网页设计毕设外文翻译--基于JSP网页自动生成工具的设计与实现

基于JAVA在线音乐系统的设计与实现1绪论1.1 课题的目的和意义随着互联网和宽带上网的普及，Integer音乐网站在中国异军突起，并日益渗透到人们的日常生活中。

音乐网站是运用现代通信技术、计算机和网络技术进行的一种社会形态，其目的是通过互联网、提高社会生产效率、优化社会资源配置，从而实现社会财富的最大化利用。

本课题所研究的Integer音乐网站主要是为个人提供搜索，欣赏和下载的一个平台，从而给个人带来方便。

课题目标是设计并实现一个B/S体系结构的Integer音乐网站。

结合实践，理解网页开发技术和数据库的基本知识，学习相关开发工具和应用软件，熟悉网站建设的过程，熟练掌握网络数据库编程方法。

1.2 国内现状分析现在我国的信息管理水平还比较落后，这样的机制已经不能适应时代的发展，因为它浪费了许多人力和物力，在信息时代传统的管理方法必然被计算机为基础的信息管理所取代。

软件作为一项有力的工具，只能当此种工具，与我们的实践相结合起来的时候，才具有重大的社会价值及使用价值。

因此根据目前实际的情况开发这样一套管理系统是十分必要的。

随着科学技术的不断提高,计算机科学技术日渐成熟,其强大的功能已为人们深刻认识,它已进入人类社会的各个领域并发挥着越来越重要的作用。

作为计算机应用的一部分,使用计算机进行管理，具有着手工管理所无法比拟的优点。

例如:可靠性高、存储量大、保密性好、寿命长、成本低等。

这些优点能够极大地提高工作的效率,也是信息正规化管理与世界接轨的重要条件。

本系统用JSP语言来编写社本系统，数据库用SQLSERVER 2000来连接系统。

本论文主要涉及软件，数据库与网络技术等。

涵盖知识面广，可有效地提高学生综合运用所学知识分析解决问题的能力，增强学生对事物的理解与掌握能力，培养学生掌握科学的研究方法，正确的设计思想，独立思考，勇于进取，探索创新，为今后进一步学习与工作奠定了良好的基础。

2可行性研究与需求分析2.1 可行性研究该阶段通过对系统目标的初步调研和分析，提出可行性方案并进行论证。

网站的设计与制作目录第一章前言第二章1．1课题来源1．2 网站开发项目需求分析1．3 软件1．4 软件运行环境第二章网站制作2．1做网页的步骤2. 2做网页的要素2．3 系统各模块功能实现第三章网站的设计3．1主页的要求3．2子页的要求第四章结束语参考文献摘要汽车网站是一个结合了汽车销售等多功能浏览的汽车网站，我所使用的软件是Macromedia 公司推出的一款用于网页设计的软件——dreamweaver8。

在网页的制作与链接中，我学到了很多。

关键词：超链接外观性能第一章前言1．1课题来源随着二十一世纪新兴科技的飞速发展，如今的电子信息产业正在经受着一个巨大的挑战，同时也面临着一个重大的机遇。

就目前的科技发展水平而言，电子信息产业的发展已经不能够满足社会化大生产的要求，因此，各个国家集中人力、财力加大对信息技术产业的投入，以适应目前需要。

可喜的是在这几十年的发展中我们有了互联网。

互联网加大了我们了解世界的眼界，缩紧了人与人之间的距离，这就更容易的使我们走上信息化的道路。

以往，人们出行都以自行车居多，后来公交事业发展壮大，人们便乘坐公交汽车，现如今，随着人们生活水平的提高，越来越多的家庭已经拥有或者想拥有自己的私家车。

正是因为人们的这些需求，越来越多的汽车网站出现在网络上，使人们可以随时了解自己想知道的汽车方面的新闻，真正的做到足不出户，便知天下事。

把汽车销售与网络连接起来，是今后汽车销售发展的必然方向之一。

1．2 网站开发项目需求分析一个网站项目的确立是建立在各种各样的需求上面的，这种需求往往来自于客户的实际需求或者是出于公司自身发展的需要，其中客户的实际需求也就是说这种交易性质的需求占了绝大部分。

面对对网站开发拥有不同知识层面的客户，项目的负责人对用户需求的理解程度，在很大程度上决定了此类网站开发项目的成败。

因此如何更好地的了解、分析、明确用户需求，并且能够准确、清晰以文档的形式表达给参与项目开发的每个成员，保证开发过程按照满足用户需求为目的正确项目开发方向进行，是每个网站开发项目管理者需要面对的问题。

毕业设计外文翻译去哪找毕业设计外文翻译去哪找毕业设计是每个大学生必须完成的一项重要任务，而对于很多专业的学生来说，外文翻译是不可避免的一部分。

然而，对于很多学生来说，找到合适的外文翻译资源却是一项具有挑战性的任务。

那么，我们应该去哪里找到可靠的外文翻译资源呢？首先，我们可以从学校图书馆开始寻找外文翻译资源。

学校图书馆通常拥有丰富的外文书籍和期刊，这些资源可以为我们提供很好的参考和翻译材料。

我们可以通过图书馆的网站或者直接前往图书馆咨询，了解他们是否有我们需要的外文书籍，并借阅或复印相关资料。

此外，图书馆还可能提供一些外文翻译的指导书籍和工具，这些都是我们进行外文翻译的宝贵资源。

其次，互联网也是一个寻找外文翻译资源的重要途径。

我们可以通过搜索引擎搜索相关的外文翻译网站或者在线图书馆，这些网站通常提供大量的外文翻译资料和工具。

我们可以在这些网站上找到我们需要的外文文献、期刊文章或者翻译工具，以帮助我们更好地进行外文翻译。

然而，在使用互联网资源时，我们需要注意选择可靠的网站，尽量避免使用不可靠的或者未经验证的翻译资料，以免对我们的翻译结果产生负面影响。

此外，我们还可以寻找一些专业的外文翻译机构或者翻译服务平台。

这些机构和平台通常拥有一支经验丰富的翻译团队，可以为我们提供高质量的外文翻译服务。

我们可以通过向这些机构或者平台提交我们的翻译需求，他们会根据我们的要求为我们提供相应的外文翻译服务。

当然，这种方式可能需要一定的费用，但是相对于自己进行翻译或者使用不可靠的翻译资源来说，这样的投资是非常值得的。

最后，我们还可以通过与同学、教师或者其他专业人士进行交流，寻求他们的帮助和建议。

他们可能有更丰富的外文翻译经验，可以为我们提供一些建议和指导。

我们可以向他们请教关于外文翻译的技巧和方法，或者询问他们是否有可靠的外文翻译资源推荐给我们。

与他人的交流不仅可以帮助我们找到更好的外文翻译资源，还可以提升我们的翻译能力和专业水平。

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。

外文原文Overview of JSP Technology and JSP application frameworksAutor: Zambon Giulio/ Sekler MichaelSource: Springer-Verlag New York Inc1．Benefits of JSPJSP pages are translated into servlets. So, fundamentally, any task JSP pages can perform could also be accomplished by servlets. However, this underlying equivalence does not mean that servlets and JSP pages are equally appropriate in all scenarios. The issue is not the power of the technology, it is the convenience, productivity, and maintainability of one or the other. After all, anything you can do on a particular computer platform in the Java programming language you could also do in assembly language. But it still matters which you choose.JSP provides the following benefits over servlets alone: •It is easier to write and maintain the HTML. Your static code is ordinary HTML: no extra backslashes, no double quotes, and no lurking Java syntax.• You can use standard Web-site development tools. Even HTML tools that know nothing about JSP can be used because they simply ignore the JSP tags.• You can divide up your development team. The Java programmers can work on the dynamic code. The Web developers can concentrate on the presentation layer. On large projects, this division is very important. Depending on the size of your team and the complexity of your project, you can enforce a weaker or stronger separation between the static HTML and the dynamic content.Now, this discussion is not to say that you should stop using servlets and use only JSP instead. By no means. Almost all projects will use both. For some requests in your project, you will use servlets. For others, you will use JSP. For still others, you will combine them with the MVC architecture . You want the appropriate tool for the job, and servlets, by themselves, do not complete your toolkit.2.Advantages of JSP Over Competing TechnologiesA number of years ago, Marty was invited to attend a small 20-person industry roundtable discussion on software technology. Sitting in the seat next to Marty was James Gosling, inventor of the Java programming language. Sitting several seats away was a high-level manager from a very large software company in Redmond, Washington. During the discussion, the moderator brought up the subject of Jini,which at that time was a new Java technology. The moderator asked the manager what he thought of it, and the manager responded that it was too early to tell, but that it seemed to be an excellent idea. He went on to say that they would keep an eye on it, and if it seemed to be catching on, they would follow his company's usual "embrace and extend" strategy. At this point, Gosling lightheartedly interjected "You mean disgrace and distend."Now, the grievance that Gosling was airing was that he felt that this company would take technology from other companies and suborn it for their own purposes. But guess what? The shoe is on the other foot here. The Java community did not invent the idea of designing pages as a mixture of static HTML and dynamic code marked with special tags. For example, ColdFusion did it years earlier. Even ASP (a product from the very software company of the aforementioned manager) popularized this approach before JSP came along and decided to jump on the bandwagon. In fact, JSP not only adopted the general idea, it even used many of the same special tags as ASP did..So, the question becomes: why use JSP instead of one of these other technologies? Our first response is that we are not arguing that everyone should. Several of those other technologies are quite good and are reasonable options in some situations. In other situations, however, JSP is clearly better. Here are a few of the reasons.2.1 Versus .NET and Active Server Pages (ASP). NET is well-designed technology from Microsoft. is the part that directly competes with servlets and JSP. The advantages of JSP are two fold.First, JSP is portable to multiple operating systems and Web servers; you aren't locked into deploying on Windows and IIS. Although the core .NET platform runs on a few non-Windows platforms, the ASP part does not. You cannot expect to deploy serious applications on multiple servers and operating systems. For some applications, this difference does not matter. For others, it matters greatly.Second, for some applications the choice of the underlying language matters greatly. For example, although .NET's C# language is very well designed and is similar to Java, fewer programmers are familiar with either the core C# syntax or the many auxiliary libraries. In addition, many developers still use the original version of ASP. With this version, JSP has a clear advantage for the dynamic code. With JSP, the dynamic part is written in Java, not VBScript or another ASP-specific language, so JSP is more powerful and better suited to complex applications that require reusable components.You could make the same argument when comparing JSP to the previous version of ColdFusion; with JSP you can use Java for the "real code" and are not tied to a particular server product. However, the current release of ColdFusion is within the context of a J2EE server, allowing developers to easily mix ColdFusion and servlet/JSP code.2.2 Versus PHPPHP (a recursive acronym for "PHP: Hypertext Preprocessor") is a free, open-source, HTML-embedded scripting language that is somewhat similar to both ASP and JSP. One advantage of JSP is that the dynamic part is written in Java, which already has an extensive API for networking, database access, distributed objects, and the like, whereas PHP requires learning an entirely new, less widely used language. A second advantage is that JSP is much more widely supported by tool and server vendors than is PHP.2.3 Versus Pure ServletsJSP doesn't provide any capabilities that couldn't, in principle, be accomplished with servlets. In fact, JSP documents are automatically translated into servlets behind the scenes. But it is more convenient to write (and to modify!) regular HTML than to use a zillion println statements to generate the HTML. Plus, by separating the presentation from the content, you can put different people on different tasks: your Web page design experts can build the HTML by using familiar tools and either leave places for your servlet programmers to insert the dynamic content or invoke the dynamic content indirectly by means of XML tags.Does this mean that you can just learn JSP and forget about servlets? Absolutely not! JSP developers need to know servlets for four reasons:1. JSP pages get translated into servlets. You can't understand how JSP works without understanding servlets.2. JSP consists of static HTML, special-purpose JSP tags, and Java code. What kind of Java code? Servlet code! You can't write that code if you don't understand servlet programming.3. Some tasks are better accomplished by servlets than by JSP. JSP is good at generating pages that consist of large sections of fairly well structured HTML or other character data. Servlets are better for generating binary data,building pages with highly variable structure, and performing tasks (such as redirection) that involve little or no output.4. Some tasks are better accomplished by a combination of servlets and JSP than by either servlets or JSP alone.2.4 Versus JavaScriptJavaScript, which is completely distinct from the Java programming language, is normally used to dynamically generate HTML on the client, building parts of the Web page as the browser loads the document. This is a useful capability and does not normally overlap with the capabilities of JSP (which runs only on the server). JSP pages still include SCRIPT tags for JavaScript, just as normal HTML pages do. In fact, JSP can even be used to dynamically generate the JavaScript that will be sent to the client. So, JavaScript is not a competing technology; it is a complementary one.It is also possible to use JavaScript on the server, most notably on Sun ONE (formerly iPlanet), IIS, and BroadVision servers. However, Java is more powerful, flexible, reliable, and portable.2.5 Versus WebMacro or VelocityJSP is by no means perfect. Many people have pointed out features that could be improved. This is a good thing, and one of the advantages of JSP is that the specification is controlled by a community that draws from many different companies. So, the technology can incorporate improvements in successive releases.However, some groups have developed alternative Java-based technologies to try to address these deficiencies. This, in our judgment, is a mistake. Using a third-party tool like Apache Struts that augments JSP and servlet technology is a good idea when that tool adds sufficient benefit to compensate for the additional complexity. But using a nonstandard tool that tries to replace JSP is a bad idea. When choosing a technology, you need to weigh many factors: standardization, portability, integration, industry support, and technical features. The arguments for JSP alternatives have focused almost exclusively on the technical features part. But portability, standardization, and integration are also very important. For example, the servlet and JSP specifications define a standard directory structure for Web applications and provide standard files (.war files) for deploying Web applications. All JSP-compatible servers must support these standards. Filters can be set up toapply to any number of servlets or JSP pages, but not to nonstandard resources. The same goes for Web application security settings.Besides, the tremendous industry support for JSP and servlet technology results in improvements that mitigate many of the criticisms of JSP. For example, the JSP Standard Tag Library and the JSP 2.0 expression language address two of the most well-founded criticisms: the lack of good iteration constructs and the difficulty of accessing dynamic results without using either explicit Java code or verbose jsp:useBean elements.3. Misconceptions About JSPForgetting JSP Is Server-Side TechnologyHere are some typical questions Marty has received (most of them repeatedly). • Our server is running JDK 1.4. So, how do I put a Swing component in a JSP page?•How do I put an image into a JSP page? I do not know the proper Java I/O commands to read image files.• Since Tomcat does not support JavaScript, how do I make images that are highlighted when the user moves the mouse over them?• Our clients use older browsers that do not understand JSP. What should we do?• When our clients use "View Source" in a browser, how can I prevent them from seeing the JSP tags?All of these questions are based upon the assumption that browsers know something about the server-side process. But they do not. Thus:• For putting applets with Swing components into Web pages, what matters is the browser's Java version—the server's version is irrelevant. If the browser supports the Java 2 platform, you use the normal APPLET (or Java plug-in) tag and would do so even if you were using non-Java technology on the server. • You do not need Java I/O to read image files; you just put the image in the directory for Web resources (i.e., two levels up from WEB-INF/classes) and output a normal IMG tag.•You create images that change under the mouse by using client-side JavaScript, referenced with the SCRIPT tag; this does not change just because the server is using JSP.• Browsers do not "support" JSP at all—they merely see the output of the JSP page. So, make sure your JSP outputs HTML compatible with the browser, just asyou would do with static HTML pages.• And, of course you need not do anything to prevent clients from seeing JSP tags; those tags are processed on the server and are not part of the output that is sent to the client.Confusing Translation Time with Request TimeA JSP page is converted into a servlet. The servlet is compiled, loaded into the server's memory, initialized, and executed. But which step happens when? To answer that question, remember two points:• The JSP page is translated into a servlet and compiled only the first time it is accessed after having been modified.• Loading into memory, initialization, and execution follow the normal rules for servlets.The most frequently misunderstood entries are highlighted. When referring to the table, note that servlets resulting from JSP pages use the _jspService method (called for both GET and POST requests), not doGet or doPost. Also, for initialization, they use the jspInit method, not the init method.JSP page translated into servlet Servlet compiled Servlet loaded into server's memory jspInit called _jspService called.4.What are application frameworks:A framework is a reusable, semi-complete application that can be specialized to produce custom applications [Johnson]. Like people, software applications are more alike than they are different. They run on the same computers, expect input from the same devices, output to the same displays, and save data to the same hard disks. Developers working on conventional desktop applications are accustomed to toolkits and development environments that leverage the sameness between applications. Application frameworks build on this common ground to provide developers with a reusable structure that can serve as the foundation for their own products.A framework provides developers with a set of backbone components that have the following characteristics:1.They are known to work well in other applications.2. They are ready to use with the next project.3. They can also be used by other teams in the organization.Frameworks are the classic build-versus-buy proposition. If you build it, you will understand it when you are done—but how long will it be before youcan roll your own? If you buy it, you will have to climb the learning curve—and how long is that going to take? There is no right answer here, but most observers would agree that frameworks such as Struts provide a significant return on investment compared to starting from scratch, especially for larger projects.Other types of frameworks:The idea of a framework applies not only to applications but to application componentsas well. Throughout this article, we introduce other types of frameworks that you can use with Struts. These include the Lucene search engine, the Scaffold toolkit, the Struts validator, and the Tiles tag library. Like application frameworks, these tools provide semi-complete versions of a subsystem that can be specialized to provide a custom component.Some frameworks have been linked to a proprietary development environment. This is not the case with Struts or any of the other frameworks shown in this book. You can use any development environment with Struts: Visual Age for Java, JBuilder, Eclipse, Emacs, and Textpad are all popular choices among Struts developers. If you can use it with Java, you can use it with Struts.Enabling technologies:Applications developed with Struts are based on a number of enabling technologies.These components are not specific to Struts and underlie every Java web application. A reason that developers use frameworks like Struts is to hide the nasty details behind acronyms like HTTP, CGI, and JSP. As a Struts developer, you don’t need to be an alphabet soup guru, but a working knowledge of these base technologies can help you devise creative solutions to tricky problems.Hypertext Transfer Protocol (HTTP):When mediating talks between nations, diplomats often follow a formal protocol.Diplomatic protocols are designed to avoid misunderstandings and to keep negotiations from breaking down. In a similar vein, when computers need to talk, they also follow a formal protocol. The protocol defines how data is transmitted and how to decode it once it arrives. Web applications use the Hypertext Transfer Protocol (HTTP) to move data between the browser running on your computer and the application running on the server.Many server applications communicate using protocols other than HTTP. Some of these maintain an ongoing connection between the computers. The application server knows exactly who is connected at all times and can tell when a connectionis dropped. Because they know the state of each connection and the identity of each person using it, these are known as stateful protocols.By contrast, HTTP is known as a stateless protocol. An HTTP server will accept any request from any client and will always provide some type of response, even if the response is just to say no. Without the overhead of negotiating and retaining a connection, stateless protocols can handle a large volume of requests. This is one reason why the Internet has been able to scale to millions of computers.Another reason HTTP has become the universal standard is its simplicity. An HTTP request looks like an ordinary text document. This has made it easy for applications to make HTTP requests. You can even send an HTTP request by hand using a standard utility such as Telnet. When the HTTP response comes back, it is also in plain text that developers can read.The first line in the HTTP request contains the method, followed by the locationof the requested resource and the version of HTTP. Zero or more HTTP request headers follow the initial line. The HTTP headers provide additional information to the server. This can include the browser type and version, acceptable document types, and the browser’s cookies, just to name a few. Of the seven request methods, GET and POST are by far the most popular.Once the server has received and serviced the request, it will issue an HTTP response. The first line in the response is called the status line and carries the HTTP protocol version, a numeric status, and a brief description of the status. Following the status line, the server will return a set of HTTP response headers that work in a way similar to the request headers.As we mentioned, HTTP does not preserve state information between requests.The server logs the request, sends the response, and goes blissfully on to the next request. While simple and efficient, a stateless protocol is problematic for dynamic applications that need to keep track of their users. (Ignorance is not always bliss.Cookies and URL rewriting are two common ways to keep track of users between requests. A cookie is a special packet of information on the user’s computer. URL rewriting stores a special reference in the page address that a Java server can use to track users. Neither approach is seamless, and using either means extra work when developing a web application. On its own, a standard HTTP web server does not traffic in dynamic content. It mainly uses the request to locatea file and then returns that file in the response. The file is typically formatted using Hypertext Markup Language (HTML) [W3C, HTML] that the web browser can format and display. The HTML page often includes hypertext links to other web pages and may display any number of other goodies, such as images and videos. The user clicks a link to make another request, and the process begins a new.Standard web servers handle static content and images quite well but need a helping hand to provide users with a customized, dynamic response.DEFINITION:Static content on the Web comes directly from text or data files, like HTML or JPEG files. These files might be changed from time to time, but they are not altered automatically when requested by a web browser. Dynamic content, on the other hand, is generated on the fly, typically in response to an individualized request from a browser.Common Gateway Interface (CGI):The first widely used standard for producing dynamic content was the Common Gateway Interface (CGI). CGI uses standard operating system features, such as environment variables and standard input and output, to create a bridge, or gateway, between the web server and other applications on the host machine. The other applications can look at the request sent to them by the web server and create a customized response.When a web serve r receives a request that’s intended for a CGI program, it runs that program and provides the program with information from the incoming request. The CGI program runs and sends its output back to the server. The web server then relays the response to the browser.CGI defines a set of conventions regarding what information it will pass as environment variables and how it expects standard input and output to be used. Like HTTP, CGI is flexible and easy to implement, and a great number of CGI-aware programs have been written.The main drawback to CGI is that it must run a new copy of the CGI-aware program for each request. This is a relatively expensive process that can bog down high-volume sites where thousands of requests are serviced per minute. Another drawback is that CGI programs tend to be platform dependent. A CGI program written for one operating system may not run on another.5. Java servlets:Sun’s Java Servlet platform directly addresses the two main drawbacks of CGI programs.First, servlets offer better performance and utilization ofresources than conventional CGI programs. Second, the write-once, run-anywhere nature of Java means that servlets are portable between operating systems that have a Java Virtual Machine (JVM).A servlet looks and feels like a miniature web server. It receives a request and renders a response. But, unlike conventional web servers, the servlet application programming interface (API) is specifically designed to help Java developers create dynamic applications.The servlet itself is simply a Java class that has been compiled into byte code, like any other Java object. The servlet has access to a rich API of HTTP-specific services, but it is still just another Java object running in an application and can leverage all your other Java assets.To give conventional web servers access to servlets, the servlets are plugged into containers. The servlet container is attached to the web server. Each servlet can declare what URL patterns it would like to handle. When a request matching a registered pattern arrives, the web server passes the request to the container, and the container invokes the servlet.But unlike CGI programs, a new servlet is not created for each request. Once the container instantiates the servlet, it will just create a new thread for each request. Java threads are much less expensive than the server processes used by CGI programs. Once the servlet has been created, using it for additional requests incurs very little overhead. Servlet developers can use the init() method to hold references to expensive resources, such as database connections or EJB Home Interfaces, so that they can be shared between requests. Acquiring resources like these can take several seconds—which is longer than many surfers are willing to wait.The other edge of the sword is that, since servlets are multithreaded, servlet developers must take special care to be sure their servlets are thread-safe. To learn more about servlet programming, we recommend Java Servlets by Example, by Alan R. Williamson [Williamson]. The definitive source for Servlet information is the Java Servlet Specification [Sun, JST].6. JavaServer Pages:While Java servlets are a big step up from CGI programs, they are not a panacea. To generate the response, developers are still stuck with using println statements to render the HTML. Code that looks like:out.println("<P>One line of HTML.</P>");out.println("<P>Another line of HTML.</P>");is all too common in servlets that generate the HTTP response. There are libraries that can help you generate HTML, but as applications grow more complex, Java developers end up being cast into the role of HTML page designers.Meanwhile, given the choice, most project managers prefer to divide development teams into specialized groups. They like HTML designers to be working on the presentation while Java engineers sweat the business logic. Using servlets alone encourages mixing markup with business logic, making it difficult for team members to specialize.To solve this problem, Sun turned to the idea of using server pages to combine scripting and templating technologies into a single component. To build Java Server Pages, developers start by creating HTML pages in the same old way, using the same old HTML syntax. To bring dynamic content into the page, the developer can also place JSP scripting elements on the page. Scripting elements are tags that encapsulate logic that is recognized by the JSP. You can easily pick out scripting elements on JSP pages by looking for code that begins with <% and ends with %>.To be seen as a JSP page, the file just needs to be saved with an extension of .jsp.When a client requests the JSP page, the container translates the page into a source code file for a Java servlet and compiles the source into a Java class file—just as you would do if you were writing a servlet from scratch. At runtime, the container can also check the last modified date of the JSP file against the class file. If the JSP file has changed since it was last compiled, the container will retranslate and rebuild the page all over again.Project managers can now assign the presentation layer to HTML developers, who then pass on their work to Java developers to complete the business-logic portion. The important thing to remember is that a JSP page is really just a servlet. Anything you can do with a servlet, you can do with a JSP.7. JavaBeans:JavaBeans are Java classes which conform to a set of design patterns that make them easier to use with development tools and other components.DEFINITION A JavaBean is a reusable software component written in Java. To qualify as a JavaBean, the class must be concrete and public, and have a noargument constructor. JavaBeans expose internal fields as properties byproviding public methods that follow a consistent design pattern. Knowing that the property names follow this pattern, other Java classes are able to use introspection to discover and manipulate JavaBean properties.The JavaBean design patterns provide access to the bean’s internal state through two flavor s of methods: accessors are used to read a JavaBean’s state; mutators are used to change a JavaBean’s state.Mutators are always prefixed with lowercase token set followed by the property name. The first character in the property name must be uppercase. The return value is always void—mutators only change property values; they do not retrieve them. The mutator for a simple property takes only one parameter in its signature, which can be of any type. Mutators are often nicknamed setters after their prefix. The mutator method signature for a weight property of the type Double would be:public void setWeight(Double weight)A similar design pattern is used to create the accessor method signature. Accessor methods are always prefixed with the lowercase token get, followed by the property name. The first character in the property name must be uppercase. The return value will match the method parameter in the corresponding mutator. Accessors for simple properties cannot accept parameters in their method signature. Not surprisingly, accessors are often called getters.The accessor method signature for our weight property is：public Double getWeight()If the accessor returns a logical value, there is a variant pattern. Instead of using the lowercase token get, a logical property can use the prefix is, followed by the property name. The first character in the property name must be uppercase. The return value will always be a logical value—either boolean or Boolean. Logical accessors cannot accept parameters in their method signature.The boolean accessor method signature for an on property would bepublic boolean isOn()The canonical method signatures play an important role when working with Java- Beans. Other components are able to use the Java Reflection API to discover a JavaBean’s properties by looking for methods prefixed by set, is, or get. If a component finds such a signature on a JavaBean, it knows that the method can be used to access or change the bean’s properties.。

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学位论文作者（签名）：关于毕业论文使用授权的声明本人在指导老师的指导下所完成的论文及相关的资料（包括图纸、实验记录、原始数据、实物照片、图片、录音带、设计手稿等），知识产权归属华北电力大学。

本人完全了解大学有关保存，使用毕业论文的规定。

同意学校保存或向国家有关部门或机构送交论文的纸质版或电子版，允许论文被查阅或借阅。

本人授权大学可以将本毕业论文的全部或部分内容编入有关数据库进行检索，可以采用任何复制手段保存或编汇本毕业论文。

如果发表相关成果，一定征得指导教师同意，且第一署名单位为大学。

本人毕业后使用毕业论文或与该论文直接相关的学术论文或成果时，第一署名单位仍然为大学。

本人完全了解大学关于收集、保存、使用学位论文的规定，同意如下各项内容：按照学校要求提交学位论文的印刷本和电子版本；学校有权保存学位论文的印刷本和电子版，并采用影印、缩印、扫描、数字化或其它手段保存或汇编本学位论文；学校有权提供目录检索以及提供本学位论文全文或者部分的阅览服务；学校有权按有关规定向国家有关部门或者机构送交论文的复印件和电子版，允许论文被查阅和借阅。

网站的设计与制作目录第一章 前言第二章1．1课题来源1．2 网站开发项目需求分析1．3 软件1．4 软件运行环境第二章 网站制作2．1做网页的步骤2. 2做网页的要素2．3 系统各模块功能实现第三章 网站的设计3．1 主页的要求3．2 子页的要求第四章 结束语参考文献摘 要汽车网站是一个结合了汽车销售等多功能浏览的汽车网站，我所使用的软件是Macromedia 公司推出的一款用于网页设计的软件——dreamweaver8。

在网页的制作与链接中，我学到了很多。

关键词： 超链接外观性能第一章 前言1．1课题来源随着二十一世纪新兴科技的飞速发展，如今的电子信息产业正在经受着一个巨大的挑战，同时也面临着一个重大的机遇。

就目前的科技发展水平而言，电子信息产业的发展已经不能够满足社会化大生产的要求，因此，各个国家集中人力、财力加大对信息技术产业的投入，以适应目前需要。

可喜的是在这几十年的发展中我们有了互联网。

互联网加大了我们了解世界的眼界，缩紧了人与人之间的距离，这就更容易的使我们走上信息化的道路。

以往，人们出行都以自行车居多，后来公交事业发展壮大，人们便乘坐公交汽车，现如今，随着人们生活水平的提高，越来越多的家庭已经拥有或者想拥有自己的私家车。

正是因为人们的这些需求，越来越多的汽车网站出现在网络上，使人们可以随时了解自己想知道的汽车方面的新闻，真正的做到足不出户，便知天下事。

把汽车销售与网络连接起来，是今后汽车销售发展的必然方向之一。

1．2 网站开发项目需求分析一个网站项目的确立是建立在各种各样的需求上面的，这种需求往往来自于客户的实际需求或者是出于公司自身发展的需要，其中客户的实际需求也就是说这种交易性质的需求占了绝大部分。

面对对网站开发拥有不同知识层面的客户，项目的负责人对用户需求的理解程度，在很大程度上决定了此类网站开发项目的成败。

因此如何更好地的了解、分析、明确用户需求，并且能够准确、清晰以文档的形式表达给参与项目开发的每个成员，保证开发过程按照满足用户需求为目的正确项目开发方向进行，是每个网站开发项目管理者需要面对的问题。

毕业论文网站设计与制作所属系：计算机专业：应用技术学生姓名： ***学号： ************指导老师： ****二〇一一年五月第 1 章网站总体分析及概要设计1.1 模块功能分析1.1.1 引导首页模块引导首页使用整体颜色背景，配合图片或Flash 构成，顶部为导航首页链接。

1.1.2 班级形象模块该模块功能主要是展示班级的形象，同时作为网站的导航首页，在用户登录后就可以看到班级的更整体形象，班级的展示及班级动态，用户还可以通过顶部和左侧的导航栏进入网站，深入的了解该班级。

1.1.3 用户模块用户注册与登录：网络上的用户通过填写ID、密码等信息可以注册成为会员，并获得相应的用户权限。

系统自动把用户的注册信息存储到服务器端的数据库中。

如果用户ID 重复或者填写错误，系统会给出提示信息，而通过用户注册与登录、可以自由发布与查看各种信息。

用户信息维护：系统的注册用户可以随时修改自己的注册信息，这些修改后的信息将自动更新到服务器端的数据库中。

用户登录 / 退出：系统的注册用户可以登录系统并且获得相应的权限，登录了的用户也可以选择退出登录。

1.1.4 留言板模块该模块功能主要是提供用户与网站主之间的交流平台及站长收集用户反馈信息以改善站点。

1.2 网站导航功能结构网站主要实现的功能有：网站首页导航，各页面导航以及其他模块。

1.3 论文可行性分析1.3.1 社会可行性分析可行性分析主要分析现有技术条件能否顺利完成开发工作，软硬件配置能否满足开发者的需要等。

随着计算机硬件和软件技术的飞速发展，为网站的建设提供了有利的技术条件，由此看来技术基础也已非常成熟，因而技术上是可行的。

1.3.2 软件可行性分析1.3.2.1 ASP技术介绍ASP（ Active Server pages）即“动态服务器网页”，ASP之所以能受到大家的重视与使用的原因，只要在于脚本在服务器上而不是在客户端运行，传送到浏览器上的Web 页是在 Web 服务器上生成的。

基于JSP的课程学习网站设计与实现摘要《高频电子线路》课程的学习网站是利用JA V A语言编写的，并采用myeclipse8.5开发工具编写而成的。

其后台数据库采用Microsoft Sql Server 2000数据库进行支持，界面美化是利用Adobe PhotoshopCS3图片处理软件进行处理的。

本系统从使用者角度出发，界面友好美观，人机信息交互灵活、方便、快捷，安全可靠，系统同时具有很大的可扩充性。

系统由系统设置模块、学习资源材料分类管理模块、学习资源文件管理模块、用户管理模块、老师审核管理模块、在线查看审核结果管理模块等模块组成。

每个模块都实现了增加、删除、修改，查询等相关操作。

为了保证系统的安全性，在用户登录系统设计时，用户需输入正确的工号和用户口令才能进入系统，并且不同的身份的用户具有不同的权限。

本论文主要是根据用户对《高频电子线路》课程的学习网站的需求，分析写出的系统设计文档，本文档作为《高频电子线路》课程的学习网站的依据。

关键词：高频电子线路；学习网站；JSP；文件审核Abstract" Electronic circuit" course website is the use of JA V A language, and the use of myeclipse8.5development tools to prepare a. The background database using Microsoft Sql Server 2000database support, beautify the interface is the use of Adobe PhotoshopCS3 image processing software for processing. The system from the user point of view, friendly interface, flexible man-machine information interactive, convenient, fast, safe and reliable, the system also has great extensibility. The system consists of system settings module, learning resource material classification management module, learning resource file management module, user management module, teacher management module, view online audit results management module and other modules. Each module has realized increase, delete, modify, query and other operations. In order to ensure the safety of the system, the user is logged in the system design, the user needs to input the correct number and password to enter the system, and the different identities of users with different privileges. This paper is based on users of" electronic circuit" course web site needs analysis, write system design documents, the document as" electronic circuit" course learning website based on.Key words: high-frequency electronic circuits; learning website; JSP; document review目录基于JSP的课程学习网站设计与实现 (1)摘要 (1)第一章绪论 (4)1.1 课题的研究背景及意义 (4)1.2课题的研究现状及发展趋势 (4)1.3 课题的主要内容介绍 (5)1.4 本章小结 (5)第二章需求分析 (6)2.1 系统可行性分析 (6)2.2 需求分析 (7)2.2.1 用户需求 (7)2.2.2 系统资源需求 (8)2.2.3功能需求 (8)2.2.4数据字典 (8)第三章系统的总体设计 (11)3.1系统总体结构 (11)3.2系统功能结构 (11)3.2.1用户信息管理功能模块 (12)3.2.2文件分类信息管理功能模块 (12)3.2.3文件管理功能模块 (13)3.2.4我的审核管理功能模块 (13)3.2.5审核管理模块 (14)3.2.5系统维护模块 (14)第四章数据库设计 (15)4.1概念结构设计 (15)4.2逻辑结构设计与实施 (17)第五章详细设计 (19)5.1登陆模块设计与实现 (19)5.2用户信息管理设计与实现 (21)5.3 文件分类功能设计与实现 (23)5.4 文件管理功能设计与实现 (25)5.5 我的审管理功能设计与实现 (27)5.6审核功能设计与实现 (29)5.7 系统维护功能设计与实现 (31)第六章系统的测试与运行 (34)6.1黑盒测试 (34)6.1.1 用户登录测试 (34)6.1.2 密码修改测试 (35)6.1.3 添加用户 (35)6.1.4 文件审核管理 (36)6.2白盒测试 (36)6.3测试小结 (37)致谢 (38)参考资料 (39)第一章绪论1.1 课题的研究背景及意义信息时代，随着计算机技术以及通信网络的飞速发展，信息的发布和交流开始越来越广泛，利用计算机、网络管理和信息采集势在必行。

基于WEB的Java精品课程的设计与实现毕业论文目录摘要 (1)ABSTRACT (2)1绪论 (4)1.1系统开发背景 (4)1.2系统当前现状 (4)1.3精品课程研究的意义 (5)1.4本文的主要工作 (5)2系统所用技术概述 (7)2.1J AVA理论基础 (7)2.2JSP简介 (8)2.2.1什么是JSP (8)2.2.2JSP技术原理 (9)2.2.3JSP运行机制 (10)2.3S ERVLET简介 (10)2.3.1什么是Servlet (10)2.3.2Servlet技术的特点 (10)2.3.3Servlet的生命周期 (11)2.4S TRUTS简介 (11)2.4.1什么是Struts (11)2.4.2Struts框架的主要组件和原理 (11)2.5CSS简介 (12)2.5.1什么是CSS (12)2.5.2CSS分类 (13)2.5.3CSS的特点 (13)2.6A CCESS (13)2.7XML的基本概念 (15)3系统的分析设计与实现 (18)3.1系统架构设计概述 (18)3.1.1三层架构 (18)3.1.2MVC简介 (19)3.1.3三层架构的优点 (21)3.1.4数据访问层 (21)3.2系统需求分析 (22)3.2.1系统定义 (22)3.2.2功能需求 (22)3.2.3数据需求 (22)3.3系统模块设计 (23)3.4数据库设计 (24)3.4.1数据库设计概述 (24)3.4.2数据库概念结构设计 (24)3.5系统详细设计与实现 (25)3.5.1首页 (25)3.5.2课程介绍 (27)3.5.3课程容 (28)3.5.4网上课堂 (30)3.5.5常用下载 (35)3.5.6参考资料 (36)3.5.7后台管理 (37)4系统的难点及解决方案 (44)4.1文件上传问题 (44)4.2树形菜单的设计 (44)5系统总结与展望 (46)5.1系统的总结 (46)5.2系统的展望 (46)致谢 (47)参考文献 (48)1绪论1.1系统开发背景人类社会的发展与知识的传递有着一种必然的联系，教育是人类传递知识的最直接最有效的方式。