【正文】 部或部分長(zhǎng)度留在滑槽內(nèi)。如果模具尺寸較小，為了保證滑槽長(zhǎng)度，可以把滑槽局部加長(zhǎng)，使其伸出模外。滑塊與滑槽的材料 滑塊可用45鋼或碳素工具鋼制造，導(dǎo)滑部分要求硬度40HRC，滑槽可用耐磨材料制造，也可用45鋼或碳素工具鋼制造，要求硬度為5256HRC?；瑝K與導(dǎo)滑槽的配合一般采用H7/f，其配合結(jié)構(gòu)形式主要根據(jù)模具大小，模具結(jié)構(gòu)和塑件的產(chǎn)量選擇，常見(jiàn)的形式如下圖所示： 圖72 塊導(dǎo)滑形式示意圖圖(a)為整體式滑塊與整體式導(dǎo)滑槽，結(jié)構(gòu)緊湊，本設(shè)計(jì)便采用的此結(jié)構(gòu)。4　 滑塊的定位裝置 為了保證斜導(dǎo)柱伸出端準(zhǔn)確可靠地進(jìn)入滑塊斜孔，則滑塊在完成抽芯動(dòng)作后，必須停留在一定位置上。如下圖所示：圖73滑塊定位裝置示意圖 楔緊塊的形式如下圖所示：圖74楔緊塊的形式示意圖圖74(a)為楔緊塊與定模板作成整體，特點(diǎn)是材料耗量大，加工不便，磨損后修復(fù)困難，但牢固可靠，剛釁好剛性好，適用于楔緊力要求很大的場(chǎng)合。圖74(c)(d)為整體鑲?cè)胧?，常用在模板邊緣與足夠固定位置的場(chǎng)合。本設(shè)計(jì)采用圖74（c）所示整體鑲?cè)胧?。結(jié)論本次設(shè)計(jì)的目的是為了系統(tǒng)地把大學(xué)中所學(xué)的專業(yè)知識(shí)連貫起來(lái)應(yīng)用于實(shí)際當(dāng)中，來(lái)解決生產(chǎn)實(shí)際問(wèn)題，從而鍛煉我們分析問(wèn)題和解決問(wèn)題的能力，設(shè)計(jì)出滿足要求的模具。其主要內(nèi)容包括注塑成型部分的設(shè)計(jì)、模具裝配圖的設(shè)計(jì)以及主要零部件的工藝分析三個(gè)部分。設(shè)計(jì)的關(guān)鍵在于對(duì)型腔的設(shè)計(jì)，正確選擇分型面，根據(jù)零件結(jié)構(gòu)確定抽芯、頂出、脫模結(jié)構(gòu)，以及澆注系統(tǒng)、排氣系統(tǒng)和冷卻、加熱系統(tǒng)。第二部分模具裝配圖的設(shè)計(jì)，根據(jù)所選注射機(jī)型號(hào)來(lái)選取模架。第三部分主要零部件的工藝分析，根據(jù)設(shè)計(jì)和繪圖，對(duì)主要注塑成型零件和導(dǎo)向零件進(jìn)行工藝分析。由于塑件三面通孔，故要設(shè)計(jì)側(cè)向分型抽芯機(jī)構(gòu)，模具采用單行腔結(jié)構(gòu)，在于簡(jiǎn)化機(jī)構(gòu)，使模具外形縮小，大大降低了模具的制造成本。本人在這次設(shè)計(jì)中最大的感受是：理論與實(shí)踐必須相結(jié)合，只有將正確的理論應(yīng)用于實(shí)踐中，才能真正發(fā)揮理論的價(jià)值，才能更深刻地了解和掌握理論的真正內(nèi)涵；要做到理論與實(shí)踐相結(jié)合必須有一定的理論基礎(chǔ)和豐富的實(shí)踐經(jīng)驗(yàn)，在這方面，我很欠缺，還有待于在日后的進(jìn)一步學(xué)習(xí)和工作中來(lái)彌補(bǔ)和提高。參考文獻(xiàn)[1] 齊衛(wèi)東. 塑料模具設(shè)計(jì)與制造. 北京：高等教育出版社，2008.[2] 何銘新，等. 機(jī)械制圖. 北京：高等教育出版社，2010.[3] 楊占堯. 塑料模具典型結(jié)構(gòu)設(shè)計(jì)實(shí)例. 北京：化學(xué)工業(yè)出版社，2007.[4] 唐增寶，常建娥. ：華中科技大學(xué)出版社，2012.[5] 張維僵. ：化學(xué)工業(yè)出版社，2011.[6] 譚雪松，等. 新編塑料模具設(shè)計(jì)手冊(cè). 北京：人民郵電出版社，2001.[7] 李剛. Pro/ENGINEER塑料模具設(shè)計(jì). 北京：中國(guó)青年出版社，1991.[8] 王伯平. 互換性與測(cè)量技術(shù)基礎(chǔ). 北京：機(jī)械工業(yè)出版社，2008.[9] 楊占堯， 長(zhǎng)壽命 注塑模具典型結(jié)構(gòu)圖例. 北京：化學(xué)工業(yè)出版社，2005.[10] GBT 125552006 塑料注射模模架 [M]. 北京：中國(guó)標(biāo)準(zhǔn)出版社，2007.[11] 宋玉恒. 塑料注射模具設(shè)計(jì)實(shí)用手冊(cè). 北京：航空工業(yè)出版社，1994.[12]GB/T13581993 ：上?？梢?jiàn)出版社，1985.[13 GB/T ：化學(xué)工業(yè)出版社，2008.附 錄模具設(shè)計(jì)結(jié)構(gòu)圖為你提供優(yōu)秀的畢業(yè)論文參考資料，請(qǐng)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。s Zhangye city during their journey to Kazakhstan, May 5, 2015. 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, 2014. 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 2016. 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。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。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。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。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 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 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 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－h(huán)ow 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。ve not yet read it, I strongly encourage you to do so. In this essay, the venerable Emerson talks about eschewing the trappings of society and findi