农家乐可行性分析报告.doc

万年鸿阳生态农业旅游综合开发项目
可 行 性 研 究 报 告

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 character’s body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Poe’s “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 Melville’s 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 boy’s father in Faulkner’s “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 father’s 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 trope In 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 image An 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. Allegory An 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 another—an 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. “We’re both Arabs, aren’t 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 “We’re both Arabs” we substitute “We’re 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 Hawthorne’s “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 Bunyan’s Pilgrim’s 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 Orwell’s 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 barn—which led us to the theme, the essential meaning of the story. Chapter Eight Image The 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 sense—impressions 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 language Visual Imagery: Imagery of Sight Visual 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 Sound Auditory imagery is something that represents a sound, which can be revealed both in poems and stories. Olfactory Imagery: Imagery of Smell Olfactory imagery stimulates the sense of smell, which olfaction’s 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 memory—based 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 Taste Gustatory imagery stimulates the sense of taste.   “ ‘Have a dill pickle,’ he said. He wanted to share with us: That seemed to me so right, so—you know what I mean?”   From A Dill Pickle by Katherine Mansfield    

目 录
第一章 总论 6
1．1 项目提要 6
1．2 项目建设背景 9
1．3 项目建设的必要性和社会效益 11
1．4 主要技术经济指标 12
1．5 主要研究结论及建议 14
1．6 资金申请报告编制依据 14
第二章 项目单位的基本情况 16
2．1 项目建设单位基本情况 16
2．2 项目建设单位经营理念 17
2．3 项目建设单位财务状况 17
第三章 项目市场分析 18
3.1 农产品物流发展现状 18
3.2 项目建设的必要性 25
第四章 项目基本情况 28
4．1 项目建设条件 28
4．2 项目建设规模与建设内容 31
4．3 农产品物流中心定位 31
4．4农产品物流中心的功能 32
第五章 项目设计方案 33
5．1 建筑工程设计方案 33
5．2 技术工艺及设备 41
5．3 总图运输 53
5．4 环境保护 55
5．5 劳动安全 56
5．6 职业卫生 59
5．7消防 60
5．8 建筑节能 63
第六章 项目招标方案及组织管理 65
6．1 项目建设管理 65
6．2 招投标初步方案 66
6．3 工程评标 67
6．4 项目组织机构与人力资源配置 70
第七章 项目实施进度 73
7．1 建设期 73
7．2 项目前期工作 73
7．3 项目建设工期安排 73
第八章 总投资估算及融资方案 75
8．1 投资估算 75
8．2 总资金分年使用计划 77
8．3 融资方案 78
第九章 项目财务评价 79
9．1 财务评价 79
9．2 评价指标 82
9．3 评价结论 83
第十章 社会效益评价 84
10．1 促进当地经济发展 84
10．2 带动相关产业发展 84
10．3 增加地方财政收入 84
10．4 增加就业机会 84
第十一章 项目风险分析及防范措施 85
11.1项目的主要风险因素识别 85
11.2风险程度分析 85
11.3防范和降低风险的对策 87

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