【正文】 ,0x2D,0x2F,0x30,0x32,0x34,0x35,0x37,0x39, 0x3B,0x3D,0x3F,0x41,0x43,0x45,0x47,0x49,0x4B,0x4D,0x4F,0x52,0x54,0x56,0x59,0x5B,0x5D,0x60,0x62,0x65,0x67,0x69, 0x6C,0x6E,0x71,0x73,0x76,0x78,0x7B,0x7D, }。 //鍵值存放，查表指針； bdata sinthr。0x07。else{THHL=THHL+255。}break。} } } } /******************初始化函數(shù) ***********************/ clearmen() { key=0xff,dataout=0x00。 //裝定時(shí)初值（ T1 用）； TMOD=0X10。 //方式 1 為 16 位定時(shí)模式， T1 中斷 } 允許，開定時(shí)器，開總中斷； /**************主函數(shù) *******************/ main() { clearmen()。TH1=THHL/256。} else{dataout=thr_tab[n]。 EA=1。而三角波（正弦波）是由數(shù)據(jù)表 得到，每 個(gè) 數(shù) 據(jù) 表中 含 256 個(gè) 數(shù) 據(jù)， 一 次 中斷 取 出一 個(gè) ， 所以 其 周期 是1us*256*256=。 圖 36 三角波和正弦波 第三章 可調(diào)低頻信號(hào)發(fā)生器的設(shè)計(jì) 圖 37 頻率增大 圖 38 頻率再增大 第三章 可調(diào)低頻信號(hào)發(fā)生器的設(shè)計(jì) 圖 39 頻率進(jìn)一步增大 圖 310 方波和正弦波 第三章 可調(diào)低頻信號(hào)發(fā)生器的設(shè)計(jì) 圖 311 方波和正弦波頻率增大 圖 312 波形的轉(zhuǎn)換 隨著頻率要求進(jìn)一步的增大，以上的頻率已經(jīng)達(dá)不到要求 。 改動(dòng)的三角表（ 16 個(gè)數(shù)字）： thr_tab[64]= { 0x80,0x90,0xA0,0xB0,0xBF, 0xAF,0x9F,0x8F, 0x7F,0x6F,0x5F,0x4F,0x40,0x50,0x60,0x70, }。 以下是 信號(hào)發(fā)生器的 Protel Dxp 制版過(guò)程的簡(jiǎn)要介紹： 第三章 可調(diào)低頻信號(hào)發(fā)生器的設(shè)計(jì) 第一， 創(chuàng)建設(shè)計(jì)工程：新建一個(gè)文件夾命名為 Signal,選擇 FileNewPCB Project菜單，創(chuàng)建一個(gè) PCB 的工程文件，選擇 File Save Project菜單，打開 Save As 對(duì)話框，將所創(chuàng)建的工程名為 Signal. PrjPCB。最后單擊編輯區(qū)右側(cè)的 Libraries 標(biāo)簽，打開 Libraries 庫(kù)文件面板，打開元件庫(kù)下拉列表，選擇 Miscellaneous 集成庫(kù)，搜索所需要的元件，雙擊選中，然后用導(dǎo)線將它們連接成原理圖，如下圖所示： 第三章 可調(diào)低頻信號(hào)發(fā)生器的設(shè)計(jì) 圖 315 可調(diào)低頻信號(hào)發(fā)生器原理圖 第三， 進(jìn)行原理圖校驗(yàn)與分析：在完成原理圖的繪制以后，根據(jù)先前設(shè)定的設(shè)計(jì)規(guī)則對(duì)原理圖進(jìn)行校驗(yàn)，或者通過(guò)電路仿真對(duì)電路的可行性進(jìn)行分析，對(duì)電路的結(jié)構(gòu)進(jìn)行優(yōu)化。但是最后的成品卻不一定與仿真時(shí)完全一樣，因?yàn)樵趯?shí)際的應(yīng)用中有著各種各樣的條件制約著，理論和實(shí)踐是有差距的，反復(fù)的修改和測(cè)試 能給我們較多寶貴的經(jīng)驗(yàn)。 致謝 參考文獻(xiàn) [1] 張毅剛，彭喜元，董繼成．單片機(jī)原理及應(yīng)用 [M]．北京：高等教育出社 ,2021:6794. [2] 李剛、林凌 . 新概念單片機(jī)教程 [M]. 天津：天津大學(xué)出版社， [3] 李金平，沈明山，姜余祥．電子系統(tǒng)設(shè)計(jì) [M]．北京：電子工業(yè)出版社，2021： 19,180196,398440. [4] 甘登岱． 跟我學(xué) Protel Dxp 電路設(shè)計(jì)與制版 [M]．北京：人民郵電出版社，2021： 196214. 致謝 致謝 這次畢業(yè)設(shè)計(jì)能夠制作成功，和許多人對(duì)我的幫助是分不開的，首先我要感謝我的畢設(shè)指導(dǎo)老師盧金平老師，是他對(duì)我設(shè)計(jì)的思路提供幫助，在制作困難的時(shí)候，也是他給了我鼓勵(lì)。 附錄：外文翻譯 In Wang Zuoliang?s translation practices, he translated many poems, especially the poems written by Robert Burns. His translation of Burn?s “A Red, Red Rose” brought him fame as a verse translator. At the same time, he published about ten papers on the translation of poems. Some argue that poems cannot be translated. Frost stresses that poetry might get lost in translation. According to Wang, verse translation is possible and necessary, for “The poettranslator brings over some exciting work from another culture and in doing so is also writing his own best work, thereby adding something to his culture. In this transmission and exchange, a richer, more colorful world emerges. ”(Wang, 1991:112). Then how can we translate poems? According to Wang?s understanding, the translation of poems is related to three aspects: A poem?s meaning, poetic art and language. （ 1） A poem?s meaning “Sociocultural differences are formidable enough, but the matter is made much more plex when one realizes that meaning does not consist in the meaning of words only, but also in syntactical structures, speech rhythms, levels of style.” (Wang, 1991:93). （ 2） Poetic art According to Wang, “Bly?s point about the ?marvelous translation? being made possible in the United States only after Whitman, Pound and Williams Carlos Williams posed poetry in speech rhythms shows what may be gained when there is a genuine revolution in poetic art.” (Wang, 1991:93). （ 3） Language “Sometimes language stays static and sometimes language stays active. When language is active, it is beneficial to translation” “This would require this kind of intimate understanding, on the part of the translator, of its genius, its idiosyncrasies, its past and present, what it can do and what it choose not to do.” (Wang, 1991:94). Wang expresses the difficulties of verse translation. Frost?s ment is sufficient to prove the difficulty a translator has to grapple with. Maybe among literary translations, the translation of poems is the most difficult thing. Poems are the crystallization of wisdom. The difficulties of poetic prehension lie not only in lines, but also in structure, such as cadence, rhyme, metre, rhythm, all these conveying information. One point merits our attention. Wang not only talks about the times? poetic art, but also the impact language?s activity has produced on translation. In times when the language is active, translation is prospering. The reform of poetic art has improved 致謝 the translation quality of poems. For example, around May Fourth Movement, Baihua replaced classical style of writing, so the translation achieved earthshaking success. The relation between the state of language and translation is so