【導(dǎo)讀】都能運(yùn)用到它的原理。本次設(shè)計(jì)的四花樣彩燈控制器是其中較簡(jiǎn)單的，但這是進(jìn)行復(fù)。首先要分析設(shè)計(jì)要求，從要實(shí)現(xiàn)四?；尤胧滞茖?dǎo)出要使用的芯片?？赏ㄟ^(guò)八位右移寄存器74LS164實(shí)現(xiàn)八個(gè)彩燈的向右。根據(jù)四種花樣確定這四種。碼，可通過(guò)模十六計(jì)數(shù)器74LS161的輸出端接與門(mén)74LS08和非門(mén)74LS04產(chǎn)生。時(shí)鐘信號(hào)由兩個(gè)555產(chǎn)生，一個(gè)產(chǎn)生周期為秒的矩形脈。秒的脈沖控制雙D觸發(fā)器。當(dāng)彩燈完成一種花樣時(shí)，雙D觸發(fā)器輸出狀態(tài)改變，數(shù)據(jù)。隨著人們生活環(huán)境的不斷改善和美化，在許多場(chǎng)合可以看到彩色霓虹燈。用，用彩燈來(lái)裝飾街道和城市建筑物已經(jīng)成為一種時(shí)尚。但目前市場(chǎng)上各式樣的LED

　　

【正文】 9~ 2 Q8~ 2 C L R1311~ 2 P R107 4 L S 7 4 DU6QA3QB4QC5QD6A1B2~ C L R9C L K8QE10QF11QG12QH137 4 L S 1 6 4 DL E D 1R10 .5 1 k o h mR20 .5 1 k o h mR30 .5 1 k o h mR40 .5 1 k o h mR50 .5 1 k o h mR60 .5 1 k o h mR70 .5 1 k o h mR80 .5 1 k o h mL E D 5L E D 2L E D 3L E D 4L E D 6L E D 7L E D 85VV C CQA14QB13QC12QD11RCO15A3B4C5D6E N P7E N T10~ L O A D9~ C L R1C L K2U37 4 L S 1 6 1 DU71D IS7O U T3R S T48T H R6C O N5T R I2G N DV C CL M 5 5 5 C NR91 k o h mR 1 05 1 k o h mC11 0 u FC30 .0 1 u FU81D IS7O U T3R S T48T H R6C O N5T R I2G N DV C CL M 5 5 5 C NR 1 11 k o h mR 1 21 M o h mC21 0 u FC40 .0 1 u F 四川信息職業(yè)技術(shù)學(xué)院畢業(yè)設(shè)計(jì)說(shuō)明書(shū) (論文 ) 第 26 頁(yè) 附錄 2 元器件 明細(xì)表 項(xiàng)目 代號(hào) 代 號(hào) 名稱(chēng)、型號(hào)、規(guī)格 數(shù)量 備注 更改 電阻器 12 R R R RR R R R8 GB855187 RT― ―b― ―177。10% 8 R R11 GB855187 RT― ―b― 1kΩ―177。10% 2 R10 GB855187 RT― ―b―51kΩ―177。10% 1 R12 GB855187 RT― ―b―1MΩ―177。10% 1 電容器 4 C C2 GB599586 CD－ 2－ 63V－ 10μF－ 177。10 2 C C4 GB599586 CD－ 2－ 63V－ － 177。10 2 發(fā)光 二極管 8 LED IN4148 8 U6 74LS164 寄存器芯片 1 U4 74LS153 數(shù)據(jù)選擇器芯片 1 U5A、 U5B 74LS74 觸發(fā)器芯片 2 U3 74LS161 計(jì)數(shù)器芯片 1 U1A、 U1B、 U1C、U1D 74LS04 非門(mén)芯片 4 U2A、 U2B 74LS08 與門(mén)芯片 2 U U8 555 定時(shí)芯片 2 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 呂林 聲光控照明節(jié)電電路元器件明細(xì)表 審 校 呂林 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 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 四川信息職業(yè)技術(shù)學(xué)院畢業(yè)設(shè)計(jì)說(shuō)明書(shū) (論文 ) 第 27 頁(yè) 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