【正文】 第14章 參考文獻(xiàn)【1】:【2】:【3】:【4】:【5】:【6】：【7】：【8】北京意達(dá)利技術(shù)開發(fā)有限責(zé)任公司 ： 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 28 。在選取某些材料，配合公差時，經(jīng)常是和參考文獻(xiàn)上的一樣，不是特別的熟練。在這次的設(shè)計過程中，我學(xué)到了很多書本上沒有學(xué)到的東西，在老師的指點(diǎn)和同學(xué)的幫助下，順利的完成了這次任務(wù)。模具在裝配好以后要保證適當(dāng)?shù)呐浜详P(guān)系，能夠很好的運(yùn)動，不會出現(xiàn)松動和咬死等現(xiàn)象。在設(shè)計工程中所涉及到的公式，都是從各個參考文獻(xiàn)中經(jīng)過比較而選取的，選擇上來講，還是較為合理的，計算結(jié)果正確，能滿足塑件的制造要求。主流道設(shè)置在定模板上，開模是可以利用塑件在型芯上的包緊力將塑件留在動模一側(cè)，然后利用斜滑塊和頂出桿將塑件推出。通過計算，繪圖和運(yùn)用各種技術(shù)標(biāo)準(zhǔn)和規(guī)范，設(shè)計手冊等有關(guān)資料，對設(shè)計一整套模具的方法有了充分的認(rèn)識，為畢業(yè)設(shè)計做好了準(zhǔn)備。通過設(shè)計實(shí)踐，逐步樹立正確的設(shè)計思想，設(shè)計思路，和流程。第13章 設(shè)計總結(jié)此次課程設(shè)計是學(xué)習(xí)好塑料模具這門課程的一個重要環(huán)節(jié)，是對整個課程的一個全面的考察，也是對我們以前學(xué)過的工程制圖、互換性與測量技術(shù)基礎(chǔ)、機(jī)械原理，材料成型原理，材料成型工藝，材料成型設(shè)備，等一系列課程的綜合考察。閉模時，螺紋斜滑塊靠拉桿（件9）與彈簧（件7）的力復(fù)位，推板（件4）靠彈簧（件23）也同時退回。第12章 模具總體結(jié)構(gòu)由以上設(shè)計步驟，綜合得設(shè)計的模具機(jī)構(gòu)如下：1—動模座板 2，3，15，17—螺釘 4—推板 5—推板固定板 6—墊塊 7，23，28—彈簧 8—動模固定板 9—拉桿 10—動模板 11—導(dǎo)套 12—定模板 13—導(dǎo)柱 14—定模座板 16—主流道襯套 18—主型芯 19—螺紋型芯 20，30—圓柱銷釘 21—頂桿 22—內(nèi)六角螺釘 24—推板導(dǎo)柱 25—推板導(dǎo)套 26—水嘴 27—限位柱 29—頂出桿 31—螺釘 圖121 模具總體結(jié)構(gòu) 工作原理為：該結(jié)構(gòu)采