【正文】 同時(shí)**濱鄰渤海，是東北地區(qū)唯一的河流入?？冢瑸I海濕地生態(tài)環(huán)境與東北內(nèi)陸形成很大的差異，對(duì)旅游客源市場(chǎng)有很強(qiáng)的吸引力。展示：甜水湖保護(hù)區(qū)的生態(tài)濕地候鳥種群、廣袤的湖面、明珠島上古老而傳奇的歷史文物、與渤海相連的蘆葦蕩、茂密的樹林草地構(gòu)成了別具特色的北方濕地景觀。以甜水湖自然保護(hù)區(qū)旅游；以古文物、生態(tài)濕地觀光；以天然地?zé)釡厝獮橹危员臼屑爸苓叧鞘邢M(fèi)群體、以電視、廣播廣告為媒介。以單一的客房式度假旅游為特點(diǎn)的第一、二代溫泉旅游產(chǎn)品競(jìng)爭(zhēng)力差，可替代性強(qiáng)，生命周期短，目前大多已經(jīng)進(jìn)入消亡期。露天溫泉特色、整體環(huán)境、溫泉醫(yī)療功能是影響游客決策行為的主要因素；生態(tài)農(nóng)業(yè)觀光度假、溫泉旅游度假是游客喜好的旅游產(chǎn)品。生態(tài)農(nóng)業(yè)觀光旅游產(chǎn)品屬于區(qū)域性產(chǎn)品，游客以中近程游客為主，近90％的國內(nèi)游客來自一級(jí)客源市場(chǎng)和二級(jí)客源市場(chǎng)，近80％的游客集中在4小時(shí)交通半徑范圍內(nèi)的區(qū)域。三級(jí)市場(chǎng): 歐美經(jīng)濟(jì)發(fā)達(dá)生態(tài)敏感國家。**市距日韓市場(chǎng)較近，并具有對(duì)該市場(chǎng)具有強(qiáng)烈吸引力的濕地生態(tài)旅游資源，加之近年來**市與日韓文化、經(jīng)濟(jì)與旅游交流活動(dòng)不斷增加，因而該市場(chǎng)具備開發(fā)成本市一級(jí)海外市場(chǎng)的條件。 三級(jí)市場(chǎng)是目前國內(nèi)旅游需求最旺盛的地區(qū)，而**市北國濕地休閑產(chǎn)品對(duì)該市場(chǎng)較為成熟的旅游者具有強(qiáng)烈的反差吸引力。本市場(chǎng)以廣州和福州為客流樞紐中心，包括珠江三角洲經(jīng)濟(jì)圈和福建省。 本市場(chǎng)以北京、天津和上海為客流樞紐中心，覆蓋京津唐大都市經(jīng)濟(jì)圈和長江三角洲大都市經(jīng)濟(jì)圈。 二級(jí)市場(chǎng): 京津滬文化大都市。該市場(chǎng)的主要消費(fèi)群體可細(xì)分為：工礦企業(yè)獎(jiǎng)勵(lì)旅游群體，工礦企業(yè)療養(yǎng)旅游群體，企業(yè)會(huì)議旅游群體，城市居民節(jié)假日和周末度假休閑旅游群體，政府和企業(yè)的公務(wù)與商務(wù)旅游群體等。為規(guī)劃和設(shè)計(jì)生態(tài)旅游產(chǎn)品提供了得天獨(dú)厚的環(huán)境資源。近年來，溫泉經(jīng)濟(jì)日漸興起，溫泉旅游開發(fā)的熱潮也漸漸在全國形成，以露天溫泉為特色的第三代溫泉產(chǎn)品較為普遍，功能由單純的醫(yī)療、療養(yǎng)旅游發(fā)展為觀光度假、康體休閑、商務(wù)會(huì)議、娛樂、休療養(yǎng)等多種功能，旅游者也從特殊的群體向大眾化發(fā)展，形成了同時(shí)發(fā)展康體旅游、娛樂旅游、體育旅游、商務(wù)旅游、會(huì)議旅游、旅游地產(chǎn)等多功能的綜合性旅游度假區(qū)，溫泉開發(fā)正在由湯治、保養(yǎng)、休養(yǎng)向觀光、娛樂、休閑、度假轉(zhuǎn)換。過路旅游者：體驗(yàn)莊家院生活、觀光生態(tài)農(nóng)業(yè)，洗礦泉浴，吃生態(tài)食品還要買上帶走價(jià)位可高2倍。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(shì)。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(huì)、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(huì)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(shì)磅礴，以后人們便稱之為“龍泉”。平均水深2m，庫容量1200萬m3。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(dòng)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(huì)效益、經(jīng)濟(jì)效益和農(nóng)民增收同步提高。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。，規(guī)劃建設(shè)經(jīng)濟(jì)合理。***，%；，%；，%；，%；?？h區(qū)經(jīng)濟(jì)競(jìng)相崛起，%，高于全市19個(gè)百分點(diǎn)。這類旅游產(chǎn)品具有很大的市場(chǎng)需求、發(fā)展空間和開發(fā)潛力。形成了旅游競(jìng)爭(zhēng)優(yōu)勢(shì)，并使其脫穎而出，必將成為我國北方旅游業(yè)的頂級(jí)靚點(diǎn)。260畝草地是發(fā)展生態(tài)畜禽的天然放牧場(chǎng)。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(dòng)性強(qiáng)、市場(chǎng)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(shì)，進(jìn)一步推動(dòng)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(duì)外開放，將**打造為“世界濕地休閑之都”。這里系遼河入?？?，沖積三角洲末端濱海沉積平原。 把**市建成北國濕地休閑之都，國際生態(tài)旅游名城。 **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。***正在由相對(duì)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(chǎng)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)。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。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(dòng)產(chǎn)業(yè)結(jié)構(gòu)優(yōu)化升級(jí)；促進(jìn)經(jīng)濟(jì)增長由主要依靠第二產(chǎn)業(yè)帶動(dòng)向依靠第一，第二、第三產(chǎn)業(yè)協(xié)同帶動(dòng)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(dòng)者素質(zhì)提高、管理創(chuàng)新轉(zhuǎn)變。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。 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)。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。水庫內(nèi)是繁殖魚蟹天然場(chǎng)地。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。東西長為十三公里，南北寬為十公里，總面積98平方公里，占**%，耕地面積近五萬畝。27′～122176。 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)。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?！　♂槍?duì)**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(jí)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。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? “obviously”, “frankly”)?Adjectives: To what degree of frequency are the adjectives used? To what kinds of attributes do the adjectives refer (eg physical, psychological, visual, auditory, color, referential, emotive, evaluative, etc)? Are the adjectives restrictive or nonrestrictive? Attributive or predicative? General: Is the vocabulary simple or plex? Formal or colloquial? Descriptive or evaluative? General or specific? How far does the author make use of the emotive or other associations of words ,as opposed to their referential meanings? Does the text contain idiomatic usages, and if so, with what kind of register (language variation beyond dialectical differences, such as differences between polite and familiar language。ForegroundingIt is to be noted that the emphasis upon the artistic integrity and inviolability of their works is echoed not only in poets but also in many prose writers, and we can find an articulation in Tolstoy’s words: “This is indeed one of the significant facts about a true work of art—that its content in its entirety can be expressed only by itself.” Critics holding such as idea about style tend to look at a work of fiction as a verbal artifact. They believe that in such a verbal artifact there can be no separation of the author’s creation of the plot, character, social and moral life, from the language in which they are portrayed. As David Lodge puts it: “The novelist’s medium is language: whatever he does, qua novelist, he does in and through language, Lodge is ready to see no difference between the kind of choice a writer makes in calling a character “darkhaired” or “fair,” since all the choices a writer makes are a matter of language. Lodge also argues that there is no essential difference between poetry and prose and that the following tenets apply to both: and the grammatical, rather than lexical, aspect of style is the one on which Ohmann concentrates. Thus in the analysis of a writer’s style in a work of fiction, we should study what the writer has written against the background of what he /she might have written。When dinner was over, the senator made a speech. A style is a way of writing….In general, [style] applied to human action that is partly invariant and partly variable….Now this picture leads to few plications if the action is playing the piano or playing tennis…But the relevant division between fixed and variable ponents in literature is by no means so obvious. What is content, and what is form, or style? The attack on a dichotomy of form and content has been persistent in modern criticism。This metaphor resonates with Renaissance and NeoClassicist pronouncements on style. For example, the idea that style is merely the “adornment” or “covering” of thought or meaning is clearly expressed in the very meaning of John Lyly’s Eupheus, which can be plausibly taken as the first novel in English:The distinction between what a writer wants to say and how it is presented to the reader underlies one of the early and persistent concepts of style: style as the “dress of thought,” as Wesley put it:What is Style?Firstperson point of view (the ant being the narrator).QUESTIONS“Wh