開(kāi)題報(bào)告：荊棘鳥(niǎo)中的女性形象

1、 畢業(yè)論文開(kāi)題報(bào)告學(xué) 生 姓 名：學(xué) 號(hào)：學(xué) 院、系：專 業(yè)：論 文 題 目：femaleimagesinthethornbirds荊棘鳥(niǎo)中的女性形象指導(dǎo)教師:2015 年 3 月 20 日畢 業(yè) 論 文 開(kāi) 題 報(bào) 告1結(jié)合畢業(yè)論文情況，根據(jù)所查閱的文獻(xiàn)資料，撰寫(xiě)2000字左右的文獻(xiàn)綜述：literature reviewthis part discusses the previous studies on the thorn birds, which include the bible prototype perspective, inter-textuality between the

2、bible and the work,comparative study with some other feminist works, structuralism and eco-criticism aspects. it also briefly introduces the author and her main works, explains the theoretical basis of this thesis, especially the main arguments of radical feminist theory. radical feminism issues ser

3、ious criticism against patriarchy from the perspectives of religion, economic relations, class status and sexuality. it argues that patriarchal culture is the root cause for the inequality of all forms. moreover, some radical feminist holds the view that sexual inequality, especially the biological

4、difference, is the root cause of female oppressions and only the elimination of the difference can guarantee the emancipation of women from the biological bondage. 1 research on feminismin dictionaries, feminism is defined as advocacy of the rights of women (based on the theory of equalities of the

5、sexes). however, feminist critic ruth robbins argues that feminism is by no means a single category with clear limits, fixed in a single semantic space. her understanding of this word is that it is anti-totalizingand it does not have one catch-all, all-or-nothing meaning, but many meanings which dep

6、end on contexts, subject positions, languages, the material worlds we inhabit, and our own psychic spaces, all mixed up together. kaplan shares robbinss opinion and offers several explanations of feminism: the word feminism is used in some cases to refer strictly to support of the suffrage movement.

7、 in other cases, it refers more broadly to a defense of women against oppression by men. in yet others, it refers to a totalizing world view, an emphasis on the differences by men and women.no matter how feminism is defined, it definitely denounces the oppression that women generation after generati

8、on suffer in a patriarchal society, and as robbins suggests, feminism uncovers the symptoms of oppression, whatever their grounds,diagnose the problem, and offer alternative versions of livable realities. the origin of feminism can be traced back as far as mary wollstonecrafts the vindication of the

9、 rights of women (1792), which declares womens equal rights with men in an open and brave way. feminism took shape in womens liberation movement and developed with it.the first wave of the womens movement began in the second half of the 19th century, focusing on obtaining womens sufrage, and reached

10、 its height in the early 20th century. the suffragette movement was not simply a political campaign but a profound revolt against oppression and inequality. under its influence, more women became aware of their inferior status in the family and society. these new women not only organized a lot of po

11、litical movements for womens right to vote, but also produced an enormous quantity of writing, from political pamphlets to novels,revealing their own experiences as women and calling for their equal rights with males. among them, virginia woolf was obviously the most famous one, indisputably regarde

12、d as a feminist pioneer.virginia woolfs masterpiece a room of ones own is heralded as the foundation work of feminist literary criticism. it is probably the first feminist document to give a clear definition of a female literary tradition. it deals with the obstacles and prejudices that have hindere

13、d women writers, revealing womens forced silence and their pain for being unable to express themselves under the oppression of the patriarchal values and norms. in this book, woolf calls on women to create their own literature for finding the real self and expressing the real self.womens unceasing e

14、fforts in fighting for their victory. they won their first in 1918 and right to vote finally achieved fully in 1928. since then, the womens movement underwent a decline. not until the 1960s did the womens movement become a strong force again. the movement continued to prosper in the 1970s and 1980s.

15、2 research on the thorn birds2.1 studies abroadin 1977, the thorn birds, becomes an international publishing sensation as its sales climbed past the seven-million mark. the thorn birds gains the good comments from pamela, that is this saga of three generations in an irish catholic family in australi

16、a seemed to pique interest in the history and culture of the continent. talented australians like writer colleen mccullough is flooding the american entertainment market. (pamelavan, 1988, 44)richey and norma jean comments about the novel such as it is a joy to read both for its marvelous narrative

17、and for its presentation of truly extraordinary details, including maps and illustrations by the author. (richeynorma, 1994, 632).walter demons in contemporary literary criticism v27 points out that dialogue of the thorn birds is very dramatic and even declamatory from the perspective of reader resp

18、onse criticism. while the thorn birds can be said to be unrealistic, it can also be said that the relentless drama of the dialogue and the nature of events serve to keep the novels pace moving through several hundred pages and fifty-four years of history. walter demons thinks that her earner work th

19、e thorn birds is a fairly well-crafted piece of fiction with a good story line and, for the most part,convincing characters. (halliday, 2000, 318).morris identifies conventional american literary themes in the thorn birds and considers mcculloughs treatment of social, racial, and gender issues as a

20、source of the novels popularity in the united states. (morris, 1991, 59-69).critics such as eiot fremont-smith in contemporary literary criticism v27finds reasons for its popularity. what holds the book together, however, is not the character alone, or drogherda, or even its rather refreshing wholes

21、omeness, but colleen mcculloughs slightly quirky, very spunky style. her prose, even when stately, owes little to any formula; it is driven by a curiosity of mind, a caring for the subject, and some other great energy with the author that in turn, at one remove, spurs the reader on. (halliday, 2000,

22、 318) as far as the formalistic approach is concerned, joanne kaufman gives acomment:the plot creaks at times, and mccullough is not above exploiting coincidence.but one marvel much more than minds. mccullough does make her characters and their concerns come alive; she gives them (the leader particu

23、larly, and palph most of all) intelligence and complexity and dimension. even the minor characters are not dull. (toril, 1994, 445) joanne kaufman also points out that it is a reasonably simple matter to understand the massive success of one of coiieen mcculloughs previous novels- the thorn birds. t

24、he seductive elements were all there:weeping saga in an exotic locale (australia), comely characters, forbidden passion (girl loves priest, girl briefly gets priest) and thwarted love (girl loses priest but has his child). (kaufman, 1985, 1-2)alice k. turner also offers his understanding about the t

25、horn birds in contemporary literary criticism v27 as following:the unique quality of this novel lies in the astonishing sexual deprivation which is the lot of every character in it. moment of supreme whoopee, we get many other treats-violent death, cunning crafted betrayals, womanly self-sacrifice,

26、manly valor, and a lot of good ,solidly intriguing information about australian life. (halliday, 2000, 319-20)some others also provides a critical overview of the thorn birds, including analysis of thematic concerns, narrative style, and feminist interpretations of the novel.to sum up, the thorn bir

27、ds gains more attention and analysis from traditional and literal perspective over nearly fifty years. it is no denying that many critics and readers contribute a lot to explore and interpret the novel and main characters with different criticisms, but there are few to use lacans psychoanalysis theo

28、ry in the study of the thorn birds.2.2 studies at home the thorn birds has been translated into chinese for over twenty years. in the only one book about australian literary history in china-austnalian literary history written by professor huang yuanshen- there are only several hundred words to intr

29、oduce the thorn birds. the concerns of other critical studies and researches of the thron birds in china are generally divided as follows: first of all, the conflicts between religion and love, divinity and humanity are explored to reveal the distortion and devastation of human nature attributed to

30、church, such as shi hua (1999)and zhang jinghui (2011). they focus on the analysis of the male character ralph, who experienced strong innex conflicts between divinity and humanity. this conflict and sexual oppression of church on human beings are the main causes of the tragic love between ralph and

31、 meggie. secondly, feminist consciousness and themes in the novel are analyzed from the perspective of feminist critical theories. zhao jiali (zhao , 2008, 33-37), fu lili (fu, 2006, 79-82),liu miao (liu, 2008, 21-23) analyze the four major female characters to reveal that feminist consciousness and

32、 the rough course of female self-emancipation; xie xiajun (xie , 2006, 70-73) makes comparative studies of the thorn birds with another famous work the scalet letter and zang riuting (tang, 2010, 150)compares the thorn binds with gone with the wind to disclose the simile feminist consciousness and t

33、hemes by displaying the conflict and struggle between soul and body, persistent pursuit of love and rugged life experience apart from these studies, wan pei (wan pei, 2009) unscrambles main characters and analyzes themes in the thorn binds to present many striking similarities to the images and them

34、es of ti7e holy bible with the approach of mythical archetypal critical ideas; zhang hongxia (zhang , 2008, 206-210) focuses on the literary techniques of colleen mccullough, the image and symbolism in the novel.references halliday, m. a. k. (2000). an introduction to functional grammarbeijing：forei

35、gn language teaching and research press.kolmar, wendy. (2000). feminist theory: a reader, ed. london: mayfield publishing company, madsen, deborah l. (2000). feminist theory and literary practice. london: pluto presspagels, elaine h. (2003). beyond belief: the secret gospel of thomas. new york: rand

36、om house, inc.shen, dan. (2004). narratology and stylistics of fiction . bejing: peking university press.shen, dan. (2006). transitivity and hidden symbolic significance: langston hughes. foreign language teaching and research, (5): 88-93wang, yuling. (2006). the comparative study of the thorn birds

37、 and the scarlet letter. social science review.(3): 17-21zhang, yan. (2007). images of wildness in the scarlet letter and the thorn birds. journal of tangshan college.(4): 112-116zhao, yanyan. (2006). the bible archetypal study of the thorn birds. the world literature criticism, (3): 14-20.白莉. 艱辛的成長(zhǎng)

38、之旅對(duì)荊棘鳥(niǎo)的女性主義解讀j，咸陽(yáng)師范學(xué)院學(xué)報(bào)，2006（4）：127-128。崔小云. 對(duì)傲慢與偏見(jiàn)第十九章之功能文體分析d. 西北工業(yè)大學(xué)碩士論文，2004.崔筱溪. 荊棘鳥(niǎo)中菲奧娜的人物形象簡(jiǎn)析j. 時(shí)代文學(xué), 2009(5): 243-244.高陽(yáng). 小說(shuō)簡(jiǎn)愛(ài)的功能文體分析d. 哈爾濱工程大學(xué)碩士論文, 2003.黃國(guó)文，朱永生，張德祿，楊信彰. 功能語(yǔ)言學(xué)與語(yǔ)篇分析研究. 北京：高等教育出版社, 2009.劉泓.荊棘鳥(niǎo)中瑪麗卡森的女性形象分析j. 貴州民族學(xué)院學(xué)報(bào), 2008(3): 621-622. 畢 業(yè) 論 文 開(kāi) 題 報(bào) 告本課題要研究或解決的問(wèn)題和擬采用的研究手段（途徑）：

39、1.literature research mainly through retrieve the related research literature, at the same time at home and abroad related academic works, journals, browse relevant websites, combineing with the cultural and social background. explains the theoretical basis of this thesis, especially the main argume

40、nts of radical feminist theory. 2.summary induction through the channel such as computer network retrieval and related books and reports, widely collect various documents and information related to this topic, the shawshank redemption rye research status was summarized and comparative analysis. 原文已完

41、。下文為附加文檔，如不需要，下載后可以編輯刪除，謝謝！施工組織設(shè)計(jì)本施工組織設(shè)計(jì)是本著“一流的質(zhì)量、一流的工期、科學(xué)管理”來(lái)進(jìn)行編制的。編制時(shí)，我公司技術(shù)發(fā)展部、質(zhì)檢科以及項(xiàng)目部經(jīng)過(guò)精心研究、合理組織、充分利用先進(jìn)工藝，特制定本施工組織設(shè)計(jì)。一、 工程概況：西夏建材城生活區(qū)27#、30#住宅樓位于銀川市新市區(qū)，橡膠廠對(duì)面。本工程由寧夏燕寶房地產(chǎn)開(kāi)發(fā)有限公司開(kāi)發(fā)，銀川市規(guī)劃建筑設(shè)計(jì)院設(shè)計(jì)。本工程耐火等級(jí)二級(jí)，屋面防水等級(jí)三級(jí)，地震防烈度為8度，設(shè)計(jì)使用年限50年。本工程建筑面積:27#樓3824.75m2;30#樓3824.75 m2。室內(nèi)地坪0.00以絕對(duì)標(biāo)高1110.5 m為準(zhǔn)，總長(zhǎng)27#樓

42、47.28m；30#樓47.28 m。總寬27#樓14.26m；30#樓14.26 m。設(shè)計(jì)室外地坪至檐口高度18.6 00m，呈長(zhǎng)方形布置，東西向，三個(gè)單元。本工程設(shè)計(jì)屋面為坡屋面防水采用防水涂料。外墻水泥砂漿抹面，外刷淺灰色墻漆。內(nèi)墻面除衛(wèi)生間200300瓷磚，高到頂外，其余均水泥砂槳罩面，刮二遍膩?zhàn)?；樓梯間內(nèi)墻采用50厚膠粉聚苯顆粒保溫。地面除衛(wèi)生間200200防滑地磚，樓梯間50厚細(xì)石砼1：1水泥砂漿壓光外，其余均采用50厚豆石砼毛地面。樓梯間單元門(mén)采用樓宇對(duì)講門(mén)，臥室門(mén)、衛(wèi)生間門(mén)采用木門(mén)，進(jìn)戶門(mén)采用保溫防盜門(mén)。本工程窗均采用塑鋼單框雙玻窗，開(kāi)啟窗均加紗扇。本工程設(shè)計(jì)為節(jié)能型住宅，外墻

43、均貼保溫板。本工程設(shè)計(jì)為磚混結(jié)構(gòu)，共六層?；A(chǔ)采用c30鋼筋砼條形基礎(chǔ)，上砌mu30毛石基礎(chǔ)，砂漿采用m10水泥砂漿。一、二、三、四層墻體采用m10混合砂漿砌筑mu15多孔磚；五層以上采用m7.5混合砂漿砌筑mu15多孔磚。本工程結(jié)構(gòu)中使用主要材料：鋼材：i級(jí)鋼，ii級(jí)鋼；砼：基礎(chǔ)墊層c10，基礎(chǔ)底板、地圈梁、基礎(chǔ)構(gòu)造柱均采用c30，其余均c20。本工程設(shè)計(jì)給水管采用ppr塑料管，熱熔連接；排水管采用upvc硬聚氯乙烯管，粘接；給水管道安裝除立管及安裝ic卡水表的管段明設(shè)計(jì)外，其余均暗設(shè)。本工程設(shè)計(jì)采暖為鋼制高頻焊翅片管散熱器。本工程設(shè)計(jì)照明電源采用bv2.5銅芯線，插座電源等采用bv4銅芯線

44、；除客廳為吸頂燈外，其余均采用座燈。二、 施工部署及進(jìn)度計(jì)劃1、工期安排本工程合同計(jì)劃開(kāi)工日期：2004年8月21日，竣工日期：2005年7月10日，合同工期315天。計(jì)劃2004年9月15日前完成基礎(chǔ)工程，2004年12月30日完成主體結(jié)構(gòu)工程，2005年6月20日完成裝修工種，安裝工程穿插進(jìn)行，于2005年7月1日前完成。具體進(jìn)度計(jì)劃詳見(jiàn)附圖1（施工進(jìn)度計(jì)劃）。2、施工順序基礎(chǔ)工程工程定位線（驗(yàn)線）挖坑釬探（驗(yàn)坑）砂礫墊層的施工基礎(chǔ)砼墊層刷環(huán)保瀝青 基礎(chǔ)放線（預(yù)檢）砼條形基礎(chǔ)刷環(huán)保瀝青 毛石基礎(chǔ)的砌筑構(gòu)造柱砼地圈梁地溝回填工。結(jié)構(gòu)工程結(jié)構(gòu)定位放線（預(yù)檢）構(gòu)造柱鋼筋綁扎、定位（隱檢）磚墻砌筑

45、（50cm線找平、預(yù)檢）柱梁、頂板支模（預(yù)檢）梁板鋼筋綁扎（隱檢、開(kāi)盤(pán)申請(qǐng)）砼澆筑下一層結(jié)構(gòu)定位放線重復(fù)上述施工工序直至頂。內(nèi)裝修工程門(mén)窗框安裝室內(nèi)墻面抹灰樓地面門(mén)窗安裝、油漆五金安裝、內(nèi)部清理通水通電、竣工。外裝修工程外裝修工程遵循先上后下原則，屋面工程（包括煙道、透氣孔、壓頂、找平層）結(jié)束后，進(jìn)行大面積裝飾，塑鋼門(mén)窗在裝修中逐步插入。三、 施工準(zhǔn)備1、 現(xiàn)場(chǎng)道路本工程北靠北京西路，南臨規(guī)劃道路，交通較為方便。場(chǎng)內(nèi)道路采用級(jí)配砂石鋪墊，壓路機(jī)壓。2、 機(jī)械準(zhǔn)備設(shè)2臺(tái)攪拌機(jī)，2臺(tái)水泵。現(xiàn)場(chǎng)設(shè)鋼筋切斷機(jī)1臺(tái)，調(diào)直機(jī)1臺(tái)，電焊機(jī)2臺(tái)，1臺(tái)對(duì)焊機(jī)?，F(xiàn)場(chǎng)設(shè)木工鋸，木工刨各1臺(tái)?；靥钇陂g設(shè)打夯機(jī)2臺(tái)?，F(xiàn)

46、場(chǎng)設(shè)塔吊2臺(tái)。3、施工用電施工用電已由建設(shè)單位引入現(xiàn)場(chǎng)；根據(jù)工程特點(diǎn)，設(shè)總配電箱1個(gè)，塔吊、攪抖站、攪拌機(jī)、切斷機(jī)、調(diào)直機(jī)、對(duì)焊機(jī)、木工棚、樓層用電、生活區(qū)各配置配電箱1個(gè)；電源均采用三相五線制；各分支均采用鋼管埋地；各種機(jī)械均設(shè)置接零、接地保護(hù)。具體配電箱位置詳見(jiàn)總施工平面圖。3、 施工用水施工用水采用深井水自來(lái)水，并砌筑一蓄水池進(jìn)行蓄水。樓層用水采用鋼管焊接給水管，每層留一出水口；給水管不置蓄水池內(nèi)，由潛水泵進(jìn)行送水。4、 生活用水生活用水采用自來(lái)水。5、 勞動(dòng)力安排結(jié)構(gòu)期間：瓦工40人；鋼筋工15人；木工15人；放線工2人；材料1人；機(jī)工4人；電工2人；水暖工2人；架子工8人；電焊工2人

47、；壯工20人。裝修期間抹灰工60人；木工4人；油工8人；電工6人；水暖工10人。四、主要施工方法1、施工測(cè)量放線施工測(cè)量基本要求a、西夏建材城生活區(qū)17#、30#住宅樓定位依據(jù)：西夏建材城生活區(qū)工程總體規(guī)劃圖，北京路、規(guī)劃道路永久性定位b、根據(jù)工程特點(diǎn)及建筑工程施工測(cè)量規(guī)程dbi012195，4、3、2條，此工程設(shè)置精度等級(jí)為二級(jí)，測(cè)角中誤差12，邊長(zhǎng)相對(duì)誤差1/15000。c、根據(jù)施工組織設(shè)計(jì)中進(jìn)度控制測(cè)量工作進(jìn)度，明確對(duì)工程服務(wù)，對(duì)工程進(jìn)度負(fù)責(zé)的工作目的。工程定位a、根據(jù)工程特點(diǎn)，平面布置和定位原則，設(shè)置一橫一縱兩條主控線即27#樓：（a）軸線和（1）軸線；30#樓：（a）軸線和（1）軸線

48、。根據(jù)主軸線設(shè)置兩條次軸線即27#樓：（h）軸線和（27）軸線；30#樓：（h）軸線和（27）軸線。 b、主、次控軸線定位時(shí)均布置引樁，引樁采用木樁，后砌一水泥砂漿磚墩；并將軸線標(biāo)注在四周永久性建筑物或構(gòu)造物上，施測(cè)完成后報(bào)建設(shè)單位、監(jiān)理單位確認(rèn)后另以妥善保護(hù)。c、控軸線沿結(jié)構(gòu)逐層彈在墻上，用以控制樓層定位。d、水準(zhǔn)點(diǎn)：建設(shè)單位給定準(zhǔn)點(diǎn)，建筑物0.00相當(dāng)于絕對(duì)標(biāo)高1110.500m?；A(chǔ)測(cè)量a、在開(kāi)挖前，基坑根據(jù)平面布置，軸線控制樁為基準(zhǔn)定出基坑長(zhǎng)、寬度，作為拉小線的依據(jù)；根據(jù)結(jié)構(gòu)要求，條基外側(cè)1100mm為砂礫墊層邊，考慮放坡，撒上白灰線，進(jìn)行開(kāi)挖。b、在墊層上進(jìn)行基礎(chǔ)定位放線前，以建筑物

49、平面控制線為準(zhǔn)，校測(cè)建筑物軸線控制樁無(wú)誤后，再用經(jīng)緯儀以正倒鏡挑直法直接投測(cè)各軸線。c、標(biāo)高由水準(zhǔn)點(diǎn)引測(cè)至坑底。結(jié)構(gòu)施工測(cè)量a、首層放線驗(yàn)收后，主控軸一引至外墻立面上，作為以上務(wù)層主軸線豎身高以測(cè)的基準(zhǔn)。b、施工層放線時(shí)，應(yīng)在結(jié)構(gòu)平面上校投測(cè)軸線，閉合后再測(cè)設(shè)細(xì)部尺寸和邊線。c、標(biāo)高豎向傳遞設(shè)置3個(gè)標(biāo)高點(diǎn)，以其平均點(diǎn)引測(cè)水平線折平時(shí)，盡量將水準(zhǔn)儀安置在測(cè)點(diǎn)范圍內(nèi)中心位置，進(jìn)行測(cè)設(shè)。2、基坑開(kāi)挖本工種設(shè)計(jì)地基換工，夯填砂礫墊層1100mm；根據(jù)此特點(diǎn)，采用機(jī)械大開(kāi)挖，留200mm厚進(jìn)行挖工、鏟平。開(kāi)挖時(shí)，根據(jù)現(xiàn)場(chǎng)實(shí)際土質(zhì)，按規(guī)范要求1:0.33放坡，反鏟挖掘機(jī)挖土。開(kāi)挖出的土，根據(jù)現(xiàn)場(chǎng)實(shí)際情況，

50、盡量留足需用的好土，多余土方挖出，避免二次搬運(yùn)。人工開(kāi)挖時(shí)，由技術(shù)員抄平好水平控制小木樁，用方鏟鏟平。挖掘機(jī)挖土應(yīng)該從上而下施工，禁止采用挖空底腳的操作方法。機(jī)械挖土,先發(fā)出信號(hào)，挖土的時(shí)候，挖掘機(jī)操作范圍內(nèi)，不許進(jìn)行其他工作，裝土的時(shí)候，任何人都不能停留在裝土車上。3、砌筑工程材料磚：mu15多孔磚，毛石基礎(chǔ)采用mu30毛石。砂漿：0.00以下采用m10水泥砂漿，一、二、三、四層采用m10混合砂漿，五層以上采用m7.5混合砂漿。砌筑要求a、開(kāi)工前由工長(zhǎng)對(duì)所管轄班組下發(fā)技術(shù)交底。b、砌筑前應(yīng)提前澆水濕潤(rùn)磚塊，水率保持在1015。c、砌筑采用滿鋪滿擠“三一砌筑法“，要求灰漿飽滿，灰縫812mm。

51、d、外墻轉(zhuǎn)角處應(yīng)同時(shí)砌筑，內(nèi)外墻交接處必須留斜槎，槎子長(zhǎng)度不小于墻體高度的2/3，槎子必須平直、通順。e、隔墻與墻不同時(shí)砌筑又不留成斜槎時(shí)可于墻中引出陽(yáng)槎或在墻的灰縫中預(yù)埋拉結(jié)筋，每道不少于2根。f、接槎時(shí)必須將表面清理干凈，澆水濕潤(rùn)，填實(shí)砂漿，保持灰縫平直。g、磚墻按圖紙要求每50mm設(shè)置26鋼筋與構(gòu)造柱拉結(jié)，具體要求見(jiàn)結(jié)構(gòu)總說(shuō)明。h、施工時(shí)需留置臨時(shí)洞口，其側(cè)邊離交接處的墻面不少于500mm，頂部設(shè)邊梁。4、鋼筋工程凡進(jìn)場(chǎng)鋼筋須具備材質(zhì)證明，原材料須取樣試驗(yàn)，經(jīng)復(fù)試合格后方可使用。鋼筋綁扎前應(yīng)仔細(xì)對(duì)照?qǐng)D紙進(jìn)行翻樣，根據(jù)翻樣配料，施工前由工長(zhǎng)對(duì)所管轄班組下發(fā)技術(shù)交底，準(zhǔn)備施工工具，做好施工的

52、準(zhǔn)備工作。板中受力鋼筋搭接，i級(jí)鋼30d，ii級(jí)鋼40d，搭接位置：上部鋼筋在跨中1/3范圍內(nèi)，下部鋼筋在支座1/3范圍內(nèi)。鋼筋保護(hù)層：基礎(chǔ)40mm，柱、梁30mm，板20mm。保護(hù)層采用50mm50mm的水泥砂漿塊。板上部鋼筋用馬凳按梅花狀支起。所有鋼筋綁扎，須填寫(xiě)隱檢記錄，質(zhì)評(píng)資料及目檢記錄，驗(yàn)收合格后方可進(jìn)行下道工序。5、砼工程水泥進(jìn)場(chǎng)后須做復(fù)試，經(jīng)復(fù)試合格后由試驗(yàn)室下達(dá)配合比。施工中嚴(yán)格掌握各種材料的用量，并在攪拌機(jī)前進(jìn)行標(biāo)識(shí)，注明每立方米、每盤(pán)用量。同時(shí)攪拌時(shí)，須車車進(jìn)磅，做好記錄。 澆筑前，對(duì)模板內(nèi)雜物及油污、泥土清理干凈。投料順序：石子水泥砂子。本工程均采用插入式振搗器，一次澆筑

53、厚度不宜超過(guò)振搗器作用部分長(zhǎng)度的1.25倍，搗實(shí)砼的移動(dòng)間距不宜大于振搗器作用半徑的1.5倍。砼澆筑后1晝夜?jié)菜B(yǎng)護(hù)，養(yǎng)護(hù)期不少于7d，砼強(qiáng)度未達(dá)到1.2mpa之前不得上人作業(yè)。6、模板工程本工程模板采用鋼木混合模板。模板支搭的標(biāo)高、截面尺寸、平整度、垂直度應(yīng)達(dá)到質(zhì)量驗(yàn)收標(biāo)準(zhǔn)，以滿足其鋼度，穩(wěn)定性要求。模板支撐應(yīng)牢固可靠，安裝進(jìn)程中須有防傾覆的臨時(shí)固定措施。本工程選用851脫模劑，每拆除一次模板經(jīng)清理后涂刷脫模劑，再重新組裝，以保證砼的外觀質(zhì)量。6、 架子工程本工程采用雙排架子防護(hù)，外設(shè)立桿距墻2m，里皮距墻50cm，立桿間距1.5m，順?biāo)g距1.2m，間距不大于1m。 架子底部夯實(shí)，墊木板，

54、綁掃地桿。為加強(qiáng)架子的穩(wěn)定性，每七根立桿間設(shè)十字蓋，斜桿與地面夾角60o。為防止腳平架外傾，與結(jié)構(gòu)采用鋼性拉接，拉接點(diǎn)間距附和“垂四平六“的原則。外防護(hù)架用閉目式安全網(wǎng)進(jìn)行封閉，兩平網(wǎng)塔接和網(wǎng)下口必須綁孔緊密。結(jié)構(gòu)架子高出作業(yè)層1m，每步架子滿鋪腳手板，要求嚴(yán)密牢固并嚴(yán)禁探頭板。7、 裝飾工程裝飾工程施工前，要組織質(zhì)監(jiān)部門(mén)、建設(shè)、設(shè)計(jì)、施工單位四方參加的主體結(jié)構(gòu)工程核驗(yàn)收，對(duì)已完全體分部工程進(jìn)行全面檢查、發(fā)現(xiàn)問(wèn)題及時(shí)處理，清除隱患，并做好裝飾前材料、機(jī)具及技術(shù)準(zhǔn)備工作。1、根據(jù)預(yù)算所需材料數(shù)量，提出材料進(jìn)場(chǎng)日期，在不影響施工用料的原則下，盡量減少施工用地，按照供料計(jì)劃分期分批組織材料進(jìn)場(chǎng)。2、

55、將墻面找方垂直線，清理基層，然后沖筋，按照?qǐng)D紙要求，分層找平垂直，陰陽(yáng)角度方正，然后拉線作灰餅。底子灰應(yīng)粘結(jié)牢固，并用刮杠刮平，木抹子抹平。3、罩面應(yīng)均勻一致，并應(yīng)在終凝前刮平壓光，上三遍灰抹子。4、油漆、涂料施工：油漆工程施工時(shí)，施工環(huán)境應(yīng)清潔干凈，待抹灰、樓地面工程全部完工后方可施工，油漆涂刷前被涂物的表面必須干燥、清潔，刷漆時(shí)要多刷多理不流墜，達(dá)到薄厚均勻，色調(diào)一致，表面光亮。墻面涂料基層要求現(xiàn)整，對(duì)縫隙微小孔洞，要用膩?zhàn)诱移?，并用砂紙磨平。為了使顏色一致，?yīng)使用同一配合比的涂料，使用時(shí)涂料攪勻，方可涂刷，接槎外留在陰陽(yáng)角外必須保證涂層均勻一致表面不顯刷紋。8、 樓地面工程樓地面工程只作

56、50厚豆石砼墊層。做墊層必須先沖筋后做墊層，其平整度要控制在4mm以內(nèi)，加強(qiáng)養(yǎng)護(hù)45天后，才能進(jìn)行上層施工。10、層面工程1、屋面保溫層及找平層必須符合設(shè)計(jì)要求，防水采用防水卷材。2、做水泥砂漿找平層表面應(yīng)平整壓光，屋面與女兒墻交接處抹成r150mm圓角。3、本工程屋面材料防水，專業(yè)性強(qiáng)，為保證質(zhì)量，我們請(qǐng)專業(yè)人員作防水層。4、原材料在使用前經(jīng)化驗(yàn)合格后才能使用，不合格材料嚴(yán)禁使用。11、水、暖、電安裝工程管道安裝應(yīng)選用合格的產(chǎn)品，并按設(shè)計(jì)放線，坡度值及坡向應(yīng)符合圖紙和規(guī)范要求。水、暖安裝前做單項(xiàng)試壓，完畢后做通、閉水后試驗(yàn)和打壓試驗(yàn)，衛(wèi)生間閉水試驗(yàn)不少于24小時(shí)。電預(yù)埋管路宜沿最近線路敷設(shè)，

57、應(yīng)盡量減少?gòu)澢?，用線管的彎曲絲接套絲，折扁裂縫焊接，管口應(yīng)套絲用堵頭堵塞。油漆防腐等均符合圖紙各施工規(guī)范及質(zhì)量評(píng)定標(biāo)準(zhǔn)。 燈具、插座、開(kāi)關(guān)等器具安裝，其標(biāo)高位置應(yīng)符合設(shè)計(jì)要求，表面應(yīng)平直潔凈方正。燈具、插座、開(kāi)關(guān)等器具必須選用合格產(chǎn)品，不合格產(chǎn)品嚴(yán)禁使用。做好各種絕緣接地電阻的測(cè)試和系統(tǒng)調(diào)整記錄，檢查配線的組序一定要符合設(shè)計(jì)要求。五、預(yù)防質(zhì)量通病之措施本工程按優(yōu)質(zhì)工程進(jìn)行管理與控制，其優(yōu)質(zhì)工程的目標(biāo)體系與創(chuàng)優(yōu)質(zhì)工程的保證措施在本工程施工組織設(shè)計(jì)中做了詳述。本措施不再述。創(chuàng)優(yōu)質(zhì)工程除對(duì)各分部、分項(xiàng)、工序工程施工中，精心操作，一絲不茍、高標(biāo)準(zhǔn)嚴(yán)要求作業(yè)外，關(guān)鍵是防止質(zhì)量通病。為此，提出防止通病的作業(yè)措施如下：1、磚墻