【導(dǎo)讀】對稱零件汽車加油盒沖壓成形進(jìn)行數(shù)值模擬。分析試驗(yàn)表明，壓邊力對于汽車加油盒的成形影響最大，壓。延筋其次，摩擦系數(shù)最弱。數(shù)參數(shù)值分別為20210N、設(shè)置壓延筋和時(shí)，零件最終成形的效果最好。盒工業(yè)生產(chǎn)做理論基礎(chǔ)。

　　

【正文】 所示 。 圖 57 加油盒零件沖壓模具 總裝配圖 圖 58 加油盒零件沖壓模具總裝主視圖 圖 59 加油盒零件沖壓模具總裝左視圖 本模具總共零部件有 13 種，具體種 類、材質(zhì)以及選擇標(biāo) 準(zhǔn)如 圖 510 模具零部件 明細(xì) 圖 所示 。 圖 510 模具零部件 明細(xì) 圖 圖 511 模具凸模 圖 512 模具凹模 以及主視圖、左視圖 本模具所使用的模 架為滑動導(dǎo)向四導(dǎo)柱模架，上模座和下模座分別標(biāo)準(zhǔn)為GB/T 和 GB/T ，材料為 HT200，標(biāo)準(zhǔn)為 GB 943688。 模具具體尺寸參數(shù)如后附工程圖所示。 本章小結(jié) 通過本章分別單獨(dú)對三個(gè)參數(shù)進(jìn)行分析，得出了對加油盒拉深成形相對來說最合適的參數(shù)，并且通過曲線圖給出三個(gè)參數(shù)的影響規(guī)律。 最后一節(jié)通過結(jié)合第三章的理論計(jì)算和本章的參數(shù)影響分析， 總結(jié)出合適的模具參數(shù)，基 于 solidworks繪制出模具，并得出工程圖。得到規(guī)律、 曲線圖 和模具 之后，分析 和設(shè)計(jì)階段 就到此結(jié)束了。 6 結(jié)論 與展望 結(jié)論 通過本次加油盒零件數(shù)值模擬試驗(yàn)，可以得出以下幾個(gè)結(jié)論： （ 1） 加油盒零件需要至少兩次以上拉深，才可以滿足要求，為了能提高效率并且降低成本，使用兩次拉深成形最好。 （ 2） 工藝參數(shù)壓邊力對于加油盒零件成形影響最大，而壓延筋和摩擦系數(shù)較弱。 （ 3） 壓邊力和摩擦系數(shù)對變薄率的影響規(guī)律都是隨著壓邊力和摩擦系數(shù)的增大，變薄率先降低再增大。其最佳參數(shù) 為壓邊力 20210N、摩擦系數(shù) 以及設(shè)置壓延筋。 展望 本次 研究 試驗(yàn)就到此結(jié)束了，衷心地希望自己的研究結(jié)果能夠?qū)?汽車加油盒的工業(yè)生產(chǎn)以及 其他學(xué)者 對板料成形的 研究 能夠 有所幫助 。雖然 此次研究試驗(yàn) 做出了壓延筋、壓邊力和摩擦系數(shù)對 汽車 加油盒零件的成形影響，但是影響 汽車 加油盒零件的 工藝 參數(shù)還有許多， 因此， 在此希望每一個(gè)有能力的學(xué)者都能盡自己的力量，好好 地利用有限元分析軟件，為板料成形發(fā)展做些貢獻(xiàn)。 7 參考文獻(xiàn) [1] 李碩本 .沖壓工藝學(xué) .機(jī)械工業(yè)出版社 ,1982 [2] 段磊 ,玉俊 ,莫國強(qiáng) ,程守益 .汽車覆蓋件成形回彈仿真及模面優(yōu)化研究 ,2021,壓鑄技術(shù) 第 35 卷（第 2 期） [3] 高遠(yuǎn)飛 ,黃朝暉 ,房明浩 ,劉艷改 .基于 Dynaform 的方盒形件拉深起皺情況模擬分析 ,2021,南陽理工 學(xué)院學(xué)報(bào) 第 1 卷（第 6 期） [4] 余勝娟 ,周旭東 .板料成形性的研究現(xiàn)狀和發(fā)展趨勢 ,2021 [5] 柳建安，肖亮，劉佳杰 ． 圓筒件拉深成形過程數(shù)值模擬研究 ， 2021 [6] 鄧明 ． 沖壓工藝及模具設(shè)計(jì)．化學(xué)工業(yè)出版社 ， 2021 [7] 李順平 ． 方盒形件拉延成形數(shù)值模擬及工藝參數(shù)的確定 ． 哈爾濱工業(yè)大學(xué)博士論文 ， 1991 [8] 彭穎紅 ． 汽車車身覆蓋件成形過程的計(jì)算機(jī)數(shù)值分析與應(yīng)用研究 ． 上海交通大學(xué)博士論文 ， 1998 [9] 葉又 ． 板材成形塑性流動規(guī)律及起皺回彈的數(shù)值研究 ． 上海交通大學(xué)博士論文 ， 1998 [10] 李衛(wèi)紅 ． 汽車加油盒成形模擬研究 ． 重慶大學(xué)碩士論文， 2021 [11] 肖景容，李尚健 ． 塑性成形模擬理論 ． 華中理工大學(xué)出版社， 1994 [12] 王勖成，邵敏 ． 有限單元法基本原理和數(shù)值方法 ． 清華大學(xué)出版社， 1997 [13] 李良 福 ．在拉深盒形件時(shí)控制壓邊力 的研究 ， 1997 [14] ,and ,NUMISHEET39。96,3rd International Conference on Numerical Simulation of 3D Sheet Metal Forming Processes,Dearborn,Michigan, September 29October 3,1996 [15] and ,Proceedings of 5th Internarional Conference on Numerical Method in Lndustrial Forming Processes,NUMIFORM39。95,Ithaca,New York,USA. June 1995 [16] ,A finite element analysis of the rigidplastic deformation of the flange in the deepdrawing Process based in a fourthdegree yield,22(1980) [17] , and ,Compatible Description of tool surfaces and FEM meshes for analyzing sheet forming operations,30(1990) [18] ,A Finite element simulatiod of the sheel metal forming process, (1988),283267 [19] ,Beaudoin and Daniel Bryant,Incorporating ctystallographic texture in Finiteelement simulation of Sheet forming,In: and , [20] , and ,A finite element membrane mobel for the analysis of axisymmetric sheet metal forming processes,34(1992) 179193 [21] ,A sutvey of numerical methods and puter program for dynamic structural dynamics,37(1976)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