎn)品需求分析和改造的必要性 10 3.1 產(chǎn)品需求分析 10 3.2技術產(chǎn)業(yè)狀況 10 3.3 改造的必要性 11 四、改造的主要內(nèi)容和目標 13 4.1 改

46、造主要內(nèi)容 13 4.2 改造后達到的主要目標 13 4.2 產(chǎn)品采用的標準 14 4.3 生產(chǎn)技術路線 15 4.4配套工程 16 五、項目總投資、資金來源和資金構成 17 5.1 項目總投資 17 5.2 資金來源 17 5.3 資金構成 17 六、人員培訓及技術來源 18 6.1 人員培訓 18 6.2 技術來源 18 七、項目實施進度計劃 20 7.1 項目實施 20 八、項目經(jīng)濟效益和社會效益分析 21 8.1 項目經(jīng)濟效益分析 21 8.2 社會效益分析 22 附表1 項目建設投資估算表 24 附表2主要經(jīng)濟技術指標表 25 附表3固定資產(chǎn)投

47、資估算表 26 附表4固定資產(chǎn)折舊估算表 27 一、項目概況 金屬產(chǎn)品的高效、節(jié)能及環(huán)保加工長期以來一直困繞著產(chǎn)品加工企業(yè)的發(fā)展，為了更好地服務于金屬產(chǎn)品加工企業(yè)，使其不僅具有優(yōu)美、精致的外觀，而且有利于環(huán)境保護和資源的節(jié)約。我公司新上了《新型高效雕刻加工工藝及制造系統(tǒng)建設項目》。該項目選用鋼鐵件及鋁件等材料，通過在全封閉環(huán)境內(nèi)進行制模、線切割、電脈沖、綠色電鍍、數(shù)字化控制壓件、彩印、包裝等新型工藝，達到消除噪音，工業(yè)固體廢料的回收利用等作用。該技術不僅國內(nèi)領先，而且填補了目前工藝品高效節(jié)能加工領域的空白。 該項目總投資3000萬元，其中固定資產(chǎn)投資2700萬元，用于購置設備和

48、租賃廠房的技術改造。為了縮短項目建設工期，公司投資250萬元租賃了建筑面積為3000m2的標準廠房并進行了技術改造。同時根據(jù)項目的需要，已購進35萬元的設備，并與 簽訂了2300萬元的設備購置合同。并與簽訂了115萬的高效雕刻生產(chǎn)線建設協(xié)議。本項目流動資金投資300萬元。項目達產(chǎn)后，紀念幣年產(chǎn)量可達300萬枚，紀念章300萬枚，年產(chǎn)值14000萬元，可年新增銷售收入4000萬元，利潤400萬元，利稅100萬元。同時可新增就業(yè)人員30人，不僅具有良好的經(jīng)濟效益，而且社會效益顯著。 本項目周圍主要為工業(yè)企業(yè)，無環(huán)境敏感目標，項目生產(chǎn)產(chǎn)品質(zhì)量穩(wěn)定，工藝先進，項目生產(chǎn)過程中實現(xiàn)了各產(chǎn)污環(huán)節(jié)的污染

49、控制，基本符合清潔生產(chǎn)要求。 二、企業(yè)基本情況 是一家致力于紀念章、紀念幣等工藝品設計和制造的現(xiàn)代化專業(yè)生產(chǎn)企業(yè)。公司于1997年注冊成立，注冊資本600萬元，現(xiàn)有職工40人，現(xiàn)有自創(chuàng)建以來始終堅持以生產(chǎn)時尚、精致的工藝品作為企業(yè)的發(fā)展方向。擁有一批專業(yè)的美術研發(fā)設計師、工藝工程師；生產(chǎn)設備先進，具有雄厚的設計、開發(fā)和生產(chǎn)能力，保證了郁金香品牌的時尚品質(zhì)。公司通過了IS09001：2000國際質(zhì)量管理體系的認證，產(chǎn)品種類主要有專各類材質(zhì)的工藝品紀念章，紀念卡，金屬郵票，徽章等。 公司產(chǎn)品融合了國內(nèi)外文化藝術之精華，深度涵蓋高中端客戶，深得廣大消費者的喜愛。公司一直堅持“以質(zhì)取勝，信譽為先

50、”的經(jīng)營理念，產(chǎn)品不斷創(chuàng)新，主要面向國內(nèi)大中型企業(yè)級及個人訂制產(chǎn)品，并與日本、英國、美國、澳大利亞以及港臺澳等多個國家和地區(qū)建立了長期、穩(wěn)定的業(yè)務關系。 公司連續(xù)多年被評為“上海市誠信企業(yè)”；2007年7月，公司被奧委會指定為2008北京奧運會特許經(jīng)營商品特許生產(chǎn)商，頒發(fā)了特許證書；2009年被指定為世博特許經(jīng)營商品特許生產(chǎn)商。 我公司截止2009年12月31日的賬面實收資本為 萬元，資產(chǎn)總額 元，負債 元，凈資產(chǎn)總額 元。2008年銷售收入 萬元，實現(xiàn)利稅萬元；2009年銷售收入14000萬元，實現(xiàn)利稅 萬元。（詳見后附的《2009年企業(yè)財務審計報告》）。

51、三、產(chǎn)品需求分析和改造的必要性 3.1 產(chǎn)品需求分析 以紀念章、紀念幣等為主體的工藝品市場是一個最具潛力、增幅較大的市場。進入九十年代以來，世界旅游產(chǎn)業(yè)發(fā)展迅猛，每年以兩位數(shù)增長。中國旅游產(chǎn)業(yè)更是異軍突起，發(fā)展方興未艾，令世界注目。據(jù)世界旅游旅行理事會（WTTC）向中國政府遞交的最新研究預測報告，預計2015年，即未來的十年間將增至8152億美元（約合人民幣67823億元），每年遞增10.4%。十年后，中國將成為世界第一旅游目的地，世界旅游經(jīng)濟頭號強國。中國旅游業(yè)在未來10年中，是僅次于IT產(chǎn)業(yè)的強勢增長產(chǎn)業(yè)。而工藝品作為旅游產(chǎn)業(yè)中具有高附加值的產(chǎn)品，必將隨著旅游業(yè)的發(fā)展而不斷發(fā)展壯大。

52、中國的工藝品具有歷史悠久、舉世聞名的特點，有機會購買自己中意的具有濃厚中國特色的各類工藝品不失為一大樂事。綜上所述，本項目迎合了市場的需求，發(fā)展前景非常廣闊。 3.2技術產(chǎn)業(yè)狀況 無論國際國內(nèi)，目前都沒有本項目所提出的新型高效雕刻制造系統(tǒng)。 3.3 改造的必要性 隨著經(jīng)濟的發(fā)展，工藝品加工及其對環(huán)境的影響成為嚴重影響產(chǎn)業(yè)發(fā)展的關鍵因素。從目前我國的金屬工藝品加工工藝來看，整體效率低下，加工自動化控制手段和設備落后，加工過程中有害物質(zhì)或噪音對環(huán)境污染嚴重，嚴重制約著整個行業(yè)的可持續(xù)發(fā)展。面對當前面臨的困境，必須從技術、設備等角度出發(fā)，對現(xiàn)有生產(chǎn)系統(tǒng)及其工藝加以改進。將計算機及信息技

53、術引入現(xiàn)有金屬工藝品加工過程，對加工設備和加工過程進行在線檢測和控制，可以有效提高整個生產(chǎn)的效率，減少加工過程對環(huán)境的污染，提高材料的利用率和再制造能力，其主要優(yōu)點可以歸納如下： 1）可以雕刻出傳統(tǒng)設備加工不出來的曲線、曲面等復雜工藝品。 由于計算機有高超的運算能力，可以瞬時準確地計算出每個坐標軸瞬時應該運動的運動量，因此可以復合成復雜的曲線或曲面。 2）可以實現(xiàn)加工的自動化，而且是柔性自動化，從而效率可比傳統(tǒng)制造系統(tǒng)提高3～7倍。 由于計算機有記憶和存儲能力，可以將輸入的程序記住和存儲下來，然后按程序規(guī)定的順序自動去執(zhí)行，從而實現(xiàn)加工過程的自動化。 3）自動化雕刻設備只要更換一個程序，

54、就可實現(xiàn)另一工件加工的自動化，從而使單件和小批生產(chǎn)得以自動化，實現(xiàn)“柔性化生產(chǎn)”。 4）擁有自動報警、自動監(jiān)控、自動補償?shù)榷喾N自律功能，可降低了工人的勞動強度，節(jié)省了勞動力，減少了工裝，縮短了新產(chǎn)品試制周期和生產(chǎn)周期，可對市場需求作出快速反應等等。 5）全封閉的加工環(huán)境降低了加工時的噪聲及污染物的飛濺。 隨著人們生活水平的不斷提高，人們對休閑旅游的需求不斷增加，將會直接帶動工藝品的需求，工藝品的特性化需求已將越來越多，這必將帶來工藝品生產(chǎn)周期的革命，因此，“新型雕刻工藝及制造系統(tǒng)”項目的實施可使金屬工藝品的生產(chǎn)周期大大縮短，并使產(chǎn)品精度、外觀質(zhì)量都有很大的提升，從而滿足人們不斷增長的需要

55、。 四、改造的主要內(nèi)容和目標 4.1 改造主要內(nèi)容 本項目主要針對金屬紀念章、紀念幣的新型高效雕刻工藝及制造系統(tǒng)進行技術改造。本項目主要單項工程如下： 工藝品新型高效雕刻柔性制造系統(tǒng)建設； 工藝品制造精度在線檢測及控制系統(tǒng)建設； 加工過程噪聲檢測及消除附屬工程建設； 固體廢料分離、回收及處理附屬工程建設 4.2 改造后達到的主要目標 通過上述單項工程建設，實現(xiàn)如下目標： 1. 新型高效雕刻柔性制造系統(tǒng)建設完成后，可以實現(xiàn)制造資源的快速重組，面向?qū)ο蟮募庸すに嚨目焖倬幹?，完成企業(yè)制造資源的信息化管理，實現(xiàn)單個或批量產(chǎn)品的高效制造。達到年產(chǎn)紀念章300萬枚、年產(chǎn)紀念幣300萬

56、枚，年產(chǎn)值14000萬元的目標。除此以外還要完成銀板100萬枚/年、鋼板200萬枚/年、銅板300萬枚/年、鋼材0.5t/a、油墨20kg/年的生產(chǎn)任務。 2. 工藝品制造精度在線檢測及控制系統(tǒng)建設完成后，可以實現(xiàn)在制產(chǎn)品的加工精度在線檢測和加工誤差的控制及調(diào)整。 3. 噪聲檢測及消除附屬工程建設完成后，可以實現(xiàn)加工現(xiàn)場噪聲的實時在線檢測，快速提出應對措施，由系統(tǒng)自動執(zhí)行指令，將噪聲控制在《工業(yè)企業(yè)廠界環(huán)境噪聲排放標準》GB12348-2008中的2類。 4. 固體廢料分離、回收及處理附屬工程建設完成后，可以實現(xiàn)可回收固定廢料和不可回收固體廢料的自動篩選、回收以及廢棄處理等措施，廢棄物排

57、放標準遵循國家相關標準。 4.2 產(chǎn)品采用的標準 本項目投產(chǎn)后的產(chǎn)品均執(zhí)行國家標準生產(chǎn)。 4.3 生產(chǎn)技術路線 圖一 工藝流程圖 主要生產(chǎn)設備明細表 序號 設備名稱 數(shù)量（臺） 序號 設備名稱 數(shù)量（臺） 1 壓縮機 3 7 砂輪機 1 2 沖床 2 8 車床 3 3 銑床 3 9 線切割機 3 4 液壓機 8 10 五色彩印機 2 5 鋸床 1 11 平面磨床 2 6 雕刻機 2 12 塑封機 2 4.4配套工程 本項目利用的主要為電能，不設鍋爐。用電量12萬度/年，電源由上海市松江區(qū)供

58、電局電網(wǎng)提供。 本項目無生產(chǎn)用水。員工生活用水量4t/d。 五、項目總投資、資金來源和資金構成 5.1 項目總投資 本項目總投資3000萬元，其中固定資產(chǎn)投資2700，流動資金300萬元。 5.2 資金來源 5.2.1 固定資產(chǎn)投資來源 固定資產(chǎn)2700萬元，企業(yè)自籌資金2455萬元，申請政府撥款245萬元。 5.2.2 流動資金來源 流動資金300萬元，由企業(yè)自籌。 5.2.3 資金使用計劃（見附表1） 5.3 資金構成 本項目固定資產(chǎn)投資為2700萬元，其中設備購置費2335萬元，占固定資產(chǎn)投資的86.4%；廠房、土建工程費及生產(chǎn)線技術升級

59、費為365萬元，占固定資產(chǎn)投資的13.6%；固定資產(chǎn)投資估算及流動資金估算分別見附表2和3 六、人員培訓及技術來源 6.1 人員培訓 為了保證企業(yè)生產(chǎn)計劃的正常進行以及企業(yè)生產(chǎn)線的技術升級潛能，公司對所有員工進行定期培訓，培訓層次主要分為三個層次：知識培訓、技能培訓和素質(zhì)培訓。 第一、知識培訓 企業(yè)定期舉行與公司產(chǎn)品、生產(chǎn)線及市場相關的講座，一般一周一次，使大部分員工能夠了解產(chǎn)品及新型生產(chǎn)線的基本情況，增強對新環(huán)境的適應能力。 第二、技能培訓 公司在招進新員工、采用新設備及引進新技術時都會針對具體人員進行技能培訓，使其適應具體的操作。 第三、素質(zhì)培訓 針對老員工，進行針對具體目

60、標的培訓，公司從總經(jīng)理到各個員工都不定期進行輪崗培訓，提高員工結合自身崗位有效、主動學習的效果。 6.2 技術來源 公司的技術來源主要可以分為自行研發(fā)、共同研發(fā)兩類： 1）自行研發(fā) 所有紀念章、紀念幣的設計及加工工藝全部由郁金香工藝品有限公司擁有核心技術和產(chǎn)品知識產(chǎn)權。 2）工藝品高效雕刻制造系統(tǒng)及相關在線檢測、控制系統(tǒng)是由和xx機電工程學院共同研發(fā)完成的，郁金香工藝品有限公司擁有知識產(chǎn)權。合作伙伴xx機電工程學院以服務“長三角區(qū)域經(jīng)濟建設”為宗旨，以“高效就業(yè)”為導向，走“產(chǎn)學研結合”道路，促進應用型高等教育與生產(chǎn)實踐、技術推廣、社會服務緊密結合。學院先后成立了數(shù)控技術應用及裝備研發(fā)

61、中心、粉體與干燥裝備研發(fā)中心和中國機械設計工程師資格認證考試培訓中心。通過強化激勵和完善科研管理制度，積極鼓勵教師開展科研、技術推廣與社會服務工作，逐步形成了一支素質(zhì)較高的科研隊伍。尤其是近幾年來引進一批高學歷、高職稱教師，極大地增強了科研實力。近五年全院共承擔了國家自然科學基金、國家重大科技專項、國家863、國防預研和重點型號研制、省部基金以及橫向協(xié)作等多層次、多類型的科研項目70多項，開展了高層次的研究探索和工程開發(fā)。為國家和地區(qū)區(qū)域經(jīng)濟建設做出了重要貢獻。 在大型復雜結構件高速加工及抗疲勞制造技術、數(shù)控電解加工、數(shù)字化細胞注射技術、數(shù)字化設計與制造、數(shù)控技術、粉體加工、金屬制品雕刻工藝

62、等方面形成了自己的教科研特色和優(yōu)勢。獲得國防科技進步二等獎一項，江蘇省教學成果二等獎1項，常州市科學技術進步四等獎一項，常州市自然科學論文二等獎兩項，三等獎多項，校級教學成果特等獎3項、一等獎2項、二等獎5項。近五年來，我院公開發(fā)表論文近300篇，被SCI、EI及ISTP收錄50多篇。 已授權發(fā)明專利10余項、實用新型專利20余項、其他專利數(shù)項。 七、項目實施進度計劃 7.1 項目實施 項目實施分為三個階段，前期準備、項目實施、項目完成等。 7.1.1 前期準備階段：項目建議書、可行性研究。 7.1.2 項目實施階段：設計、施工、安裝、試機。 7.1.3 項目完成階段：試生產(chǎn)、竣工

63、驗收。 項目實施進度表 序號 內(nèi)容 2009 2010 7 8 9 10 11 12 7 8 9 10 11 12 1 項目建議 ★ ★ 2 編寫可研報告 ★ 3 施工設計 4 土建施工 ★ ★ 5 購置設備 ★ ★ ★ 6 設備安裝 ★ ★ 7 職工培訓

64、 ★ ★ 8 調(diào)試 ★ 9 投產(chǎn) ★ 八、項目經(jīng)濟效益和社會效益分析 8.1 項目經(jīng)濟效益分析 紀念章和紀念幣等金屬工藝品新型加工項目的生產(chǎn)主要包括兩大部分，即紀念章和紀念幣等金屬工藝品生產(chǎn)和主要原輔材料生產(chǎn)。由于金屬工藝品生產(chǎn)工藝的特殊性決定，大部分紀念章和紀念幣產(chǎn)品以及原輔料只能由公司生產(chǎn)，而小部分主要原輔材料由本公司把技術轉(zhuǎn)讓給全國各大小金屬工藝品生產(chǎn)企業(yè)，由他們代為加工。他們所需要的技術革新將全部由公司負責。我們必須投資建設具有300萬枚紀念章

65、/年、300萬枚/年紀念幣、100萬枚/年銀板、200萬枚/年鋼板、300萬枚/年銅板、0.5t/a鋼材以及20kg/年油墨的生產(chǎn)能力的金屬工藝品制造基地，需要2條生產(chǎn)流水線，設備投資約2450萬元，原料流動資金300萬元，租金250萬元?？傆嫾s需投資3000萬元。 本項目建成實施后形成的紀念章、紀念幣生產(chǎn)能力600萬枚/年，年產(chǎn)值14000萬元，總成本（包括原材料、人員工資福利、水電、設備折舊、房屋租金、運輸?shù)龋?50萬元，單位價格1.5元/枚，利潤100萬元，上繳利稅33萬元。奧運會、世博會特許紀念品生產(chǎn)能力1.5萬噸，總銷售額1.65億元，總成本（項目同上）1.5億元，市場銷售價格1

66、1000元/枚，利潤1500萬元，公司可得利潤的40即600萬元，上繳利稅198萬元；預計項目投資回收期：稅前約為7個月，稅后約為13個月。 8.2 社會效益分析 本項目除了項目建設單位可獲得較高的經(jīng)濟效益外，對項目建設區(qū)的社會及生態(tài)效益產(chǎn)生積極的作用。 本項目建設地點位于上海市松江區(qū)永豐街道，區(qū)內(nèi)水、電、通訊等“七通一平”基礎設施齊全，至2004年6月，進區(qū)外資項目已達500家，項目總投資超過50億美元。在松江區(qū)永豐街道落戶的企業(yè)中85%已經(jīng)建成投產(chǎn)，且經(jīng)濟效益良好。 我公司的新型高效雕刻工藝及制造系統(tǒng)項目，不但通過自動化設備及自動化生產(chǎn)新的應用提高了生產(chǎn)效率，還充分利用在線檢測、工業(yè)殘留物的在線分離及回收再利用等手段實現(xiàn)了高效控制、環(huán)境保護以及節(jié)能。本項目對環(huán)境的影響分析如下： 1） 水環(huán)境影響分析：本項目無生產(chǎn)廢水產(chǎn)生。生活污水1080t/a直接進入市政污水管網(wǎng)，然后進入松江水環(huán)境凈化有限公司。因此，廢水排放不會對周圍水環(huán)境產(chǎn)生影響。 2） 大氣環(huán)境影響分