過程裝備與控制工程課程設(shè)計-35m3液化石油氣儲罐設(shè)計-資料下載頁
2025-10-26 03:26本頁面
【導(dǎo)讀】1)使用國家最新壓力容器標(biāo)準(zhǔn)、規(guī)范進行設(shè)計，掌握典型過程設(shè)備設(shè)計的全過程。2)掌握查閱、綜合分析文獻資料的能力，進行設(shè)計方法和方案的可行性研究和論證。機操作和專業(yè)軟件的使用。4)掌握工程圖紙的計算機繪圖。2）設(shè)備強度計算與校核；3）技術(shù)條件編制；4）繪制設(shè)備總裝配圖；5）編制設(shè)計說明書。寸的設(shè)計計算和確定、設(shè)計總結(jié)、參考文獻等；液化石油氣的主要組成部分由于石油產(chǎn)地的不同，各地石油氣組成成分也不同。-20—48℃，介質(zhì)為易燃易爆的氣體。的很厲害,可以推斷,在低溫狀態(tài)下,由飽和蒸氣壓力引起的應(yīng)力水平不會很高。由上述條件選擇危險溫度為設(shè)計溫度。為保證正常工作，對設(shè)計溫度留一定的富裕量。根據(jù)儲罐所處環(huán)境，最高溫度為。該儲罐用于液化石油氣儲配供氣站，因此屬于常溫壓力儲存。因此，不需要設(shè)保溫層。保冷設(shè)施，則取50℃時丙烷的飽和蒸汽壓力作為最高工作壓力。對于設(shè)置有安全泄放裝置的儲罐，設(shè)計壓力應(yīng)為~倍的最高工作壓力。
【正文】 督局， GB1501998《鋼制壓力容器》，中國標(biāo)準(zhǔn)出版社， 1998 [2] 國家質(zhì)量技術(shù)監(jiān)督局，《壓力容器安全技術(shù)監(jiān)察規(guī)程》，中國勞動社會保障出版社， 1999 [3] 全國化工設(shè)備設(shè)計技術(shù)中心站，《化工設(shè)備圖樣技術(shù)要求》， 2020， 11 [4] 鄭津洋、董其伍、桑芝富，《過程設(shè)備設(shè)計》，化學(xué)工業(yè)出版社， 2020 [5] 黃振仁、魏新利，《過程裝備成套技術(shù)設(shè)計指南》，化學(xué)工業(yè)出版社， 2020 [6] 國家醫(yī)藥管理局上海醫(yī)藥設(shè)計院，《化工工藝設(shè)計手冊》，化學(xué)工業(yè)出版社， 1996 [7] 蔡紀(jì)寧主編，《化工設(shè)備機械基礎(chǔ)課程設(shè)計指導(dǎo)書》，化學(xué)工業(yè)出版社， 2020 年 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 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
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