中英文外文翻译文献
原文：
Ads and PSAs
⑴Copywriting for Visual Media
Before television, there was radio advertising and film advertising in movie houses.Y ou still see local ads in some movie theatres before the program starts. So the principle of selling time between programming for commercial messages grew up with the visual media. A format that is probably unique to television was developed to deliver short visual commercial messages very efficiently and effectively in breaks between programs. The air time was sold to advertisers to generate the operating revenue and profit for the television companies.
Television provides access to the majority of homes and, therefore, to the largest audience. Before television, few people had dealt with the pressure to communicate product or commercial information in a rapid, attention-getting way that television needs. It was, and still is, very expensive to buy air time. Because television is the most expensive
advertising medium, it has driven the writers and producers of commercials to refine their techniques so as to deliver a complete message in a small amount of time. The cost of this time far exceeds the production cost of making the message itself.
The short ad has become a kind of twentieth-century art form with a constantly evolving style. It has attracted much writing and directing talent from around the world, drawn partly by the money they can make and partly by the opportunity to graduate to longer forms. Ads are special because they are so short—usually under a minute. Everyone has seen them, which is not so true for some other formats.
Almost all television viewers have seen public service announcements (PSAs),which are messages that are broadcast for the public good. PSAs are sometimes paid for by sponsoring organizations, but they are usually furnished to broadcasters to fill any empty spots in the commercial break. This is one way in which television stations help the community to which they broadcast and fulfill an obligation of their FCC license to broadcast over public air waves. Of course, PSAs usually run late at night or in other less commercially desirable time slots. Not everyone can write a feature film script, but anyone can write a 30- or 60-second PSA, so it is a good place to start.
⑵Copywriting V ersus Scriptwriting
Let us distinguish between copywriting and scriptwriting.
Copywriting includes print and media writing. National advertising campaigns on television are devised and produced by advertising agencies retained by the client company. Learning about this kind of writing and the business of advertising and public relations usually takes place in a specific track and specialized courses in communications studies.Although visual writing is involved in some kinds of copywriting, there are so many other issues involved in copywriting that it is better to leave those dedicated issues aside and deal with visual writing that happens to be part of copywriting.
However, small markets in the broadcasting world serve local clients who cannot afford an advertising agency. Somebody has to write these ads for the station’s clients. It could be a staff member, part of a unit that sells t he station’s time, or it could be a freelance writer paid by the station to do this writing work when needed, or a local ad agency. We need to keep in mind that these kinds of local ads are made on small budgets, sometimes at cost, by the station selling the air time because their profit comes from selling that air time. They often have spare production capacity—a studio, cameras, a camera crew, and an editing facility. This means that the ad must be written for that budget range without slick effects or expensive graphics, without travel to expensive locations, and without expensive talent. It brings us back to the perennial challenge that every scriptwriter faces:to write creatively and invent original visuals
within a tight budget framework. The same holds true for local PSAs, sponsored by organizations with no budget to spend on production.
PSAs are an excellent training ground for student scriptwriters. They are short and complete TV playlets. They require all the disciplines of scriptwriting. Y ou can easily settle on a public service issue such as smoking, domestic violence, education,drugs, or racism. Y ou know the issues. Y ou can test your creative imagination. If you have a related production course going on, you might be able to produce your PSA. Y ou can also take a familiar product and try to devise a TV spot for it.However, a lot of ads rely on specialized production companies to get pack shots or create computer-generated effects that might be difficult to duplicate in a college production setup.
⑶Client Needs and Priorities
The PSA and the TV ad are works commissioned by a client. The client needs a solution to a communication problem that the writer must provide. We alluded to this discipline of the professional writer in Chapters 3 and 4. Y ou write for someone or rather someone who represents the interests of an organization or a corporation. Later we will look more closely at another kind of writing for a producer of entertainment films or programs. The entertainment script is different from commissioned works because neither the producer nor the writer
can know for sure what a good script is until it is produced, shown to an audience, and validated by box office or audience ratings. Commissioned programming doesn’t have an audience measurement ex pressed in terms of box office revenue. Successful communication can only be measured by quantifying audience responses as changes in sales or behavior.
Advertisers expect to measure the effect of an ad in increased sales. Otherwise,there is no business sense in spending money on it. A PSA often aims to change people’s behavior. It is much more difficult to garner information that positively proves the effectiveness of the PSA. Changes in behavior are much more difficult to achieve than changes in the buying choices of the public.
Writing for clients is often challenging and exciting precisely because you have a problem, know the desired result, and have to devise a solution. The seven-step method of Chapter 4 is an excellent way to approach these assignments. The process of analysis is really important for writing PSAs. Although you do not now have a client, you must practice writing as if you had a client to satisfy. Y our creative ideas must do the job. One of the constraints of this kind of writing is that the length is fixed by the client. Because the resulting product is transmitted in commercial breaks, its length must be exact to the second, as that is how airtime is bought and sold.
⑷The 20-, 30-, and 60-Second Playlets
Ads in the form of 20- or 30-second playlets are almost a new art form. They are a popular art form born of the television age and the need to compress visual messages into very short, very expensive time slots. The style and tempo of these ads continues to evolve at a furious rate. The style of camera work, directing, and editing is quite specialized. Some companies produce nothing but TV commercials just as some directors spend their whole careers making these mini-movies. From their ranks have come a number of feature film directors such as Ridley Scott, Hugh Hudson, and Alan Parker.
Some TV commercials for national campaigns of major brands, based on millions of dollars worth of air time, have very high budgets. With bigger budgets than half-hour documentaries and budgets as big as a television half-hour episode, these productions are made on 35mm film with production crews that sometimes rival those for a feature film. The local market spot for a car dealer or furniture store,however, is often cheap, down and dirty. Clearly the national campaigns are developed by advertising agencies whose copywriters develop the ads in collaboration with creative directors, art directors, and account executives. The copywriter is not a full range scriptwriter and also usually has to write print media ads. Although this book primarily serves the interests of scriptwriters, the visual thinking that underlies billboards and transport
ads relates to both copywriting and scriptwriting.
⑸Devices to Capture Audience Attention
Most of you have engaged in the subtle war between the viewer and the television advertiser. Hands up everyone who has hit the mute button during the ads, or gone to the bathroom, or gone to the fridge, or made a telephone call during the commercial break! This nullifies the advertiser’s effort and expense. Sometimes,either by accident or by choice, we find TV commercials entertaining or fun to watch. The challenge is clear. The advertiser has a lot of resistance to overcome.Now you are on the other side of the box. Y ou have to be creativ e and capture the audience’s attention in spite of itself so that it pays attention to your message.Y our device has to work for others. Measured by your own viewing behavior, no audience will give you any quarter. Y ou live or die in seconds.
What are some of the ways you have noticed writers of these mini-scripts hooking the audience so that it will pay attention to the message? Y ou can recognize definite strategies such as humor, shock, suspense, mini-dramas, testimonials, special graphi c effects, music, and, of course, sexuality. These strategies are more elaborately developed in commercial advertising because for-profit companies have the dollars to spend on high-end production values. PSAs cannot command the same resources. They are made on lower budgets or created through the pro
bono work of advertising agencies and production personnel. Working with a low budget is a creative challenge. Production dollars don’t automatically buy creative and effective communication. Some of the most ingenious PSAs are cheap but effective.
Consider how a PSA about a public issue such as gambling works. In this case, the Massachusetts Council on Compulsive Gambling needs to communicate to a population that suffers the destructive consequences of this kind of addictive behavior.How do you solve the communication problem? Let’s apply the seven-step method we learned in Chapter 4. Anthony Friedmann
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英文翻译：
广告和公益广告
⑴文案的视觉媒体
在电视出现以前，我们可以在收音机里听到广播形式的广告和在电影院里观看电影时在影片开始播放之前一些广告。因此，随着视觉媒体对商业信息影响的扩大，它开始被拿来销售。电视产生以后，在电视播放的时候被插入了很多有商业信息的广告。通过经营和销售这些带有商业信息的广告时间，广告公司和电视台都得到了一笔价值可观的收入。
大部分家庭都拥有电视，因此，它得到了最多的观众。电视广告在传递产品或者商业信息时不会让人产生压力。因此，电视广告的时间在过去和未来都是非常昂贵的。因为，电视广告带动了广告作者和广告公司改进技术，以提供尽量紧凑和简短的广告，广告所带来的价值远远超过了制作广告本身的成本。
在二十世纪，简短广告已经成为了一门有独特风格的艺术。它吸引了很多来自世界各地的编剧，导演和人才，因为，它可以带来相当可观的金钱。大家都看过广告，虽然很短，但他却能表达一连串完成的信息。
几乎所有的电视观众都看到公益广告，这是，这对于公共利益的广播消息。公益广告所有的费用由主办单位承担，但它们通常在广播电台播放，以填补未被商业利用的空白时间。这是一种形式，电视台帮助社区广播和履行他们的义务，其联邦通信委员会许可在公共广播的无线电波。当然，管理公司通常运行在深夜或其他较商业利益的时段。不是每个人都可以写一个专题片脚本，但任何人都可以写一个30 - 或60秒的公益广告，因此它是一个良好的开端。
⑵版权与编剧
让我们区分版权和编剧。版权问题包括出版和媒体写作。在电视上国家的广告活动都是设计和生产中保留的广告机构客户的公司。学习这种写作的经营和广告和公关通常发生在一个特定的跟踪和专业课程在通信方面的研究。虽然视觉写作涉及一些种类的版权问题,还有很多其他的问题涉及版权问题,最好离开那些奉献问题放在一边,处理视觉写作,而且恰好是版权问题的一部分。
然而,小市场为当地客户的广播世界那些承担不起一家广告代理公司。有人来写,这些广告为电台的客户。它可能是一个工作人员,部分单位出售该电台的时间,也可能是一名自由撰稿人支付的写作素材站来做这事,如有需要,或当地的广告代理公司。我们需要记住这些类型的当地广告了,有时微小预算成本,按车站的销售空气时间,因为这些金融机构的利润来自向销售,空气的时间。他们往往拥有闲置生产capacity-a工作室、照相机、摄像机船员队伍,同时一种编辑设施。这意味着广告必须写的,不影响预算范围内的光滑,没有旅行或昂贵的图形昂贵的地点,和没有昂贵的人才。它让我们回到多年生的挑战,每一个编剧的面貌:创造性和发明原来写的视觉在预算吃紧的框架。这同样适用于当地的压敏胶制造而成,由组织没有预算花费在生产。
psa是一名优秀的训练场地为学生的编导。他们很短和完整的电视playlets。他们要求所有的学科的戏剧。你可以很容易地在一个公共服务问题解决诸如吸烟、家庭暴力、教育、毒品或种族主义。你
吉林化工学院理学院 毕业论文外文翻译English Title（Times New Roman ，三号） 学生学号：08810219 学生姓名：袁庚文 专业班级：信息与计算科学0802 指导教师：赵瑛 职称副教授 起止日期：2012.2.27～2012.3.14 吉林化工学院 Jilin Institute of Chemical Technology
1 外文翻译的基本内容 应选择与本课题密切相关的外文文献（学术期刊网上的），译成中文，与原文装订在一起并独立成册。在毕业答辩前，同论文一起上交。译文字数不应少于3000个汉字。 2 书写规范 2.1 外文翻译的正文格式 正文版心设置为：上边距：3.5厘米，下边距：2.5厘米，左边距：3.5厘米，右边距：2厘米，页眉：2.5厘米，页脚：2厘米。 中文部分正文选用模板中的样式所定义的“正文”，每段落首行缩进2字；或者手动设置成每段落首行缩进2字，字体：宋体，字号：小四，行距：多倍行距1.3，间距：前段、后段均为0行。 这部分工作模板中已经自动设置为缺省值。 2.2标题格式 特别注意：各级标题的具体形式可参照外文原文确定。 1．第一级标题（如：第1章绪论）选用模板中的样式所定义的“标题1”，居左；或者手动设置成字体：黑体，居左，字号：三号，1.5倍行距，段后11磅，段前为11磅。 2．第二级标题（如：1.2 摘要与关键词）选用模板中的样式所定义的“标题2”，居左；或者手动设置成字体：黑体，居左，字号：四号，1.5倍行距，段后为0，段前0.5行。 3．第三级标题（如：1.2.1 摘要）选用模板中的样式所定义的“标题3”，居左；或者手动设置成字体：黑体，居左，字号：小四，1.5倍行距，段后为0，段前0.5行。 标题和后面文字之间空一格（半角）。 3 图表及公式等的格式说明 图表、公式、参考文献等的格式详见《吉林化工学院本科学生毕业设计说明书（论文）撰写规范及标准模版》中相关的说明。
Statistical hypothesis testing Adriana Albu，Loredana Ungureanu Politehnica University Timisoara,adrianaa@aut.utt.ro Politehnica University Timisoara,loredanau@aut.utt.ro Abstract In this article,we present a Bayesian statistical hypothesis testing inspection, testing theory and the process Mentioned hypothesis testing in the real world and the importance of, and successful test of the Notes. Key words Bayesian hypothesis testing; Bayesian inference;Test of significance Introduction A statistical hypothesis test is a method of making decisions using data, whether from a controlled experiment or an observational study (not controlled). In statistics, a result is called statistically significant if it is unlikely to have occurred by chance alone, according to a pre-determined threshold probability, the significance level. The phrase "test of significance" was coined by Ronald Fisher: "Critical tests of this kind may be called tests of significance, and when such tests are available we may discover whether a second sample is or is not significantly different from the first."[1] Hypothesis testing is sometimes called confirmatory data analysis, in contrast to exploratory data analysis. In frequency probability,these decisions are almost always made using null-hypothesis tests. These are tests that answer the question Assuming that the null hypothesis is true, what is the probability of observing a value for the test statistic that is at [] least as extreme as the value that was actually observed?) 2 More formally, they represent answers to the question, posed before undertaking an experiment,of what outcomes of the experiment would lead to rejection of the null hypothesis for a pre-specified probability of an incorrect rejection. One use of hypothesis testing is deciding whether experimental results contain enough information to cast doubt on conventional wisdom. Statistical hypothesis testing is a key technique of frequentist statistical inference. The Bayesian approach to hypothesis testing is to base rejection of the hypothesis on the posterior probability.[3][4]Other approaches to reaching a decision based on data are available via decision theory and optimal decisions. The critical region of a hypothesis test is the set of all outcomes which cause the null hypothesis to be rejected in favor of the alternative hypothesis. The critical region is usually denoted by the letter C. One-sample tests are appropriate when a sample is being compared to the population from a hypothesis. The population characteristics are known from theory or are calculated from the population.
外文翻译 Construction projects, private and public alike, have a long history of cost escalation. Transportation projects, which typically have long lead times between planning and construction, are historically underestimated, as shown through a review of the cost growth experienced with the Holland Tunnel. Approximately 50% of the active large transportation projects in the United States have overrun their initial budgets. A large number of studies and research projects have identified individual factors that lead to increased project cost. Although the factors identified can influence privately funded projects the effects are particularly detrimental to publicly funded projects. The public funds available for a pool of projects are limited and there is a backlog of critical infrastructure needs. Therefore, if any project exceeds its budget other projects are dropped from the program or the scope is reduced to provide the funds necessary to cover the cost growth. Such actions exacerbate the deterioration of a state’s transportation infrastructure. This study is an anthology and categorization of individual cost increase factors that were identified through an in-depth literature review. This categorization of 18 primary factors which impact the cost of all types of construction projects was verified by interviews with over 20 state highway agencies. These factors represent documented causes behind cost escalation problems. Engineers who address these escalation factors when assessing future project cost and who seek to mitigate the influence of these factors can improve the accuracy of their cost estimates and program budgets Historically large construction projects have been plagued by cost and schedule overruns Flyvbjerg et al. 2002. In too many cases, the final project cost has been higher than the cost estimates prepared and released during initial planning, preliminary engineering, final design, or even at the start of construction “Mega projects need more study up front to avoid cost overruns.” The ramifica tions of differences between early project cost estimates and bid prices or the final cost of a project can be significant. Over the time span between project initiation concept development and the completion of construction many factors may influence the final project costs. This time span is normally several years in duration but for the highly
Analysis of the role of complaint management in the context of relationship marketing Author: Leticia Su′arez ′Alvarez, University of Oviedo, Spain Abstract This research aims to contribute to the relationship-marketing strategy by studying the role of complaint management in long-term relationships. Two factors distinguish it from other studies: it takes into account two types of customers, consumers and firms, and the result variable selected is the probability of ending an ongoing relationship. Two questionnaires were designed for every population. One of them was auto-administrated to a sample of consumers in the north of Spain, and the other one was sent to a representative sample of Spanish firms. The data analyses were conducted using structural equation modeling. The findings confirm the importance that theory accords to the relationship-marketing strategy, and also provide evidence for the importance of complaint management. Thus having a good complaint-handling system and trained and motivated staff who are fully committed to the firm’s objectives are fundamental requisites for firms to be able to build a stable customer portfolio. Keywords complaint management; relationship marketing; relationship termination; trust; satisfaction Introduction Nowadays, the main task for tourism firms is undoubtedly to deliver superior value to customers. One way that these firms can achieve part of this value is by maintaining quality relationships with their customers. In fact, it is well known that managing these relationships is critical for achieving corporate success. Thus the general aim of the present research is to analyze the most important factors that contribute to relationship stabilization between tourism firms and their customers. This research canters on retail travel agencies. We chose this particular type of tourism firm for two reasons. First, competition between retail travel agencies is becoming much more intense, fundamentally due to the advent of the Internet as an alternative distribution channel for tourism services (Wang & Cheung, 2004). The second reason is the current phenomenon of disintermediation, or the tendency of some tourism service providers to contact the end-customer directly. Because of these two developments, retail travel agencies urgently need to develop a strategy that allows them to maintain a stable portfolio of customers over time if they are to remain in the market for the long term. In order to achieve the proposed objective, we set out a causal model that incorporates a number of factors that can condition the future of the relationships between travel agencies and their customers. Specifically, we chose two variables that
外文文献翻译 2.5.1译文：看电影的艺术 1930年代中期，沃尔特·迪斯尼才明确以动画电影娱乐观众的思想，动画片本身才成为放映主角（不再是其他剧情片的搭配）。于1937年下半年首映的动画片《白雪公主与七个小矮人》为动画片树立了极高的标准，至今任然指导着动画艺术家们。1940年，这一年作为迪斯尼制片厂的分水岭，诞生了《木偶奇遇记》和《幻想曲>。这些今天成为经典的作品在接下来的二十年中被追随效仿，产生了一系列广受欢迎的动画娱乐作品。包括《小飞象》，《灰姑娘》，《爱丽丝漫游仙境》，《彼得·潘》，《小姐与流浪儿》，他们的故事通常源自广为人知的文学故事。这些影片最不好的地方在于它们似乎越来越面向小观众。 在1966年第四你去死后，他的制片厂继续制作手绘动画影片，但是创作能量衰减，公司转而专注于著作真人是拍电影。然而1989年，对于我们所有孩子来说，动画《小美人鱼》赋予了迪士尼新的生命活力（就像animation这个词本身的定义一样——使有生命活力），从该片开始，出现了一系列令人惊叹不已的音乐动画片。两年后，《美女与野兽》问世，塔尔在制作过程中利用了计算机作为传统手绘技术的辅助手段，这部影片获得了奥斯卡最佳电影奖提名，它是第一部获此殊荣的动画片。更好的还在后面，就想着两部影片一样，后面紧接着出现的众多优秀作品——包括《狮子王》，《阿拉丁》，《花木兰》——延续了迪士尼的经典传统：大胆醒目的视觉效果、精致的剧本，以及我们在所有伟大的电影中，不管是动画还是其他类型中都能找到的普适性主题和出乎意料之处。迪士尼的新版《幻想曲》，又被称为《幻想曲2000》，把原版中的部分片段与新的创作部分糅合在一起。（而且，按照迪士尼管理层的说法，该片是首部在IMAX巨幕影院首映的剧情长片。） 亨利·塞利克执导了蒂姆·波顿出品的两部影片，即《圣诞惊魂夜》和《飞天巨桃历险记》——前者是一部完全原创的定格动画，影片画面有时渗透着无限的恐惧，后者改编自罗纳德·达尔的畅销儿童书，该影片以真人实景拍摄开始。《飞天巨桃历险记》对暴力画面和重大恐惧（比如说，离弃）的表达和处理毫无掩饰，表达的真实感受对成人来说和对儿童一样生动鲜明，而蒂姆·波顿的影片《僵尸新娘》，仅仅从名字上就已经显示出影片内容和该幽默表达的“成人”特
毕业论文（设计）外文翻译 题目：中国上市公司偏好股权融资：非制度性因素 系部名称：经济管理系专业班级:会计082班 学生姓名：任民学号： 200880444228 指导教师：冯银波教师职称:讲师 年月日
译文： 中国上市公司偏好股权融资：非制度性因素 国际商业管理杂志 2009.10 摘要：本文把重点集中于中国上市公司的融资活动，运用西方融资理论，从非制度性因素方面，如融资成本、企业资产类型和质量、盈利能力、行业因素、股权结构因素、财务管理水平和社会文化，分析了中国上市公司倾向于股权融资的原因，并得出结论，股权融资偏好是上市公司根据中国融资环境的一种合理的选择。最后，针对公司的股权融资偏好提出了一些简明的建议。 关键词：股权融资，非制度性因素，融资成本 一、前言 中国上市公司偏好于股权融资，根据中国证券报的数据显示，1997年上市公司在资本市场的融资金额为95.87亿美元，其中股票融资的比例是72.5％，，在1998年和1999年比例分别为72.6％和72.3％，另一方面，债券融资的比例分别是17.8％，24.9％和25.1％。在这三年，股票融资的比例，在比中国发达的资本市场中却在下跌。以美国为例，当美国企业需要的资金在资本市场上，于股权融资相比他们宁愿选择债券融资。统计数据显示，从1970年到1985年，美日企业债券融资占了境外融资的91.7％，比股权融资高很多。阎达五等发现，大约中国3/4的上市公司偏好于股权融资。许多研究的学者认为，上市公司按以下顺序进行外部融资：第一个是股票基金，第二个是可转换债券，三是短期债务，最后一个是长期负债。许多研究人员通常分析我国上市公司偏好股权是由于我们国家的经济改革所带来的制度性因素。他们认为，上市公司的融资活动违背了西方古典融资理论只是因为那些制度性原因。例如，优序融资理论认为，当企业需要资金时，他们首先应该转向内部资金（折旧和留存收益），然后再进行债权融资，最后的选择是股票融资。在这篇文章中，笔者认为，这是因为具体的金融环境激活了企业的这种偏好，并结合了非制度性因素和西方金融理论，尝试解释股权融资偏好的原因。
毕业设计（论文） 外文文献翻译 文献、资料中文题目：研究建设项目的工程造价 文献、资料英文题目： 文献、资料来源： 文献、资料发表（出版）日期： 院（部）： 专业：工程管理 班级： 姓名： 学号： 指导教师： 翻译日期： 2017.02.14
科技文献翻译 题目：研究建设项目的工程造价 研究建设项目的工程造价 摘要 在工程建设中，中国是拥有世界最大投资金额和具有最多建设项目的国家。它是一 项在建设项目管理上可以为广泛的工程管理人员进行有效的工程造价管理，并合理 确定和保证施工质量和工期的条件控制施工成本的重要课题。 在失去了中国建筑的投资和技术经济工程，分离的控制现状的基础上，通过建设成 本控制的基本理论为指导，探讨控制方法和施工成本的应用，阐述了存在的问题在 施工成本控制和对决心和施工成本的控制这些问题的影响，提出了建设成本控制应 体现在施工前期，整个施工过程中的成本控制，然后介绍了一些程序和应用价值工 程造价的方法在控制建设项目的所有阶段。 关键词：建设成本，成本控制，项目 1.研究的意义 在中国，现有的工程造价管理体系是20世纪50年代制定的，并在1980s.Traditional 施工成本管理方法改进是根据国家统一的配额，从原苏联引进的一种方法。它的特 点是建设成本的计划经济的管理方法，这决定了它无法适应当前市场经济的要求。 在中国传统建筑成本管理方法主要包括两个方面，即建设成本和施工成本控制方法 的测定方法。工程造价的确定传统的主要做法生搬硬套国家或地方统一的配额数量 来确定一个建设项目的成本。虽然这种方法已经历了20多年的改革，到现在为止，计划经济管理模式的影响仍然有已经存在在许多地区。我们传统的工程造价控制的
Technique summary on the deformation monitoring towards the high side-slope of the diversion tunnel Abstract.This paper discusses in length the deformation monitoring towards the high side-slope of the diversion tunnel. The diversion tunnel lies on the left side of the dam. Its main task is to diverse the water so that the construction on the dam can be fulfilled successfully. On one hand, it tells us how to build the plane (two-dimensional) control network and how to conduct the horizontal displacement; on the other hand, it tells us how to set up the vertical control network and how to carry out the vertical displacement. Keywords:diversion tunnel, high side-slope, deformation monitoring, Horizontal displacement, vertical displacement 1 Introduction to the diversion tunnel The diversion tunnel and its related projects lies on the opposite side of the underground workplace, namely, the left bank of the Shuibuya Valley. Its natural slope is 255 meters high, consisting of soft rocks and hard rocks. The geological structure is so complicated. Specifically speaking, the slope contains two parts, with the above part hard and the below part soft; meanwhile, it also contains lots of fissures. To protect the worker’s safety during the construction period, it is quite necessary to carry out the rigorous monitoring towards the high side-slope. 2 Coordinate system (1)Beijing Geodetic Coordinate System, 1954; (2)Wusong Altitude system, 1956; (3)Gauss projection 3° Zone; (4)Central Meridian 111°. 3 Introdution to deformation of Structures When the structure is being constructed and in use, so many factors will cause five phenomena, such as: structure subsidence, structure displacement, structure oblique and structure fissure etc. These factors mainly include: the uneven geological component of the foundation, the difference of the physical attribute of the soil, the rigid deformation of the soil, the change in the underground water, the change of the atmospheric temperature, the self
软件专业毕业论文外文文献中英文翻译 Object landscapes and lifetimes Tech nically, OOP is just about abstract data typing, in herita nee, and polymorphism, but other issues can be at least as importa nt. The rema in der of this sect ion will cover these issues. One of the most importa nt factors is the way objects are created and destroyed. Where is the data for an object and how is the lifetime of the object con trolled? There are differe nt philosophies at work here. C++ takes the approach that con trol of efficie ncy is the most importa nt issue, so it gives the programmer a choice. For maximum run-time speed, the storage and lifetime can be determined while the program is being written, by placing the objects on the stack (these are sometimes called automatic or scoped variables) or in the static storage area. This places a priority on the speed of storage allocatio n and release, and con trol of these can be very valuable in some situati ons. However, you sacrifice flexibility because you must know the exact qua ntity, lifetime, and type of objects while you're writing the program. If you are trying to solve a more general problem such as computer-aided desig n, warehouse man ageme nt, or air-traffic con trol, this is too restrictive. The sec ond approach is to create objects dyn amically in a pool of memory called the heap. In this approach, you don't know un til run-time how many objects you n eed, what their lifetime is, or what their exact type is. Those are determined at the spur of the moment while the program is runnin g. If you n eed a new object, you simply make it on the heap at the point that you n eed it. Because the storage is man aged dyn amically, at run-time, the amount of time required to allocate storage on the heap is sig ni fica ntly Ion ger tha n the time to create storage on the stack. (Creat ing storage on the stack is ofte n a si ngle assembly in structio n to move the stack poin ter dow n, and ano ther to move it back up.) The dyn amic approach makes the gen erally logical assumpti on that objects tend to be complicated, so the extra overhead of finding storage and releas ing that storage will not have an importa nt impact on the creati on of an object .In additi on, the greater flexibility is esse ntial to solve the gen eral program ming problem. Java uses the sec ond approach, exclusive". Every time you want to create an object, you use the new keyword to build a dyn amic in sta nee of that object. There's ano ther issue, however, and that's the lifetime of an object. With Ian guages that allow objects to be created on the stack, the compiler determines how long the object lasts and can automatically destroy it. However, if you create it on the heap the compiler has no kno wledge of its lifetime. In a Ianguage like C++, you must determine programmatically when to destroy the
动画设计专业论文参考文献 在日常学习和工作中，许多人都有过写论文的经历，对论文都不陌生吧，论文是描述学术研究成果进行学术交流的一种工具。还是对论文一筹莫展吗？下面是小编精心整理的动画设计专业论文参考文献，仅供参考，希望能够帮助到大家。 [1]王兆.目标导向设计中人物角色的应用与研究[D].东华大学.2011 [2]陈龙，徐人平，王浩军.基于Freeform系统的玩偶设计开发.北京市经济管理干部学院学报，2006. [3]大而不强创新不足中国网游或死在同质化和抄袭之手. [4]肖冬.移动互联网引爆未来[J].理财.2014,01:46-48 [5]中国互联网络发展状况统计报告.2010 [6]李洪海，石爽，李霞.交互界面设计[M].北京：化学工业出版社.2011 [7]浅析移动应用软件现状.中国电子商务研究中心. [8]张宏江.移动设备的发展将成根本趋势[J].新领军.2012:24 [9]艾瑞咨询.2014移动互联网用户行为研究报告[R].2014,5 [10]阳俊.游戏界面的人性化设计研究[D].重庆大学.2008 [11]陈启安.软件人机界面设计[M].北京：高等教育出版社.2008 [12]2013年中国手机游戏发展现状及未来展望分析. [13]艾瑞咨询.2014Q1中国移动购物市场交易规模达1350.9亿元 [14]李念.基于游戏机制的互联网产品交互设计研究[D].华东理工大 学.2012 [15]吕锦扬.移动互联网环境下的终端与应用发展[N].广东通信技 术.2013(12) [16]许懋琦，于晓燕.从设计学角度分析手机游戏成功因素[J].设 计.2014,04（200）：135-136 [17]郭伏,郝哲哲,许娜,屈庆星,丁一.基于情感体验的应用软件可用性评估方法研究[J].工业工程与管理.2013 (4) : 152-164
农村社会养老保险的现状、问题与对策研究社会保障对国家安定和经济发展具有重要作用，“城乡二元经济”现象日益凸现，农村社会保障问题客观上成为社会保障体系中极为重要的部分。建立和完善农村社会保障制度关系到农村乃至整个社会的经济发展，并且对我国和谐社会的构建至关重要。我国农村社会保障制度尚不完善，因此有必要加强对农村独立社会保障制度的构建，尤其对农村养老制度的改革，建立健全我国社会保障体系。从户籍制度上看，我国居民养老问题可分为城市居民养老和农村居民养老两部分。对于城市居民我国政府已有比较充足的政策与资金投人，使他们在物质和精神方面都能得到较好地照顾，基本实现了社会化养老。而农村居民的养老问题却日益突出，成为摆在我国政府面前的一个紧迫而又棘手的问题。 一、我国农村社会养老保险的现状 关于农村养老，许多地区还没有建立农村社会养老体系，已建立的地区也存在很多缺陷，运行中出现了很多问题，所以完善农村社会养老保险体系的必要性与紧迫性日益体现出来。 （一）人口老龄化加快 随着城市化步伐的加快和农村劳动力的输出，越来越多的农村青壮年人口进入城市，年龄结构出现“两头大，中间小”的局面。中国农村进入老龄社会的步伐日渐加快。第五次人口普查显示：中国65岁以上的人中农村为5938万，占老龄总人口的67.4%.在这种严峻的现实面前，农村社会养老保险的徘徊显得极其不协调。 （二）农村社会养老保险覆盖面太小 中国拥有世界上数量最多的老年人口，且大多在农村。据统计，未纳入社会保障的农村人口还很多，截止2000年底，全国7400多万农村居民参加了保险，占全部农村居民的11.18%，占成年农村居民的11.59%.另外，据国家统计局统计，我国进城务工者已从改革开放之初的不到200万人增加到2003年的1.14亿人。而基本方案中没有体现出对留在农村的农民和进城务工的农民给予区别对待。进城务工的农民既没被纳入到农村养老保险体系中，也没被纳入到城市养老保险体系中，处于法律保护的空白地带。所以很有必要考虑这个特殊群体的养老保险问题。
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