农家乐可行性分析报告.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. 地铁车站 人群 粉面 幽灵 黝湿 枝头 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万年鸿阳生态农业旅游综合开发项目可 行 性 研 究 报 告第一章 总 论1.1项目概要1.1.1项目单位基本情况1.1.1.1项目单位名称：江西万年鸿阳生态农业旅游综合开发有限公司1.1.1.2所有制性质：民营1.1.1.3企业简介江西万年鸿阳生态农业旅游综合开发有限公司创建于2008年元月，位于“世界稻作发源地”万年县大源镇原上海知青队驻地红来村。公司总占地面积1,600余亩，其中水面300余亩，山林1,200余亩，其他用地等100亩;企业拥有职工82人，其中专业技术人员20名。公司生态环境优越宜人、气候湿润、雨量充沛、风光秀丽及人文景观得天独厚，可逐步形成“园林娱乐、水面游玩、水中养鱼、山上种果、山坡养猪和树下养鸡”的集生态农业旅游、娱乐休闲、垂钓、农家乐、宾馆住宿、商务会议、园林种植、综合养殖为一体的立体娱乐型综合开发、健康环保庄园式的科技示范旅游胜地。目前，企业注册资金200万元，总资产2,100万元，总负债320万元，净资产1780万元，资产负债率15.24%；项目实施后年可创休闲旅游及生态农业产值3000余万元，税利610万元。企业银行信用等级为AA。1.1.2项目建设内容1.1.2.1项目名称：万年鸿阳生态农业旅游综合开发1.1.2.2建设性质：扩建1.1.2.3建设地点：上饶市万年县大源镇红来村1.1.2.4建设规模：项目拟建人文景观及生态旅游年接待能力10万人次基本设施;新建与生态旅游协调的垂钓农家乐及生态种养生产模式,达产期年产无公害优质鲜鱼90吨、无公害杨梅鲜果20吨、无公害茶油12吨及无公害肉猪0.8万头，营造生态林600亩。1.1.2.5主要建设内容：项目可分为八个子项目，分别为旅游娱乐、水产养殖、垂钓农家乐、杨梅果园、油茶园林、生态林抚育、生猪养殖和污水处理等。新建迎宾宫宾馆、休闲娱乐城、山庄寺庙，以及亭、台、楼、阁等旅游休闲设施建筑面积8,140m2；水上乐园面积将扩建至200亩，改造水产养殖面积300亩，新建垂钓农家乐休闲中心面积8亩，扩建杨梅果园200亩、油茶林400亩，抚育营造生态林600亩，兴建生猪养殖栏舍等4,940 m2，污水处理池窖2620 m3，仓储及宿舍1000 m2，配套相应水、电、路等工程。1.1.3项目建设方案1.1.3.1技术来源及先进性：项目采用人文景观乡村旅游与生态种、养有机结合的模式，集旅游、休闲、娱乐、鲜果采摘、品尝、垂钓、餐饮等为一体，迎合不同层次及年龄结构人群需求，适应时代发展新趋势。旅游将人文景观、稻作文化和乡村休闲结合在一起，寺庙、亭、台、楼、阁、果园及生态林等风景独秀；仙人洞及神农宫稻作文化底蕴深厚，周边名胜古迹甚多，项目发展前景非常广阔。随着经济和社会的快速发展，与人民生活密切相关的农产品生产、供给实现了从长期短缺到供求基本平衡的历史性跨越。城乡居民生活理念的更新对各种食品质量提出了更高的要求，迫切需要提供无污染的安全、优质、营养类食品。因此，大力开发无公害农产品、绿色食品、有机食品，就成了当今农业生产的新的内涵。积极培育农产品绿色产业，对增进人民群众的身体健康和生活质量，促进农产品的可持续增长和农民增收，提高农产品市场竞争能力和扩大农产品创汇都具有十分重要的战略意义，是一项造福于民的绿色工程。项目为实现资源节约和环境美好，确保水产品养殖、果园林种植环保、绿色无污染，生猪养殖是种、养殖肥源的起动环节，同时高度重视污染彻底处理和生产布局合理，配套相应厌氧发酵处理设施;处理后的猪粪、沼液及沼渣用于无公害水产品养殖和绿色农产品种植，沼气用于生活能源，实现节能减排和种养良性循环。油茶、杨梅及生猪等种、养业，种苗选用最新优良品种，整个生产过程实施无公害农产品标准。杨梅将填补我县大面积人工种植空白；油茶也将开创我县大面积人工栽种先河；生猪品种为杜、长、大三元杂交一代, 其抗逆性强、饲料报酬高、瘦肉多,产品质优安全。1.1.3.2项目进度安排：整个项目建设期为一年，即2008年10月至2009年9月。2008年第二、三季度为项目建设前期工作准备阶段。2008年第四季度项目正式实施，当年旅游工程全面开工建设，并完成水上乐园及养殖水面改造工程，以及部分果园栽种、垂钓农家乐建设任务。2009年第一季度全面完成果园栽种、抚育工程。2009年第二季度末完成生猪繁育设施兴建；同年第三季度基本完成旅游工程，并完成肉猪养殖及污水处理工程；期未扫尾项目零星工程，并对已完工工程进行全面检查，项目建设全面验收交付使用。1.1.3.3市场营销及组织管理：加强平面媒体、电子媒体及立体广告宣传力度，在县城及周边地区建立固定旅游运营网点，实施差异化竞争手段和策略，以本项目地为中心推介数条人文景观和生态浏览旅游项目。项目生产农产品的无公害肉猪、鲜鱼、杨梅及茶油等，由于提高了产品安全和质量，具有很强的市场竞争优势；同时，项目产品数量不多。项目产品定位于沿海经济发达地区大中城市及本地市民；营销策略以安全和优质为中心，产品销售以现有的渠道为主，积极开拓浦东万年优质农副产品营销网络。项目建设期间成立以当地乡（镇）人民政府分管领导为组长的项目建设领导小组，统筹项目规划设计及施工招投标，以及资金使用和项目验收等工作。项目建成后，理顺现有管理体制，建立总经理负责制的旅游、生产、财务、人力、技术及营销管理等机构。1.1.4投资概算及资金来源项目建设预计总投资2,299.32万元,其中固定资产投资1,899.32万元,流动资金400万元。在固定资产中土建工程1,308.5万元，设备购置469.52万元,安装9.3万元，种猪、种苗及技术示范等80.8万元,勘探设计及建设期利息31.2万元。上述所需的2,299.32万元，建设单位自筹资金479.32万元,引进外地资金及争取政府财政（政策）资金扶助1,100万元，银行融资720万元(其中400万元为生产流动资金)。1.1.5主要技术经济指标1.1.5.1主要技术指标：旅游实行乡村游与风景区游相结合的标准,旅游设置山庄浏览、水上乐园、娱乐城休闲娱乐、运动健身、餐饮服务，以及周边游览，年旅游10万人次，建成上饶市最大的生态农庄园旅游胜地。种植业及养殖业按相关无公害农产品标准要求,场地达无公害农产品生产技术基地认证，主要施用发酵后的猪粪及沼液、沼渣，从严控制农药及化肥使用量，产品达无公害农产品标准。生猪出栏率200%，成活率95%，全程料肉比为3.3:1（肉猪2.9:1），胴体瘦肉率65%左右。经产种母猪年产仔2.2窝，每窝平均产仔10头，仔猪成活率97%，种母猪100%实现人工授精。1.1.5.2 主要经济指标：项目进入正常营运期后，年游览达10万人次，年出栏无公害肉猪8000头,优质鲜鱼90吨，杨梅鲜果20吨、茶油12吨。正常年份预计服务及销售收入2,107.6万元，新增税收315.1万元，企业盈利 524.8万元。项目经济效益计算期内,税后财务净现值为1,917.65万元(折现率10%)，内部收益率26.15%，静态投资回收期4.87年;所得税前财务净现值2,861.22万元,财务内部报酬率33.32%,静态投资回收期4.22年。项目平均投资利润率21.69%,平均投资利税率34.74%。1.2可行研究报告编制依据国家旅游局与农业部为深入贯彻中央关于建设社会主义新农村的战略部暑，充分利用“三农”资源优势发展旅游业的指示，决定加强双方的合作，集合两部门的优势，开展“百千万工程”，联合推进农业生态旅游、休闲旅游、文化旅游等乡村旅游的发展，并联合下发推进乡村旅游发展的通知。通知指出，各级农业和旅游部门要把乡村旅游纳入重要工作日程，成立乡村旅游工作领导机构，实行分级、分工责任制，对乡村旅游工作的开展提供必要的经费支持和政策保障。农村沼气、乡村道路、人畜饮水、乡村清洁等支农项目要向乡村旅游倾斜，推动乡村旅游开发项目和各种支农项目挂钩。加强对乡村旅游发展的业务指导，帮助策划乡村旅游项目，整合、提升旅游产品的档次，拓展乡村旅游市场，深化乡村旅游服务体系建设，着力解决制约乡村旅游发展的瓶颈因素，探索各种类型的乡村旅游发展模式，满足国内外不同层次消费者休闲旅游、度假的需求。中共江西省委、江西省人民政府江西省优质农产品供应基地规划,以及建设“三个基地一个后花园”的决定;江西省提出的“生态江西,休闲花园”；鄱阳湖生态经济区建设;上饶市旅游产业发展规划;上饶市提出的“鲲鹏战略”及加快旅游发展的若干意见;万年县提出的“充分发挥我县独特的自然生态优势,大力发展旅游产业”;万年县旅游发展规划;万年县建设“文化万年、活力万年、生态万年、和谐万年”;万年县关于“精心打造稻作文化、田园风光、青山绿水、红色情怀”等。1.3综合评价项目将生态农业与旅游有机结合在一起，并带动相关产业发展，将进一步发展壮大我县旅游产业和生态农业。由于项目区离县城近，给退休人员及市民、游客节假日垂钓、休闲娱乐等提供了极大的方便。而杨梅及油茶种植将填补我县人工大面积种植空白，对进一步调整农业产业结构、强化农产品安全质量、增加农民收入，以及建设社会主义新农村将产生重大影响。项目将养殖业与种植业有机地联系在一起同步发展，促进了生产投入物的多层次利用，有利节能减排，维护了生态平衡。项目将直接和间接带动农户发展旅游及种养业，对提高农民收入、改善农村经济结构产生积极影响。项目建设是可行的。一是项目建设单位已具一定的旅游及生态农业基础，将为项目建设及营运提供良好的发展平台。二是项目单位已取得较好业绩，种养技术成熟，管理经验较为丰富，已具备一定的物质条件。三是杨梅树性强健，且耐寒、耐旱适应性广，易于栽培，是开发山地资源、绿化荒山的高质量、高效益的名、优、特经济林树种。四是油茶原属我县野生资源，说明气候等自然条件完全适宜其生长、开花与结果，为丰产打下了基础。五是项目单位与相关旅游、种养生产院所建立了密切合作关系，技术依托单位力量雄厚。六是我县具有较好区域和交通优势。东进浙、沪和南下粤、闽距离较近，并有“三纵五横一环”交通优势，铁路、高速及国道任其选择，有利发展旅游产业，有利农产品保活保鲜，且运销费用较低。项目建设符合国家产业发展政策，与省、市、县发展规划相衔接。项目建设起点高，技术先进，布局合理，设施齐全。项目建设及营运将加速我县旅游产业发展，有利新型生态农业建设，有利节能减排，有利产业化进程，有利增加农民收入，有利增强企业发展后劲，有利财税增长，有利社会主义新农村建设。项目建设涉及面广，基础设施多，投资较大，果林种植见效期较长，恳请有关部门给予一定的政策资金扶助。第二章 项目背景及必要性2.1项目建设背景2.1.1万年县人文景观概况万年地处鄱阳湖之东，怀玉山之西，位于江西省东北部，于明正德七年（公元1512年）设县治，因县治在万年峰之南而得名，现隶属上饶市。全县辖六镇六乡，人口38万，土地面积1140.76平方公里。万年历史悠久，有着灿烂的远古文明。早在旧石器时代，人类的祖先就在这块土地上定居劳作、繁衍生息。境内的大源仙人洞、吊桶环遗址是当今所知世界上最早的栽培稻遗址之一，把世界稻作起源由7000年前推移到1200014000年前，是世界稻作起源地之一。万年区位优越，有着便捷的交通条件。皖赣铁路穿境而过，国道206线纵贯南北，乐安河水运经鄱阳湖可直达长江；县城距华东铁路枢纽鹰潭市仅56公里，离瓷都景德镇不过76公里。与省会南昌市也只有120公里。沪瑞高速、景鹰高速拉近了万年与长三角的时空距离，特别是昌德高速的即将动工和建成，将进一步提升我县的对外通达水平。万年资源富集，有着丰饶的特色物产。森林覆盖率达65%以上：矿产资源品位高、储量广，己探明的金属、非金属矿藏35种，银金矿品位为江西之最，石灰石、白云石蕴藏量分别在5亿吨和30亿吨以上，石灰石品位冠华东之首，旅游资源十分丰富省级风景名胜区仙人洞和神农宫、莲花洞、黄巢山以及赣东北苏维政府旧址等自然景观和人文景观交相辉映，引人入胜；商周文化遗址、元末明清古战场遗址、大赦庵旧址、青云塔及姚西书院等增添了古文化旅游底蕴。地方物产特色鲜明，“万年贡米”、“万年珍珠”、“万年生猪”享誉国内外。万年是一片红色土地，有着光荣的革命传统，项目建设地处老革命根据地，留下了方志敏、邵式平等革命先辈的光辉足迹。近年来，随着物质生活的不断改善，人们对精神生活的要求也越来越高，越来越广。我县旅游业蓬勃发展，旅游资源逐步开发利用，已形成了以稻作文化为主题的特色旅游产业，仙人洞、吊桶环遗址、神农宫、赣东北苏维埃政府遗址、龙泉湖等一批旅游地相继迎来大批客人。项目建设单位基于上述发展趋势，将本公司打造成集生态种养、旅游、农家乐、休闲、餐饮、娱乐、住宿、会议及客运为一体的综合性生态农业旅游营运中心，规划为功能齐全、安全快捷、全方位生产及服务的高水准综合性企业。2.1.2政策导向和行业规划2007年3月20日国家旅游局与农业部在京签署了关于促进社会主义新农村建设与乡村旅游发展的合作协议。并组成联合调查组，赴乡村旅游重点地区开展调研，为共同制定支持乡村旅游发展的有关政策做准备。为深入贯彻中央关于建设社会主义新农村的战略部暑，充分利用“三农”资源发展旅游业，全面拓展农业的功能和领域，积极促进农民增收致富，扎实推进社会主义新农村建设，国家旅游局、农业部决定共同推进乡村旅游工作，“十一五”期间，在全国范围内共同组织实施乡村旅游“百千万工程”，建成具有乡村旅游示范意义的100个县、1000个乡（镇）和10000个村，使己有乡村旅游项目得到明显提升和完善，基本形成种类丰富、档次适中的乡村旅游产品体系和特色突出、发展规范的乡村旅游格局，满足人民生活水平提高对旅游消费的需求。全国旅游工作会议上，中央领导明确提出：“在新世纪我国旅游业的发展中，要更加重视旅游业的关联带动功能，推动经济结构优化和调整”；“城市郊区和有客源前景的其他农村地区，要规化建设一批农业旅游、生态旅游、山区旅游项目和度假休闲基地、农业科教基地”；“有条件的企业，要精心策划、积极发展农业旅游项目”在国家政策大力扶持发展旅游产业的形势下，我省提出了“生态江西，休闲花园”的旅游发展构思，以及“建设三个基地一个后花园”的战略决策。上饶市大力实施“鲲鹏战略”，加快旅游产业发展的若干意见。万年县委、县政府根据全县实际情况，提出了精心打造“稻作文化、田园风光、青山绿水、红色情怀”旅游发展指导思想，规划了充分发挥我县独特的自然生态优势和丰富的旅游资源优势，将生态观念和生态文化融入旅游产品开发的各个环节，尽快将生态旅游业发展成拉动我县经济新的增长点，并最终成为绿色生态万年的支柱产业之一。同时，农村经济目前还比较单一，特别是第三产业发展滞后。如何充分利用农村旅游资源，进一步调整产业结构，是建设社会主义新农村的重要内容之一。发展生态农业、自然农业、有机农业、环保农业，努力控制和减轻各类有害物质对人类生存环境的污染和破坏，已成为当今人们的共识。把种、养业有机地结合在一起，是节能减排、实施环境美好、产品质量安全的基本要求。省委、省政府作出了把我省建成沿海经济发达地区优质农产品供应基地的决定，提出力争用23年时间实现养殖业占农业总产值的比重达到65%的奋斗目标。万年县委、县政府研究作出了全方位发展生态农业规划。省、市、县分别制订了相应生态农业和旅游发展规划。以上种种从政策层面和行业规划上为项目建设提供了可靠保障。2.2项目建设的必要性2.2.1项目建设是落实行业发展规划、发展旅游产业的需要旅游产业是现代社会经济的重要组成部分，乡村旅游是适应人们回归自然、且费用较少的一种旅游，特别适合现阶段乡村消费水平。省、市、县均将旅游列为现代重要产业之一，制订了发展规划，我县提出了充分发挥本县自然生态优势和丰富的旅游资源优势，尽快将生态旅游产业发展成为拉动万年经济增长的新型产业，并具体规划精心打造“稻作文化、田园风光、青山绿水、红色情怀”。近年来，我县旅游业得到蓬勃发展，形成了以稻作文化为主题的特色旅游文化，既有人文景观，又有红色情怀，但还不能适应不同层次需求的发展。项目将生态农业与乡村旅游有机地结合在一起，建设功能齐全、安全快捷、全方位服务、具有较高水准的特色生态旅游。2.2.2项目建设是发展生态农业、提高农民收入的需要有的项目建设往往是开发某单一产业，其他方面兼顾较少，容易产生其他不良影响。项目建设以生猪养殖为突破口，强化污水处理，发展高效种植，带动周边农户发展生态农业和乡村旅游。我县荒山较多，水面较广，项目油茶、杨梅及生态林等种植和水产养殖将带动更多农户发展种、养生产，对调整产业结构和提高产品附加值将产生不可估量的影响。项目实施后，直接和间接带动我县生态农业建设与乡村旅游业发展，农村经济结构将得到进一步调整，农民收入将得到较快增长，为我县社会主义新农村建设增添新的活力。2.2.3项目实施是县域经济发展、增强企业发展后劲的需要项目实施后，年直接创产值2,107.6万元，再加上相关产业发展，以及项目拉动产生的效益，年产值将在3,000万元以上;年财税直接增收315.1万元,将进一步壮大县城经济。同时,通过项目旅游业及产品营销搭台，加强与沿海经济发达地区交往，促进其他项目及资金的引进，以及技术提高和经营管理完善，进而将间接加速县域经济的发展。项目起点高，设施完善，管理配套；企业年增产值2,107.6万元，正常年份税后利润达524.8万元。通过项目实施,企业管理制度将接近或达到现代管理水平，企业实力进一步加强,发展后劲进一步提高。2.2.4项目建设是提高产品质量、增强市场竞争能力的需要项目生猪养殖充分利用杂交优势，繁育杜、长、大三元杂交一代肉猪，其品种抗逆性强，饲料报酬高，胴体瘦肉率可望提高810百分点；加上无公害化种、养技术，项目产品符合无公害农产品标准，将真正做到质优安全。项目强化养殖污水处理，达标排放，并用于其他种植业。再加上区域和交通优势，产品市场竞争能力将大幅提升，经济效益进一步增长。2.2.5项目实施是确保种、养业持续健康发展的需要我国农业生产正面临着从传统零星分散型向规模集约型转轨进程中，养殖生产同样如此。生猪规模养殖起源于上