【導(dǎo)讀】轉(zhuǎn)換器、變頻器、觸摸屏、傳感器、電動機等幾部分組成。經(jīng)過本次設(shè)計，一起討?；蚰M式的輸入輸出，控制各種類型的機械或生產(chǎn)過程的工業(yè)計算機。

　　

【正文】 致謝 力幫助，我們一起學(xué)習(xí)，一起探討問題、解決問題。當(dāng)我遇到困難時，他們給了我許多好的建議和無私的幫助。在此，對所有給予我?guī)椭耐瑢W(xué)表示衷心的感謝。學(xué)士學(xué)位論文 致謝 參考文獻(xiàn) （ 1） 張萬鐘主編，周淵深主審〈可編程控制器應(yīng)用技術(shù)〉，化學(xué)工業(yè)出版社 2020 （ 2） 張明金、于靜主編，〈電工電子技術(shù)〉，北京師范大學(xué)出版社 2020 （ 3） 常斗南 ，〈可編程控制器（第 2版）〉，北京：高等教育出版社 1994 （ 4） 魏天路 、倪依純主編，〈機電一體化系統(tǒng)設(shè)計〉，機械工業(yè)出 版社 2020 （ 5） 鐘肇新、 彭侃編譯，〈可編程控制原理及應(yīng)用（第二版）〉，廣州華南理工大學(xué)出版社 （ 6） 王也仿，〈可編程應(yīng)用技術(shù)〉，北京機械工業(yè)出版社 2020 （ 7） 王宏華 ，〈電動機調(diào)速控制技術(shù)〉，北京機械工業(yè)出版社 1998 （ 8） EB500 用戶使用手冊 （ 9） 三菱變頻調(diào)速器 FRS500 使用手冊 （ 10） FX 系列特殊功能模塊用戶手冊 （ 11） GX developer編程軟件使用手冊 （ 12） 萬太福 ，〈可編程控制器及其應(yīng)用〉，重慶大學(xué)出版社 （ 13） 張正傳，〈傳感器原理與應(yīng)用〉， 中央廣播電視大學(xué)出版社 （ 14） 吳忠智，吳加林編著 . 〈 變頻器應(yīng)用手冊 〉 北京：機 械工業(yè)出版社， 1998 （ 15） 郭車朝，王森草 . 三相交流電機控制芯片及應(yīng)用 [J]. 電子技術(shù)， 2020 （ 16）劉竟成，〈交流調(diào)速系統(tǒng)〉，上海交通大學(xué)出版社， 1984 （ 17）張立，〈現(xiàn)代電力電子技術(shù)基礎(chǔ)〉，高等教育出版社， 1999 （ 18）王兆安，黃俊主編 . 電力電子技術(shù) . 北京：機械工業(yè)出版社， 2020 （ 19）童建中，〈脈沖數(shù)字電路〉，北京化工工業(yè)出版社 學(xué)士學(xué)位論文 致謝 （ 20）常斗南，〈可編程控制器〉，北京機械工業(yè)出版社 （ 21）郭慶頂，〈交流伺服系統(tǒng)〉，北京工業(yè)機械出版社 （ 22）更多資傳料來自網(wǎng)絡(luò)〈百度〉 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