我的英文翻译(毕设)

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毕设外文翻译是什么意思(两篇)

引言概述：在现代高等教育中，毕业设计（或称为毕业论文、学士论文等）是学生完成学业的重要环节。

而对于一些特定的专业，例如翻译专业，有时候还需要完成外文翻译这一项任务。

本文将探讨毕设外文翻译的意义和目的，以及为什么对翻译专业的学生而言这一任务极其重要。

正文内容：1.提高翻译能力和技巧外文翻译是一项对翻译专业学生而言十分重要的任务，通过进行外文翻译，学生们可以通过实践提高自己的翻译能力和技巧。

在这个过程中，他们可以学习如何处理不同类型的外文文本，熟悉不同领域的专业术语，并掌握一些常用的翻译技巧和策略。

2.扩展语言和文化知识毕设外文翻译要求学生们对翻译语言的相关知识和背景有一定的了解。

在进行翻译时，学生们需要遵循目标语言的语法规则，并确保所翻译的内容准确、清晰地传达源语言的意义。

通过这一过程，学生们可以进一步扩展自己的语言和文化知识，提高自己的跨文化沟通能力。

3.提供实践机会毕设外文翻译为学生们提供了一个实践的机会，让他们能够将在课堂上所学到的理论知识应用于实际操作中。

通过实践，学生们可以对所学知识的理解更加深入，同时也可以发现并解决实际翻译过程中的问题和挑战。

这对于学生们将来从事翻译工作时具备更好的实践能力和经验具有重要意义。

4.培养翻译专业素养毕设外文翻译要求学生们具备良好的翻译专业素养。

在进行翻译过程中，学生们需要保持专业的态度和责任心，严谨地对待每一个翻译任务。

他们需要学会如何进行翻译质量的评估和控制，以确保最终翻译稿的准确性和流畅性。

这一系列的要求和实践，可以帮助学生们培养出色的翻译专业素养。

5.提升自我学习和研究能力毕设外文翻译要求学生们进行广泛的文献阅读和研究，以便更好地理解所翻译的内容，并找到适当的翻译方法和策略。

在这个过程中，学生们需要培养自己的自主学习和研究能力，提高对学术和专业领域的敏感性，并能够独立思考和解决问题。

这将对学生们未来的学术研究和进一步的职业发展产生积极的影响。

总结：引言概述:毕业设计外文翻译（Thesis Translation）是指在毕业设计过程中，对相关外文文献进行翻译，并将其应用于研究中，以提供理论支持和参考。

毕设翻译英文

轨道交通学院毕业设计（论文）外文翻译题目：列车车载的直流恒流源的设计专业电子信息工程班级10115111学号1011511137姓名赵士伟指导教师陈文2014 年3 月 3 日本文摘自：IEEE TRANSACTIONS ON INDUSTRY AND GENERAL APPLICATIONS VOL. IGA-2, NO.5 SEPT/OCT 1966Highly Regulated DC Power Supplies Abstract-The design and application of highly regulated dc power supplies present many subtle, diverse, and interesting problems. This paper discusses some of these problems (especially inconnection with medium power units) but emphasis has been placed more on circuit economics rather than on ultimate performance.Sophisticated methods and problems encountered in connection with precision reference supplies are therefore excluded. The problems discussed include the subjects of temperature coefficient,short-term drift, thermal drift, transient response degeneration caused by remote sensing, and switching preregualtor-type units and some of their performance characteristics.INTRODUCTIONANY SURVEY of the commercial de power supply field will uncover the fact that 0.01 percent regulated power supplies are standard types and can be obtained at relatively low costs. While most users of these power supplies do not require such high regulation, they never-theless get this at little extra cost for the simple reason that it costs the manufacturer very little to give him 0.01 percent instead of 0.1 percent. The performance of a power supply, however, includes other factors besides line and load regulation. This paper will discuss a few of these-namely, temperature coefficient, short-term drift, thermal drift, and transient response. Present medium power dc supplies commonly employ preregulation as a means of improving power/volume ratios and costs, but some characteristics of the power supply suffer by this approach. Some of the short-comings as well as advantages of this technology will be examined.TEMPERATURE COEFFICIENTA decade ago, most commercial power supplies were made to regulation specifications of 0.25 to 1 percent. The reference elements were gas diodes having temperature coefficients of the order of 0.01 percent [1]. Consequently, the TC (temperature coefficient) of the supply was small compared to the regulation specifications and often ignored. Today, the reference element often carries aTC specification greater than the regulation specification.While the latter may be improved considerably at little cost increase, this is not necessarily true of TC. Therefore,the use of very low TC zener diodes, matched differential amplifier stages, and low TC wire wound resistors must be analyzed carefully, if costs are to be kept low.A typical first amplifier stage is shown in Fig. 1. CRI is the reference zener diode and R, is the output adjustment potentiometer.Fig. 1. Input stage of power supply.Fig. 2. Equivalent circuit of zener reference.Let it be assumed that e3, the output of the stage, feedsadditional differential amplifiers, and under steady-state conditions e3 = 0. A variation of any of the parameters could cause the output to drift; while this is also true of the other stages, the effects are reduced by the gain of all previous stages. Consequently, the effects of other stages will be neglected. The following disculssion covers the effects of all elements having primary and secondary influences on the overall TC.Effect of R3The equivalent circuit of CRI -R3 branch is shown in Fig. 2. The zener ha's been replaced with its equivalent voltage source E/' and internal impedance R,. For high gain regulators, the input of the differential amplifier will have negligible change with variations of R3 so thatbefore and after a variation of R3 is made.If it is further assumed that IB << Iz; then from (1)Also,Eliminating I, from (2b),andNow, assuming thatthen,Equation (2b) can also be writtenThe Zener DiodeThe zener diode itself has a temperature coefficient andusually is the component that dominates the overall TCof the unit. For the circuit of Fig. 1, the TC ofthe circuit describes, in essence, the portion of the regulator TC contributed by the zener. If the bridge circuit shown in Fig. 1 were used in conjunction with a dropping resistor so that only a portion of the output voltage appeared across the bridge circuit shown, the TC of the unit and the zener would be different. Since the characteristic of zeners is so well known and so well described in the literature, a discussion will not be given here [2].Variation of Base-Emitter VoltagesNot only do the values of V,, of the differential am-plifier fail to match, but their differentials with tem perature also fail to match. This should not, however,suggest that matched pairs are required. The true reference voltage of Fig. 1 is not the value E,, but E, + (Vie, -Vbe2)-Since, for most practical applicatioinsthe TC of the reference will be the TC of the zener plusConsidering that it is difficult to obtain matched pairs that have differentials as poor as 50 V/°C, it becomes rather apparent that, in most cases, a matched pair bought specifically for TC may be overdesigning.Example 2: A standard available low-cost matched pair laims 30AV/°C. In conjunction with a 1N752, the ontribution to the overall TC would beTests, performed by the author on thirteen standard germanium signal transistors in the vicinity of room temperature and at a collector current level of 3 mA,indicated that it is reasonable to expect that 90 to 95 percent of the units would have a base-emitter voltage variation of -2.1 to -2.4 mV/°C. Spreads of this magnitude have also been verified by others (e.g., Steiger[3]). The worst matching of transistors led to less than 400 ,V/°C differential. In conjunction with a 1N752,even this would give a TC of better than 0.007%/0C.Variation of Base CurrentsThe base current of the transistors is given byA variation of this current causes a variation in signal voltage at the input to the differential amplifier due to finite source impedances. Matching source impedances is not particularly desirable, since it reduces the gain of the system and requires that transistors matched for I,o and A be used. Hunter [4 ] states that the TC of a is in the range of +0.2%/0C to -0.2%7/'C and that 1,, may be approximated bywhere Ao is the value at To.β is also temperature dependent and Steiger [3] experimentally determined the variation to be from about 0.5%/°C to 0.9%/0C.And，Fig. 3. Input circuit of Q2.The current AIB flows through the source impedance per Fig. 3. The drops in the resistance string, however, are subject to the constraint that EB (and AEB) are determined by the zener voltage and the base-emitter drops of Q1 and Q2. Consequently, if in going from temperature T1to T2 a change AEB occurs,The change in output voltage isAndExample 3: For Q2 (at 25°C)(see Example 1)∴Variation of R,The effects of a variation of the TC between RIA and RIB is sufficiently self-evident so that a discussion of the contribution is not included.SHORT-TERM DRIFTThe short-term drift of a supply is defined by the National Electrical Manufacturers Association (NEMA) as "a change in output over a period of time, which change is unrelated to input, environment, or load [5]."Much of the material described in the section on temperature coefficient is applicable here as well. It has been determined experimentally, however, that thermal air drafts in and near thevicinity ofthe powersupplycontributesenormouslyto theshort-termcharacteristics. Thecooling effects of moving air are quite well known, but it is not often recognized that even extremely slow air movements over such devices as zeners and transistors cause the junction temperature of these devices to change rapidly. If the TC of the supply is large compared to the regulation, then large variations in the output will be observed. Units having low TC's achieved by compensation-that is, by canceling out the effects of some omponents by equal and opposite effects of others may still be plagued by these drafts due to the difference in thermal time constants of the elements.Oftentimes, a matched transistor differential amplifier in a common envelope is used for the first amplifier just to equalize and eliminate the difference in cooling effects between the junctions. Approximations to this method include cementing or holding the transistors together, imbedding the transistors in a common metal block, etc. Excellent results were achieved by the author by placing the input stage and zener reference in a separate enclosure. This construction is shown in Fig. 4. The improvement in drift obtained by means of the addition of the metal cover is demonstrated dramatically in Fig. 5.Fig. 5. Short-term drift of a power supply similar to the one shown in Fig. 4 with and without protective covers. The unit was operated without the cover until time tl, when the cover was attached. The initial voltage change following t, is due to a temperaturerise inside the box.Fig. 5. Short-term drift of a power supply similar to the one shown n Fig. 4 withand without protective covers. The unit was operated without the cover until time tl, when the cover was attached. The initial voltage change following t, is due to atemperature rise inside the box.If potentiometers are used in the supply for output adjustment (e.g., RI), care should be used in choosing the value and design. Variations of the contact resistance can cause drift. It is not always necessary, however, to resort to the expense of high-resolution multiturn precision units to obtain low drift. A reduction in range of adjustment, use of low-resistance alloys and low-resolution units which permit the contact arm to rest firmly between turns, may be just as satisfactory. Of course, other considerations should include the ability of both the arms and the wire to resist corrosion. Silicone greases are helpful here. Periodic movement of contact arms has been found helpful in "healing" corroded elements.THERMAL DRIFTNEMA defines thermal drift as "a change in output over a period of time, due to changes in internal ambient temperatures not normally related to environmental changes. Thermal drift is usually associated with changes in line voltage and/or load changes [5]."Thermal drift, therefore, is strongly related to the TC of the supply as well as its overall thermal design. By proper placement of critical components it is possible to greatly reduce or even eliminate the effect entirely. It is not uncommon for supplies of the 0.01 percent(regulation) variety to have drifts of between 0.05 to 0.15 percent for full line or full load variations. In fact, one manufacturer has suggested that anything better than 0.15 percent is good. Solutions to reducing thermal drift other than the obvious approach of improving the TC and reducing internal losses include a mechanical design that sets up a physical and thermal barrier between the critical amplifier components and heat dissipating elements. Exposure to outside surfaces with good ventilation is recommended. With care, 0.01 to 0.05 percent is obtainable.TRANSIENT RESPONSEMost power supplies of the type being discussed have a capacitor across the load terminals. This is used for stabilization purposes and usually determines the dominant time constant of the supply. The presence of this capacitor unfortunately leads to undesirable transient phenomena when the supply is used in the remote sensing mode①. Normally, transistorized power supplies respond in microseconds, but as the author has pointed out [6], the response can degenerate severely in remote sensing .The equivalent circuit is shown in Fig. 6. The leads from the power supply to the load introduce resistance r. Is is the sensing current of the supply and is relatively constant.Under equilibrium conditions,A sudden load change will produce the transient of Fig. 7. The initial "spike" is caused by an inductive surge Ldi/dt; the longer linear discharge following is the resultof the capacitor trying to discharge (or charge). The discharge time iswhereandThe limitations of I,, are usually not due to available drive of the final amplifier stages but to other limitations, current limiting being the most common. Units using pre regulators of the switching type (transistor or SCR types) should be looked at carefully if the characteristics mentioned represent a problem.①Remote sensing is the process by which the power supply senses voltage directly at the load.Fig. 6. Output equivalent circuit at remote sensing.Fig. 7. Transient response, remote sensing.Fig. 8. Block diagram.Preregulated supplies are used to reduce size and losses by monitoring and controlling the voltage across the class-A-type series passing stage (Fig. 8). Since the main regulator invariably responds much quicker than the preregulator, sufficient reserve should always be built into the drop across the passing stage. Failure to provide this may result in saturation of the passing stage when load is applied, resulting in a response time which is that of the preregulator itself.SWITCHING PREREGULATOR-TYPE UNITS The conventional class-A-type transistorized power supply becomes rather bulky, expensive, and crowded with passing stages, as the current and power level of the supply increases. The requirement of wide output adjustment range, coupled with the ability of the supply to be remotely programmable, aggravates the condition enormously. For these reasons the high-efficiency switching regulator has been employed as a preregulator in commercial as well as military supplies for many years. The overwhelming majority of the supplies used silicon controlled rectifiers as the control element. For systems operating from 60-cycle sources, this preregulator responds in 20 to 50 ms.Recent improvements in high-voltage, high-power switching transistors has made the switching transistor pproach more attractive. This system offers a somewhat lower-cost, lower-volume approach coupled with a submillisecond response time. This is brought about by a high switching rate that is normally independent of line frequency. The switching frequency may be fixed, a controlled variable or an independent self-generated (by the LC filter circuit) parameter [7], [8]. Faster response time is highly desirable since it reduces the amount of reserve voltage required across the passing stage or the amount of (storage) capacity required in the preregulator filter.A transistor suitable for operating as a power switch has a high-current, high-voltage rating coupled with low leakage current. Unfortunately, these characteristics are achieved by a sacrifice in thermal capacity, so that simultaneous conditions of voltage and current leading to high peak power could be disastrous. It therefore becomes mandatory to design for sufficient switch drive during peak load conditions and also incorporate current-limiting or rapid overload protection systems.Commercial wide-range power supplies invariably have output current limiting, but this does not limit the preregulator currents except during steady-state load conditions (including short circuits). Consider, for example, a power supply operating at short circuit and the short being removed suddenly. Referring to Fig. 8, the output would rise rapidly, reduce the passing stage voltage, and close the switching transistor. The resulting transient extends over many cycles (switching rate) so that the inductance of the preregulator filter becomes totally inadequate to limit current flow. Therefore, the current will rise until steady state is resumed, circuit resistance causes limiting, or insufficient drive causes the switch to come out of saturation. The latter condition leads to switch failure.Other operating conditions that would produce similar transients include output voltage programming and initial turn-on of the supply. Momentary interruption of input power should also be a prime consideration.One solution to the problem is to limit the rate of change of voltage that can appear across the passing stage to a value that the preregulator can follow. This can be done conveniently by the addition of sufficient output capacitance. This capacitance inconjunction with the current limiting characteristic would produce a maximum rate of change ofwhereC0 = output capacity.Assuming that the preregulator follows this change and has a filter capacitor Cl, then the switch current isDuring power on, the preregulator reference voltage rise must also be limited. Taking this into account,whereER = passing stage voltageTl = time constant of reference supply.The use of SCR's to replace the transistors would be a marked improvement due to higher surge current ratings, but turning them off requires large energy sources. While the gate turn-off SCR seems to offer a good compromise to the overall problem, the severe limitations in current ratings presently restrict their use.REFERENCES[1] J. G. Truxal, Control Engineer's Handbook. New York: McGrawHill, 1958, pp. 11-19.[2] Motorola Zener Diode/Rectifier Handbook, 2nd ed. 1961.[3] W. Steiger, "A transistor temperature analysis and its applica-tion to differential amplifiers," IRE Trans. on Instrumentation,vol. 1-8, pp. 82-91, December 1959.[4] L. P. Hunter, Handbook of Semi-Conductor Electronics. NewYork: McGraw Hill, 1956, p. 13-3.[5] "Standards publication for regulated electronic dc powersupplies," (unpublished draft) Electronic Power Supply Group,Semi-Conductor Power Converter Section, NEMA.[6] P. Muchnick, "Remote sensing of transistorized power sup-plies," Electronic Products, September 1962.[7] R. D. Loucks, "Considerations in the design of switching typeregulators," Solid State Design, April 1963.[8] D. Hancock and B. Kurger, "High efficiency regulated powersupply utilizing high speed switching," presented at the AIEEWinter General Meeting, New York, N. Y., January 27-February 1, 1963.[9] R. D. Middlebrook, Differential Amplifiers. New York: Wiley,1963.[10] Sorensen Controlled Power Catalog and Handbook. Sorensen,Unit of Raytheon Company, South Norwalk, Conn.With the rapid development of electronic technology, application field of electronic system is more and more extensive, electronic equipment, there are more and more people work with electronic equipment, life is increasingly close relationship. Any electronic equipment are inseparable from reliable power supply for power requirements, they more and more is also high. Electronic equipment miniaturized and low cost in the power of light and thin, small and efficient for development direction. The traditional transistors series adjustment manostat is continuous control linear manostat. This traditional manostat technology more mature, and there has been a large number of integrated linear manostat module, has the stable performance is good, output ripple voltage small, reliable operation, etc. But usually need are bulky and heavy industrial frequency transformer and bulk and weight are big filter.In the 1950s, NASA to miniaturization, light weight as the goal, for a rocket carrying the switch power development. In almost half a century of development process, switch power because of its small volume, light weight, high efficiency, wide range, voltage advantages in electric, control, computer, and many other areas of electronic equipment has been widely used. In the 1980s, a computer is made up of all of switch power supply, the first complete computer power generation. Throughout the 1990s, switching power supply in electronics, electrical equipment, home appliances areas to be widely, switch power technology into the rapid development. In addition, large scale integrated circuit technology, and the rapid development of switch power supply with a qualitative leap, raised high frequency power products of, miniaturization, modular tide.Power switch tube, PWM controller and high-frequency transformer is an indispensable part of the switch power supply. The traditional switch power supply is normally made by using high frequency power switch tube division and the pins, such as using PWM integrated controller UC3842 + MOSFET is domestic small power switch power supply, the design method of a more popularity.Since the 1970s, emerged in many function complete integrated control circuit, switch power supply circuit increasingly simplified, working frequency enhances unceasingly, improving efficiency, and for power miniaturization provides the broad prospect. Three end off-line pulse width modulation monolithic integrated circuit TOP (Three switch Line) will Terminal Off with power switch MOSFET PWM controller one package together, has become the mainstream of switch power IC development. Adopt TOP switch IC design switch power, can make the circuit simplified, volume further narrowing, cost also is decreased obviouslyMonolithic switching power supply has the monolithic integrated, the minimalist peripheral circuit, best performance index, no work frequency transformer can constitute a significant advantage switching power supply, etc. American PI (with) company in Power in the mid 1990s first launched the new high frequency switching Power supply chip, known as the "top switch Power", with low cost, simple circuit, higher efficiency. The first generation of products launched in 1994 represented TOP100/200 series, the second generation product is the TOPSwitch - debuted in 1997 Ⅱ. The above products once appeared showed strong vitality and he greatly simplifies thedesign of 150W following switching power supply and the development of new products for the new job, also, high efficiency and low cost switch power supply promotion and popularization created good condition, which can be widely used in instrumentation, notebook computers, mobile phones, TV, VCD and DVD, perturbation VCR, mobile phone battery chargers, power amplifier and other fields, and form various miniaturization, density, on price can compete with the linear manostat AC/DC power transformation module.Switching power supply to integrated direction of future development will be the main trend, power density will more and more big, to process requirements will increasingly high. In semiconductor devices and magnetic materials, no new breakthrough technology progress before major might find it hard to achieve, technology innovation will focus on how to improve the efficiency and focus on reducing weight. Therefore, craft level will be in the position of power supply manufacturing higher in. In addition, the application of digital control IC is the future direction of the development of a switch power. This trust in DSP for speed and anti-interference technology unceasing enhancement. As for advanced control method, now the individual feels haven't seen practicability of the method appears particularly strong,perhaps with the popularity of digital control, and there are some new control theory into switching power supply.（1）The technology: with high frequency switching frequencies increase, switch converter volume also decrease, power density has also been boosted, dynamic response improved. Small power DC - DC converter switch frequency will rise to MHz. But as the switch frequency unceasing enhancement, switch components and passive components loss increases, high-frequency parasitic parameters and high-frequency EMI and so on the new issues will also be caused.（2）Soft switching technologies: in order to improve the efficiency ofnon-linearity of various soft switch, commutation technical application and hygiene, representative of soft switch technology is passive and active soft switch technology, mainly including zero voltage switch/zero current switch (ZVS/ZCS) resonance, quasi resonant, zero voltage/zero current pulse width modulation technology (ZVS/ZCS - PWM) and zero voltage transition/zero current transition pulse width modulation (PWM) ZVT/ZCT - technical, etc. By means of soft switch technology can effectively reduce switch loss and switch stress, help converter transformation efficiency （3）Power factor correction technology (IC simplifies PFC). At present mainly divided into IC simplifies PFC technology passive and active IC simplifies PFC technology using IC simplifies PFC technology two kinds big, IC simplifies PFC technology can improve AC - DC change device input power factor, reduce the harmonic pollution of power grid.（4）Modular technology. Modular technology can meet the needs of the distributed power system, enhance the system reliability.（5）Low output voltage technology. With the continuous development of semiconductor manufacturing technology, microprocessor and portable electronic devices work more and more low, this requires future DC - DC converter can provide low output voltage to adapt microprocessor and power supply requirement of portable electronic devicesPeople in switching power supply technical fields are edge developing related power electronics device, the side of frequency conversion technology, development of switch between mutual promotion push switch power supply with more than two year growth toward light, digital small, thin, low noise and high reliability, anti-interference direction. Switching powersupply can be divided into the AC/DC and DC/DC two kinds big, also have AC/AC DC/AC as inverter DC/DC converter is now realize modular, and design technology and production process at home and abroad, are mature and standardization, and has approved by users, but the AC/DC modular, because of its own characteristics in the process of making modular, meet more complex technology and craft manufacture problems. The following two types of switch power supply respectively on the structure and properties of this.Switching power supply is the development direction of high frequency, high reliability, low consumption, low noise, anti-jamming and modular. Because light switch power, small, thin key techniques are changed, so high overseas each big switch power supply manufacturer are devoted to the development of new high intelligent synchronous rectifier, especially the improvement of secondary devices of the device, and power loss of Zn ferrite (Mn) material? By increasing scientific and technological innovation, to enhance in high frequency and larger magnetic flux density (Bs) can get high magnetic under the miniaturization of, and capacitor is a key technology. SMT technology application makes switching power supply has made considerable progress, both sides in the circuitboard to ensure that decorate components of switch power supply light, small, thin. The high frequency switching power supply of the traditional PWM must innovate switch technology, to realize the ZCS ZVS, soft switch technology has becomethe mainstream of switch power supply technical, and greatly improve the efficiency of switch power. For high reliability index, America's switch power producers, reduce by lowering operating current measures such as junction temperature of the device, in order to reduce stress the reliability of products made greatly increased.Modularity is of the general development of switch power supply trend can be modular power component distributed power system, can be designed to N + 1 redundant system, and realize the capacity expansion parallel. According to switch power running large noise this one defect, if separate the pursuit of high frequency noise will increase its with the partial resonance, and transform circuit technology, high frequency can be realized in theory and can reduce the noise, but part of the practical application of resonant conversion technology still have a technical problem, so in this area still need to carry out a lot of work, in order to make the technology to practional utilization.Power electronic technology unceasing innovation, switch power supply industry has broad prospects for development. To speed up the development of switch power industry in China, we must walk speed of technological innovation road, combination with Chinese characteristics in the joint development path, for I the high-speed development of national economy to make the contribution. The basic principle and component functionAccording to the control principle of switch power to classification, we have the following 3 kinds of work mode:1) pulse width adjustment type, abbreviation Modulation PulseWidth pulse width Modulation (PWM) type, abbreviation for. Its main characteristic is fixed switching frequency, pulse width to adjust by changing voltage 390v, realize the purpose. Its core is the pulse width modulator. Switch cycle for designing filter circuit fixed provided convenience. However, its shortcomings is influenced by the power switch conduction time limit minimum of output voltage cannot be wide range regulation; In addition, the output will take dummy loads commonly (also called pre load), in order to prevent the drag elevated when output voltage. At present, most of the integrated switch power adopt PWM way.2) pulse frequency Modulation mode pulse frequency Modulation (, referred to PulseFrequency Modulation, abbreviation for PFM) type. Its characteristic is will pulse width fixed by changing switch frequency to adjust voltage 390v, realize the purpose. Its core is the pulse frequency modulator. Circuit design to use fixed pulse-width generator to replace the pulse width omdulatros and use sawtooth wave generator voltage? Frequency converter (for example VCO changes frequency VCO). It on voltage stability principle is: when the output voltage Uo rises, the output signal controller pulse width unchanged and cycle longer, make Uo 390v decreases, and reduction. PFM type of switch power supply output voltage range is very wide, output terminal don't meet dummy loads. PWM way and way of PFM respectively modulating waveform is shown in figure 1 (a), (b) shows, tp says pulse width (namely power switch tube conduction time tON), T represent cycle. It can be easy to see the difference between the two. But they have something in common: (1) all use time ratio control (TRC) on voltage stability principle, whether change tp, finally adjustment or T is。

毕设设计类外文翻译

Interior Design Supports Art Education: A Case StudyInterior design, as a field of study, is a rapidly growing area of interest – particularly for teenagers in the United States. Part of this interest stems from the proliferation ofdesign-related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts.This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator’s community a nd with international design students in South Korea.Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem-solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education.IntroductionThe design of interior spaces is a growing area of interest in the United States. Studies indicate that people spend 90 per cent of their time indoors, thereby making the quality design of interiors critical to the health and welfare of the population. Youth have been unconsciously encouraged since their childhood to develop awareness of their personal interior spaces and furnishings through popular storybooks they read that introduce the awareness of scale, proportion and ergonomics at a very young age (e.g. Three Little Bears and Alice in Wonderland). More recently, teens in the United States have become unexpectedly ‘hooked’ on design related reality shows such as Trading Spaces, Changing Rooms and Design on a Dime. Although Trading Spaces was originally intended for adults, according to the Wall Street Journal article titled ‘The Teen-Room Makeover’ (18 October 2002) the audience has more than 125,000 viewers aged 12 to 17 [1]. In support of that finding, a survey conducted in 2003 for a national chain of hardware stores discovered 65 per cent of teens said they have watched home improvement-related television shows [2].Teens seemingly have a growing interest in the design of interior spaces.In the United States in 2002, a qualitative study was developed to determine if interior design subject-matter could support national academic standards in elementary and secondary schools (kindergarten – twelfth grade) [3]. Findings of the study indicated that art educators and curriculum specialists perceived interior design to be supportive in meeting their standards as a type of ‘practical application’ of the arts. Perceptions of the curriculum specialists indicated they were looking for new ways to interpret fine art standards in their existing curriculum and that interior design offered one solution. As a result, the researcher, who was an interior design educator, was encouraged to identify and develop a project or lesson plan that could introduce children and youth to the importance of well-designed interior spaces yet support an art education standard in the nation.This article discusses an experiential interior design project that was modified from an exercise used in the freshman and sophomore college studio classes and shared with students in third grade, high school, and with international students in South Korea by this interior design educator. The educator was later invited to present this project to art education teachers at her university. The project supported several school district visual art standards, including perception and community. It was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting visual art standards.Review of literatureThe review of literature briefly discusses (1) experiential learning theory, (2) findings from a qualitative study involving art educators, and (3) the interior design link with art education. The interior design project description and process of application will follow.Experiential learningExperiential learning theory, as an application of cognitive/perceptual models, is a tool toenhance the cognitive process of students. Specifically, the experiential learning cycleinvolves a concrete experience that leads to observations and reflections then to formation of abstract concepts and generalisations, before finally testing implications from concepts in new situations [4].The Association for Experiential Education defines experiential education astheprocess by which a learner constructs knowledge, skill and value from direct experience [5]. Drengson [6] defines experiential education as the process of practical engagement withconcepts and skills applied in a practical setting and delivered through physical and practical mental activity.One of the key components to enhance student learning is reflection. Dewey [7] suggests that to have meaning, an experience must be combined with thought. Kolb [8] suggests that reflections can offer a potential source of powerful data to link theory to practice. The mental engagement of an experiential learner can involve questioning, investigation, experimentation, curiosity, problem-solving, assuming responsibility, creativity and the construction of meaning [9].Experiential learning offers the spontaneous opportunity for learning, whether from unplanned moments, natural consequences, mistakes or successes [10]. Holistically, it involves not only the cognitive but also any combination of the senses, the emotions, and the physical [11].Qualitative study involving art educatorsIn 2001, a study was conducted to determine if interior design may be supportive tokindergarten – twelfth grade (K–12) teachers in meeting national academic standards,including the arts [12]. To understand perceptions of experts in interior design and elementary and secondary education, five focus group session sand six personal interviews were conducted with interior design educators, practitioners,K–12 teachers (elementary, junior high, and high school levels), national standards curriculum specialists (local and state level), and school-to-career curriculum specialists from June 2001 to April 2002[13].Focus group findings indicated that K–12teachers, at both elementary and secondary levels, felt that interior design could be supportive in meeting visual art standards because youth are frequently analysing their personal and public spaces. Participants described specific examples of interior design materials they currently needed in their course work to include: examples of good and bad interior spaces, information about elements and principles of design as they relate to interior spaces, and hands-on col our wheels of sturdy materials. In addition they requested that the materials be low cost, stimulating,‘touchable’,recyclable, self-contained, and fun. Lesson plans the visual art teachers suggested included:• reinvention of the ‘shoe box’ projec t;• development of well-known stories (The Three Pigs, Three Little Bears, and Alice in Wonderland) into space models to teach proportion and scale. In addition, it was suggestedthe following lesson plan: use of Goldilocks story to analyse ‘client or consumer needs’;• use of a Dr Seuss story (literary passage) to generate a conceptual model that enhances creativity;• study of cultural spaces at the junior high level that would enhance study of personal expression of identity in interiors [14].The visual arts curriculum specialists indicated hat interior design –as a ‘practical application’ should be introduced in elementary levels where there is a ‘small window of opportunity’ to give good information about the visual arts. See Table 1 fo r an example of the visual art standards in kindergarten – third grade levels. One visual art specialist advocated that the design process was more important to teach than a particular design method. He suggested moving students from designing personal spaces – and the study of elements and principles of design – in elementary levels to the analysis of private and public spaces in the junior high level. Then the high school levels could be reserved for additional indepth Exploration.Today, junior high and high school students are quite attracted to design-related reality shows. Over the last five years, the number of designrelated television shows has increased dramatically [15]. Why are these shows so attractive to teens and young adults? Rodriguez [16]has suggested that this interest is linked to the teens need for expression of self andself-identity.An individual’s unique identity is established through personalisation of space, which is critical to overall development of self [17]. Developing a sense of self involves the use of symbols to communicate to others one’s personal underlying identity.Interior design link with art educationIt is not common for interior design to be linked with art education in K–12 grade levels in the United States. However, the Foundation for Interior Design EducationResearch[18]standards and guidelines – the accreditation organization for higher education interior design programmes in the nation – reveal that there are many shared areas between visual arts and interior design (e.g.elements and principles of design).Rasmussen and Wright [19]advocate the need for a new model for art education. The new model should offer youth an aesthetic education that does more than just serve the traditional concerns of established arts curriculum. Experiences indicate that young people try to make sense of their own lives by creating contextual understanding through actively, and intentionally, making connections to signs, perceptions and experiences. This is a challenge to develop a new art education model that creates a balance between social andcontextual needs, knowledge of young people, and theaesthetic medium itself.The study of interior spaces offers one such context for learning in the physical environment.People spend 90 per cent of their time in interior spaces [20]. Youth consciously or unconsciously, analyse and respond to their near environment. They also learn best if they understand why they are learning what they are learning. Application of design and art to everyday life can assist in making connections in student learning, and develop more awareness of good design as well as an appreciation of the arts. Youth need theopportunity to learn more about design and human behavior so they can learn they have choices about how supportive their environments can be. Children can [determine] how design influences their behaviors; howdesign can be used to manipulate behavior; how design can encourage or discourage conversation, establish status, put people in power positions, increase or decrease anxiety [21].Therefore, based on (1) the experiential learning theoretical underpinnings, (2) recommendations made by art educators and curriculum specialists, and (3) a call for a new ways of teaching art education, an interior design educator at a higher education institution modified an experiential design project that involved the use of elements and principles of design and an opportunity for self-expression of personal spaces. The designproblem of the personal space was changed based on the grade level.Case study project descriptionAlthough art educators and curriculum specialists perceived that interior design content could be supportive to visual art standards, it was determined that a case study project needed to be developed and presented to various grade levels. It was also determined that a conceptual model of interior spaces should be used toenhance student creativity and exploration rather than a finite model that would offer too many rules and boundaries. Project descriptionThe experiential interior design project involved the construction of athree-dimensional concept model using 44 triangular and rectangular pieces of cardstock (stiff) paper in a neutral colour [22]. The objective was to discover, manipulate and create interior spaces based on a given design problem (e.g. design your space station on a planet of your choice or design your home in the Rocky Mountains of Colorado). The purpose ofthe project was to encourage students to design a conceptual structure from the interior out, keep-ing in mind the function of the building. The student’s model had to incorporate a minimum of six spaces and three levels to encourage vertical as well as horizontal volumes. All 44 pieces of cardstock had to be used in the finished model, which sometimes posed achallenge to the youth. The cardstock pieces could not be ripped, torn, or pierced. However, they could be bent and shapedaccording to the whim of the student.Flow from one space to another and one level to another was emphasized. The decision-making design process was explained and encouraged.Outcomes consisted of a three-dimensional abstract model which, if successfully executed, demonstrated the break-down of traditional spatial paradigms. Design problemsEach student grade level was given a different design problem based on the academic standards that were to be met in that class. In some cases, several academic standards were addressed at the same time. Two national standards for visual arts in the United States were selected to be supported with this project: communication and perception. The communication standard indicates that students in kindergarten – third grade should recognise the use of the visual arts as a means of communication (e.g. select and use visual images, themes and ideas in their own work). The perception standard indicates that students know, understand and apply elements of visual arts and principles of design (e.g. Identify elements and principles of design).Third grade studentsAfter procuring appropriate permission, the design educator brought volunteer college-age interior design students to the elementary school to help administer the project. Three third grade classes (twenty students in each class) had just finished a science unit on space and orbits and were studying specific visual art standards. The children were asked to design a personal space station on a planet of their choice. The goal was to help students relate the newly learned science information to something in real life (e.g. Their home), yet encourage exploration of visual arts (see Figs. 2–4).Each team of students was given the same 44 pieces of cardstock (all cut out) in a plastic bag, a cardboard base (15” x 15” square) on which to build the model, and cellophane tape to use in constructing the model. To enhance reflection of this experiential project, each team of three students was asked to give a two-minute verbal presentation in front of the class on their finished model. In this manner, they could discuss their design solution and the design educator could assess their use of creativity through design elements and principles.The college students and design educator rotated through the three classrooms of students to answer questions, encourage use of design elements and principles, and applaud their creative exploration. The third grade teachers assisted in supporting the structure of the class and encouraging shy students who were reluctant to begin.It was interesting to observe that the children rarely built the models on their provided classroom tables. Instead,they moved to the floor space, located the base for the model in between team members, and began construction. Each team member assumed a role in the process. One team member seemed t o act as the ‘designer’, one as the ‘builder/construction crew’ and the last as the ‘supplier’ of materials. Students excitedlydiscussed the positioning of the triangular pieces of cardstock in their model, their rooms in their space stations, and the different ways to turn the model to create different vantage points.The teams of third graders had one hour to complete the models. Then their verbal presentations began, interspersed with questions and comments from the design educator and third grade teachers. Informal observations indicatedthat application of design elements and principles was strong – perhaps due to the consistent rectangular and triangular shapes that had been provided – thereby supporting the visual arts perception standard. Manipulation of shapes was innovative. Line, shape and form were used to provide movement through adjoining spaces and offered a sense of verticality. Interior volumes were created that supported human behaveour in interior spaces. For example, one team’s presentation discussed how their space station boasted an exercise room with trampolines to strengthen human muscles that weakened as a result of zero gravity in outer space. The communication standard was supported in their finished models in a couple ways. First there was a theme of design as it relates to protection from foreign objects. For example, one team’s space station on Saturn incorporated a force field to protect it from flying rocks. Other visual themes of security and safety evoked the implementation of security cameras, alien detectors, missile launchers, telescope laboratories, control stations and transport rooms. Another visual theme related to circulation. Circulation within the structure was depicted by the third graders through the use of escalators, stairs, elevators and poles. A third visual theme was unique human needs as they relate to interior spaces. Almost every team’s space station incorporated a room for their mothers! In addition, depending on the students’ personal interests, unique space station features ranged from chemical rooms to sandboxes. It was obvious in their multiple unique design solutions their use of creativity had been explored and enhanced.Evaluation and assessment that took place, after the classes were dismissed, indicated that the third grade teachers perceived that this experiential design project supported the visual arts standards in both the communication and perception components as well as the third grade science academic standard concerning space and orbits. In addition, the experiential component of the project had unexpected results when certain quiet, unassuming students in the class became animated and highly engaged in learning. One teacher shared her excitement with the design educator about a new connection that wasformed with one of students that she had not been able to connect with before the design exercise.High school studentsAfter the case study with the third grade students, it was determined to offer this project to high school students. Diversity students in a nearby community were invited to attend a complimentary design workshop at a local library. The interior design educator was asked to present a design problem that would relate to arteducation (see Figs. 6–8).Their problem was to use the same experiential project and shapes to design and construct a conceptual model of their new home or cabin in the Rocky Mountain region. The same project constraints existed. Due to the students’ ages, discussions took place prior to the exercise about innovative problem-solving, the exploration of creativity and the elements and principles of design used within the design process. Some of these elements and principles included:Scale. Awareness of human scale was addressed to develop understanding of proportion and scale of the structure and interior spaces. Shape. Triangular shapes were deliberately selected to encourage students to break paradigms of rectangular interior spaces.Colour. The cardstock pieces were of a neutral colour to enhance spatial composition rather than draw attention to colour usage or juxtaposition. Volume/Mass. The mass of thethree-dimensional model was important in communicating the use of common elements and principles of design (e.g. line, rhythm). Line. A variety of different lines (e.g. diagonal, horizontal) were investigated in the manipulation of the shapes. Space. Space was created through the manipulation of shapes. Theories of complexity, mystery and refuge within interior spaces were discussed. Informal assessment of the finished design models indicated that the design solutions werevery creative.Later that semester, by invitation, the same design project was taken to college students training to be art educators in a mini-workshop format. The art education students found the exercise effective in enhancing creativity and understanding how interior design can enhance understanding of visual arts.International studentsAlthough there was no intention to meet a national visual arts academic standard at a specific grade level, this same experiential design project was presented in Seoul, South Korea to college-aged international students. The design problem was to use the same 44 pieces to develop a design concept model for acommercial building in Seoul. Language translators were used to help the design educatorintroduce the project, guide the students through the process, and understand their verbal presentations at the end of the workshop.Students commented during and after the workshop how the model enhanced their visual literacy skills (they used different words) and creativity within the context of everyday life. The experiential nature of the workshop was seemingly a pleasure to them (see Figs.9–11).Discussion and conclusionThis interior design case study project was designed to be experiential in nature to enhance student learning of the visual arts. Student and teacher assessment of the various groups indicated enthusiasm for the design project because it enhanced creativity, explored multiple design solutions, related to real life, and increased their understanding of human behaviour within the context of the physical environment. Teacherassessment of the age groups indicated that the project did support visual art standards at the appropriate grade level. In addition, their assessment indicated satisfaction with the manner in which the interior design project encouraged student usage of the design elements and principles and the application of design to everyday living. Several instructors indicated that quiet and shy students in their class became engaged in the learning process, which had not been previously observed. Perception of art educators and art education students was that this project supported a variety of visual art standards such as perception and communication. This interior design case study project can be modified for various age and cultural groups and may be of interest to educators who are interested in working collaboratively with colleagues from other disciplines.Visual art programmes in the United States are being cut from the K–12 curriculum. By linking visual arts to an up-and-coming aesthetic field, such as interior design, there may be new ways to sustain and grow visual art programmes in the nation.References1. Orndoff, K. (2003) ASID American Society of Interior Designers 2003 Strategic Environment Report. Future Impact Education, p. 9.2. Levitz, S. (2004) Teens Hooked on Home Décor, London Free Press (Ontario, CA), 24 June, p. D2.3. Clemons, S. (2002) Collaborative Links with K–12: A Proposed Model Integrating Interior Design with National Education Standards, Journal of Interior Design, Vol. 28, No. 1, pp.40–8.4. Rubin, S. G. (1983) Overcoming Obstacles to Institutionalization of Experiential Learning Programs, New Directions for Experiential Learning, Vol. 20, pp. 43–54.5. Luckman, C. (1996) Defining Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 6–7.6. Drengson, A. R. (1995) What Means this Experience? in Kraft, R. J. & Sokofs, M. [Eds] The Theory of Experiential Education. Boulder, CO: Association for Experiential Education, pp. 87–93.7. Dewey, J. (1916) Democracy and Education. New York: Macmillan.8. Kolb, D. A. (1984). Experiential Learning: Experience as the Sources of Learning and Development. Englewood Cliffs, NJ: Prentice-Hall.9. Luckmann, C. op. cit.10. Ibid.11. Carver, R. (1996) Theory for Practice: A Framework for Thinking about Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 8–13.12. Clemons, S. op. cit.13. Ibid.14. Ibid.15. Bien, L. (2003) Renovating how-to TV Shows in a Race to Duplicate Success of ‘Trading Spaces’. The Post Standard (Syracuse, NY), 31 October, p. E1.16. Rodriguez, E. M. (2003) Starting Young, Miami Herald, 28 December, p. H–1.17. Baillie S. & Goeters, P. (1997) Home as a Developmental Environment. Proceedings of the American Association of Housing Educators, New Orleans, LA, pp. 32–6.18. Foundation of Interior Design Education Research (FIDER) home page. Available from URL: / (Accessed 4th January 2005).19. Rasmussen, B & Wright, P. (2001) The theatre workshop as educational space: How imagined reality is voiced and conceived, International Journal of Education & the Arts, Vol. 2, No. 2, pp.1–13.20. Environmental Protection Agency (2006) An Introduction to Indoor Air Quality (online). Available from URL: /iaq/ ia-intro.html (Accessed 26th September 2006).21. InformeDesign (n.d.) Implications, Vol. 1, No. 2, p. 2 (online). Available from URL: /# (Accessed 4th January 2005).22. Curfman, J. & Clemons, S. (1992) From Forty-Four Pieces to a New Spatial Paradigm, in Birdsong, C. [Ed.] Proceedings of the Interior Design Educators Council Southwest Regional Meeting, New Orleans, pp. 2–4./detail/refdetail?tablename=SJWD_U&filename=SJWD00000744102&uid=WEEvR EcwSlJHSldSdnQ0SWZDdUlMV1dWZi9tOGkyYTBaTzBVQjVYeENXYVp4MVRJQjI3cmZRYS9YRmhvdnlxazJRPT 0=$9A4hF_YAuvQ5obgVAqNKPCYcEjKensW4IQMovwHtwkF4VYPoHbKxJw!!Interior Design in Augmented Reality EnvironmentABSTRACTThis article presents an application of Augmented Realitytechnology for interior design. Plus, an Educational InteriorDesign Project is reviewed. Along with the dramatic progress ofdigital technology, virtual information techniques are alsorequired for architectural projects. Thus, the new technology ofAugmented Reality offers many advantages for digitalarchitectural design and construction fields. AR is also beingconsidered as a new design approach for interior design. In an ARenvironment, the virtual furniture can be displayed and modifiedin real-time on the screen, allowing the user to have an interactiveexperience with the virtual furniture in a real-world environment.Here, AR environment is exploited as the new workingenvironment for architects in architectural design works, and thenthey can do their work conveniently as such collaborativediscussion through AR environment. Finally, this study proposesa newmethod for applying AR technology to interior designwork, where a user can view virtual furniture and communicatewith 3D virtual furniture data using a dynamic and flexible userinterface. Plus, all the properties of the virtual furniture can beadjusted using occlusion- based interaction method for a TangibleAugmented Reality. General TermsApplications of computer science in modeling, visualization andmultimedia, graphics and imaging, computer vision, human-computerinteraction, et al.KeywordsAugmented Reality, Tangible AR, CAAD, ARToolKit, Interiordesign.1. INTRODUCTIONVisualizing how a particular table or chair will look in a roombefore it is decorated is a difficult challenge for anyone. Hence,Augmented Reality (AR) technology has been proposed forinterior design applications by few previous authors, for example,Koller, C. Wooward, A. Petrovski; K. Hirokazu, et al. The relateddevices typically include data glassesconnected to a。

我英语翻译

我英语翻译“我”的英语翻译主要有：I，me，my，myself等。

I的音标：英[ʌɪ]，美[aɪ]，例句：I'm anti the abuse of drink and the hassle that it causes .1、I释义：n.（I）英语字母表中第九个字母；一；自我意识；自我音标：英[ʌɪ] 美[aɪ]例句：I am pleased to advise you that you have been selected for interview.很高兴地通知您,您已入选参加面试。

I'm not trying to explain the secrets of the universe in this book.在本书中我并不试图解释宇宙的奥秘。

I hope you will be feeling very positive about your chances of success.我希望你对自己成功的可能应该感到非常乐观。

I'm anti the abuse of drink and the hassle that it causes .我反对饮酒无度和酗酒滋事。

I won't let you go without trying to extract a promise from you.得不到你的承诺我是不会轻易放你走的。

From that moment, doggone it if I didn't see a motivation in Joey!从那时起,如果乔伊还是缺少动力那我就气死了!I was propositioned by the editor about becoming film critic of the paper.编辑提议我担当该报的电影评论员。

2、me释义：pron.我；天啊音标：英[miː] 美[mi]例句：The price of beer compelled me to maintain a certain level of sobriety.啤酒的高价迫使我适度戒酒。

四年级英语作文：ME我

四年级英语作文：ME我Hello, everyone! My name is Li Ming. I'm a student in Grade 4.I'm a happy and active girl. I like to make friends. I like sports, too.I often play basketball and badminton with my friends. I'm good at running. I often run in the morning.I'm good at English, too. I like reading English stories. I also like singing English songs.I'm also good at drawing. I often draw pictures for my family and friends.I'm a helpful girl. I often help my parents with housework. I often help my classmates with their lessons.That's me. I'm a happy and active girl. I hope you like me.大家好！我叫李明，是四年级的一名学生。

我是一个快乐活泼的女孩，喜欢交朋友。

我也喜欢运动，经常和朋友们一起打篮球和羽毛球。

我擅长跑步，经常在早上跑步。

我也擅长英语，喜欢读英语故事，也喜欢唱英语歌曲。

我也擅长绘画，经常给家人和朋友画画。

我是一个乐于助人的女孩，经常帮助父母做家务，也经常帮助同学学习功课。

这就是我，快乐活泼的女孩，希望大家喜欢我。

《我》600字范文

《我》600字范文英文回答：I am a multifaceted and constantly evolving entity. I am both the observer and the observed, the creator and the creation. I am simultaneously a stranger to myself and an intimate companion. I am a paradox, a walking contradiction, a tapestry woven with both light and shadow.My identity is a fluid tapestry, ever-changing andever-unfolding. I am shaped by my experiences, my interactions, my thoughts, and my dreams. I am the sum ofall that I have been, all that I am, and all that I aspireto be.I am a vessel of consciousness, a receptacle for bothjoy and sorrow, love and loss. I am capable of great compassion and empathy, but I am also capable of great cruelty and indifference. I am a complex amalgamation of strengths and weaknesses, virtues and vices.I am a product of my environment, shaped by the circumstances into which I was born. I am a reflection ofmy culture, my society, and my time. I am a child of the21st century, an era of unprecedented technological advancement and global interconnectedness.I am a citizen of the world, a member of the human race.I share a common bond with all of humanity, regardless of our differences. I believe in the power of love, compassion, and understanding. I believe that we are all capable of making a difference in the world.中文回答：我是一个多方面的、不断进化着的实体。

五年级作文我的英文怎么写

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文档下载后可定制随意修改，请根据实际需要进行相应的调整和使用，谢谢!并且，本店铺为大家提供各种各样类型的实用资料，如教育随笔、日记赏析、句子摘抄、古诗大全、经典美文、话题作文、工作总结、词语解析、文案摘录、其他资料等等，如想了解不同资料格式和写法，敬请关注!Download tips: This document is carefully compiled by theeditor. I hope that after you download them,they can help yousolve practical problems. The document can be customized andmodified after downloading,please adjust and use it according toactual needs, thank you!In addition, our shop provides you with various types ofpractical materials,such as educational essays, diaryappreciation,sentence excerpts,ancient poems,classic articles,topic composition,work summary,word parsing,copyexcerpts,other materials and so on,want to know different data formats andwriting methods,please pay attention!I love English because it's fun and interesting. I like learning new words and phrases, and I enjoy speaking English with my friends. English is also important for my future, because it's a global language and I can communicate with people from all over the world.My favorite part of learning English is reading. I like to read storybooks, magazines, and even comics in English. Reading helps me improve my vocabulary and grammar, andit's also a great way to relax and have fun.I also enjoy watching English movies and TV shows. It'sa good way to practice listening and speaking. Sometimes I watch with subtitles, but I try to challenge myself by watching without them to see how much I can understand.I think speaking English is the most challenging part for me. Sometimes I feel nervous when I have to speak in front of the class, but I know that practice makes perfect.I try to speak as much as I can, and I'm getting better and more confident every day.In conclusion, learning English is a great experience for me. I enjoy all aspects of it, from reading and watching to speaking and writing. I know that it will benefit me in the future, and I'm excited to continue improving my English skills.。

三年级作文我的英文怎么写

三年级作文我的英文怎么写下载温馨提示:该文档是我店铺精心编制而成，希望大家下载以后，能够帮助大家解决实际的问题。

写作文我的英文怎么写

写作文我的英文怎么写下载温馨提示:该文档是我店铺精心编制而成，希望大家下载以后，能够帮助大家解决实际的问题。

文档下载后可定制随意修改，请根据实际需要进行相应的调整和使用，谢谢!并且，本店铺为大家提供各种各样类型的实用资料，如教育随笔、日记赏析、句子摘抄、古诗大全、经典美文、话题作文、工作总结、词语解析、文案摘录、其他资料等等，如想了解不同资料格式和写法，敬请关注!Download tips: This document is carefully compiled by theeditor. I hope that after you download them,they can help yousolve practical problems. The document can be customized andmodified after downloading,please adjust and use it according toactual needs, thank you!In addition, our shop provides you with various types ofpractical materials,such as educational essays, diaryappreciation,sentence excerpts,ancient poems,classic articles,topic composition,work summary,word parsing,copyexcerpts,other materials and so on,want to know different data formats andwriting methods,please pay attention!I love English. It's such an amazing language that allows me to express myself in so many different ways. Whether I'm speaking or writing, I always try to make it as natural and conversational as possible. I believe that using colloquial expressions and slang can really bring my English to life.One thing I've noticed about my English is that it's constantly evolving. I'm always learning new words and phrases, and I try to incorporate them into my daily conversations. It's like a never-ending journey of discovery, and I love every moment of it.When it comes to writing in English, I try to be as creative as possible. I like to experiment with different writing styles and genres. Sometimes I write short stories, other times I write poetry. It's a way for me to explore my imagination and push the boundaries of my language skills.I also enjoy reading in English. It's a great way to improve my vocabulary and grammar. I read a wide range of materials, from novels to news articles to blog posts. Each piece of writing gives me a new perspective and helps me understand the language in a deeper way.One of the things I find most challenging about writing in English is finding my own voice. It's easy to get caught up in trying to sound like a native speaker or imitating famous writers. But I've learned that the most important thing is to be authentic and true to myself. That's when my writing truly shines.In conclusion, English is not just a language to me,it's a form of self-expression. Whether I'm speaking or writing, I strive to make it as natural and conversational as possible. I love the constant evolution of my English and enjoy exploring different writing styles. Reading is also a big part of my language learning journey. And above all, I believe that finding my own voice is the key to becoming a confident and skilled English writer.。

我(This is me)

我(This is me)Hello, everyone. My name is Liu Zhanwen. I’m a Chinese boy. My English name is James. I’m fourteen years old.I was born and live in Haimen, Jiangsu. Haimen is a small town, but it’s very beautiful and clean. People in it are very polite, helpful and friendly. We are all nice people and Haimen is a very good place, isn’t it?I have a happy family. There are three people in it. They are my father, my mother and me. My parents love me and I love them, too. They are also my very good friends. We always have great fun like sports, because now I am not very strong. I want to be a very strong man. I am about metres tall. I am not very tall in my grade. I like playing every ball, but I am not very good at all of them. So I feelvery sad, I need to practise them more. I’ll do more have many hobbies. Besides sports, I also like playing computer games and watching TV, just like most students. I like reading books.I can have fun reading books. I like traveling best. Because I want to know so many things of the world and trips make me happy. Every year, I travel to some places. I’m very happy!Now, I am a middle school student. I am happy to be a student of Dongzhou Middle School. It is one of the best middle schools in the world. I love it very much. I’ll work hard at all the subjects. Of all the subjects, I like Maths best, and I like English, too. But I’ m doing better in Maths than in English.That’s all. Thank you.。

「我、我的、我自己」英文怎么说？I,me,my,mine和myself中文意思与用法！

「我、我的、我自己」英文怎么说？I,me,my,mine和myself中文意思与用法！「我、我的、我自己」英文怎么说？ I, me, my, mine, 和 myself 这几个英文单字你是不是也常搞混呢？虽然看起来中文意思差不多，但是他们的用法、在句子中的位置可是完全不一样呢！Let’s talk的Niharika老师整理出了这几个单字的正确用法和例句，让你避免犯这种幼稚园等级的错误，相信你看过之后也能一下就上手。

1. I & Me –我两个字都是指「我」，”I”是主词，”me”则是受词。

ex. I gave John the book. /John gave me the book.我给John那本书。

/John给我那本书。

ex. John and I saw Jane at the party.John和我在派对上看见了Jane。

ex. The teacher called Sarach and me.老师叫了Sarach和我。

2. My & Mine –我的/我的(某物)“my”要放在名词前面，Mine则是指前文曾提到的「我的某个东西」。

ex. John is my friend. /John is a friend of mine.John是我的朋友。

/ John是我的一个朋友。

ex. John’s car is white and mine is black.John的车是白色的然后我的是黑色的。

ex. You’re mine.你是我的。

3. Myself –我自己用来表示「你自己」做的一个动作。

ex. I cut myself with a knife.我用一把刀把自己切开。

ex. I baked a cake by meself.我自己烤了一个蛋糕。

ex. I went for a movie by myself.我自己一个人去看电影。

图片来源:PexelsI, I 中文, I 意思, I 用法, I 翻译, Me, Me 中文, Me 意思, Me 用法, Me 翻译, mine, Mine 中文, Mine 意思, Mine 用法, Mine 翻译, my, My 中文, My 意思, My 用法, My 翻译, myself, Myself 中文, Myself 意思, Myself 用法, Myself 翻译, 我英文, 我的英文, 我自己英文。

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中英文翻译应用程序基础Android DevelopersAndroid应用程序使用Java编程语言开发aapt工具把编译后的Java代码连同应用程序所需的其他数据和资源文件一起打包到一个Android包文件中，这个文件使用.apk作为扩展名。

此文件是分发并安装应用程序到移动设备的载体；是用户下载到他们的设备的文件。

单一.apk文件中的所有代码被认为是一个应用程序。

从多个角度来看，每个Android应用程序都存在于它自己的世界之中：1 默认情况下，每个应用程序均运行于它自己的Linux进程中。

当应用程序中的任何代码需要被执行时，Android启动此进程，而当不再需要此进程并且其它应用程序又请求系统资源时，则关闭这个进程。

2 每个进程都有其独有的虚拟机（VM），所以应用程序代码与所有其它应用程序代码是隔离运行的。

3 默认情况下，每个应用程序均被赋予一个唯一的Linux用户ID，并加以权限设置，使得应用程序的文件仅对此用户及此应用程序可见——尽管也有其它的方法使得这些文件同样能为其他应用程序所访问。

1 应用程序组件Android的一个核心特性就是一个应用程序可以使用其它应用程序的元素（如果那个应用程序允许的话）。

例如，如果你的应用程序需要显示一个图片卷动列表，而另一个应用程序已经开发了一个合用的而又允许别的应用程序使用的话，你可以直接调用那个卷动列表来完成工作，而不用自己再开发一个。

你的应用程序并没有吸纳或链接其它应用程序的代码。

它只是在有需求的时候启动了其它应用程序的那个功能部分。

为达到这个目的，系统必须能够在一个应用程序的任何一部分被需要时启动一个此应用程序的进程，并将那个部分的Java对象实例化。

因此，不像其它大多数系统上的应用程序，Android应用程序并没有为应用程序提供一个单独的入口点（比如说，没有main()函数），而是为系统提供了可以实例化和运行所需的必备组件。

一共有四种组件类型：1 Activityactivity是为用户操作而展示的可视化用户界面。

例如，一个activity可以展示一个菜单项列表供用户选择，戒者显示一些包含说明文字的照片。

一个短消息应用程序可以包括一个用于显示要发送消息到的联系人列表的activity，一个给选定的联系人写短信的activity以及翻阅以前的短信或改变设置的其他activity。

尽管它们一起组成了一个内聚的用户界面，但其中每个activity都不其它的保持独立。

每一个都实现为以Activity类为基类的子类。

一个应用程序可以只有一个activity，戒者，如刚才提到的短信应用程序那样，包含很多个。

每个activity的作用，以及有多少个activity，当然是取决于应用程序及其设计的。

一般情况下，总有一个应用程序被标记为用户在应用程序启动的时候第一个看到的。

从一个activity转向另一个靠的是用当前的activity启动下一个。

每个activity都被给予一个默认的窗口以进行绘制。

一般情况下，这个窗口是满屏的，但它也可以是一个小的位于其它窗口之上的浮动窗口。

一个activity 也可以使用附加窗口——例如，一个在activity运行过程中弹出的供用户响应的对话框，戒是一个当用户选择了屏幕上特定项目后显示的必要信息的窗口。

窗口显示的可视内容是由一系列层次化view构成的，这些view均继承自View 基类。

每个view均控制着窗口中一块特定的矩形区域。

父级view包含并组织其子view的布局。

叶节点view（位于层次结构最底端）在它们控制的矩形区域中进行绘制，并对用户直达其区域的操作做出响应。

因此，view是activity 与用户进行交互的界面。

例如，view可以显示一个小图片，并在用户指点它的时候产生动作。

Android有一些预置的view供开发者使用——包括按钮、文本域、滚动条、菜单项、复选框等等。

view层次结构是由Activity.setContentView() 方法放入activity的窗口之中的。

content view是位于层次结构根位置的View对象。

（参见独立的用户界面文档以获取关于view及层次结构的更多信息。

）2 Serviceservice没有可视化的用户界面，而是在一段时间内在后台运行。

例如，一个service可以在用户做其它事情的时候在后台播放背景音乐、从网络上获取数据或者计算一些东西并提供给需要这个运算结果的activity使用。

每个service 都继承自Service基类。

一个媒体播放器播放播放列表中的曲目是一个不错的例子。

播放器应用程序可能有一个或多个activity来给用户选择歌曲并进行播放。

然而，音乐播放这个任务本身丌应该由任何activity来处理，因为用户期望即使在他们离开播放器应用程序而开始做别的事情时，音乐仍在继续播放。

为达到这个目的，媒体播放器activity可以启动一个运行于后台的service。

系统将在这个activity不再显示于屏幕乀后，仍维持音乐播放service的运行。

连接至（绑定到）一个正在运行的service（如果service没有运行，则启动之）是可能的。

连接之后，你可以通过那个service暴露出来的接口不service 进行通讯。

对于音乐service来说，这个接口可以允许用户暂停、回退、停止以及重新开始播放。

如同activity和其它组件一样，service运行于应用程序进程的主线程内。

所以它不会对其它组件或用户界面有任何妨碍，它们一般会派生一个新线程来执行一些时间消耗型任务（比如音乐回放）。

参见稍后的进程和线程。

3 Broadcast receiverbroadcast receiver是一个与注于接收广播通知信息，并做出相应处理的组件。

许多广播是由系统代码产生的——例如，通知时区改变、电池电量低、拍摄了一张照片或者用户改变了语言选项。

应用程序也可以发起广播——例如，通知其它应用程序一些数据已经下载到设备上并处于可用状态。

一个应用程序可以拥有任意数量的broadcast receiver，以对所有它认为重要的通知信息予以响应。

所有的receiver均继承自BroadcastReceiver基类。

broadcast receiver没有用户界面。

然而，它们可以启动一个activity来响应它们收到的信息，或者也可以使用NotificationManager来通知用户。

通知可以用多种方式来吸引用户的注意力──闪动背光灯、震动设备、播放声音等等。

通知一般是在状态栏上放一个持丽的图标，用户可以打开它并获取消息。

4 Content providercontent provider将一些特定的应用程序数据供给其它应用程序使用。

数据可以存储于文件系统、SQLite数据库或其它有意丿的方式。

content provider 继承于ContentProvider 基类，实现了一套使得其他应用程序能够检索和存储它所管理的类型数据的标准方法。

然而，应用程序并不直接调用返些方法，而是使用一个 ContentResolver 对象，调用它的方法作为替代。

ContentResolver可以与任何content provider进行会话；与其合作对任何相关的进程间通讯进行管理。

参阅独立的Content Providers文档以获得更多关于使用content provider 的信息。

每当出现一个需要被特定组件处理的请求时，Android会确保那个组件的应用程序进程处于运行状态，必要时会启动它，并确保那个组件的一个合适的实例可用，必要时会创建那个实例。

1.1激活组件：intent当接收到ContentResolver发出的请求后，content provider被激活。

而其它三种组件——activity、service和broadcast receiver，被一种叫做intent 的异步消息所激活。

intent是一个保存着消息内容的Intent对象。

对于activity 和service来说，它指明了所请求的操作名称，并指定了用来操作的数据的URI 和其它一些信息。

例如，它可以承载一个对一个activity的请求，让它为用户显示一张图片，或者让用户编辑一些文本。

而对于broadcast receiver来说，Intent 对象指明了所通报的操作。

例如，它可以对所有感兴趣的对象通报照相按钮被按下。

对于每种组件来说，激活的方法是不同的：1通过传递一IntentContext.startActivity()Activity.startActivityForResult(以启动（或指定新工作给）一个activity。

相应的activity可以通过调用自身的 getIntent() 方法来查看最刜激活它的intent。

Android通过调用activity的onNewIntent()方法来传递给它随后的任何intent。

一个activity经常启动另一个activity。

如果它期望它所启动的那个activity迒回一个结果，它会调用startActivityForResult()而不是startActivity()。

例如，如果它启动了另外一个activity以使用户挑选一张照片，它也许想知道哪张照片被选中了。

其结果将会被封装在一个Intent对象中，并传递给发出调用的activity的onActivityResult() 方法。

2 通过传递一个Intent对象至Context.startService()以启动一个service （或向正在运行的service给出一个新的指令）。

Android调用此service的onStart()方法并将Intent对象传递给它。

与此类似，一个intent可以被传递给 Context.bindService()以建立一个处于调用组件和目标service乀间的活动连接。

此service会通过onBind() 方法的调用来获取此Intent对象（如果此service尚未运行，bindService()会先启动它）。

例如，一个activity可以建立一个不前述的音乐回放service的连接，这样它就可以提供给用户一些途径（用户界面）来控制回放。

这个activity可以调用 bindService()来建立此连接，然后调用service中定之的方法来控制回放。

稍后的远程方法调用一节有关于如何绑定至一个service的更多细节。

3 应用程序可以通过传递一个Intent对象至Context.sendBroadcast() ，Context. sendOrderedBroadcast()，以及Context.sendStickyBroadcast()和其它类似方法来发起一个广播。