【正文】 ,。近年來,榆林國(guó)家能源化工基地的建設(shè)已形成跨越發(fā)展的態(tài)勢(shì),2008年,全市地區(qū)生產(chǎn)總值跨上千億元臺(tái)階,穩(wěn)居全省第二,同比增長(zhǎng)23%,增速連續(xù)7年保持全省第一。省第十次黨代會(huì)也把能源化工確定為我省六大特色產(chǎn)業(yè)之一，明確提出，要以國(guó)家“西電東送”、“西氣東輸”為契機(jī)，加決陜北能源化工基地建設(shè)，形成對(duì)全省經(jīng)濟(jì)最具貢獻(xiàn)的新的支柱產(chǎn)業(yè)群，成為新世紀(jì)我國(guó)現(xiàn)代化建設(shè)的一個(gè)重要能源接續(xù)地。(七)項(xiàng)目提出的背景榆林市位于陜西省最北端，地處晉、陜、蒙、寧、甘五省交界處，是國(guó)內(nèi)外少有的能源礦產(chǎn)資源富集區(qū)，目前已發(fā)現(xiàn)8大類40 多種礦產(chǎn)資源，其中煤炭、天然氣、石油和鹽四大資源儲(chǔ)量十分豐富，據(jù)勘探，榆林煤炭預(yù)測(cè)儲(chǔ)量2714億噸，探明儲(chǔ)量1460億噸，占全國(guó)探明儲(chǔ)量的15%，含煤面積占全市土地面積的54%，為世界七大煤田之一。(六)研究工作依據(jù)《中華人民共和國(guó)國(guó)民經(jīng)濟(jì)和社會(huì)發(fā)展第十一個(gè)五年規(guī)劃綱要》；《榆林市國(guó)民經(jīng)濟(jì)和社會(huì)發(fā)展第十一個(gè)五年規(guī)劃綱要》；國(guó)家和省市有關(guān)工業(yè)項(xiàng)目建設(shè)政策、法令和法規(guī)。已經(jīng)成為榆林市實(shí)力比較雄厚、規(guī)模較大、效益良好的民營(yíng)企業(yè)之一。質(zhì)量監(jiān)督功能項(xiàng)目設(shè)有質(zhì)量監(jiān)測(cè)中心、環(huán)保檢測(cè)中心，跟蹤監(jiān)督項(xiàng)目區(qū)域內(nèi)建材的環(huán)保質(zhì)量。倉(cāng)儲(chǔ)功能項(xiàng)目擬建大型鋼材庫(kù)、水泥庫(kù)、木材庫(kù)、材料周轉(zhuǎn)庫(kù)等。項(xiàng)目由建材銷售和物流倉(cāng)儲(chǔ)兩大部分組成，分三個(gè)專業(yè)區(qū)，分別是①建材交易區(qū)；②物流倉(cāng)庫(kù)區(qū)；③商務(wù)酒店、服務(wù)生活區(qū)。In some stories, a writer seems to draw a setting mainly to evoke atmosphere. In such a story, setting starts us feeling whatever the storyteller would have us feel. Thus atmosphere is a metaphor for a feeling or an impression which we cannot readily attach to some tangible cause. We say that an old farmhouse set among large maples, on a green lawn, has an atmosphere of peace. Here what we mean is that the house, by reason of the look of quietness and by reason of a number of pleasant associations we have with the kind of life lived there, stirs a certain reaction in us which we do not attach to any single incident or object, but generally to the whole scene. In the same way we may say that the setting of a story contributes to defining its atmosphere. For instance, in “The TellTale Heart,” Poe’s setting the action in an old, dark,榆林遠(yuǎn)洋煤炭運(yùn)銷有限公司項(xiàng)目可行性研究報(bào)告榆林市遠(yuǎn)洋建筑工程有限公司二〇一〇年七月?榆林目　錄第一章　項(xiàng)目總論………………………………………………2第二章　項(xiàng)目建設(shè)環(huán)境…………………………………………11第三章　項(xiàng)目建設(shè)的必要性……………………………………21第四章　市場(chǎng)分析與建設(shè)規(guī)模的確定…………………………29第五章　區(qū)域建設(shè)條件及選址…………………………………39第六章　技術(shù)方案………………………………………………44第七章　環(huán)境保護(hù)與安全生產(chǎn)…………………………………50第八章　人防、消防、節(jié)能及地震設(shè)防………………………53第九章　項(xiàng)目組織管理和勞動(dòng)定員……………………………54第十章　項(xiàng)目實(shí)施進(jìn)度安排……………………………………56第十一章　投資估算與資金籌措………………………………58第十二章　財(cái)務(wù)效益分析………………………………………61第十三章　可行性結(jié)論與建議…………………………………64榆林遠(yuǎn)洋煤炭運(yùn)銷有限公司項(xiàng)目可行性研究報(bào)告第一章 項(xiàng)目總論一、項(xiàng)目概況(一)項(xiàng)目名稱榆林遠(yuǎn)洋東山建材批發(fā)建材(二)項(xiàng)目建設(shè)單位榆林市遠(yuǎn)洋建筑工程有限公司(三)項(xiàng)目擬建地點(diǎn)和建設(shè)內(nèi)容榆林遠(yuǎn)洋東山建材中心擬建于榆陽(yáng)區(qū)牛家梁林場(chǎng)附近，毗鄰榆林市規(guī)劃的兩個(gè)物流中心區(qū)之一的東沙物流園區(qū)，榆林城區(qū)通往麻黃梁工業(yè)園區(qū)的榆麻路、210國(guó)道新建過境線邊、西包鐵路貸物專線邊?！?. The setting of a novel is not always drawn from a reallife locale.When 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.Besides place and time, setting may also include the weather, which, indeed, may be crucial in some stories. 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.Sometimes an environment serves as more than a mere place to set the story. Often, it is inextricably entangled with the protagonist, and even carries strong symbolic meanings. Cathy as an image of the feminine personality, for example, in Emily Bronte’s Wuthering Heights, is not supposed to possess the “wilderness” characteristic of masculinity and symbolized by the locales of Heathcliff and Wuthering Heights. In some fiction, setting is closely bound with theme. In The Scarlet Letter, even small details afford powerful hints at the theme of the story. At the start of the story, the narrator describes a colonial jailhouse: 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。First, as we have said, the idea of setting includes the physical environment of a story: a region, a landscape, a city, a village, a street, a house—a particular place or a series of places where a story occurs. (Where a story takes place is sometimes called its locale.) Places in fiction not only provide a location for an action or an event of the story but also provoke feelings in us. A sight of a green field dotted with fluttering daffodils affects us very differently from a sight of a dingy alley, a tropical jungle, or a small house crowded with furniture. In addition to a sense of beauty or ugliness, we usually build up certain associations when we put ourselves in such a scene. We are depressed by a dingy alley, not only because it is ugly, but because it may arouse a feeling, perhaps sometimes unconsciously, of poverty, misery, violence, viciousness, and the struggles of human beings who have to live under such conditions. A tropical jungle, for example, in Joseph Conrad’s Heart of Darkness, might involve a plicated analysis: the pleasure of the colours and forms of vegetation, the disfort of humidity, heat, and insects, a sense of mystery, horror, etc. The popularity of Sir Walter Scott’s “Waverley” novels is due in part to their evocation of a romantic mood of Scotland. The English novelist Graham Greene apparently needed to visit a fresh scene in order to write a fresh novel. His ability to encapsulate the essence of an exotic setting in a single book is exemplified in The Heart of the Matter。 (3) the time or period in which the action takes place, for example, the late eighteenth century in history or winter of the year。By the setting of a story, we simply mean its place and time, the physical, and sometimes spiritual, background against which the action of a narrative takes place. Every a story as short as the one at the beginning of the introducti