年加工6万吨大米生产线低温碾米抛光技术改造项目可行性研究报告(编辑修改稿)

年加工6万吨大米生产线低温碾米抛光技术改造项目可行性研究报告(编辑修改稿)内容摘要：

Wrat h by John Steinbeck voi ce the t hemes of slaver y and mi grator y l abor respect ively. The ti tl e of The Grapes of Wrat h es fr om a li ne in an extr emely f amous Civi l War song, “The Bat tl e Hymn of t he Republi c.” The l ine is, “He i s tr am pl ing out the vi ntage where t he Grapes of wr at h ar e st ored,” whi ch means “an unjust or oppr essive sit uat ion, act ion or policy t hat m ay inf lame desi re for vengeance: an expl osi ve condit ion.” The song was wr it ten by a f amous and infl uent ial soci al acti vi st , Jul ia War d Howe. Unobvi ous theme: But i n most li terar y wor ks of f ict ion, t he theme i s sel dom so obvious. That is, general y a t hem e is not a mor al nor a message, nei ther is i t cl ear ly conveyed i n the t it le. When we fi ni sh reading a f inely wrought st ory, it i s easier to sum up the pl ot —to say what happens—than to descri be the mai n idea. To say of Jam es Joyce’ s “Araby” that it i s about a boy who goes to a bazaar t o buy a gif t for a young woman but ar r ives too l at e i s to summar ize plot , not theme. In many fi ne shor t st ori es, theme i s the center, t he movi ng f or ce, t he pri nci pl e of unity. Cl ear ly, such a t hem e is somethi ng more t han the characters and event s of the stor y. Most of the short stor ies chal lenge an easye t heme. I n Hemi ngway’ s “A Cl ean, Wel l Li ghted Pl ace,” as obser ved by Kennedy and Gi oia, the event s ar e r at her si mple—a young wai ter manages t o get r id of t he old m an fr om t he caf 233。 and the older wait er st ops at a coff ee bar on hi s way home—but whil e the events t hemselves sem rel at ively sl ight, the st or y as a whole is f ull of meani ng. For a deep under st anding of t he meani ng, we have t o l ook t o other elements of t he st ory besides what happens i n it : nar rat ive, symbols, tone, the dialogue between t he two wai ter s, t he monol ogue of t he older waiter , et c. Evi dentl y t he aut hor i ntends us t o pay mor e ate nti on to the t houghts and f el ings of the older wait er, the character whose words echo the author’ s voice. One tr y on the t hem e may be: “The ol der wai ter under st ands t he ol d man and sympathizes wi th hi s need f or a cl ean, wel l ighted pl ace.” But her e we are st il l t alking about what happens i n the stor y, t hough we ar e not summing up t he plot. A theme i s usual y stated i n gener al wor ds. Another tr y sounds l ike t his: “Sol i t ar y people need a order ly pl ace where they can dr i nk wit h dignit y.” That is a l it tl e bet ter. We have i ndicat ed that Hemi ngway’s st or y i s more than mer el y about an old man and two wait er s. We remember that at the end the stor y is ent ir el y conf ined t o the ol der wai ter’s t houghts and percept ions. How do we underst and hi s mediati on on “nada,” nothi ngness, whi ch bears so m uch em phasis? No good statement of the t hem e of t he story can l eave i t out . Then we have sti l another tr y: “Soli tar y peopl e need a pl ace of r ef uge fr om their ter ri ble awarenes t hat t hei r li fe ( or per haps, human li fe) is essent ial y meaningless. ” Neit her t hi s nor any ot her stat em ent of the stor y’s t hem e is unarguabl y appropri ate, but t he st at ement at least ouches one pri mary i dea that Hemingway seem s to be dr iving at . Af t er we read “A Cl ean, Wel l Lighted Pl ace,” we feel that there i s such a theme, a uni fyi ng vi sion, even t hough we cannot r educe i t to a t ag and we may sti l vary in our opinion about, and st at em ent of, the t heme. Moral inf erences drawn f rom m ost stories: Moral inf er ences may be dr awn fr om m ost stor ies, no doubt, even when an aut hor does not i ntend his /her st ory to be r ead this way. In “A Cl ean, Well Li ght ed Place”, we f eel t hat Hem ingway is i ndi rectl y givi ng us advi ce f or properl y regardi ng and sympathi zi ng the l onel y, t he uncert ain, and the old. But obvi ousl y the stor y does not set f ort h a l esson that we are supposed to put i nto pr act ice. We can say f or sur e that “A Cl ean, Wel Li ghted Place” cont ai ns several themes and other st atements could be m ade t o take i n Hemi ngway’s vi ew of love, of m uni cat ion between peopl e, of di gni ty. Gr eat stori es, l ike great symphonies, fr equentl y have m or e t han one t hem e. When we say t hat t he ti tl e of Pri de and Pr ejudice conveys the t hem e of the novel or t hat Uncle Tom’ s Cabin and The Gr apes of Wr ath t r eat the t hem es of slavery and migrat or y l abor r espect ively, thi s is t o use theme i n a lar ger and m or e abst r act sense t han i t i s i n our di scussi on of case t he noveli st i ntends to point out the profound cause of Gatsby’s tragedy. Dr. Wat son i n t he st ori es of Sherl ock Holmes s erves as a foi l t o t he her o, r ender ing t he det ect ive smart er t han he would ot her wise appear t o the r eader. By t he degr ee of their devel opm ent , charact ers can be grouped as round charact ers and f lat characters. Thi s division is proposed by Forster . Round charact ers ar e f ul ly developed whil e f lat characters ar e not. Or we can say that round charact ers gr ow whi le fl at charact ers do not. Usual y the r eader is al lowed access to the inner li fe of t he round char act er and per mit ted t o learn about many sides of t he round character. The flat character i s a “cl osed” charact er to whose inner thought s the r eader is denied access. Usual y one si de of the f lat char act er i s shown in t he novel. Most heroes are round charact ers who grow em otional y or spi ri tual y. Chapt er Three Them e Ar istotl e i n Poet ics l ists six basic el ement s of tr agedy. Mel ody (song) and di ct i on ( language) fal i n the general cat egor y of st yle, and spect acl e i s relevant t o set ti。