應(yīng)用電子技術(shù)畢業(yè)設(shè)計(jì)-汽車尾燈顯示控制電路設(shè)計(jì)-資料下載頁
2024-11-23 16:26本頁面
【導(dǎo)讀】①將所學(xué)的知識(shí)用于解決生產(chǎn)實(shí)際中的實(shí)際問題；②元器件選擇、單元電路分析。第6周：任務(wù)下達(dá)，理解消化任務(wù)要求；確定初步設(shè)計(jì)方案；第7周：根據(jù)要求畫出電路方框圖并設(shè)計(jì)出原理電路圖；第8～9周：根據(jù)電路分析其工作原理，進(jìn)一步對(duì)原理圖進(jìn)行完善和修改；第10～11周：針對(duì)設(shè)計(jì)的原理電路圖進(jìn)行仿真，觀察電路實(shí)現(xiàn)是否完好并及時(shí)修改原理電路圖；第12周：中期檢查，查找問題，分析解決難點(diǎn)；第13～19周：根據(jù)設(shè)計(jì)撰寫論文，并在老師指導(dǎo)下修改、完成論文；［2］梁恩主.著Protel99SE電路設(shè)計(jì)與仿真北京：清華大學(xué)出版社；2020；關(guān)用于指示右轉(zhuǎn)彎，一個(gè)乒乓開關(guān)用于指示左轉(zhuǎn)彎，如果兩個(gè)乒乓開關(guān)都被接通，說明駕駛員是一個(gè)外行，緊急閃爍器起作用。右轉(zhuǎn)彎時(shí)三個(gè)右邊的燈應(yīng)動(dòng)作，左。邊的燈則全滅，右邊的燈周期性明亮與暗。同時(shí)，電路還用一個(gè)開關(guān)模擬腳踏制。車，停車時(shí)，全部尾燈亮度為正常的一半。
【正文】 A~U4:D 與非門 74LS00 10 U5:A~U7:B 與門 74LS08 6 U8 定時(shí)器 NE555 1 U5:A、 U5:B JK觸發(fā)器 74LS76 2 U1 譯碼器 74LS138 1 舊底圖總號(hào) 更改 標(biāo)記 數(shù)量 更改 單號(hào) 簽名 日期 底圖總號(hào) 擬 制 汽車尾燈顯示控制電路設(shè)計(jì) 審 校 日期 簽名 等級(jí)標(biāo)記 第 1 張 共 1 張 標(biāo)準(zhǔn)化 批 準(zhǔn) 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 四川信息職業(yè)技術(shù)學(xué)院畢業(yè)設(shè)計(jì)說明書 (論文 ) 第 22 頁 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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