【正文】 比機(jī)械凍干的優(yōu)勢(shì) ：液氮凍干技術(shù)作為凍干技術(shù)的發(fā)展趨勢(shì)，未來市場(chǎng)前景廣闊。液氮凍干機(jī)對(duì)于操作工人的要求也很低，只要按說明要求輸入曲線數(shù)據(jù),就可以免維護(hù)自動(dòng)運(yùn)行。如果年生產(chǎn)150批次則全年耗電：249480千瓦時(shí)。由于液氮制冷技術(shù)能達(dá)到較低溫度，使一些對(duì)熱不穩(wěn)定，不能使用普通凍干技術(shù)進(jìn)行凍干的物質(zhì)凍干成為可能。在產(chǎn)品的凍結(jié)過程中,可以任意控制冷凍的速度,特別是需要急速冷卻的產(chǎn)品,其凍結(jié)的速度要比常規(guī)凍干機(jī)快兩倍以上。廣東星昊藥業(yè)有限公司是廣東省唯一一家使用這項(xiàng)新技術(shù)的制藥企業(yè)。目前，國(guó)內(nèi)工業(yè)制藥凍干技術(shù)均采用氟利昂制冷及其回收技術(shù)，凍干過程中耗電耗水多， 制造成本高。這項(xiàng)技術(shù)用于大生產(chǎn)在國(guó)內(nèi)還是第一家。加快培育和發(fā)展戰(zhàn)略性新興產(chǎn)業(yè)對(duì)推進(jìn)我國(guó)現(xiàn)代化建設(shè)具有重要戰(zhàn)略意義。流動(dòng)資金其余部分也為公司自籌。Kyohou,39。并在日本藥學(xué)年會(huì)等國(guó)際會(huì)議上做過學(xué)術(shù)報(bào)告。中國(guó)協(xié)和醫(yī)科大學(xué)藥物研究所，獲博士學(xué)位。張明先生在本公司工作期間，領(lǐng)導(dǎo)相關(guān)技術(shù)人員陸續(xù)完成定位釋放技術(shù)、穩(wěn)定的注射劑制備技術(shù)、速釋制劑技術(shù)、緩控釋制劑技術(shù)、改善藥物吸收技術(shù)、高效凍干技術(shù)等核心技術(shù)開發(fā)工作，并利用公司在產(chǎn)品中試與放大生產(chǎn)方面的優(yōu)勢(shì)，通過一系列產(chǎn)品研究，形成生產(chǎn)適用性集成技術(shù)。在麗珠集團(tuán)股份有限公司工作期間，主持多個(gè)新藥開發(fā)項(xiàng)目，其中數(shù)個(gè)品種目前已成為麗珠醫(yī)藥集團(tuán)的拳頭產(chǎn)品，于2000年10月創(chuàng)建了北京星昊醫(yī)藥股份有限公司（原北京星昊現(xiàn)代醫(yī)藥開發(fā)有限公司），憑借她多年主持新藥開發(fā)的經(jīng)驗(yàn)和與國(guó)際接軌的管理水平，積極了解國(guó)內(nèi)外相關(guān)領(lǐng)域的發(fā)展動(dòng)態(tài)，以新型的管理方法和經(jīng)營(yíng)理念來設(shè)計(jì)公司的發(fā)展。整個(gè)研發(fā)實(shí)驗(yàn)室具備完善的質(zhì)量標(biāo)準(zhǔn)研究、工藝研究能力。公司研發(fā)人員來自多個(gè)學(xué)科，專業(yè)門類齊全，專業(yè)領(lǐng)域涉及藥學(xué)（包括藥物化學(xué)、藥物分析、藥物制劑、藥理學(xué)、應(yīng)用藥學(xué)、制藥工程等）、中藥學(xué)（包括生藥學(xué)、植物化學(xué)等）、臨床醫(yī)學(xué)、化學(xué)類（包括化學(xué)合成、應(yīng)用化學(xué)、化學(xué)工藝、高分子材料等）、生物學(xué)類（包括生物化學(xué)、生物工程、分子生物學(xué)等）。星昊醫(yī)藥始終堅(jiān)持以科研開發(fā)、自主創(chuàng)新為核心，建立了國(guó)內(nèi)領(lǐng)先的科研體系，具備較完善的科研開發(fā)投入機(jī)制和項(xiàng)目管理機(jī)制，擁有高素質(zhì)的研發(fā)隊(duì)伍、國(guó)際先進(jìn)水平的科研設(shè)備。生產(chǎn)線建成后將主要從事凍干粉針劑、小容量注射液、塑料安瓿注射液、化學(xué)原料藥以及中藥提取的中試與生產(chǎn)。：：2009年1月2009年 6月；招投標(biāo)、勘查設(shè)計(jì)、報(bào)建等。本生產(chǎn)線的特色是無需使用對(duì)環(huán)境有害的氟利昂制冷技術(shù)，而是利用核電廠或鋼廠制氧的副產(chǎn)品進(jìn)行制冷，低溫高效，適用范圍廣，即能提高藥品質(zhì)量，又節(jié)能環(huán)保，還充分利用了核電廠和鋼廠副產(chǎn)品液氮資源。，加具企業(yè)法人代表簽字和企業(yè)公章。三．項(xiàng)目的備案、核準(zhǔn)或?qū)徟募??！璚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.Apparently, the author makes a contrast between the ugly jailhouse with a tangled grassplot overgrown with burdock and pigweed and something as beautiful as a wild 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. she loved the place and was loved in the place. The vale, far 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 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。 (3) the time or period in which the action takes place, for example, the late eighteenth century in history or winter of the year。Usually, a setting consists of time and place. It can also mean circumstances such as Midas’s mentality. A setting may be detailed or sketchy. It depends on the novelist’s purpose of writing and his idea of works 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 event in the novel whereas exposition is only the initiating action.“Once upon a time there lived a king named Midas in Phrygia. He loved gold more than anything else but his little daughter.” Does the story contain 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. P, and Faulkner’s Barn Burning concern 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 the theme may be very different: the tone of treatment may be, for example, either ic or tragic, straightforward or ironic. The writer’s 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 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 about the theme of a story: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 Hemingway’s story is more than merely about an old man and two waiters. We remember that at the end the story is entirely confined to the older waiter’s 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 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 story’s theme is unarguably appropriate, but the statement at least touches one primary idea that Hemingway seems to be driving at. After we read “A Clean, WellLighted 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. When we say that the title of Pride and Prejudice conveys the theme of the novel or that Uncle Tom’s 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 discussion of Hemingway’s “A Clean, WellLighted Place.” In this larger sense it is relatively easy to say that Mark Twain’s Huckleberry Finn, Updike’s A amp。Does the author (through the narrator) make any general observation