【正文】 s to e and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an unfortable accent. They were obviously designed to appeal to an Englishspeaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy 29 Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly petent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the monalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has bee－ how shall I put it?－ a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emerson39。s cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytimesoapstyle narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the fulllength version and found the truncated one not difficult to follow. What39。s president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast China39。s villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijing39。t just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as red burgeon, and today39。t help but sing the folk songs, Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. The nomadic people were very excited about our visits, Nasun recalls. We didn39。s Zhangye city during their journey to Kazakhstan, May 5, 2022. The caravan, consisting of more than 100 camels, three horsedrawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2022. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as AlmaAta, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to plete. The caravan is expected to return to Jingyang in March 2022. Then they will e back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54yearold was born in Tongliao, in eastern Inner Mongolia and joined the troupe in says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. I can still recall the days when I toured with the troupe in the early 39。 28 您好，為你提供優(yōu)秀的畢業(yè)論文參考資料，請您刪除以下內(nèi)容， O(∩ _∩ )O 謝謝?。?！ A large group of tea merchants on camels and horses from Northwest China39。置身其間，耳濡目染，潛移默化，使我不僅接受了全新的思想觀念，樹立了明確的學(xué)術(shù)目標，領(lǐng)會了基本的思考 方式，掌握了通用的研究方法，而且還明白了許多待人接物與為人處世的道理。施工過程抓好泥漿和混凝土質(zhì)量，詳細做好各項施工記錄，牢牢把好鉆孔、清孔和混凝土灌注等關(guān)鍵工序的質(zhì)量關(guān)，是防止質(zhì)量事故發(fā)生的行之有效的措施和施工質(zhì)量控制的關(guān)鍵。 鉆孔灌注樁有許多優(yōu)點 ,但由于施工環(huán)節(jié)多 ,工藝復(fù)雜 ,成樁質(zhì)量有可能受到多種因素的干擾和制約 ,嚴重時會導(dǎo)致樁身承 載力的明顯降低 ,甚至造成病樁、斷樁等重大質(zhì)量事故。 （ 3）嚴把檢測關(guān)。 （ 2）嚴把隊伍進場關(guān)。 圖八：澆短樁頭 6 結(jié)論 鉆孔灌注樁的施工質(zhì)量直接影響到上部結(jié)構(gòu)的穩(wěn)定與安全。 提高清孔質(zhì)量，減少孔底沉碴厚度。 預(yù)防辦法： 測探錘宜加重。 澆短樁頭 產(chǎn)生原因： 由于澆注灌注樁水下混凝土時，其頂面一層混凝土質(zhì)量往往較差，如果孔底沉碴較厚，澆注混凝土過程中出現(xiàn)坍孔現(xiàn)象、清孔時泥漿濃度較濃、埋管較深或?qū)Ч艽┎宕螖?shù)較多，這時如果預(yù)留的樁頭太短，在處理樁頭差質(zhì)混凝土時，仍會留下部分質(zhì)量差的混凝土而導(dǎo)致樁身缺陷。導(dǎo)管在混凝土面的埋置深度一般宜保持在 25m，不宜大于 6m 和小于 1m，嚴禁把導(dǎo)管提出混凝土面。 加快混凝土灌注速度，縮短灌注時間，或摻外加劑，防止 混凝土頂層進入鋼筋籠時流動性變小，當混凝土上升到接近鋼筋籠下端時，控制導(dǎo)管埋深在 ，應(yīng)放慢澆筑速度，減小混凝土面上升的動能作用，以免鋼筋籠頂被托而上浮。 由于混凝土灌注過鋼筋籠且導(dǎo)管埋深較大時，其上層混凝土因澆注時間較長，已接近初凝，表面形成硬殼，混凝土與鋼筋籠有一定握裹力，假如此時導(dǎo)管底端未及時提到鋼筋底部以上，混凝土在導(dǎo)管流出后將以一定的速度向上頂升，同時也帶動鋼筋籠上移。為防止縮孔，前者應(yīng)及時修補磨耗的鉆頭，后者要使用失水率小的優(yōu)質(zhì)泥漿護壁快轉(zhuǎn)慢進，并復(fù)轉(zhuǎn)二三次：或使用卷揚機吊住鉆捶上下、左右反復(fù)掃孔以擴大孔徑，直到縮孔部位達到設(shè)計孔徑為止。 縮孔原因有兩種：一種是鉆錐焊補不及時，嚴重磨耗的鉆錐往往鉆出較設(shè)計樁徑稍 23 小的孔。若因擴孔后繼續(xù)坍塌影響鉆進。 埋管 預(yù)防辦法：應(yīng)按前述嚴格控制埋管深度不得超過 6m，在導(dǎo)管上端裝設(shè)附著式振搗器，每隔數(shù)分鐘振搗一次，使導(dǎo)管周圍的混凝土不致過早地初凝，首批混凝土摻人緩凝劑，加速灌注速度，導(dǎo)管接頭螺栓事先應(yīng)檢查是否穩(wěn)妥，提升導(dǎo)管時不可猛拔。如坍孔仍不停止，坍塌部位較深，宜將導(dǎo)管拔出，保存孔位，以黏土回填，待坍塌穩(wěn)定后，掏出或吸出回填土，重新下導(dǎo)管灌注。確定坍 孔后，查明原因，采取相應(yīng)的措施，防止繼續(xù)坍孔。 （ 2） 發(fā)生故障或其他原因使混凝土在導(dǎo)管內(nèi)停留時間過久，或灌注時間持續(xù)過長，最初灌注的混凝土初凝導(dǎo)致卡管，可以加速混凝土灌注速度，必要時，可在首批混凝土中摻入緩凝劑，以延緩混凝土的初凝時間。如仍不能下落時，則須將導(dǎo)管連同其內(nèi)的混凝土提出鉆孔，進行清理和修整，然后重新吊裝導(dǎo)管，重新灌注。最后用潛水泵將管內(nèi)的水抽干，繼續(xù)灌注混凝土。若是第二、三種原因引，應(yīng)視具體情況，拔換原管重下新管，或用原導(dǎo)管插入續(xù)灌。 水下 混凝土灌注施工質(zhì)量問題及防治措施 導(dǎo)管進水 原因：一、首批混凝土儲量不足；二、導(dǎo)管 接頭不嚴，接頭間橡皮墊被擠開；三、 22 導(dǎo)管提升過猛，或測深錯，底口涌 入 泥水。 （ 2）為防止發(fā)生斷樁、夾