前言：想要寫出一篇令人眼前一亮的文章嗎？我們特意為您整理了5篇特技風箏范文，相信會為您的寫作帶來幫助，發現更多的寫作思路和靈感。

特技風箏范文第1篇

關鍵詞：獼猴桃；特征特性；豐產栽培技術；徽州區

中圖分類號 S66 文獻標識碼 A 文章編號 1007-7731（2017）02-03-0040-02

獼猴桃因具有豐富的維生素和糖分而被稱為Vc之王，屬于獼猴桃科獼猴桃屬藤本植物，具有非常豐富的營養和保健作用。獼猴桃除直接食用之外，還可制成果醬、果汁、果脯等食品[1]。獼猴桃栽培在我國由來已久，其中安徽的黃山、大別山一帶是有名的獼猴桃產區。經過多年的精心培育，徽州區獼猴桃的產量逐漸增加，帶動了該區經濟的發展。本文介紹了獼猴桃的特征特性，總結其豐產栽培技術要點，為廣大獼猴桃種植戶提供參考。

1 獼猴桃特征特性

1.1 植物學特征

1.1.1 根 獼猴桃主根不發達，次根發達，根皮層里含有豐富的淀粉，根系分布廣，能夠吸收大量的水分和營養物質[2]。

1.1.2 枝蔓 獼猴桃的枝蔓年生長量大，具有攀援能力，每年可長3～10m，在生長后期，枝蔓頂端能夠逆時針旋轉，這是其生長特征。枝蔓分為2種，一種是徒長蔓，這種枝蔓直立生長，發育不充實，一般不能成為結果母蔓，長度可達3～10m；另一種是普通蔓，這種枝蔓發育充實，多數可以結果母蔓，長度可達10～150cm。

1.1.3 花芽分化 花芽分化分為生理分化和形態分化，其中生理分化主要在開花前一年的7―9月，形態分化主要在開花當年萌芽至花蕾露白這段時間。花芽主要生長在結果母蔓從底部開始的第3～7節，是一種混合花芽。

1.1.4 結果習性 結果母蔓基部的第3～7節是主要的結果枝蔓，根據枝條長短和枝條長勢分為4種，分別為徒長性結果蔓、長果蔓、中果蔓、短果蔓[3]。其中短果蔓容易枯死，其余3種結果枝蔓在結果后的第二年成為結果母蔓，每個結果蔓可長出3～5個果實，甚至更多。

1.1.5 花與果實 獼猴桃的花具有明顯的特征，分為雌花和雄花。雖然形態上表現為雌雄兩性花，但是生理上僅表現為一種花，即雄株上雌蕊退化，雌株上雄蕊退化，且雄花花期較長，但花期結束時間相同。果實通常在9―10月成熟，從受精到果實成熟一般需要120～140d，每個果實含有200～500粒種子，數量較多，種子呈黑色或深褐色。果實采摘后可在室溫下最多存放20d。

1.2 生物學特性

1.2.1 溫度 獼猴桃喜溫，在適度的溫度內生長發育良好，如中華獼猴桃在14～20℃、美味獼猴桃在13～18℃生長發育良好。獼猴桃在寒冷天氣內容易發生凍害，冬季溫度達到-10℃左右即可造成凍害，此外獼猴桃萌芽抽梢期在春季容易受到倒春寒凍害。因此，需做好保溫抗寒工作。

1.2.2 水分 獼猴桃在水分充足的地方生長良好，如雨量充沛的山區。獼猴桃雖然對水分有較高的要求，但其不耐澇，長期積水會導致獼猴桃根部糜爛，嚴重時可導致死亡。夏天氣候干燥，空氣濕度不夠，獼猴桃得不到足夠的水分，生長發育不良，需及時進行灌溉。

1.2.3 光照 獼猴桃喜陽光但是對強光、直射光比較敏感，屬于中等喜光性果樹樹種，全年日照時間為1 300～2 600h。成年樹如果日照時間不足，會導致枝蔓生長不充實，容易死亡。但果實若經強光照射后，又容易發生日灼病。

1.2.4 土壤 獼猴桃適宜在土壤深厚肥沃、透氣性好、排水良好、有機質豐富的沙壤土和石礫質壤土上生長。因此，選擇獼猴桃種植地時，應選擇向陽方向、排水灌溉方便、土壤肥沃地區。

2 豐產栽培技術要點

2.1 育苗 根據獼猴桃的生長特性，選擇適宜的土壤作為苗圃。播種前應對土壤進行消毒，以防獼猴桃幼苗發生立枯病和猝倒病，并使用除草劑清除周圍雜草。通常獼猴桃在3月下旬至4月上旬以撒播的方式進行播種。獼猴桃苗期處于夏季，為防止陽光暴曬，應及時搭蔭棚。之后根據幼苗的生長情況適時移栽（長出4～6片真葉）、摘心（苗高40cm以上），以促進苗木的生長。根據苗木莖的直徑適時嫁接（粗達0.6cm以上），嫁接時間一般在2月上旬至3月中旬，嫁接時要注意區分雌雄株[4]。

2.2 栽植 由于獼猴桃為雌雄異株植物，栽植時要搭配好雌雄株，注意授粉雄株的開花期與雌株保持一致，目前普遍采用的雌雄株比例為5～8∶1。獼猴桃具有攀援能力，在枝蔓開始向上攀爬前設計好支架，以適應獼猴桃的生長需要，常用的支架為“T型棚架”。獼猴桃怕風害，建園時需設置防風林。根據搭建支架的類型確定種植密度，通常情況下栽植株行距為2.5m×4m，密度為1 005株/hm2。

2.3 肥水管理

2.3.1 施基肥 基肥是保證獼猴桃生長所必需的，多在秋冬季節施加，包括廄肥、豬糞、土雜肥、餅肥等有機肥，同時混合使用速效肥，采用條、環溝的方式進行施加。基肥的施加量占全年施肥量的60%～70%。

2.3.2 適時追肥 根據資料分析和安徽獼猴桃產區的土壤肥力狀況，配制專用肥用于追肥，一年3次。其中第一次追肥時間為獼猴桃萌芽后到開花前的時期，此階段以氮肥為主，配合磷、鉀肥，作用是促進萌芽；第二次追肥時間為果實膨大期，此階段以磷鉀肥為主，作用是壯果；第三次追肥時間為采收果實前20d，此階段以葉面肥為主，作用是促進果實發育。

2.3.3 排水灌溉 獼猴桃在整個生長期內需保證土壤濕潤，水分既不能多也不能少。因此，在建園時需做好獼猴桃的水分管理工作，如干旱r方便灌溉、洪澇時方便排水，以滿足獼猴桃對水分的需求。

2.4 整形修剪

2.4.1 架式 獼猴桃善攀援，在種植時需做好支架，常用的支架主要籬架、個形桃架、棚架3種。根據不同獼猴桃的枝蔓結果特性選擇適宜的架式，如中、長枝結果的獼猴桃選擇T形架和棚架；中、短枝結果的獼猴桃選擇T形架、棚架或者籬架。

2.4.2 整形 根據架式合理的整形。以棚架整形為例，整形時選擇一個生長健壯的枝蔓作為主干，在主干兩旁固定2根竿子引導枝蔓向上攀爬，通常要保留2個主蔓。因此，在支架下10～15cm處摘心，促發分枝，保留2個主蔓向兩側生長，主蔓上至少要留一個結果母枝。

2.4.3 修剪 主要包括夏季修剪和冬季修剪。夏季修剪的作用主要是調節枝梢長勢和枝蔓量。修剪方法是去除細弱枝、徒長枝以及砧木上萌蘗，同時在普通枝蔓上摘心，在徒長性結果蔓和長果蔓上摘心或短截。冬季修剪的作用是防止傷害，主要修剪掉細弱枝、病枝、徒長枝以及過密枝等。

2.5 病蟲害防治

2.5.1 病害防治 潰瘍病、根腐病、花腐病、根結線蟲病等是獼猴桃最常感染的病害。其中根腐病多用毒土、硼砂清除地下害蟲；潰瘍病多在萌芽前撒施硼砂，之后再用鏈霉素進行防治；根結線蟲病主要是燒毀病株，并對土壤進行高溫消毒、換土后方可再次使用；花腐病多通過剪去過密枝梢，開花前噴施鏈霉素進行防治。

2.5.2 蟲害防治 蚜蟲、蛀梢螟、卷葉蛾等是獼猴桃最常發生的蟲害。其防治方法主要包括以下3種：（1）生物防治，主要是以蟲治蟲、動物治蟲、生物絕育治蟲等方法進行防治；（2）物理防治，包括黑光燈誘殺、誘餌毒殺、人工捕捉等方法；（3）藥物防治，主要是施加藥劑進行防治，常用的藥劑包括樂果、甲基托布凈等。

2.6 花果管理

2.6.1 人工輔助授粉 人工輔助授粉能夠提高坐果率和果實品質。主要包括以下2種方法：（1）采集雄株上成熟的花粉，輕輕的涂抹在剛剛開放的雌花柱頭上；（2）采集雄株上成熟的花粉，配制成1%～2%的水溶液，之后噴灑在雌花上。

2.6.2 疏花疏果 獼猴桃的坐果率可達到90%以上，如果全部保留，則果實的質量不高且果實較小。因此需要進行疏花疏果以保證果實質量。通常情況下將大果保留，剔除掉小果、畸形果、病蟲果等。不同結果枝保留的大果數量不一，短果枝、中長果枝、長果枝分別保留1～2個果、3～4個果、4～5個果。

2.7 適期采收 根據果實的成熟情況和用途確定采收期。若果實種皮顏色變黑，用利刀橫或縱剖果實，發現種子變黑率達95%～100%，則表明果實成熟，可以采摘。根據市場上獼猴桃的銷售情況，適時適量的采收以作鮮食，作為鮮食的獼猴桃一般是采摘后放置一段時間的后熟的獼猴桃，果實由硬變軟而易剝皮食用。若采收后進行貯藏加工，則應提前或者推遲采收。因獼猴桃果實為果醬，容易腐爛，因而采收時需輕拿輕放，避免機械損傷。

參考文獻

[1]覃華蘭，羅塞男，盧良軍，等.紅心獼猴桃臍紅在張家界市永定區的引種表現及栽培技術[J].現代農業科技，2016（16）：83-84，94.

[2]楊朋燕.獼猴桃優系生物學特性和果實生長動態的研究[D].楊凌：西北農林科技大學，2014.

[3]陶建平，陶品華，茅建新，等.獼猴桃的生物學特征特性及主要栽培技術[J].上海農業科技，2013（03）：67-68.

特技風箏范文第2篇

1、15級臺風即強臺風，是指中心附近最大風力14-15級（41.5-50.9m/s）的熱帶氣旋。當強臺風繼續加強，會成為超強臺風，如果強臺風的強度減弱，會成為臺風。

2、損毀性嚴重，對不堅固的建筑物、架空的各種線路、樹木、海上船只，海上網箱養魚、海邊農作物等破壞性很大。

3、強臺風發生常伴有大暴雨、大海潮、大海嘯，強臺風發生時，人力不可抗拒，易造成人員傷亡。

（來源：文章屋網 ）

特技風箏范文第3篇

1　技術創新風險是可管理的投機風險

風險理論把風險分為純粹風險和投機風險。純粹風險是指只有損失機會而無獲利機會的風險，如火災、地震等。其后果只有兩種可能，即有損失或無損失。投機風險是指既有損失機會又有獲利機會的風險，其后果有三種可能:盈利、損失、不盈不虧，如股票投資、經營活動中存在的風險。投機風險因有利可圖而具有程度不同的吸引力，使人們為求得利益而甘冒風險。

1　技術創新風險屬于投機風險。創新主體希望通過成功的技術創新獲取期望的利益。但是技術創新系統在外部因素和內部因素的作用下，創新活動最終有三種可能的結果:一是創新成功，實現了預期的目標;二是創新失敗，未能實現預期目標，甚至無法回收前期投入的資金;三是技術創新沒有達到理想的效果，僅使投入與收益基本持平。所以在風險類型上，技術創新風險屬于投機風險。

2　技術創新風險是一種動態風險，有其復雜性。即由技術創新系統的外部因素或內部因素的變動，如經濟、社會、技術、政策、市場等因素的變動，研究開發、市場調研、市場營銷等方面的管理不到位，均可能導致風險的發生。而所謂的靜態風險是指由于自然力的非常變動或人類行為的錯誤導致損失發生的風險，如地震、火災等。

3　技術創新風險在某種程度上是可以防范和控制的。技術創新活動是一種有目的、有組織的技術經濟活動。通過對技術創新系統的組織管理，尤其是樹立風險意識，完善風險管理，則能夠在一定程度上防范和控制風險損失的發生和發展，使受控的技術創新活動向預期目標發展。

4　技術創新風險導致的失敗結果在某些條件下是可以改變的。例如，電視機、電子表在美國公司經歷失敗之后，卻在日本企業手中經過完善和市場開拓，最終獲得了成功。事實上，影響技術創新的風險因素有一些是可以控制的。在改變某些可控因素之后，能夠改變原來失敗的結果。

5　技術創新風險是可管理風險。雖然技術創新風險不可能完全滅除，但總的來說，技術創新管理比較完善的創新主體，能夠有效地防范和控制某些風險因素，其技術創新成功的可能性相對就會高一些。因此，要取得技術創新的成功，必須在完善技術創新管理的同時，還要加強技術創新的風險管理。美國著名管理學家彼德·杜拉克說過:許許多多成功的創新者和企業家，他們之中沒有一個有‘冒險癖’。……，他們之所以成功，恰恰是因為他們能確定有什么風險并把風險限制在一定范圍內，恰恰是因為他們能系統地分析創新機會的來源，然后準確地找出機會在哪里并加以利用，他們不是專注風險，而是專注機會。”

2　技術創新風險是一個理性過程中的風險

在技術創新這一具有創造性的過程中，必然會受到許多可變因素以及事先難以估測的不確定性因素的作用和影響。這些因素的影響使技術創新的結果具有不確定性。但技術創新過程是創新主體理性行為主導的過程，并不是人們所想象或認為的那樣是一個不確定性很強的隨機過程。因為，在技術創新過程中所有的工作都是有目的、有組織地進行的，其中每個階段都包含有分析、評價、決策和實施等符合邏輯的理性行為。創新設想調研開發中試生產市場銷售技術創新過程的技術創新風險分析矩陣〔3〕表明，在技術創新整個過程中的各個階段，均可能存在技術風險、資金風險、市場風險、管理風險、決策風險、政策風險，或者說不同特征的風險，如技術、市場、管理、決策等風險，在創新過程的不同階段具有不同的分布，其發生變化的規律存在顯著的差別。技術創新風險分析矩陣技術風險市場風險財務風險生產風險管理風險政策風險創新設想調研評估研究開發中間試驗批量生產市場銷售創新主體需對這些可能存在的風險因素進行事前、事中分析。一方面可以采取風險管理措施，使風險處于受監測狀態，防范風險，降低風險可能造成的損失。另一方面，可以通過完善的技術創新管理，如進行市場調查研究，對創新設想進行評估，切實按照目標顧客的需求和企業發展戰略的要求開發新產品，制定和實施有效的市場營銷策略，使技術創新活動實現其目標。事實上，技術創新綜合能力不同的企業，他們所面臨的創新風險有著明顯的區別。創新綜合能力強的企業，相對而言創新的成功率要高得多。一些技術創新調查項目的研究結果證明了這一點〔1，2〕。有的研究認為〔4〕:新產品失敗率25年來保持穩定的原因，是對新產品管理能力的長期改進，要保持這種穩定，可能意味著需要付出巨大的努力。因此，隨著市場競爭日趨激烈，對技術創新風險進行理性的分析，始終致力于完善技術創新管理和風險管理，是防范和控制創新風險的基本措施。

3　技術創新過程中的不確定性因素逐步遞減

美國布茲·阿倫和哈米爾頓咨詢公司根據51家公司的經驗，歸納出新產品設想衰退曲線〔5〕。從新產品的設想到產業化成功，平均每40項新產品設想約有14項能通過篩選進入經營效益分析;符合有利可圖的條件，得以進入實體開發設計的只有12項;經試制試驗成功的只有2項;最后能通過試銷和上市而進入市場的只有1項。事實上，在衰減過程中許多不確定性因素被逐步排除，或者說可能導致風險發生的不確定性因素隨著過程的進展而逐步減少。衰減比率會因產品不同、技術的復雜程度不同而存在差別。而越保守的公司，其衰減率越高。但衰減曲線的形狀具有典型性。

這一衰減過程本質上是一個學習過程，獲取經驗的過程。在創新設想階段，重點是要明確技術方面的不確定因素;在調研評估階段，重點研究顧客是否存在這種需求，企業有無能力利用這一環境機會;在取得進展后，要盡量明確在可靠程度方面存在的不確定因素。但即使到研究開發的后期，甚至產品投放市場后，不確定因素還會存在，還是會遇到一些預想不到的新的風險。

一些資料表明，有些創新活動，對創新項目估計不足，有時甚至不存在技術可行性或市場接受能力;對研究開發費用、設備調整費用和批量生產費

用估計不足，特別是常常低估后者，致使投資超過預算，甚至超過企業的承受能力，而承受過大的風險。因此，在考慮創新項目的評價時，不僅要進行事前研究，而且還要進行事中研究，對各個階段都要進行評價，即由一次性評估轉變為多階段的評估，有一次性決策轉變為多階段決策。

4　技術創新的風險隨創新過程的推進而具有積累性

國外的研究表明，應用研究階段的成功率一般低于25%，開發研究階段成功的可能性為25—50%，產業化或商品化階段的成功率一般為50—70%，三個階段的投資大體為1∶10∶100。上海對7個高新技術產業的調查，其投資的比例為1∶103∶1055。1980年美國全國工業會議的調查結果，新產品開發各階段的費用和時間的占用比例如表1所示〔5〕。顯然產品樣品開發和商品化階段是資金投入最大的兩個階段。表2　新產品開發的時間和費用分布概念開發樣品開發試銷商品化合計時間(%)14402323100費用(%)10301644100(注:根據〔5〕整理。)

為準確描述風險的大小，我們設I為創新項目的投資費用，P為該創新項目失敗的概率，V為風險變量，它們之間的關系可用下式表示:V=I×P(1)技術創新項目從概念開發到市場實現要經歷的階段設為n個，則各階段的風險Vi與該階段的累積投資額I0i和失敗概率Pi之間的關系為:Vi=I0i×Pii=1，2，…，n.(2)其中I0i=∑Ii，Ii為各階段的投資額。顯然，由于投資具有積累性，在技術創新過程中，盡管概念開發、方案分析階段的淘汰率最高，但是由于該階段投資費用和投資累積量較低，由(2)表示的風險Vi還是比較小的;而在樣品開發和商品化階段的投資比較高，累積投資量逐步擴大，其失敗率雖然不像概念開發、方案分析階段那么高，但由(2)式計算的風險V是很大的。

根據以上分析，如果在創新過程的初始階段淘汰率不高，不盡早放棄那些沒有成功希望的設想方案，就會使一些不可能取得技術成功或市場成功的開發項目進入創新的后期階段，將使風險沉淀和積累下來，最終導致風險的增加或進一步擴大，甚至導致企業的經營危機。因此，必須采取相應的對策:①進行多階段評價;②謀劃多種可行備選方案;③將風險的控制點盡可能設置在創新過程的初期階段，盡早釋放可能存在的風險;④采取有效的管理，控制費用。

特技風箏范文第4篇

關鍵詞 大麥；豐農啤1號；特征特性；高產；栽培技術

中圖分類號 S512.3.048 文獻標識碼 B 文章編號 1007-5739（2016）20-0025-01

豐農啤1號由大中農場集團有限公司農業科技研究所從自育品種豐禾啤一號變異株經系統選育而成的，即通過連續幾年的選擇、繁育、田間鑒定，2009年選擇穩定品系豐農啤1號，2010年進行抗性鑒定和產量比較，2011―2014年參加江蘇省大麥新品種鑒定試驗，綜合性狀優良，增產顯著，2015年6月定名為豐農啤1號。豐農啤1號是適合大中農場生態條件特點和大型機械生產條件生產的大麥新品種。

1 特征特性

1.1 農藝性狀及品質

大麥豐農啤1號品種為二棱春性皮大麥，幼苗半直立，葉色深綠，葉片較大，幼苗分蘗性較強，成穗率較高。有效穗數750萬穗/hm2左右，每穗實粒數24～26粒；千粒重42 g左右；籽粒外觀品質和內在品質優，該品種蛋白質含量為13.8%，微粉浸出率為78.5%，糖化力為350 WK，庫爾巴哈值40.8%，α-氨基氮201 mg/100 g，其中5項指標超過麥芽行業標準QB 1686-93優級麥芽標準，2項接近優質麥芽標準。抽穗期比揚農啤5號遲1 d左右，成熟期與揚農啤5號相仿或遲1 d左右，株高在88 cm左右，和對照相當，耐肥抗倒性好，抗大麥黃花葉病，抗寒性強，熟相好，適合江蘇沿海地區種植。

1.2 產量表現

2011―2013年參加江蘇省大麥區試，2年平均產量為6 708.6 kg/hm2，比對照揚農啤5號增產3.70%。2013―2014年參加江蘇省大麥生產試驗，平均產量為7 341.5 kg/hm2，比揚農啤5號增產8.4%，居第1位。2013年在江蘇大中農場集團有限農業科技研究所種植，平均產量7 450 kg/hm2，2014年平均產量7 500 kg/hm2，其中高產田塊產量7 800 kg/hm2。

2 高產栽培技術

2.1 種子處理

播前10 d左右做好發芽試驗，播前曬種2～3 d，根據發芽率、千粒重、適宜基本苗確定播種量。用大麥清或三唑醇等藥劑拌種預防病害[1-2]。

2.2 機械整地與播種

機械耕透熟土層，并略帶黃土，秸稈覆蓋效果好，覆土平，耕幅不超標；耙土平，破土效果好，不漏耙；開溝直，溝深20～25 cm，溝寬32～35 cm，絞土勻，畦面平；肥量準，不重、不漏、不露。江蘇沿海麥區豐農啤1號最佳播期在10月28日至11月8日，其他地區應根據當地氣溫條件進行調整。機械播種不能在路上拐彎的必須放起落線，用種量準，3.6 m 14行，行距均勻；嚴格控制播種深度（以2 cm左右為宜），做到播種均勻，出苗一致[3]。

基本苗控制在225萬株/hm2，早播或地力水平好的田塊基本苗可適當降低，晚播的基本苗可適當增加，但不超過300萬株/hm2 [4]。

2.3 播后清溝

播后48 h內，必須清好田間一套溝，達到溝溝相通。每40～50 m開挖1條橫溝，溝寬20～25 cm、深25～30 cm，散土均勻，積土厚度不超過2 m；條田頂頭必須在播后雨前開溝，播種結束后再清溝筑埂[5]。

2.4 肥料運籌

豐農啤1號施用純N 255.0 kg/hm2、P2O5 67.5 kg/hm2、K2O 67.5 kg/hm2，其中基肥氮占50%，P2O5、K2O各占66.7%。具體用量：基肥尿素187.5 kg/hm2，三元復合肥（15-15-15）300 kg/hm2，于倒4葉施三元復合肥150 kg/hm2、尿素75 kg/hm2，倒2葉施尿素75 kg/hm2。對田頭返堿地力差的地段做好增施有機肥、冬施復合肥工作，提高返堿地段群體質量[6]。抽穗后結合病蟲害防治，選用適宜的植物生長調節劑或微肥進行根外追肥[7]。

2.5 病蟲草害防治

在病蟲害防治上，做到播前進行藥劑拌種，抽穗揚花期根據氣候和田間郁閉情況防治赤霉病，加強對紋枯病、蚜蟲、粘蟲的調查，達標立即防治[8]。在雜草防除上，硬草采用播后苗前化除，用48%氟樂靈乳油1 200 mL/hm2+25%綠麥隆可濕性粉劑3 kg/hm2進行土壤封閉，視土壤墑情用足水量。對防效差的田塊及時進行莖葉處理，用5%愛秀900～1 500 mL/hm2，其中冬前化除用5%愛秀900～1 200 mL/hm2，春后化除用5%愛秀1 200～1 500 mL/hm2；對巢菜發生重的田塊用75%巨星22.5～30.0 g/hm2于麥苗三葉期至分蘗末期施用，對豬秧秧等闊葉草重的田塊用10%麥喜150～180 mL/hm2，化除時必須注意不漏不重，霧化良好，嚴禁在田間調節和試噴。所有莖葉處理應在冬前結束[9]。

2.6 適期收獲

在成熟末期（20%穗頭彎曲時）進行收獲，機械收獲時應調好轉速。收獲后要及時曬干或烘干揚凈，水分控制在12.5%以下，確保銷售啤麥籽粒的發芽率在95%以上。

）

3 參考文獻

[1] 于新民，蘇建權，高建軍，等.大中農場豐禾啤1號高產栽培技術[J].現代農業科技，2010（18）：59.

[2] 朱建峰，楊帆.大中農場揚農啤8號大麥高產栽培技術[J].現代農業科技，2011（23）：112.

[3] 陸加榮，王建武，浦東，等.大面積啤酒大麥高產栽培技術[J].大麥與谷類科學，2009（3）：19-20.

[4] 趙永春，李紅麗.黃淮地區冬啤酒大麥高產高效栽培技術[J].農業科技通訊，2013（1）：126.

[5] 尹可鑒.騰沖縣啤飼大麥高產栽培技術集成研究[J].云南農業科技，2014（2）：49-52.

[6] 唐華樹，楊文飛.江蘇沿海地區啤酒大麥產量500 kg/667 m2優質高產栽培技術[J].上海農業科技，2015（1）：55-56.

[7] 蔣文廣.大麥新品種“莆大麥9號”特征特性及高產栽培技術[J].安徽農學通報，2015，21（6）：35-36.

特技風箏范文第5篇

There are many domains research about romanticism. Whereas， the research about British positive romanticism is little. The positive romanticism has its remarkable characteristics in the various countries. The English positive romanticism pushed the romanticism literature to the high tide. Shelley’s Ode to the West Wind is one of the best works of positive romanticism of Britain. This thesis mainly analyzes the background of Ode to the West Wind， and the features of positive romanticism. This thesis appreciates Ode to the West Wind in various ways by analyzing the subjectivism， the political lyricism， idealism. This thesis also illustrates the features of human being admiration for nature. Both the style of this poem and the writing ways of the poem express the British positive romanticism characteristics vividly.

Key Words

Ode to the West Wind; British; positive romanticism

摘　要

文學的研究有很多領域，對浪漫主義的研究也有很多，但是把積極浪漫主義獨立起來研究卻很少。積極浪漫主義的特征在各國國家都有其顯著的鮮明的特征。在英國積極浪漫主義詩人用積極浪漫主義文學把浪漫主義文學推到了。雪萊的《西風頌》是英國積極浪漫主義的優秀作品，該論文通過對《西風頌》創作背景及積極浪漫主義的定義分析；及對該詩歌特征的賞析，充分地展現了積極浪漫主義主觀性、政治抒情性、理想性。該論文也表現了崇尚自然熱愛自然等特點。又從詩歌的創作風格、寫作方法等特征都把英國乃至整個歐洲的積極浪漫主義的特征表現的淋淋盡至。

關鍵詞

西風頌; 英國; 積極浪漫主義;

Introduction

The romanticism is often regarded as an important branch of literature. It completely manifested the social characteristic of British at that fixed period， and expressed the society's request through literature. Therefore， the close relation between literature and society was fully displayed.

The romanticism developed extremely fast in British. The essence of romanticism reflected present situation and the needs of society. Moreover， positive romanticism in Britain has manifested the different of positive romanticism characteristic. Therefore， the positive romanticism also reflected the culture of British in 19th century.

Poetry is an effective way to express positive romanticism. In order to better understand the positive romanticism， it is necessary to realize the superficial meaning and the deep meaning that the poetry express. Ode to the West Wind as one of the famous work of the English positive romanticism at that fixed period， it manifest the English positive romanticism in various kinds of ways. It can be found that Ode to the West Wind is concluded with triumphant and hopeful mind. This poem has a deep influence on his generation and almost changed the value of his people.

I. The Definition of Romanticism and Positive Romanticism

At the early 19th century， pan-European movement took place in art and philosophy. The term derives from the Romances of the Middle Ages， and it refers to the idealization of reality. In the late 18th century， it began to mean anti-Classicalism and it also represented a trend towards the picturesque and the Gothic， nostalgia， mystery and dramatic love .e.g. Walpole， Beckford and Fuseli. By the early 19th century， it had been broadened in many aspects， such as enthusiasm， the rediscovery of the artist as a supremely inpidual creator， the development of nationalistic pride， and the exaltation of the senses and emotions over reason and intellect. In addition， romanticism is a philosophical revolt against rationalism and intellect. This breadth of meaning has led to the definition of Romanticism as a 'feeling' and very little else.

In Britain， the term refers to his literary and artistic movement of the late 18th and early 19th century. Romanticism rejected the earlier philosophy of the Enlightenment， which stressed that logic and reason were the best response human had in the face of cruelty， stupidity， superstition， and barbarism. Instead， the romantics asserted that reliance upon emotion and natural passions provided romantic movement typically asserts the unique nature of the inpidual， the privileged status of imagination and fancy， the value of spontaneity over “artifice” and “convention，” the human need for emotional outlets， the rejection of civilized corruption， and a desire to return to natural primitivism and escape the spiritual destruction of urban life. Their writings are often set in rural or Gothic settings and they show an obsessive concern with “innocent” characters-children， young lovers， and animals. The major romantic poets included William Blake， William Wordsworth， John Keats， Percy Bysshe Shelley， and Lord Gordon Byron.

Artistic and intellectual movement that originated in the late 18th century and stressed strong emotion， imagination， freedom from classical correctness in art forms， and rebellion against social conventions. Romanticism， attitude or intellectual orientation that characterized many works of literature， painting， music， architecture， criticism， and historiography in Western civilization over a period from the late 18th to the mid-19th century. Romanticism can be regard as a rejection of the precepts of order， calm， harmony， balance， idealization， and rationality that typified Classicism in general and late 18th-century Neoclassicism in particular. To some extent， it is also reaction against the Enlightenment and against 18th-century rationalism and physical materialism in general. Romanticism emphasizes the inpidual， the subjective， the irrational， the imaginative， the personal， the spontaneous， the emotional， the visionary， and so on.

Compared with passive romanticism， positive romanticism strengthens the will of men， and arouses the rebellion against reality and any else. Positive romanticism is that celebrated the power of inpidual self to create a world or to raise its particular conditions.

II. The Background of Romanticism and Positive Romanticism

Romanticism was one of the trends of literary and artistic thought， produces with the 18th century， at the beginning of 19 centuries Europe bourgeois revolution time.

In 18th century France's Enlightenment idealism advocated freedom of thought， emancipation of man's inpidual character and returning to the nature， and requested breaking royal power. In 19th century romanticism movements was started in European.

In the 19th century Europe various countries labor movement and the revolutionary movements are blustery. The working class in England strived for their own rights to subsistence， the same bourgeoisie launches the heroic struggle， took of a literature performance real life important methods， it with the time revolution mood associated production revolution literature， the revolutionary literature and the romanticism union has formed the positive romanticism. Byron and Shelley are representatives for British positive romanticism.

III.The Background of Shelley and Ode to the West Wind

A. The Background of Shelley

Percy Bysshe Shelley (1792—1822)， England’s greatest lyric poet， came from a family of some importance and power. His father was Sussex county gentleman and a Whig Member of Parliament; his grand-farther， who became a baronet， had amassed a great fortune. Shelley， the oldest son， accordingly grew up with the prospect of becoming a man of wealth and title. At Eton， he proved a good classical scholar， but was not very happy， for he was by nature revolutionary and unconventional. He was known as “mad shelly” and astronomy， and the exciting experiments he conducted， gave rise to many stories. The persecutions which he endured and witnessed at school gave him a lifelong detestation of tyranny and violence.

Shelley went to Oxford full of plans and ideas for changing the system of society. Being convinced that religious faiths were harmful to man’s happiness， he and his friend T.J.HoggH put forth a small study in logic， called the Necessity of Altheism， which was objected by the Oxford authorities ， however， shelly and Hogg declined to discuss the matter. As a result they were sent off. It was a disaster for a boy at 18， for he lost a valuable education at Oxford. He fell out with his father and became a wan-darer. Though he would eventually inherit a fortune， he had no ready money. When he was 19， he eloped with Harriet Westbrook， a girl of 16 whom he scarcely knew. From Then on， shelly， always full of schemes， went on a quixotic expedition to redress the wrongs of the Irish; from Lyn mouth shortly afterwards he distributed a seditious pamphlet called the rights of man， scattering some copies by balloon and putting others into bottles and throwing them into the sea. In 1813 he printed and published extraordinary poem， Queen Mab privately which expressed his belief in a new golden age.

In his glorification of revolutionary ideas， Shelley had sought out William Godwin， author of political justice， who had married Mary Wollstonecraft， author of The Rights of Women. His marriage with Harriet proved a complete failure; Shelly eloped with Godwin’s 15-year-old daughter Mary. But that year Harriet was found drowned in the serpentine and her two children by shelly became the subject of a lawsuit. For Shelley， he was not only deeply shocked by the tragedy but also suffered the bitterness of losing his children. However， the life had to go on. To get rid of solitude， he married Mary Godwin later at Marlow， on the Thames. There， in 1816， he wrote Ablator， or the Spirit of Solitude， the first long poem to show his true genius. Next year he wrote a long imaginative poem on liberty and love， the Revolt of Islam， which contained many fine passages of description and narrative and was inspired by the French Revolution.

At that time， Shelly had become a friend of Leigh Hunt and Peacock and had met Keats. Finally in 1818， to escape prejudice and insult， and also Godwin’s constant demands for money， Shelley decided to seek peace in Italy. There shelly gave up his dream of reforming the world by the means of direct political action and decided to pass on his inspiration to others through his poetry. In this belief he composed his Prometheus Unbound， enjoyed for its incomparable music， its color and story， as well as because it contained Shelly’s noblest ideas. To this period， too， he wrote his Lines in the Eugenia Hills and Julian and Maddalo， an autobiographical poem based on a happy visit to Byron in VeniceH. Meanwhile Shelly wrote his finest lyric， such as the Cloud， the Skylark， the Ode to the West Wind and so on. The music and intensity showed that Shelly was entering on a new stage of personal and imaginative greatness.

B. The Background of Ode to the West Wind

The poem was composed in 1819 when European labor movement and the revolutionary movement surged. To fight for their right， British working class began to struggle with the bourgeoisie. At August of that year， 80，000 workers in Manchester held a massive demonstration. Of course， the reactionary authorities had dispatched troops to suppress. That was well-known as the Bideilei Massacre. For Shelley was in favor of British revolution， he was expelled from the United Kingdom. Then he came to Italy， he met Keats， had made great influence to Shelley a lot on revolutionary cause. Form the above; we can see that in Britain there was no freedom.

Ode to the West Wind is the most representative of Shelley’s feelings and thoughts at that time. It is a mixture of death and rebirth. Shelley is concerned with the regeneration of himself spiritually and poetically and of Europe politically. In the first three stanzas， the dynamic force of the west wind is manifested in its power on the land， in the air， and in the sea in different seasons. It is the destroyer and preserver. It will destroy the old world and herald in a new one. In the fourth stanza Shelley wishes that he were a leaf， a cloud， and a wave， so that he could feel the power of the west wind; but he is aware of his age and his sufferings in life， which have bent him down. Finally， he appeals to the wind， the wind of aspiration and change， to reinvigorate him and to give force and persuasiveness to his poetry.

IV. The Features of Positive Romanticism in Ode to the West Wind

A. Enthusiasm

The romanticism has two big branches which are the negative romanticism and the positive romanticism. To a certain extent the positive romanticism has its positive characteristic as the name suggests.

The positive romanticism mostly manifests in the positive romanticism poet dares to face the reality， critique society's darkness， is spearheaded at the feudal aristocracy， opposed in the capitalist society survives the feudal factor， simultaneously all sorts of evil phenomenon which creates to bourgeoisie itself also has the exposition， thus the fill revolt， the fight fervor， will send ideally in the future， will yearn for the new happy life. In this poem， Shelley wants to create a new free country. He talks of the “Mediterranean” and the “summer dream”. In the dream， the reader finds the sea lying “Beside a pumice isle in baize’s bay quivering within the waves’ in tenser day”. Shelley implants the ideas of volcano with the word “pumice.” The “old palaces and tower” stir vivid image of ancient Rome and Greece in readers mind. Shelley also uses these images in the sea’s dream to show that the natural world and the human social and political world are parallel.

B. Subjectivism

In the poem the west wind is not merely the wind of the nature， the subject which is the counter-capitalism counter-old influence， instead of regarding poetry as “a minor to nature” the source of which is in the outer world， romantic poets describe poetry as “the spontaneous overflow of powerful felling” which express the poets mind.

In Ode to the West Wind， Percy Bysshe Shelley tries to gain transcendence， for he shows his thoughts， like the "winged seeds" trapped. The west wind acts as a driving force for change and rejuvenation in the human and natural world. Shelley views winter not just as last phase of vegetation but as the last phase of life in the inpidual， the imagination， civilization and religion. Shelley looks forward to freedom. From this “winged seeds” it presents image of flying and freedom. The important word is “seeds” for it which shows that even in death， new life will grow out of “grave” the phrase “winged seeds” also brings images of religions， angels or souls which can create new life continuously.

Heavenly images are confirmed by his use of the word “azure” which is also defined besides the meaning of blue sky， In Webster’s dictionary， as an “unclouded vault of the heaven”， the word “azure” is connected with the word “spring”， and it helps show Shelley’s view of rejuvenation. In addition， the word “spring” also means to rise up except being a literary metaphor for rebirth. In line nine， Shelley uses soft sounding phrases to communicate the blowing of the wind， this tierce cuts as an introduction and foreshadow of what is to come later. Shelley goes on to talk of the wind as a “destroyer and preserver”. The wind is also a person that to create freedom. Form this we can see that “wind” is a power which can destroy the old day and create new life. Therefore， Ode to the West Wind is a song of revolution at that time.

C. Idealism and Imagination

Just like Gorky pointed out “the romanticism is one mood， it complex moreover throughout how many fuzzily reflected actually is covering transition time society's all feelings and the mood color， but， its main key is to new thing anticipation”. The romanticism refers to the appearance according to the people， through the life phenomenon idealization description， and them displays certain social psychology and the emotion creation method. The romanticism ideal displays in the character image mold are the romanticism which is based on the basis of the idealized principle， through the unreal plot， in a special environment， exerts oneself in the description ideal the character image. These characters often have the unusual super human's moral character， ability and the behavior. The positive also inherit this feature.

轉貼于 In this poem we can see that Shelley wants to establish a new free society. “drive my dead thoughts over the incantation of this verse; like wither，d leaves to quicken a new birth”， and “if winter comes， can spring be far behind”. It is obvious that Shelley is looking forward to new thoughts and new society.

On behalf of the positive of romantic， Shelly can’t see the future of socialism， but he also can't escape the circle of ideal socialism. It makes another feature of positive of romantic idealism. Does the poet describe what they will create in this poem?

D. Political Tendentiousness

Judging from the background of the positive romanticism， the positive romanticism must have certain characteristic belonged to that era. Political tendentiousness is the positive romanticism to that time reflection and the portrayal.

From Ode to the West Wind we can feel the intense of political tendentiousness， the west wind is “destroyer and preserver”， the west wind Cleans these which “yellow， and black and pale， and hectic red” Heartless. The west wind “thou on whose stream ， mid the steep shy，s commotion”. The west wind is not the nature wind. It is the revolution wind， the wind against bourgeoisie， and against the power of Feudal.

E. Emotion and Nature

The romanticism poet's poetry mostly originates from the nature. Nature for the romanticists comes to the forefront of the poetic imagination. Nature is not only the major source of poetic imagery， but provides the dominant subject matter. Wordsworth conceives of nature as “the nurse， the guide and guardian of my heart and soul.” Nature to the romanticists is a source of cleanliness and spiritual understanding; it is a teacher; it is the stepping-stone between man and god， so romantic poets mostly take describing the nature to eulogize the nature as the subject. The positive romanticism poet has not discarded this characteristic.

According to Shelley said “the idea of writing this first poem is basically. In Florence Arnoux river bank woods， same day the temperature is genial， fresh， but this storm is gathering the moisture， under the incline the autumn rain”. From this the poet has felt the wild westerly wind， and life of the fall breath. Then the poet wrote westerly wind only because of this real， and the magnificent sight.

From the poem it is can be seen that Shelley was eulogy the west wind， but he was not just a singers， he Represents taking the westerly wind as the topic， taking the subject in the nature， and this is full of the fervor the poetic composition， selects a scene in this is naturally the romanticism universal characteristic also is the positive romanticism characteristic， does obeisance? Wordsworth sends the poet in a big way for representative's lakeside always describes the nature .in this poem Shelley described the change of the fall. The poet creates originating from the Italian Florence's suburb. Is precisely because the poet is good at observing the nature， only then had this classical poetry.

The romanticism writers all advocate the nature. Is naturally they express the feelings the nature carry. The romanticism work is often expressed the feelings， and author’s emotion pouring out swiftly with reveals. The positive romanticism is more radical， therefore the sentiment expresses intensely. Shelley has also displayed this characteristic in Ode to the West Wind. This poem starts from the eulogy westerly wind， in fourth Stanza “if I were a dead level thou mightiest bear; if I were a swift cloud to fly with thee” The poet compares oneself to others by the westerly wind. The poet expressed the poet the deep love and yearned for the nature through the westerly wind. He used the westerly wind to urge on oneself， expressed the free pursuit， with the hope to establish happy world.

F. Syncretism with Other Art

Form this poem， it can be found that very strange rhyme， because Shelley use the tetrza rima. It is a three line unit a tercet .rhyming a b a， the “b” rhyme is carried into next tercet ，b c b ，each stanzas has four tercets of interlocking rhyme and ends in a couplet using the middle rhyme of the last tercet. Thus the rhyme schemes are a b a， c d c， d e d and go on. It makes the rhyme very cheerful， and it also enables the poem and has the very strong rhythm， and highlight the musicality. It is just the same as Dante's Divine Comedy. From this poem， it also can be found that the beauty of music from the west wind， “make thy lyre， even as the forest is”. The Aeolian harp gives musical sounds as the wind blows through it. Here the forest is compared to the Aeolian harp lyre， and the poet prays that he also maybe the Aeolian harp so that he could feel the power of the west wind. It makes the sound of west wind more vivid and makes the poem more musical.

G. The Writing Style

The writing style of the poem efficiently reflects the features of positive romanticism.

a. The Free Writing Style

There are differences between writing techniques of romanticism and literature before it. In style， the romantic poets are prefer to boldness over the preceding age’s desire for restraint， maximum suggestiveness over the neoclassical ideal of clarity， free experimentation over the “rules” of composition， genre， and decorum， and they promoted the conception of the artist as “inspired” creator over that classicism literature which sticks to old ways equally， constrains the inpiduality， and it isn’t like the realism literature same language to encourage sharply， but is pursues the inpiduality liberation creation absolutely free， the poetry aspect is not tracking down traditional the form. Displays in the romanticism literature creation many and varied creation style.

First， romanticism is good at using the technique of exaggerating symbol. It also likes utilizing the magnificent literary flourishes， in the work fills the vivid rich analogy， causes beautiful and ugly， friendly and forms the sharp contrast and the striking comparison wickedly. The positive romanticism has completely inherited these characteristics of romanticism， and the language even more encourages.

In 19th， many poets like writing poem. Poem is the best choice for many positive romantic poets. For example，the most famous work of Byron is Don Juan， the most famous poem of Keats is Ode to a Nightingale. Because poem can express their feelings and it is one kind of art language， the poem is one kind of art which is to the soul and to the exploration. The poem can express the inner soul. It can make the distance between the human and the poetry closer. It also can form the sympathetic chord， and reach the effect of beautiful enjoyment. The poem is one kind of creativity. It does not stop using the language to create inner world. As the energetic movement， it is the way to liberate inner feelings， so it indicates another world. The poem is supposed to be revolutionary and timeliness. Sometimes it is mind record， which is based on the background of time. The poem is in the form of rhythmic， so the artistic effect is very obvious. All of these are expressed by the positive poets.

b. The Feature of the Poem’s Words

Romanticism is different from the realism and other literature， the words of romantic literature are very flowery， which is the as the positive romanticism. From this poem we also can get the feature. In this poem the feature of the language gorgeous mainly displays in the strong sentimental color and the bright demeanor. For example， when the poet writes the leaves， he uses the “Yellow， black， pale， hectic red”， and when he writes the wind there are many places using the word “hear”， which express that many time the poet wants to make the hearing and the vision unify to make the word more vivid.

The words of this poem’ express intense Summons， for example， “Pestilence-stricken multitudes， with living hues and odors plain and hill， of the horizon to the zenith's height， like writher’s leaves to quicken a new birth. If Winter comes， can spring be far behind?”

H. Rhetoric Device

a. Hyperbole

In this poem， Shelley used many hyperboles. Hyperbole in other words is exaggeration. It puts a picture into the readers mind. Hyperbole is frequently used in humorous writings. Hyperbole is common in humorous poetry， because it can make a point in a light-hearted way. It can be used to poke fun at someone or something. In this poem the hyperbole is used clearly; poet’s thoughts change very fast. Sometimes it maybe in the sky， but sometimes it is in the Mediterranean.

b. The Symbol Device

In the romantic poets view the symbol is aesthetic correlatives of nature’s emblematic language. There are great values because they could simultaneously suggest many tings， and they are regard as being superior to the one –to –one communications of allegory. Partly， it may have been the desire to express the “inexpressible” the infinite through the available resources of language that led to symbol at one level and myth (as symbolic narrative) at another. "Ode to the West Wind" used the symbol device， the entire first poem surrounds the autumn westerly wind to write an essay from the beginning to end， regardless of is describes the scenery or expresses feelings， all has not been separated from this specific description object， has not used political terminology and revolutionizes the slogan. However read after this short poem， we deep deeply feel actually， Shelley in sings the westerly wind， is incompletely sings the westerly wind， in the poet essence is through sings the westerly wind to sing to revolutionize. In poem westerly wind， remnant leaf， seed， class cloud， rainstorm thunder and lightning， sea mighty waves， seabed colored tree and so on， all is the symbolic things， they are containing the profound implication， the moving scenery which the nature wind and cloud surges， is the world vigorous development revolutionary struggle symbolic reflection.

Conclusion

The romanticism has two aspects. There are positive romanticism and the negative romanticism. Literature has regional characteristic， so positive romanticism in British has their own characteristic. The romanticism asserted that reliance upon emotion and love and passions for nature provided a valid and powerful means of knowing and a reliable guidance to ethics and living.

The Ode to the West Wind took the world literature， and it has manifested many characteristics of positive romanticism， but it didn’t completely manifest the positive romanticism characteristic. Subjectivism， idealism， deeply loves for nature all embodiment the characteristics of positive romanticism.

Shelley is one of the repressive of positive romanticism. To some extent， Shelley is famous for “Ode to the West wind”. This poem is filled with triumphant and hopeful emotion.

This thesis targets at analyzing the features of positive romanticism. There also exist some faults in this thesis. The author hopes other English learners make more research.

Bibliography

[1] I.G.Robertston. The Genesis of Romantic Theory. Beijing: Beijing Foreign Language Education Press， 1923.

[2] W.T.Jones. The Romantic Syndrome. Shanghai: Shanghai Foreign Language Education Press， 1961.

[3] A.Thorlby. The Romantic Movement. California: California University Press， 1966.

[4] L.R.Furst. Romanticism in Perspective. London: Cambridge University Press， 1969.

[5] 江楓. 雪萊詩選[M]. 長沙：湖南人民出版社，1983.

[6] 北京師聯教育科學研究所. 外國詩歌基本解讀英國卷（中）[M]. 北京：人民武警出版社，2002.

[7] 刁克利. 英美文學欣賞[M]. 北京：中國人民大學出版社，2003.

[8] 桂楊清， 吳翔林. 英美文學選讀[M]. 北京：中國對外翻譯公司出版，1985.

[9] 田文信. 論浪漫主義[M]. 長沙：文化藝術出版社，1988.

[10] 朱光潛. 西方美學史[M]. 北京：人民文學出版社，1979.

[11] 楊周翰. 吳達元. 歐洲文學史[M]. 北京：人民文學出版社，1979.

[12] 肖亞娟. 西風頌賞析[J]. 遼寧：遼寧師范學院學報，2004.

[13] 程利平. 沈潔. 英國浪漫主義時期的歷詩創作[J]. 廣州：番禺職業技術學院學報，2006.

[14] 陸路. 浪漫與哲性.西風頌的兩種解讀范式[J]. 合肥：安徽教育學院學報，2005.

[15] 趙紅英. 英國文學簡史文學指南[M]. 北京：中國傳媒大學出版社，2006.