旅游綜合開發(fā)項(xiàng)目的可研報(bào)告.doc

personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a characters body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Poes “The Tell-Tale Heart.” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melvilles Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the boys father in Faulkners “Barn Burning”: it is an act of no mere destroying a barn, but an expression of his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the fathers memories of the “waste and extravagance of war” and the “element of fire spoke to some deep mainspring” in his being.5. A symbol is a tropeIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory.An imageAn image is a literal and concrete representation of a sensory experience or of an object that can be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated. (Holman and Harmon, A Handbook to Literature, 1986) Images may be literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a “turn” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes that referent; whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to the reader a meaning beyond itself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly; it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.Metaphor A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional metaphor” to describe the way in which the metaphor is able to have “referential” and “emotive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbol embodies the idea or the quality.AllegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of anotheran abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on his back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “Were both Arabs, arent we?” If we substitute for the frog a “Mr. Goodwill” and for the scorpion “Mr. Treachery” or “Mr. Two-face”, and we make the river any river, and for “Were both Arabs” we substitute “Were both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthornes “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagonist represents us all, and who, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunyans Pilgrims Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwells Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the objective referent evokes is without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest.In a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them.How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller often givens the symbol particular emphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,” “Barn Burning,” “A Clean, Well-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an object, act, or character is given some special emphasis and importance, we may generally feel safe in taking it at face value. But an object, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barnwhich led us to the theme, the essential meaning of the story.Chapter Eight ImageThe image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image?“An image is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound) In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地鐵車站 人群 粉面 幽靈 黝濕 枝頭 花瓣Imagery, a rather vague critical term covering those uses of language in a literary work that evoke senseimpressions by literal or figurative reference to perceptible or concrete objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental pictures, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.The Five Senses Responding to Imaginative languageVisual Imagery: Imagery of SightVisual imagery is different from visual perception because visual perception requires the object to be actually present and visual imagery does not.Aural Imagery: Imagery of SoundAuditory imagery is something that represents a sound, which can be revealed both in poems and stories.Olfactory Imagery: Imagery of SmellOlfactory imagery stimulates the sense of smell, which olfactions unique cognitive architecture of evocation have led some to conclude that there is no capacity for olfactory imagery. a. Self-reports of olfactory can resemble those obtained for actual perception. b. Imaging an odor can produce effects similar to actual perception. c. Olfactory perception and memorybased images can interact. 4. Tactile Imagery: Imagery of Touch Tactile imagery stimulates the sense of touch, which is also called Haptic Imagery. 5. Gustatory Imagery: Imagery of TasteGustatory imagery stimulates the sense of taste. “ Have a dill pickle, he said. He wanted to share with us: That seemed to me so right, soyou know what I mean?” From A Dill Pickle by Katherine Mansfield生態(tài)旅游綜合開發(fā)項(xiàng)目可行性研究報(bào)告第一章 總論1.1概論*市委、市政府確立未來旅游產(chǎn)業(yè)的發(fā)展目標(biāo)：即緊緊圍繞建設(shè)現(xiàn)代化生態(tài)城市的總體目標(biāo)，樹立*休閑度假旅游目的地形象，力爭10年時(shí)間，將*打造成為享譽(yù)世界的國際精品旅游區(qū)，最終建成“北國濕地休閑之都，國際生態(tài)旅游名城”。針對*市由觀光型向休閑度假型旅游過渡的發(fā)展現(xiàn)實(shí)，*市委、市政府把“實(shí)施生態(tài)立市”作為五大發(fā)展戰(zhàn)略的首要戰(zhàn)略，把“精心打造百公里生態(tài)濕地旅游帶”作為全市兩大產(chǎn)業(yè)帶之一，正在將紅海灘風(fēng)景區(qū)、鼎翔生態(tài)旅游度假區(qū)整合為國家重點(diǎn)支持的*生態(tài)旅游基礎(chǔ)設(shè)施建設(shè)項(xiàng)目，將其提升為5A級旅游區(qū)，被列為國家重點(diǎn)支持遼寧旅游基礎(chǔ)設(shè)施第一名。鴨舌島、遼河左岸濕地公園、遼濱水城、溫泉養(yǎng)身休閑、濕地水上樂園等重點(diǎn)項(xiàng)目建設(shè)和設(shè)施配套正在實(shí)現(xiàn)新突破，以旅游大項(xiàng)目建設(shè)拉動相關(guān)經(jīng)濟(jì)的蓬勃發(fā)展，標(biāo)志著*市旅游產(chǎn)業(yè)正在轉(zhuǎn)型升級。隨著遼寧沿海經(jīng)濟(jì)帶開發(fā)開放上升為國家戰(zhàn)略，*依托彌足珍貴的濱海濕地資源，已華麗轉(zhuǎn)身，面向大海，全面開啟了揚(yáng)帆遠(yuǎn)航的新征程。遼寧沿海經(jīng)濟(jì)帶發(fā)展規(guī)劃中指出，“*要依托石油、濕地等資源優(yōu)勢，推進(jìn)資源型城市轉(zhuǎn)型，加快發(fā)展特色優(yōu)勢產(chǎn)業(yè)，建成具有北方水鄉(xiāng)特色的石化城和環(huán)境宜居的濱海新城”。市委、市政府已明確表態(tài)：“我們一定要將*沿海地帶變成一條聞名世界的生態(tài)景觀帶、產(chǎn)業(yè)帶。這是我們經(jīng)濟(jì)發(fā)展的重要支撐點(diǎn)，也是我們要?jiǎng)?chuàng)造的一個(gè)旅游高地。我們要充分挖掘濕地等旅游資源，科學(xué)規(guī)劃，合理布局，打造個(gè)性鮮明的紅海灘5A級景區(qū)、鼎翔生態(tài)風(fēng)情小鎮(zhèn)等一批特色景區(qū)，創(chuàng)建水上乘船游、濕地休閑體驗(yàn)游等精品旅游路線，提升旅游服務(wù)的國際化水平，使旅游產(chǎn)業(yè)躍上一個(gè)新的層次，向世界展現(xiàn)一個(gè)美麗的濕地休閑之都。 2010年1月下旬，市長孫國相就水利工程及旅游項(xiàng)目建設(shè)情況進(jìn)行工作調(diào)研時(shí)指出：“要科學(xué)選址、合理規(guī)劃，將水利工程建設(shè)同旅游景觀開發(fā)緊密結(jié)合，充分盤活周邊資源，帶動周邊地區(qū)經(jīng)濟(jì)社會發(fā)展”。 孫國相在調(diào)研中強(qiáng)調(diào)，要將遼河沿河經(jīng)濟(jì)發(fā)展同旅游項(xiàng)目建設(shè)緊密結(jié)合，加快資源型城市轉(zhuǎn)型步伐，統(tǒng)籌實(shí)施遼河沿線開發(fā)和生態(tài)治理，發(fā)展沿河經(jīng)濟(jì)。要通過建設(shè)一大批推動經(jīng)濟(jì)社會發(fā)展、改善民生的水利工程和旅游項(xiàng)目，為推進(jìn)全市經(jīng)濟(jì)更好更快發(fā)展提供強(qiáng)勁動力。1.2項(xiàng)目區(qū)域概況*位于盤山縣西北部，北鄰錦州市溝幫子經(jīng)濟(jì)開發(fā)區(qū)和趙屯鎮(zhèn)，西南部與羊圈子葦場毗連，東隔西沙河與胡家鎮(zhèn)相鄰。位于東經(jīng)1212712229，北緯40454027。東西長為十三公里，南北寬為十公里，總面積98平方公里，占*市總面積的2.45%，耕地面積近五萬畝。轄十一個(gè)村(分場)，十九個(gè)自然屯。全鄉(xiāng)共有居民4,304戶，共14,538人，其中有三個(gè)朝鮮族村，人口為1,644人；滿、回、錫伯族不足50人。1.2.1旅游資源*境內(nèi)的青年水庫是*第三大平原水庫，面積為8,065畝，環(huán)周為10公里，庫容1,200萬m3。大約公元1610年以前（乾隆年間），由清朝翰林院院士張純良建造一座海云寺，四面環(huán)水與渤海相連，北與醫(yī)巫閭山同為一脈、靈氣沖天，被民間傳為風(fēng)水寶地。歷史記載是閭山青巖寺的下院，廟中供奉海龍王（亦稱龍王廟），寺院中的大佛像高10m，每年香火鼎盛，香客絡(luò)繹不絕。海云寺的傳說甚多，“龍泉水不落”、“海眼通龍宮”、“廟隨水漲”的奇觀廣為傳頌。水庫建于1958年，當(dāng)?shù)卣疄榱吮Ｗo(hù)歷史文物，在水庫偏中西北處留有1.3萬m2的孤島（現(xiàn)域名為明珠島），寺廟幾經(jīng)修繕至今保護(hù)完整，寺廟中住一70多歲高齡的僧人釋覺凡主持日常佛教事務(wù)。水庫內(nèi)是繁殖魚蟹天然場地。水面廣袤，深度適中，可垂釣休閑、游艇逐浪，水面煙波浩淼，風(fēng)景怡人。地下蘊(yùn)藏著豐富的優(yōu)質(zhì)地?zé)釡厝Y源，距地表約1,800米，水質(zhì)優(yōu)良，含氯化鈉、氧化鈣及氯化氟等多種有益礦物質(zhì)及微量元素，常年水溫42，出水量大約（4,000立方米/小時(shí)）。溫泉中富含多種有益健康的微量元素，對人體的多種疾病有良好療養(yǎng)功效。近年來研究還發(fā)現(xiàn)，溫泉浴能夠促進(jìn)機(jī)體的免疫功能，調(diào)整植物神經(jīng)系統(tǒng)，所以還有一定的保健和延年益壽作用。*境內(nèi)有三個(gè)朝鮮族村，至今保留著該民族的風(fēng)俗習(xí)慣，尤其在飲食方面代表了典型的朝鮮族風(fēng)味，有許多市內(nèi)及周邊地區(qū)的游客不遠(yuǎn)百里慕名而來。甜水湖的水域資源、濕地植被景觀資源、歷史文物資源、民族風(fēng)情資源、公路鐵路交通資源、映襯閭山山脈、一條條巨龍?jiān)揭按┻^、地處北站經(jīng)濟(jì)帶可謂中國北方甲天下！人文景觀及旅游資源極具商業(yè)開發(fā)價(jià)值。1.2.2礦產(chǎn)資源*南部和西南部有豐富的地下海水資源，經(jīng)探明儲量達(dá)15.9億m3， Mgcl2、Nacl、Br礦化度工業(yè)指標(biāo)極具開采價(jià)值，可連續(xù)開采數(shù)百年。 305國道北部地下水資源豐富，各項(xiàng)微量元素指標(biāo)接近飲用礦泉水標(biāo)準(zhǔn)。1.2.3水資源境內(nèi)有西沙河、張家溝、鴨子河、月牙河等中小河流，自北向南流經(jīng)全鄉(xiāng)，歸遼河入渤海；擁有8,065畝的青年水庫，水面遼闊，平均水深2米，生態(tài)保持良好。地面有三萬多畝坑塘，水質(zhì)肥沃，餌料充足，是繁殖魚、蝦、貝類、蟹的天然淡水養(yǎng)殖場。1.2.4土地資源*共有土地面積98平方公里。其中耕地為71,440畝，鹽田4,382畝，葦田18,107畝，草地264畝，灘涂2,230畝。1.2.5交通資源甜水地處*、錦州兩市交界，素有*的北大門之稱，是連接遼西五市，通往關(guān)內(nèi)的交通要道；沈山、溝海線鐵路；秦沈、溝營大高速鐵路繞境通過；國道、京沈高速公路穿越境內(nèi)。1.3項(xiàng)目提出的背景改革開放以來，我國的農(nóng)業(yè)得以快速發(fā)展，取得舉世矚目的成績，特別是種植業(yè)，我們用世界上7的耕地養(yǎng)活24的人口。但種植業(yè)發(fā)展面臨耕地有限，單產(chǎn)難以快速大幅度提高的現(xiàn)實(shí)，對農(nóng)村經(jīng)濟(jì)發(fā)展貢獻(xiàn)的比重在逐年遞減。黨的十七大報(bào)告提出：“加快轉(zhuǎn)變經(jīng)濟(jì)發(fā)展方式，推動產(chǎn)業(yè)結(jié)構(gòu)優(yōu)化升級；促進(jìn)經(jīng)濟(jì)增長由主要依靠第二產(chǎn)業(yè)帶動向依靠第一，第二、第三產(chǎn)業(yè)協(xié)同帶動轉(zhuǎn)變，由主要依靠增加物質(zhì)資源消耗向依靠科技進(jìn)步、勞動者素質(zhì)提高、管理創(chuàng)新轉(zhuǎn)變。” 1.3.1整合資源開發(fā)生態(tài)旅游產(chǎn)業(yè)時(shí)序更迭、光陰荏苒。廣袤遼闊的三角洲在自然界中無聲的記錄著*日新月異的變化，好風(fēng)憑借力，送我上青云。近年來生態(tài)旅游度假村，這一商業(yè)模式取得了長足的發(fā)展。這個(gè)古老而又時(shí)尚、充滿現(xiàn)代氣息的休閑模式，給人們帶來了全新的生活品味。厚天載物，適者生存。隨著一條條巨龍穿境而過，隨著春華秋實(shí)的變幻，一片片稻田、一彎彎葦浪、一座座坑塘、一條條河流環(huán)抱的“一潭春水”，湖中觀魚躍、草底現(xiàn)牛羊的盎然生機(jī)；明珠島、海云寺幾百年滄桑的傳奇故事為發(fā)展生態(tài)度假旅游提供了得天獨(dú)厚的條件。該項(xiàng)目為*北站經(jīng)濟(jì)帶注入了新的生機(jī)和活力，那些幾乎被遺忘的北部三角洲從而成為新的財(cái)富增長點(diǎn)。*正在由相對獨(dú)立產(chǎn)業(yè)向綜合開發(fā)產(chǎn)業(yè)鏈邁進(jìn)，產(chǎn)業(yè)化鏈條明顯延伸，市場網(wǎng)絡(luò)進(jìn)一步完善和規(guī)范，整體科技水平和綜合開發(fā)能力顯著增強(qiáng)。1.3.2發(fā)展目標(biāo) *市生態(tài)型旅游產(chǎn)業(yè)發(fā)展戰(zhàn)略，是以確立本市“北國濕地休閑之都，國際生態(tài)旅游名城”為最終目標(biāo)的長遠(yuǎn)謀劃。其目標(biāo)包括定性和定量兩個(gè)指標(biāo)。 1、定性戰(zhàn)略目標(biāo)： 把*市建成北國濕地休閑之都，國際生態(tài)旅游名城。旅游收入占GDP10%以上，旅游業(yè)成為市域國民經(jīng)濟(jì)的支柱產(chǎn)業(yè)。 2、定量戰(zhàn)略目標(biāo)表1-1*市旅游發(fā)展定量戰(zhàn)略目標(biāo)分階段定量戰(zhàn)略目標(biāo)占GDP產(chǎn)業(yè)地位2008年9-10先導(dǎo)產(chǎn)業(yè)2010年10-11支拄產(chǎn)業(yè)2015年12-14支拄產(chǎn)業(yè)2020年15以上支拄產(chǎn)業(yè)定量戰(zhàn)略目標(biāo)實(shí)現(xiàn)的特征包括：旅游發(fā)展速度高于市域國民經(jīng)濟(jì)8%的平均發(fā)展速度；2008-2010年間旅游收入平均增長速度達(dá)到25%；20102015年間旅游收入平均增長速度達(dá)到20%；20152020年預(yù)計(jì)保持15%的穩(wěn)定增長態(tài)勢；從而成為*市產(chǎn)業(yè)結(jié)構(gòu)戰(zhàn)略框架的重要支柱產(chǎn)業(yè)之一。 3、各規(guī)劃期旅游接待人數(shù)和收入指標(biāo)根據(jù)對*市旅游業(yè)“十五”、“十一五”期間旅游接待與收入歷史統(tǒng)計(jì)數(shù)據(jù)的分析，應(yīng)用時(shí)間序列預(yù)測法計(jì)算，并依據(jù)本市旅游資源與市場匹配程度作適當(dāng)調(diào)整，預(yù)計(jì)*市旅游業(yè)各規(guī)劃期旅游接待人數(shù)和旅游收入指標(biāo)見下表表1-2 各規(guī)劃期旅游接待人數(shù)和旅游收入 單位：萬人次； ￥億元年 份旅游接待（萬人次）GDP平均增長旅游總收入平均增長國內(nèi)海外總數(shù)國內(nèi)海外（萬美元）總收入2008年 9808.21988.2 76382878.7基期2009年145111.21462.248.7113.5540111748.7%2010年171012.01722501165229119.750%2015年342024.0344410023210458127100%2020年59854260277540618301407.8751.3.3區(qū)域旅游發(fā)展背景甜水湖生態(tài)旅游度假村具有高品位的地理人文景觀資源，兼有水域風(fēng)光和生物多樣化的特點(diǎn)。這里系遼河入海口，沖積三角洲末端濱海沉積平原。特殊的地質(zhì)構(gòu)造、茂密的樹林、廣袤的蘆葦、河流、島嶼、灘涂、沼澤和水庫，構(gòu)成了別具特色的北國濱海河川濕地自然景觀。項(xiàng)目區(qū)擁有良好的濕地景觀資源，如植被、鳥類棲息地、水系等，瀕臨濕地核心保護(hù)區(qū)，且擁有良好的道路交通基礎(chǔ)設(shè)施，以及鄰近*北站的區(qū)位優(yōu)勢。*市以濕地生態(tài)為骨干的旅游資源豐富、特色鮮明，但由于旅游產(chǎn)品開發(fā)滯后、旅游基礎(chǔ)設(shè)施和服務(wù)配套設(shè)施欠缺，資源優(yōu)勢尚未轉(zhuǎn)化為市場優(yōu)勢。根據(jù)*市委、市政府*市旅游“十一五”發(fā)展規(guī)劃，進(jìn)一步發(fā)揮旅游產(chǎn)業(yè)拉動性強(qiáng)、市場需求潛力大、投資效益好、容納就業(yè)多、發(fā)展速度快等特點(diǎn)和優(yōu)勢，進(jìn)一步推動產(chǎn)業(yè)結(jié)構(gòu)調(diào)整和優(yōu)化、全力推進(jìn)旅游業(yè)的發(fā)展，促進(jìn)對外開放，將*打造為“世界濕地休閑之都”。項(xiàng)目地處京沈高速公路、鐵路與305國道、溝海鐵路交匯處。境內(nèi)的西沙河、張家溝、鴨子河、月牙河自北向南流歸遼河入渤海，甜水湖地處四條河流下游。1.8萬畝葦田同羊圈子葦場毗連，岸邊坑塘星羅棋布，8,065畝湖面平均水深2m，是生態(tài)衍生魚蝦蟹的天然場所。260畝草地是發(fā)展生態(tài)畜禽的天然放牧場。渾、太、遼河給與甜水湖的生態(tài)補(bǔ)水為岸邊的生態(tài)農(nóng)業(yè)提供了用之不盡的生態(tài)水源。芳草、蘆葦、農(nóng)田、碧水、藍(lán)天融為一體故有北三角洲小江南之美譽(yù)。甜水湖、明珠島、海云寺、龍王廟同生態(tài)觀光融為一體，協(xié)調(diào)自然，是北三角洲水鄉(xiāng)風(fēng)情園的主題特色。形成了旅游競爭優(yōu)勢，并使其脫穎而出，必將成為我國北方旅游業(yè)的頂級靚點(diǎn)。在旅游產(chǎn)業(yè)不斷壯大和旅游目的地功能不斷增強(qiáng)的今天，甜水湖度假村必然向一定的主題化發(fā)展。綜觀中外旅游特色景點(diǎn)已經(jīng)成為集自然生態(tài)觀光、精品購物、餐飲、娛樂、水上運(yùn)動于一體的風(fēng)景如畫的旅游基地。每個(gè)旅游俱樂部都是以自然觀光、旅游度假、娛樂運(yùn)動等為主題。這類旅游產(chǎn)品具有很大的市場需求、發(fā)展空間和開發(fā)潛力。甜水湖旅游度假村充分利用水利工程、荒地、灘涂等低產(chǎn)業(yè)密度用地，開發(fā)建設(shè)生態(tài)旅游度假村及相關(guān)產(chǎn)業(yè)，倡導(dǎo)環(huán)保理念，發(fā)展循環(huán)經(jīng)濟(jì)，充分挖掘土地潛力，有利于土地價(jià)值綜合提升。1.3.4區(qū)域社會經(jīng)濟(jì)背景2009年，*市生產(chǎn)總值實(shí)現(xiàn)685億元，是2004年的1.8倍，2008年開始駛?cè)雰晌粩?shù)增長的快車道；財(cái)政一般預(yù)算收入增長24.4%，達(dá)到43.4億元，是2004年的2.3倍；全社會固定資產(chǎn)投資增長47.9%，達(dá)到543億元，是2004年的3.6倍。萬元生產(chǎn)總值綜合能耗比“十五”期末下降21.7%，主要污染物排放實(shí)現(xiàn)控制目標(biāo)。縣區(qū)經(jīng)濟(jì)競相崛起，生產(chǎn)總值年均增長27.5%，高于全市19個(gè)百分點(diǎn)。過去的五年，是多元產(chǎn)業(yè)快速形成、經(jīng)濟(jì)結(jié)構(gòu)向全面優(yōu)化加快邁進(jìn)的五年。累計(jì)建設(shè)投資千萬元以上項(xiàng)目837個(gè)，竣工投產(chǎn)487個(gè)，非油氣采掘業(yè)增加值占全市比重由49.6%提高到70.8%，國家資源型城市轉(zhuǎn)型試點(diǎn)工作取得重大進(jìn)展。*2009年新招商引進(jìn)投資超千萬大型企業(yè) 17家，總投資近3億元，開工建設(shè)8家、建成投產(chǎn)9家，項(xiàng)目儲備13個(gè)。*生產(chǎn)總值實(shí)現(xiàn)8.259億元，同比增長83.6%；其中農(nóng)業(yè)實(shí)現(xiàn)1.1661億元，同比增長36.8%；工業(yè)實(shí)現(xiàn)4.783億元，同比增長105.7%；三產(chǎn)業(yè)實(shí)現(xiàn)0.9674億元，同比增長28.3%；財(cái)政一般預(yù)算收入實(shí)現(xiàn)776.5萬元。1.3.5打造甜水湖度假村的主體功能甜水生態(tài)旅游度假村借助*北站經(jīng)濟(jì)帶，依托甜水湖及濕地景觀、依托明珠島海云寺的古文物、依托生態(tài)農(nóng)業(yè)充分利用生態(tài)水資源、依托*北站開發(fā)新區(qū)與*濕地旅游環(huán)線，以生態(tài)旅游度假為起點(diǎn)、以水上游艇、捕魚垂釣、溫泉洗浴為賣點(diǎn)，以海云寺古文物為靚點(diǎn)，以生態(tài)農(nóng)業(yè)為支撐；形成以觀光生態(tài)農(nóng)業(yè)為主打，水上景區(qū)旅游、溫泉洗浴、商務(wù)度假、農(nóng)家食宿為主線，打造濕地特色異域風(fēng)情度假品牌?？商峁┧蠆蕵?、景區(qū)拍攝、商務(wù)會談、休閑娛樂、親友聚會、游艇駕駛培訓(xùn)和水上旅游等服務(wù)功能。1.4編制依據(jù)1.4.1相關(guān)法律法規(guī)中華人民共和國城市規(guī)劃法中華人民共和國環(huán)境保護(hù)法中華人民共和國水法中華人民共和國水污染防治法中華人民共和國土地管理法風(fēng)景名勝區(qū)管理暫行條例中華人民共和國自然保護(hù)區(qū)條例中華人民共和國植物保護(hù)條例1.4.2有關(guān)標(biāo)準(zhǔn)、規(guī)范中華人民共國旅游規(guī)劃通則（GB/T18971-2003）旅游區(qū)（點(diǎn)）質(zhì)量等級的劃分與評定（GB/T177752003）旅游資源分類、調(diào)查與評定（GB/189722003）風(fēng)景名勝區(qū)規(guī)劃規(guī)范（GB50298-1999）1.4.3相關(guān)規(guī)劃、計(jì)劃東北地區(qū)振興規(guī)劃遼寧沿海經(jīng)濟(jì)帶開發(fā)建設(shè)規(guī)劃*市土地利用總體規(guī)劃*市旅游總體規(guī)劃*市“十一五”發(fā)展規(guī)劃*市國民經(jīng)濟(jì)和社會發(fā)展“十一五”規(guī)劃*市“十一五”旅游發(fā)展規(guī)劃*市環(huán)境保護(hù)“十一五”發(fā)展規(guī)劃1.4.4其他相關(guān)材料建設(shè)項(xiàng)目經(jīng)濟(jì)評價(jià)方法與參數(shù)第二、三版；*政府提供的有關(guān)資料和數(shù)據(jù)；新建項(xiàng)目的有關(guān)法律法規(guī)及政府文件；實(shí)地踏勘與訪談資料網(wǎng)絡(luò)及其它公共渠道資料1.5編制原則1.5.1貫徹國家經(jīng)濟(jì)建設(shè)方針、政策，認(rèn)真執(zhí)行國家對節(jié)能環(huán)保和安全衛(wèi)生要求。1.5.2合理利用資源，規(guī)劃建設(shè)經(jīng)濟(jì)合理。1.5.3優(yōu)化設(shè)計(jì)、合理布置、節(jié)約用地 、節(jié)省投資。1.5.4優(yōu)化流程、節(jié)省人、財(cái)、物。1.5.5合理配備公用設(shè)施，滿足項(xiàng)目建設(shè)要求。1.6研究結(jié)論借助*北站經(jīng)濟(jì)帶開發(fā)；依托北三角濕地景觀；充分利用甜水湖、明珠島、海云寺的自然景觀和古文物資源；開發(fā)利用地下溫泉資源；開發(fā)生態(tài)種植業(yè)養(yǎng)殖業(yè)，依托濱海開發(fā)新區(qū)形成的旅游環(huán)線，充分利用青年水庫及周邊19.11km2的自然生態(tài)保護(hù)區(qū)。開發(fā)6個(gè)各具特色的生態(tài)觀光項(xiàng)目；以最核心的資源，6位一體，整合打造甜水湖自然生態(tài)觀光風(fēng)景區(qū)。該項(xiàng)目整合當(dāng)?shù)刭Y源，促進(jìn)了生態(tài)農(nóng)業(yè)的的良性循環(huán)，順應(yīng)人們對生態(tài)食品和生態(tài)環(huán)境的需求，順應(yīng)老知青對鄉(xiāng)土故里的戀情。利用自然生態(tài)農(nóng)業(yè)資源、利用地?zé)釡厝Y源、利用大遼河生態(tài)水資源，開發(fā)生態(tài)觀光旅游項(xiàng)目。本項(xiàng)目以推進(jìn)新農(nóng)村建設(shè)為指導(dǎo)，以開發(fā)特色的多功能生態(tài)產(chǎn)業(yè)體系、開發(fā)建設(shè)生態(tài)觀光旅游產(chǎn)業(yè)基地，形成良性循環(huán)的生態(tài)產(chǎn)業(yè)鏈，提升產(chǎn)業(yè)經(jīng)濟(jì)的附加值，帶動相關(guān)行業(yè)向產(chǎn)業(yè)化經(jīng)營目標(biāo)發(fā)展，促使社會效益、經(jīng)濟(jì)效益和農(nóng)民增收同步提高。通過對生態(tài)效益、社會效益和經(jīng)濟(jì)效益的綜合評價(jià)，此項(xiàng)目都是可行的，是功在當(dāng)代利在千秋的舉措。第二章 市場需求及預(yù)測2.1市場現(xiàn)狀2.1.1甜水湖自然保護(hù)區(qū)開發(fā)現(xiàn)狀 甜水湖自然保護(hù)區(qū)區(qū)域面積19.11km2，蘆葦、灘涂、草地、坑塘、水庫比鄰錯(cuò)落形成了天然的濕地景觀。甜水湖亦稱青年水庫，是遼寧省較大的平原水庫之一，位于西沙河右畔，距*北站1km、305國道4.5km，庫區(qū)圍堤高7m、壩頂寬4m，圍堤長11.3km，水域面積8065畝。平均水深2m，庫容量1200萬m3。湖中有一小島域名明珠島面積1.3萬，島上樹木茂盛、鳥語花香，林蔭深處海云寺映襯其中。海云寺（龍王廟）始建于清朝乾隆年間，至今已有400多年的歷史，當(dāng)年由清朝翰林院院士張純良主持建造，四面環(huán)水與渤海相連、向北與醫(yī)巫閭山同為一脈靈氣沖天，被民間視為少有的風(fēng)水寶地，海云寺院的大佛像身高10m、金光四射，寺內(nèi)香火繚繞，常年香客絡(luò)繹不絕。關(guān)于海云寺的傳說甚多，較為傳奇的有龍泉、海眼、廟隨水漲等。龍泉：在海云寺的東南角，有一眼一米見方的泉水井，井中的泉水旱天水不落、澇雨天水不漲是寺內(nèi)唯一的飲水井，每年四月初八廟會、善男信女香客云集，無論用水多少井水從不見少，傳說在陰天初一、十五的晚上偶爾會看見從天上到泉水井有一道白光亮如閃電，像是龍王吸水、氣勢磅礴，以后人們便稱之為“龍泉”。海眼：在寺的西側(cè)有一條不干溝，溝中有一條深坑叫“無底坑，相傳民國7年時(shí)逢大旱，河水都干了但無底坑不干，人們來掏水撈魚，可無論多少人掏水也不見少，據(jù)說無底坑通龍宮、叫海眼。廟隨水漲：據(jù)當(dāng)?shù)乩先酥v：民國17年發(fā)大水，海云寺鄰村九間房洪水已經(jīng)上炕了，當(dāng)時(shí)屯里的水位比龍王廟高出一米左右，人們擔(dān)心龍王廟被大水淹了，大水過后只見廟四周的樹上掛滿了淤柴，可是讓人吃驚的是廟里卻滴水未進(jìn)，真可謂神奇！從此人們開始相信廟隨水漲的傳說。甜水湖自然生態(tài)保護(hù)區(qū)特殊的地質(zhì)構(gòu)造、集濕地植被、鳥類棲息地、灘涂、荒草地、茂密的樹林、廣袤的蘆葦、河流、島嶼、灘涂、沼澤、水庫和古文物，構(gòu)成了別具特色的北國濱海河川濕地自然景觀。瀕臨濕地核心保護(hù)區(qū)，且擁有良好的道路交通基礎(chǔ)設(shè)施，以及鄰近*北站的區(qū)位優(yōu)勢。為開發(fā)旅游業(yè)提供了得天獨(dú)厚的條件。2.1.2生態(tài)農(nóng)業(yè)市場現(xiàn)狀 目前國內(nèi)的糧食、水果、蔬菜、和畜禽肉、蛋的市場供應(yīng)多為污染超標(biāo)的食品，在市場很難買到無污染的生態(tài)綠色食品，貨真價(jià)實(shí)的生態(tài)食品那還是40年前的回憶