【正文】 管的總數(shù)（根），采用8根。核算立管的實(shí)際流速為v=（8）= m/s，符合要求。⑦ 產(chǎn)氣量 m3氣/m3泥，即泥氣比為1: ，則產(chǎn)氣量為q氣== m3/d 污泥脫水設(shè)備消化污泥最后進(jìn)入污泥脫水機(jī)房，脫水設(shè)備采用帶式壓濾機(jī)。污泥消化過(guò)程因分解使體積減少，按消化污泥中有機(jī)物含量占60%，分解率50%，污泥含水率為95%計(jì)算，則由于含水率降低而剩余的污泥量為QS/=QS（100–P1）/（100–P2）QS/=（100–97）/（100–95）= m3/d分解污泥容積QS1為QS1== m3/d消化后剩余的污泥量QS2為QS2=–= m3/d選擇帶式壓濾機(jī)2臺(tái)，每處理能力3 m3/h，每天工作8 h。脫水后，污泥的含水率為75%， m3，最后的處理污泥外運(yùn)。 附屬建筑物各附屬構(gòu)筑物的尺寸見(jiàn)表1表1 附屬建筑物一覽表Table 1 Attached building table序 號(hào)建 筑 物 名 稱(chēng)尺 寸 規(guī) 格/（mm）1綜合辦公樓2082中心控制室1063維 修 間1874食 堂1585浴 室1286倉(cāng) 庫(kù)1867變 電 所1078傳 達(dá) 室549鍋 爐 房13810鼓風(fēng)機(jī)房201511回流污泥泵房10712污泥脫水機(jī)房14713車(chē) 庫(kù)147 處理廠規(guī)劃 平面布置按照平面布置的有關(guān)規(guī)定，應(yīng)盡量節(jié)約用地，做到布置緊湊，生活區(qū)位于夏季主導(dǎo)風(fēng)向的上風(fēng)向，平面布置如附圖1所示。 高程布置處理廠內(nèi)的管道采用重力流，并盡量減少水頭損失，各處理構(gòu)筑物的水頭損失按經(jīng)驗(yàn)數(shù)值選取。管道中污水都是滿流狀態(tài)，水深等于管徑。 m。污水高程部分計(jì)算表見(jiàn)表2（1），污泥高程部分計(jì)算見(jiàn)表2（2），高程布置圖見(jiàn)附圖2所示表2（2）污泥高程計(jì)算表Table 2(2) Table of sludge altitude calculation序號(hào)管道及構(gòu)筑物名稱(chēng)QL/s管道設(shè)計(jì)參數(shù)水頭損失/m水面標(biāo)高/mDmmi‰Lm沿程局部構(gòu)筑物合計(jì)上游下游1中沉池2中沉池至污泥泵房3001570–3–4提升泵至濃縮池20010505終沉池–6終沉池至污泥泵房3001570––7–8提升泵至濃縮池20010509濃縮池10濃縮池至貯泥池200101011提升5m12一級(jí)消化池13一級(jí)至二級(jí)消化池200202014二級(jí)消化池15消化池至脫水機(jī)房200204016脫水機(jī)房– 污水提升泵選擇根據(jù)污水高程計(jì)算的結(jié)果，設(shè)泵站內(nèi)的損失為2 m，吸壓水管路的總損失為2 m，則可確定水泵的揚(yáng)程H為H=（+）+2+2= m 水泵提升流量按最大時(shí)流量考慮，Q設(shè)= L/s，按此流量和揚(yáng)程來(lái)選擇水泵。選擇KDW250–250A臥式離心泵，共2臺(tái)，1用1備，揚(yáng)程為14m，電機(jī)功率為27kW。4 結(jié)論通過(guò)本次對(duì)AB法工藝污水處理廠主要構(gòu)筑物的設(shè)計(jì)計(jì)算以及相關(guān)圖形繪制，對(duì)AB工藝進(jìn)一步學(xué)習(xí)掌握并得出以下幾點(diǎn)結(jié)論：，AB法一般都取得較好的運(yùn)行效果，同時(shí)該工藝的AB段的分建可緩解污水處理廠資金不足的問(wèn)題。，由于AB法產(chǎn)泥量比較高，需增加處理設(shè)施加以處理，在這方面的投資負(fù)擔(dān)較大。，屬于中大型污水處理廠類(lèi)型，運(yùn)行效益與投資相比還是能取得較好的經(jīng)濟(jì)效益；而本次污水處理設(shè)計(jì)任務(wù)中污水處理流量小，為小型污水處理廠，相對(duì)于其基建投資，小型污水處理廠能否取得較好的經(jīng)濟(jì)效益得參照經(jīng)濟(jì)核算和決定于現(xiàn)實(shí)運(yùn)行的情況。參考文獻(xiàn)：[1] ：哈爾濱工業(yè)大學(xué)出版社，2002，161226.[2] 曾科、卜秋平、：化工工業(yè)出版社，2001，13.[3] ：化工工業(yè)出版社，1999，240242.[4] （第二版）.北京：冶金工業(yè)出版社，2003，108114.[5] —：中國(guó)建筑工業(yè)出版社，1986，267360.[6] ：上海交通大學(xué)出版社，1999，1319，128133.[7] ：中國(guó)建筑工業(yè)出版社，2001，2227.[8] ，1999年第12卷第2期 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 so3