【導(dǎo)讀】更快的開發(fā)，本課程設(shè)計(jì)設(shè)計(jì)了一種基于AT89S52的數(shù)字溫度計(jì)。便的實(shí)現(xiàn)溫度采集和顯示。系統(tǒng)由硬件系統(tǒng)和軟件系統(tǒng)組成，硬件系統(tǒng)由單片機(jī)。程序和顯示程序組成。它使用起來相當(dāng)方便，具有精度高、量程寬、靈敏度高、可以當(dāng)作溫度處理模塊嵌入其它系統(tǒng)中，作為其他主系統(tǒng)的輔助擴(kuò)展。域的溫度檢測中有廣泛的應(yīng)用前景。

　　

【正文】 函數(shù) *****************************/ uchar key(void) { uchar i,d。 i=key_data()。//取鍵值 if(i!=0)//鍵是否有動作 {display()。 display()。 display()。//調(diào)顯示程序延時，消抖 i=key_data()。//取鍵值 26 if(i!=0)//判鍵是否按下 {i=key_data()。 d=i。 while(i!=0) {display()。 i=key_data()。//取鍵值 } display()。 display()。 display()。//調(diào)顯示程序延時，消抖 i=key_data()。//取鍵值 while(i!=0)//判鍵是否松開 {display()。 i=key_data()。//取鍵值 } i=d。 } } return (i)。//返回鍵值 } /******************************顯示 函數(shù) *****************************/ void display(void) { smg0=1。 smg1=1。 smg2=1。 smg3=1。//初始化：熄滅所有數(shù)碼管 if(BZ!=0)//溫度值為負(fù) {P0=0x0c。//送 smg0=0。 smg1=1。 smg2=1。 smg3=1。//點(diǎn)亮數(shù)碼管 LED0 27 delay_1ms()。 } else {if(0=zsamp。amp。zs10)//只有個位和小數(shù)位三位數(shù)碼管顯示 {P0=smg_we[xs%10]。//送小數(shù)百分位代碼 smg0=0。 smg1=1。 smg2=1。 smg3=1。//點(diǎn)亮小數(shù)位數(shù)碼管 LED0 delay_1ms()。 P0=smg_we[xs/10]。//送小數(shù)十分位代碼 smg0=1。 smg1=0。 smg2=1。 smg3=1。//點(diǎn)亮小數(shù)位數(shù)碼管 LED1 delay_1ms()。 P0=smg_we[zs%10]amp。0x7f。//送個位加小數(shù)點(diǎn)代碼 smg0=1。 smg1=1。 smg2=0。 smg3=1。//點(diǎn)亮個位數(shù)碼管 LED2 delay_1ms()。 smg0=1。 smg1=1。 smg2=1。 smg3=1。//熄滅高位數(shù)碼管 LED3 delay_1ms()。 } if(10=zsamp。amp。zs100)//只有十位、個位和小數(shù)位四位數(shù)碼管顯示 {P0=smg_we[xs%10]。//送小數(shù)百分位代碼 smg0=0。 smg1=1。 smg2=1。 smg3=1。//點(diǎn)亮小數(shù)位數(shù)碼管 LED0 28 delay_1ms()。 P0=smg_we[xs/10]。//送小數(shù)十分位代碼 smg0=1。 smg1=0。 smg2=1。 smg3=1。//點(diǎn)亮小數(shù)位數(shù)碼管 LED1 delay_1ms()。 P0=smg_we[zs%10]amp。0x7f。//送個位加小數(shù)點(diǎn)代碼 smg0=1。 smg1=1。 smg2=0。 smg3=1。//點(diǎn)亮個位數(shù)碼管 LED2 delay_1ms()。 P0=smg_we[zs/10]。//送十位代碼 smg0=1。 smg1=1。 smg2=1。 smg3=0。//點(diǎn)亮十位數(shù)碼管 LED3 delay_1ms()。 } if(100=zs)//當(dāng)溫度值大于 100 是顯示 P. {P0=0x11。//送 smg0=0。 smg1=1。 smg2=1。 smg3=1。//點(diǎn)亮數(shù)碼管 LED0 delay_1ms()。 } } } 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 29 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 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