【正文】 項(xiàng)目實(shí)施全部采用2 年生優(yōu)良無(wú)性系嫁接苗上山，良種利用率達(dá)到70%以上，目前江西省油茶良種共54 個(gè)，分別為江西省林科院的贛無(wú)系列，中國(guó)林科院亞熱帶林業(yè)試驗(yàn)中心的長(zhǎng)林系列，優(yōu)良無(wú)性系采穗圃共1000 畝，每年可生產(chǎn)優(yōu)良無(wú)性系苗木10000 萬(wàn)株，今年江西省大力促進(jìn)油茶產(chǎn)業(yè)的發(fā)展苗木方面不管是數(shù)量及質(zhì)量上都有迅速的提高，且公司培訓(xùn)一批專(zhuān)業(yè)的技術(shù)人員嚴(yán)把苗木安全關(guān)，對(duì)次苗、實(shí)生苗堅(jiān)決排除所以苗木方面無(wú)風(fēng)險(xiǎn)。 ㈢林木種植風(fēng)險(xiǎn)油茶為樂(lè)平地區(qū)鄉(xiāng)土樹(shù)種種植時(shí)間悠久，栽培經(jīng)驗(yàn)充足，種植上無(wú)風(fēng)險(xiǎn)。油茶本身屬抗病性、抗寒性較強(qiáng)樹(shù)種，生命力強(qiáng)大，加之本項(xiàng)目選用的良種均是抗性高、品質(zhì)優(yōu)的優(yōu)良品種，加之公司有專(zhuān)業(yè)林業(yè)工作者對(duì)基地跟蹤性關(guān)注，及時(shí)的處理病株及蟲(chóng)害，所以林木種植上無(wú)風(fēng)險(xiǎn)。 ㈣市場(chǎng)、投資風(fēng)險(xiǎn)根據(jù)“國(guó)家林業(yè)局關(guān)于發(fā)展油茶產(chǎn)業(yè)的意見(jiàn)”、國(guó)家“十一五”規(guī)劃，江西省委、省政府提出了“1155”工程，要努力把江西打造成為全國(guó)油茶產(chǎn)業(yè)強(qiáng)省。因此，政策上有支持。同時(shí)中央及地方財(cái)政對(duì)油茶種植產(chǎn)業(yè)均有相當(dāng)力度的補(bǔ)貼計(jì)劃，同時(shí)各地銀行對(duì)油茶山抵押貸款也有特殊對(duì)待，目前樂(lè)平地區(qū)新造油茶林每畝可貸600元，所以投資上無(wú)風(fēng)險(xiǎn)。茶油市場(chǎng)的發(fā)展還是以茶油為大宗，提高精煉工藝生產(chǎn)高級(jí)保健食用油，擴(kuò)大貿(mào)易，增加出口。茶油深加工開(kāi)發(fā)高級(jí)化妝品市場(chǎng)，油酸含量是所有食用油中最高的，容易被皮膚吸收，能滋養(yǎng)皮膚，不存在各種合成化妝品所有的將具有很好的市場(chǎng)前景。茶油市場(chǎng)一直呈現(xiàn)供不應(yīng)求的局面，由于原材料的缺少，油茶種植面積小，且老弱殘林面積多，低產(chǎn)林?jǐn)?shù)量大等因素而制約了油茶各產(chǎn)業(yè)的發(fā)展，本項(xiàng)目全部采用優(yōu)良品種上山確保了后期的油產(chǎn)品質(zhì)量及產(chǎn)量，所以市場(chǎng)投資商均無(wú)風(fēng)險(xiǎn)。 ㈤環(huán)境保護(hù)風(fēng)險(xiǎn)本項(xiàng)目的實(shí)施采取順坡作業(yè)，不煉山，不會(huì)造成嚴(yán)重水土流失,使用的材料均可被生物降解或被植物利用，未使用任何有毒有害物質(zhì)，屬綠色農(nóng)業(yè),沒(méi)有“三廢”排出，因此，對(duì)環(huán)境沒(méi)有影響。另外新造油茶林3萬(wàn)畝，增加土壤保持水土能力，改善生態(tài)環(huán)境，對(duì)環(huán)境起到綠化作用。 第六章：項(xiàng)目可行性研究結(jié)論綜上，近年在江西省樂(lè)平名口鎮(zhèn)戴村種植油茶項(xiàng)目從經(jīng)濟(jì)效益角度，技術(shù)角度及社會(huì)價(jià)值角度考慮該項(xiàng)目可行。26trouble with the hero Jordan, yet he is a main character as his wife Pilar is. Minor characters are those in remote and static relation with the hero. It is wrong to think that minor characters are all unimportant. In some novels, one or some of the minor characters may serve a critical role, structurally or interpretationally.Foil characters are ones that help enhance the intensity of the hero by strengthening or contrasting. They may be main characters or minor characters. In a word, they serve as foils to the hero or heroine. Cohn in The Sun Also Rises is a good example. He is one of the main characters. Like Jake, he is also “l(fā)ost,” trying vainly to escape the past by courting women and drinking. But during their stay in Spain, Cohn displays qualities in contrast to those cherished by Jake, which makes Jake realize his own problems and finally find a solution, though temporarily. Cohn works mainly by contrast. Wilson in The Great Gatsby works by presenting. Gatsby lost his lover to Tom and Wilson lost his wife to Tom. By presenting Wilson’s case the novelist intends to point out the profound cause of Gatsby’s tragedy. Dr. Watson in the stories of Sherlock Holmes serves as a foil to the hero, rendering the detective smarter than he would otherwise appear to the reader.By the degree of their development, characters can be grouped as round characters and flat characters. This division is proposed by Forster. Round characters are fully developed while flat characters are not. Or we can say that round characters grow while flat characters do not. Usually the reader is allowed access to the inner life of the round character and permitted to learn about many sides of the round character. The flat character is a “closed” character to whose inner thoughts the reader is denied access. Usually one side of the flat character is shown in the novel. Most heroes are round characters who grow emotionally or spiritually.Chapter Three ThemeAristotle in Poetics lists six basic elements of tragedy. Melody (song) and diction (language) fall in the general category of style, and spectacle is relevant to setting in our discussion of fiction. The other three aspects are mythos or plot, ethos or character, and dianoia, which we generally translate into “thought” in English. According to Aristotle, plot is the “soul” or shaping principle or fiction, and characters exist primarily as functions of the plot. In most of the stories, plot plays the role of principal structure of the story. But, as Northrop Frye points out, besides the internal fiction of the character and his/her society, there is an external fiction consisting of a relation between the writer and the writer’s society. We indeed have literary works by the likes of Shakespeare and Homer in which artistry is pletely absorbed in their internal characters and we can hardly perceive the existence of the author. However, as soon as the author’s personality appears on the horizon, a relation with the reader is established, and sometimes there seems no story at all apart from what the author is conveying to his/her reader. In this case, the primary interest in dianoia, the idea or thought that reader gets from the writer, which in modern criticism we generally call “theme”.I. What Is Theme?One of the safest ments to make about novels is on the theme. Everyone is entitled to extract a theme based upon his understanding of the novel. Theme may be the most democratic elements in literature, because its definition is the least restrictive. The theme of a novel is its controlling idea or its central insight. Being an idea or an insight, the theme should be abstract and it should generalize about life. Labeled as controlling or central, the theme should be capable of unifying the whole novel. So the theme of a story, then, is whatever general idea or insight the entire story reveals. II. Clarification about ThemeCommon as it is, theme suffers some misunderstandings. One misconception about theme is that each novel has a theme or themes, or theme is important to all novels. In fact, some novels, interesting ones though, do not provide any insight into life. For example, many novels of ratiocination and novels of horror. These novels are aimed at entertaining the reader, not at improving his understanding of life. They may sometimes touch upon the human nature or social problems, but these issues are only used to push the plot forward and they are not mentioned for their own value. Theme exists only in the novel that seriously attempts to reflect life faithfully or intends to reveal truth about life, or in the novels that are based on ideas or theories of life. (for example, novels of ideas).Another misconception about theme is that the theme is largely what the novel is. Some people discard the novel when they think that they have got the theme. It should be made clear that the novel is not written to convey an idea but to convey an idea artistically. The novel is a work of art whereas the theme is only an abstract idea. An analogy from daily life may help clarify this question. People all need vitamins