【正文】 經(jīng)達(dá)不到目前人們的要求,市場(chǎng)競(jìng)爭(zhēng)力特別是國(guó)際市場(chǎng)的競(jìng)爭(zhēng)力逐趨下降?！　⊥七M(jìn)現(xiàn)代農(nóng)業(yè)建設(shè)、發(fā)展生產(chǎn)是社會(huì)主義新農(nóng)村建設(shè)的產(chǎn)業(yè)支撐,也是新農(nóng)村建設(shè)的首要任務(wù)。生豬生產(chǎn)是農(nóng)業(yè)的重要組成部分,豬肉是城鄉(xiāng)居民的主要副食品。大力發(fā)展畜牧業(yè),對(duì)促進(jìn)農(nóng)業(yè)結(jié)構(gòu)優(yōu)化升級(jí),增加農(nóng)民收入,改善人們膳食結(jié)構(gòu),提高國(guó)民體質(zhì)具有重要意義”。　　二是提升農(nóng)業(yè)競(jìng)爭(zhēng)力,促進(jìn)現(xiàn)代農(nóng)業(yè)發(fā)展,xx市農(nóng)業(yè)已經(jīng)進(jìn)入由傳統(tǒng)農(nóng)業(yè)向現(xiàn)代農(nóng)業(yè)邁進(jìn)的轉(zhuǎn)型時(shí)期。隨著國(guó)民經(jīng)濟(jì)的發(fā)展和經(jīng)濟(jì)實(shí)力的不斷增強(qiáng),發(fā)展農(nóng)業(yè),解決“三農(nóng)”問(wèn)題已成為黨和政府的首要任務(wù)。向社會(huì)提供優(yōu)質(zhì)安全的水果、蔬菜等農(nóng)產(chǎn)品。流動(dòng)資金500萬(wàn)元。新建果園45畝?！? :建設(shè)標(biāo)準(zhǔn)豬舍及配套管理用房38000余平方米,生活、科研、教學(xué)、培訓(xùn)樓6000余平方米:加固擴(kuò)容山塘水庫(kù)兩座。引進(jìn)優(yōu)質(zhì)水果品種5個(gè),水果種植面積200畝。配套建設(shè)集科研、教學(xué)、技術(shù)交流:農(nóng)民種植、養(yǎng)殖技術(shù)培訓(xùn)基地。為進(jìn)一步增強(qiáng)園區(qū)發(fā)展后勁,園區(qū)實(shí)行種養(yǎng)結(jié)合的開(kāi)發(fā)模式,科學(xué)實(shí)施“沼氣生態(tài)工程”,加大對(duì)“豬沼果”、“豬沼菜”、“豬沼花卉苗木”循環(huán)農(nóng)業(yè)建設(shè),使園區(qū)的物質(zhì)、能量、生態(tài)良性循環(huán),成為我省資源節(jié)約型、環(huán)境友好型循環(huán)農(nóng)業(yè)的示范。力圖既能給企業(yè)帶來(lái)經(jīng)濟(jì)效益,又能極大的促進(jìn)當(dāng)?shù)氐胤睫r(nóng)業(yè)經(jīng)濟(jì)發(fā)展,帶動(dòng)當(dāng)?shù)剞r(nóng)戶共同致富。 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 caf233。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 MobyDick the voyage, the land, and the ocean are objects pregnant with meanings that seem almost independent of the author’s use of them in the story。SymbolismIn F. Scott Fitzgerald’s 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 e to mean more than simply the availability of eye examination. A character in the story pares it to the eyes of God。Symbol, in the simplest sense, anything that stands for or represents something else beyondCohesion: 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 crossreference by pronouns (she, it, they, etc), by substitute forms (do, so, etc), or ellipsis? Is there any use made of elegant variation—the 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?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)?Figures of SpeechVerb 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.clause types: What types of clauses are favored—relative clauses, adverbial clauses, or different types of nominal clauses? Are nonfinite forms monly used, and if so, of what types are they (infinitive, ing form, ed form, verbless structure)? What is their function?Sentence plexity: Do sentences on whole have a simple or a plex structure? What is the average sentence length? Does plexity vary strikingly from one sentence to another? Is plexity mainly due to (i) coordination, (ii) subordination, (iii) juxtaposition of clauses or of other equivalent structures? In what parts of the text does plexity tend to occur?Noun phrases: Are they relatively simple or plex? Where does the plexity lie (in premodification by adjectives, nouns, etc, or in postmodification by preposition by prepositional phrases, relative clauses, etc)?General: Note whether any general types of grammatical construction are used to special effect (eg parative 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.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? 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.What is symbol?As rhetorical device, symbol is different from metaphor, which is literally false but figuratively true. Unlike allegory, which represents abstract terms like “l(fā)ove” or “truth,” symbols are perceptible objects. In literature almost anything—particular objects, characters, setting, and actions—can 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. they point, they hint, or, as Henry James put it, th