湖北省十堰市武当山国家森林公园旅游建设项目可行性研究报告1.docVIP

types of sentence are used, what is their function?sentence complexity: do sentences on whole have a simple or a complex structure? what is the average sentence length? does complexity vary strikingly from one sentence to another? is complexity mainly due to (i) coordination, (ii) subordination, (iii) juxtaposition of clauses or of other equivalent structures? in what parts of the text does complexity tend to occur?clause types: what types of clauses are favoredrelative clauses, adverbial clauses, or different types of nominal clauses? are non-finite forms commonly used, and if so, of what types are they (infinitive, -ing form, -ed form, verbless structure)? what is their function?clause structure: is there anything significant about clause elements (eg frequency of objects, adverbials, complements; of transitive or intransitive verb constructions)? are there any unusual orderings (initial adverbials, fronting of object or complement, etc)? do special kinds of clause construction occur (such as those with preparatory it or there)? noun phrases: are they relatively simple or complex? where does the complexity lie (in premodification by adjectives, nouns, etc, or in postmodification by preposition by prepositional phrases, relative clauses, etc)?verb phrases: are there any significant departures from the use of the simple past tense? for example, notice occurrences and functions of the present tense, of the progressive aspect, of the perfect aspect, of modal auxiliaries.other phrase types: is there anything to be said about other phrases types, such as prepositional phrases, adverb phrases, adjective phrases?word classes: having already considered major word classes, we may consider minor word classes (eg functional words), such as prepositions, conjunctions, pronouns, determiners, auxiliaries, interjections. are particular words of these types used for particular effect (eg demonstratives such as this and that, negatives such as not, nothing)?general: note whether any general types of grammatical construction are used to special effect (eg comparative or superlative constructions, coordinative or listing constructions, parenthetical constructions, interjections and afterthoughts as occur in causal speech). and see to the number of lists and coordinations.figures of speechhere we consider the features which are foregrounded by virtue of departing in some way from general norms of communication by means of the language code, for example, exploitation of deviations from the linguistic code. grammatical and lexical schemes (foregrounded repetitions of expression): are there any cases of formal and structural repetition (anaphora, parallelism, etc) or of mirror-image patterns (chiasmus)? is the rhetorical effect of these one of antithesis, reinforcement, climax, anticlimax, etc?phonological schemes: are there any phonological patterns of rhyme, alliteration, assonance, etc? are there any salient rhythmical patterns? do vowels and consonant sounds pattern or cluster in particular ways? how do these phonological features interact with meaning?tropes (foregrounded irregularities of content): are there any obvious violations of or neologisms from the linguistic code? for example, are there any neologisms (such as “portentous infants”)? are there any semantic, syntactic, phonological, or graphological deviations? such deviations are often the clue to special interpretations associated with traditional figures of speech such as metaphor, metonymy, synecdoche, paradox, and irony. if such tropes occur, what kind of special interpretation is involved (for example, metaphor can be classified as personifying, animalizing, concretizing, synaesthetic, etc)?context and cohesion here we take a look at features which are generally fully dealt with in discourse analysis. under cohesion ways in which one part of a text is linked to another are considered; for instance, the ways sentences are connected. this is the internal organization of a text. under context, roughly the material, mental, personal, interactional, social, institutional, cultural, and historical situation in which the discourse is made, we consider the external relations of the literary text or a part of the text, seeing it as a discourse presupposing a social relation between its participants (author and reader, character and character, character and reader, etc.), and a sharing of knowledge and assumptions by participants.cohesion: does the text contain logical or other links between sentences (eg coordinating conjunctions, linking adverbials), or does it tend to reply on implicit connections of meaning? what sort of use is made of cross-reference by pronouns (she, it, they, etc), by substitute forms (do, so, etc), or ellipsis? is there any use made of elegant variationthe avoidance of repetition by substitution of a descriptive phrase (as “the old lawyer” substitutes for the repetition of an earlier “mr jones”)? are meaning connections reinforced by repetition of words and phrases, or by repeatedly using words from the same semantic field?context: does the writer address the reader directly, or through the words or thoughts of some fictional character? what linguistic clues (eg first person pronouns i, me, my, mine) are there of the addresser-addressee relationship? what attitude does the author imply towards his/her subject? if a characters words or thoughts are represented, is this done by direct quotation, or by some other method (eg indirect speech, free indirect speech)? are there significant changes of style with respect to different persons (narrator or character) who is supposedly speaking or thinking the words on the page? what is the point of view of the story? are the frequent shifts of point view? if so, in whose voice is the narrator speaking?chapter seven symbolwhat is symbol?symbol, in the simplest sense, anything that stands for or represents something else beyonditusually an idea conventionally associated with it. objects like flags and crosses can function symbolically; and words are also symbols. (p. 218. oxford concise dictionary of literary terms.) a symbol is a thing that suggests more than its literal meaning. it exists widely even in our daily life. our language itself is symbol. the daily greetings indicate that the passage of communication is open. ring is a symbol of eternity. the sign of cross indicates atonement. the big ben symbolizes london, the great wall china. ritualistic acts are symbolic. in church wedding the bride is handed over from the father to the groom. holy eating is symbolic of communion, baptizing cleansing and rebirth. the raising and lowering of a national flag certainly suggest meanings larger than the acts themselves. and finally toasting and shaking hands on formal or informal occasions.as rhetorical device, symbol is different from metaphor, which is literally false but figuratively true. unlike allegory, which represents abstract terms like “love” or “truth,” symbols are perceptible objects. in literature almost anythingparticular objects, characters, setting, and actionscan be symbolic if the author wishes to make it so by either hinting or insisting that the material means more than it literally does. symbols are suggested through special treatment such as imagery, repetition, connotative language, or other artistic devices. in f. scott fitzgeralds novel the great gatsby, a huge pair of bespectacled eyes stares across a wildness of ash heaps from a billboard advertising the services of an oculist. repeatedly appearing in the story, the bespectacled eyes come to mean more than simply the availability of eye examination. a character in the story compares it to the eyes of god; he hints that some sad, compassionate spirit is brooding as it watches the passing procession of humanity. such an object is a symbol: in literature, a symbol is a thing that refers or suggests more than its literal meaning. there are quite a lot of symbols that appear in ordinary life, for the use of symbol is by no means of limited to literature and art. for instance, a dove is a symbol of peace, the flag is the symbol of a country, and the cross is the symbol of the christian religion. these are symbols adopted by a whole society and are recognized by all members of such a society. there are other kinds of symbols, such as figure 3, which may be abstract symbols. but symbols in literature works are different from either of the other types. generally speaking, a literary symbol does not have a common social acceptance, as does the flag; it is, rather, a symbol the poet or the writer adopts for the purpose of his/her work, and it is to be understood only in the context of that work. it differs from the kind of symbol illustrated by the figure 3 because it is concrete and specific. a poet or a writer uses symbols for the same reason he/ she uses similes, metaphors, and images, etc: they help to express his/her meaning in a way that will appeal to the senses and to the emotions of the reader. most symbols, in literature and everyday life as well, possess a tremendous condensing power. their focusing on the relationships between the visible (audible) and what they suggest can kindle it into a single impact. of course, in literary works, symbols, unlike those in ordinary life, usually do not “stand for” any one meaning, nor for anything absolutely definite; they point, they hint, or, as henry james put it, they cast long shadows. symbolismthe term symbolism refers to the use of symbols, or to a set of related symbols, which is one of the devices that enrich short fiction and compensate for its briefness in space.2. there are two broad types of literary symbolssymbol is generally acknowledged to be one of the most frequently employed devices in poetry. in works of fiction it is no less frequent and no less important. the fact is that, when a reader reads a work of fiction, his focus is mostly cast upon the plot, the character, and the language used, so that the symbols are automatically backgrounded on the readers part. but in some novels and stories, the symbolism looms so large that the reader will fail to get a comprehensive understanding of the work without paying special attention to the symbols. the scarlet letter by nathaniel hawthorne is one of such works. the very title points to a double symbol: the scarlet letter a worn by hester conveys a multiple of senses which differ greatly from what it literally stands for, and the work eventually develops into a test and critique of symbols themselves. thomas pynchons v. continues along much the same line, testing an alphabetical symbol. another example is herman melvilles moby-dick, in which the huge white whale in the title of the book acquires greater meaning than the literal dictionary-definition of an aquatic mammal. it also suggests more than the devil, to whom some of the characters liken it. the huge whale, as the story unfolds, comes to imply an amplitude of meanings: among them the forces of nature and the whole universe.literary symbols are of two broad types: one type includes those embodying universal suggestions of meaning. flowing water suggests time and eternity, a journey into the underworld and return from it is interpreted as a spiritual experience or a dark night of the soul, and a kind of redemptive odyssey. such symbols are used widely (and sometimes unconsciously) in western literature. the other type of symbol secures its suggestiveness not from qualities inherent in itself but from the way in which it is used in a given work, in a special context. thus, in moby-dick the voyage, the land, and the ocean are objects pregnant with meanings that seem almost independent of the authors use of them in the story; on the other hand, the white whale is invested with different meanings for different crew members through the handling of materials in the novel. similarly, in hemingways a farewell to arms, rain, which is generally regarded as a symbol of life (especially in spring), and which is a mildly annoying meteorological phenomenon in the opening chapter, is converted into a symbol of death through the uses to which it is put in the work.3. symbols in fiction are inanimate objectsoften symbols we meet in fiction are inanimate objects. in william faulkers “a rose for emily,” miss emilys invisible but perceptible watch ticking at the end of a golden chain not only indicates the passage of time, but suggests that time passes without even being noticed by the watchs owner. the golden chain to which it is attached carries suggestions of wealth and authority. other things may also function symbolically. in james joyces “araby,” the very name of the bazzar, arabythe poetic name for arabiasuggests magic, romance, and the arabian nights; its syllables, the narrator tells us, “cast an eastern enchantment over me.” even a locale, or a feature of physical topography, can provide rich symbolic suggestions. the caf in ernest hemingways “a clean, well-lighted place” is not merely a caf, but an island of refuge from sleepless night, chaos, loneliness, old age, the meaninglessness of life, and impending death. in some novels and stories, some characters are symbolic. such characters usually appear briefly and remain slightly mysterious. in joseph cornards heart of darkness, a steamship company that hires men to work in congo maintains in its waiting room two women who knit black woolthey symbolize the classical fates. such a character is seen as a portrait rather than as a person, at least portrait like. faulkners miss emily, twice appears at a window of her houses “like the carven torso of an idol in the niche.” though faulkner invests her with life and vigor, he also clothes her in symbolic hints: she seems almost to第一章 项目概述一、项目名称：武当山国家森林公园旅游建设项目二、项目承办单位简况（一）建设单位：湖北省十堰市武当山生态旅游有限公司（二）建设地址：武当山风景名胜区西神道（三）项目负责人：李金山（四）联系电话13477978038（五）总 投 资：约3亿人民币（六）建 设 期：35年三、项目简介武当山是世界文化遗产、我国著名道教圣地和国家级风景名胜区，位于湖北省十堰市境内汉江上游南岸，山体地质、区域峰林地貌、气候垂直变化和野生动植物融为一体，形成绚丽的自然景观，主峰天主峰海拔1612.1米，区域面积312平方公里。自隋唐迄于北宋，不少帝王崇信道教，开始在武当山修建道观，明永乐十年至嘉靖年间建成9宫、8观、36庵堂、72岩庙，形成气势宏大、雄伟壮观的33座古建筑群，成为当时“皇室家庙”和全国最大的道场。一千多年来，武当山积淀了异常深厚、源远流长的武当文化（含道教文化、古建筑文化、武当武术及武当民俗风情文化等）。武当山素以迤逦的自然风光、神秘的道教文化、惊世绝伦的古建筑群和玄妙的武当武术强烈地吸引着世界各地的旅游者，是我国众多旅游胜地中的一朵奇葩。武当山东神道于1984年对外开放，已成为武当山旅游热线。特别是2003年湖北省省委、省政府关于“617”武当山现场办公会议以后，赋予武当山县市级政府管理职能和权限，实行封闭式的管理，并提出了“保护为主，合理利用，科学规划，严格管理”的十六字方针，武当山特区以“创世界知名风景区，建中国山水园林城”为宏伟目标，武当山特区在湖北省委、省政府和十堰市委、市政府的正确领导下，在社会各界人士的大力支持下，团结一心，扎实工作，开拓创新，稳步推进，使武当山风景区面貌日新月异，旅游事业蓬勃发展，旅游数量稳中递增，旅游经济收入不断增加。然而，武当山西神道即武当山国家森林公园是尚待开发的处女地，仍处于旅游冷线。该公园是通过有关专家考察、论证，经原国家林业部林造批字1992108号、湖北省林业厅鄂林场字1992222号等文件批复，于1992年8月建立，并与武当山东神道紧密相联，唇齿相依，主要由五龙宫、仁威观、鲁家寨和东河等四大景区构成，约占武当山旅游风景区的三分之一，是武当山旅游风景区不可分割的重要组成部分。与武当山东神道既可合二为一，形成东、西循环旅游圈。同时，也可独树一帜，其森林覆盖率达84%以上，以自然风光优美、人文古建筑众多、生态环境优越而著称。目前，武当山国家森林公园已具备开发建设的条件。通过开发和建设一些相关的浏览和娱乐服务配套设施，为中外游客提供全方位的“行、游、住、食、购、娱”基本条件，实现“旅游观光、休闲度假、疗养避暑、天然沐浴、漂流探险、青少年野营、文化娱乐、商贸洽谈”于一体的综合性国家级一流森林公园，成为武当山风景区的后花园。使游客达到“情在自然中净化，意在自然中升华”和“物我两忘，山水相融，天人合一”的神妙境界，充分体验和享受回归大自然、反璞归真的无穷乐趣。因此，有效整合武当山旅游资源，进一步提升武当山旅游整体上水平，培植武当山旅游经济新的增长点，带来更大的生态效益、社会效益和经济效益。四、项目建设主要内容（一）旅游基础设施项目1、公园大门建设2、兴建旅游公路3、加强电力基础设施建设4、加强供水排污设施建设5、辟建索道（二）古建筑景点恢复与修缮1、五龙行宫恢复与修缮2、仁威观恢复与修缮3、隐仙岩恢复与修缮4、五龙宫恢复与修缮5、西神道古神道的修缮（三）旅游配套服务设施项目为增进武当山国家森林公园旅游服务水平，新建旅游休闲度假村、避暑山庄、水上娱乐园、旅游购物、旅游运输等旅游配套服务设施。第二章 项目背景概况一、资源条件（一）自然地理状况1、地理位置武当山国家森林公园地处道教武当山北麓，汉江南岸，其地理位置是东径11059111100239，北纬322739323124，东与武当山太子坡景区和南岩景区毗邻，南依原始森林神农架，西与车城十堰接壤，北临南水北调中线取水源地丹江口水库。2、地势地貌武当山国家森林公园属大巴山脉东延部分北坡的武当山系地段，境内崇山峻岭，沟壑纵横，高峰林立，局部地区涧深谷幽，低洼如盆，主要山峰有五龙峰、松萝、腊梅峰、青羊靖峰等，最高海拔1080米，最低海拔168米。主要有红桐河、东河等两大流域。3、气候武当山国家森林公园属北亚热带半湿润温暖季风气候区，由于秦岭大巴山脉天然屏障，削弱了北方冷空气的侵袭，呈现出东南季风气候特征。年平均气温15.8，最高气温39.5，最低气温-12.1，不小于10天数220240天，全年日照数2200小时，年日照率56%，无霜期260天，一年降雨量936毫米，大气相对湿度约为80%。（二）动植物资源概况1、森林资源优越的气候土壤条件有利于植物种群的生存和繁衍。武当山国家森林公园森林植被属北亚热带落叶阔叶与常绿阔叶混交林带，鄂西北低山松栎混交植被区。由于海拔高差悬殊，植物垂直分布带系明显，既有人工栽培，又有天然分布。海拔500米以下，多为马尾松、杉木、柏类、栎类等用林木树种和油桐、乌桕、柑桔、板栗等经济林，林下多为马桑等灌木树种。海拔500米以上多为杉木、马尾松、栎类等针、阔叶树种，木本多为化香、盐肤木和黄檀等，草本多为黄毛草、野白菊花、蕨类等。武当山国家森林公园内森林资源丰富，据普查，树种资源共有152科、443属、751种，其中受国家保护的树种有24科、33属、46种，如银杏、铁坚杉、园柏、高山栎等。其中属国家一级保护的有水杉等31种；国家二级保护的有国槐、杜仲、香果树、水青树、鹅掌楸、天师栗、金钱槭、领春木、紫茎、白梓、天目木兰、红椿等。有种类繁多的林下植物，尤其是中草药植物十分丰富。据本草纲目中记载，中草药1892种中武当山就分布有700多种，其中就有九仙子、绞股蓝、追风草、天麻、田七以及江边一碗水、文王一支笔、头顶一颗珠、七叶一支花、金钗、灵芝等名贵药材。2、动物资源森林是两栖动物生存繁衍和栖居的场所，武当山国家森林公园动物资源非常丰富。据调查，公园内兽类7目、18科、49种，属国家一级保护的动物有金钱豹、金猫，国家二级保护动物有大灵猫、王冠鹿、斑羚、林麝（香獐）、穿山甲、水獭、小灵猫、飞鼠等。川鼢、玉龙绒鼠在次首次发现，林间潭溪还有珍贵的娃娃鱼分布。鸟类资源也很丰富，据华中师范大学生物系考察，林间鸟类有133种、15目、15科，其中被列为国家二级保护的有12种，主要有红腹锦鸡、凤头鹰、太阳鸟等，较为珍贵的有布谷鸟、白头翁、画眉、啄木鸟等。（三）人文资源条件武当山道教建筑，始建于唐贞观年间（627649），宋元时期进一步扩大了建筑规模。明代自永乐十年至二十一年（14121424）年间，御用军民工匠30万人，经过12年的营建，形成了号称9宫、8观、36庵堂、72岩庙的33座道教古建筑群，武当山成为皇家道观宫殿座落的地方。武当山作为道教仙山、名山，古代建筑源远流长，历史悠久，是中国古代文化，也是人类建筑宝库中的一份珍贵的遗产。武当山古代建筑宏伟壮观、技艺精湛、雕塑细腻、工程艰巨，实乃巧夺天工，为世所罕见，闪耀着我国古代劳动人民智慧之光，被称为“补秦皇汉武之遗，历朝罕见，张金阙琳宫之胜，亦环宇所无。”呈现出庄严、威武、玄妙和神奇。我国著名建筑师杨廷宝教授在1982年5月登武当山并题诗道：“登遍王嶽孰为先，清奇首推武当山；大唐初供五龙宫，元帝诚制小金龛；成祖发动三十万，十里一宫五里庵；金顶稳坐玄武真，民族雄姿传人间”。在武当山72峰中，森林公园有24峰；武当山36岩24洞，森林公园各占一半；武当山9泉，森林公园占5泉；武当山10池，森林公园占7池；武当山9观，森林公园占4观；武当山700多种药材，森林公园占60%。森林公园古景点资源丰富，公园的五龙行宫、皇歇坪、系马峰、仁威观、金华洞、隐仙岩、关公祠、五龙宫、五龙顶、灵应岩、华阳岩、碑林和塔林等50余处景点。公园内自然资源、水资源、人文景观、土特产资源等都十分丰富，主要景点五龙宫是武当山山岳中最早、最大的宫殿。据太和志记载：唐贞观年间大旱，太宗遣均州太守姚简（即威烈王，紫霄宫殿有威烈观）上山祈雨。五龙君显灵，降下甘霖，解除了旱情。太宗降旨，勒点五龙祠。到宋孝宗淳熙九年（1182年）时，又赐灵应观。元至十六年（1279年）升观为宫，改为“五龙灵应宫”，又赐灵应宫。元朝末年毁于兵火。明永乐十年（1412年）又勒点五龙宫，在旧址上建殿、堂、楼、阁、亭215间，由正六品提点4人，道士500名共同管理。嘉靖年间，庙房护点达850间。辛亥革命后毁于火。现存宫门，龙虎殿红墙，碑亭及泉池，五口古井等，建筑面积达9万多平方米，占地面积25万平方米。五龙宫前列金锁峰，左绕磨针涧，进宫门是龙虎殿，高达4米多的青龙、白虎锯饰金泥像，肃穆威严，侍立两旁。出宫门，有两夹道九曲十八折，极为壮观。上有祖师，君圣殿等遗址，同九重殿阶拱拥，百余级层层而上，举目仰望，皆联苍天。祖师殿供奉的1.95米的铜铸鎏金真武神像，其神态安恙泰然，庄严肃穆。殿前院中“五龙宫古井”，相传井内卧有五龙，一井打水，五井皆动，故名。在玉像殿山坡下尚存元至元四年（1338年）所立的“大五龙灵应万寿宫碑”和大量的明代碑刻，记述了五龙宫的兴废始末。五龙宫的南边是五代宋初著名道士陈抟诵经处名曰“诵经台”。从五龙宫门登山，为“榔梅台”，立有“勒五龙宫道士李素希碑”，记述了明永乐三年（1405-1406年间），李素希将榔梅果子进贡给皇上及厚赐的经过。由此可见，当时建筑之宏伟壮观。二、社会经济条件武当山特区2005年全年实现国内生产总值45000万元，同比增长10.3%；完成财政收入4670万元，同比增长18%；接待旅