最后一片叶子英文原文
In a little district west of Washington Square the streets have run crazy and broken themselves into small strips called "places." These "places" make strange angles and curves. One Street crosses itself a time or two. An artist once discovered a valuable possibility in this street. Suppose a collector with a bill for paints, paper and canvas should, in traversing this route, suddenly meet himself coming back, without a cent having been paid on account!
So, to quaint old Greenwich Village the art people soon came prowling, hunting for north windows and eighteenth-century gables and Dutch attics and low rents. Then they imported some pewter mugs and a chafing dish or two from Sixth Avenue, and became a "colony."
At the top of a squatty, three-story brick Sue and Johnsy had their studio. "Johnsy" was familiar for Joanna. One was from Maine; the other from California. They had met at the table d'hôte of an Eighth Street "Delmonico's," and found their tastes in art, chicory salad and bishop sleeves so congenial that the joint studio resulted.
That was in May. In November a cold, unseen stranger, whom the doctors called Pneumonia, stalked about the colony, touching one here and there with his icy fingers. Over on the east side this ravager strode boldly, smiting his victims by scores, but his feet trod slowly through the maze of the narrow and moss-grown "places."
Mr. Pneumonia was not what you would call a chivalric old gentleman. A mite of a little woman with blood thinned by California zephyrs was hardly fair game for the red-fisted, short-breathed old duffer. But Johnsy he smote; and she lay, scarcely moving, on her painted iron bedstead, looking through the small Dutch window-panes at the blank side of the next brick house.
One morning the busy doctor invited Sue into the hallway with a shaggy, grey eyebrow.
"She has one chance in - let us say, ten," he said, as he shook down the mercury in his clinical thermometer. " And that chance is for her to want to live. This way people have of lining-u on the side of the undertaker makes the entire pharmacopoeia look silly. Your little lady has made up her mind that she's not going to get well. Has she anything on her mind?"
"She - she wanted to paint the Bay of Naples some day." said Sue.
"Paint? - bosh! Has she anything on her mind worth thinking twice - a man for instance?"
"A man?" said Sue, with a jew's-harp twang in her voice. "Is a man worth - but, no, doctor; there is nothing of the kind."
"Well, it is the weakness, then," said the doctor. "I will do all that science, so far as it may filter through my efforts, can accomplish. But whenever my patient begins to count the carriages in her funeral procession I subtract 50 per cent from the curative power of medicines. If you will get her to ask one question about the new winter styles in cloak sleeves I will promise you a one-in-five chance for her, instead of one in ten."
After the doctor had gone Sue went into the workroom and cried a Japanese napkin to a pulp. Then she swaggered into Johnsy's room with her drawing board, whistling ragtime.
Johnsy lay, scarcely making a ripple under the bedclothes, with her face toward the window. Sue stopped whistling, thinking she was asleep.
She arranged her board and began a pen-and-ink drawing to illustrate a magazine story. Young artists must pave their way to Art by drawing pictures for magazine stories that young authors write to pave their way to Literature.
As Sue was sketching a pair of elegant horseshow riding trousers and a monocle of the figure of the hero, an Idaho cowboy, she heard a low sound, several times repeated. She went quickly to the bedside.
Johnsy's eyes were open wide. She was looking out the window and counting - counting backward.
"Twelve," she said, and little later "eleven"; and then "ten," and "nine"; and then "eight" and "seven", almost together.
Sue look solicitously out of the window. What was there to count? There was only a bare, dreary yard to be seen, and the blank side of the brick house twenty feet away. An old, old ivy vine, gnarled and decayed at the roots, climbed half way up the brick wall. The cold breath of autumn had stricken its leaves from the vine until its skeleton branches clung, almost bare, to the crumbling bricks.
"What is it, dear?" asked Sue.
"Six," said Johnsy, in almost a whisper. "They're falling faster now. Three days ago there were almost a hundred. It made my head ache to count them. But now it's easy. There goes another one. There are only five left now."
"Five what, dear? Tell your Sudie."
"Leaves. On the ivy vine. When the last one falls I must go, too. I've known that for three days. Didn't the doctor tell you?"
"Oh, I never heard of such nonsense," complained Sue, with magnificent scorn. "What have old ivy leaves to do with your getting well? And you used to love that vine so, you naughty girl. Don't be a goosey. Why, the doctor told me this morning that your chances for getting well real soon were - let's see exactly what he said - he said the chances were ten to one! Why, that's almost as good a chance as we have in New York when we ride on the street cars or walk past a new building. Try to take some broth now, and let Sudie go back to her drawing, so she can sell the editor man with it, and buy port wine for her sick child, and pork chops for her greedy self."
"You needn't get any more wine," said Johnsy, keeping her eyes fixed out the window. "There goes another. No, I don't want any broth. That leaves just four. I want to see the last one fall before it gets dark. Then I'll go, too."
"Johnsy, dear," said Sue, bending over her, "will you promise me to keep your eyes closed, and not look out the window until I am done working? I must hand those drawings in by to-morrow. I need the light, or I would draw the shade down."
"Couldn't you draw in the other room?" asked Johnsy, coldly.
"I'd rather be here by you," said Sue. "Beside, I don't want you to keep looking at those silly ivy leaves."
"Tell me as soon as you have finished," said Johnsy, closing her eyes, and lying white and still as fallen statue, "because I want to see the last one fall. I'm tired of waiting. I'm tired of thinking. I want to turn loose my hold on everything, and go sailing down, down, just like one of those poor, tired leaves."
"Try to sleep," said Sue. "I must call Behrman up to be my model for the old hermit miner. I'll not be gone a minute. Don't try to move 'til I come back."
Old Behrman was a painter who lived on the ground floor beneath them. He was past sixty and had a Michael Angelo's Moses beard curling down from the head of a satyr along with the body of an imp. Behrman was a failure in art. Forty years he had wielded the brush without getting near enough to touch the hem of his Mistress's robe. He had been always about to paint a masterpiece, but had never yet begun it. For several years he had painted nothing except now and then a daub in the line of commerce or advertising. He earned a little by serving as a model to those young artists in the colony who could not pay the price of a professional. He drank gin to excess, and still talked of his coming masterpiece. For the rest he was a fierce little old man, who scoffed terribly at softness in any one, and who regarded himself as especial
mastiff-in-waiting to protect the two young artists in the studio above.
Sue found Behrman smelling strongly of juniper berries in his dimly lighted den below. In one corner was a blank canvas on an easel that had been waiting there for twenty-five years to receive the first line of the masterpiece. She told him of Johnsy's fancy, and how she feared she would, indeed, light and fragile as a leaf herself, float away, when her slight hold upon the world grew weaker.
Old Behrman, with his red eyes plainly streaming, shouted his contempt and derision for such idiotic imaginings.
"Vass!" he cried. "Is dere people in de world mit der foolishness to die because leafs dey drop off from a confounded vine? I haf not heard of such a thing. No, I will not bose as a model for your fool hermit-dunderhead. Vy do you allow dot silly pusiness to come in der brain of her? Ach, dot poor leetle Miss Yohnsy."
"She is very ill and weak," said Sue, "and the fever has left her mind morbid and full of strange fancies. Very well, Mr. Behrman, if you do not care to pose for me, you needn't. But I think you are a horrid old - old flibbertigibbet."
"You are just like a woman!" yelled Behrman. "Who said I will not bose? Go on. I come mit you. For half an hour I haf peen trying to say dot I am ready to bose. Gott! dis is not any blace in which one so goot as Miss Yohnsy shall lie sick. Some day I vill baint a masterpiece, and ve shall all go away. Gott! yes."
Johnsy was sleeping when they went upstairs. Sue pulled the shade down to the window-sill, and motioned Behrman into the other room. In there they peered out the window fearfully at the ivy vine. Then they looked at each other for a moment without speaking. A persistent, cold rain was falling, mingled with snow. Behrman, in his old blue shirt, took his seat as the hermit miner on an upturned kettle for a rock.
When Sue awoke from an hour's sleep the next morning she found Johnsy with dull, wide-open eyes staring at the drawn green shade.
"Pull it up; I want to see," she ordered, in a whisper.
Wearily Sue obeyed.
But, lo! after the beating rain and fierce gusts of wind that had endured through the livelong night, there yet stood out against the brick wall one ivy leaf. It was the last one on the vine. Still dark green near its stem, with its serrated edges tinted with the yellow of dissolution and decay, it hung bravely from the branch some twenty feet above the ground.
"It is the last one," said Johnsy. "I thought it would surely fall during the night. I heard the wind. It will fall to-day, and I shall die at the same time."
"Dear, dear!" said Sue, leaning her worn face down to the pillow, "think of me, if you won't think of yourself. What would I do?"
But Johnsy did not answer. The lonesomest thing in all the world is a soul when it is making ready to go on its mysterious, far journey. The fancy seemed to possess her more strongly as one by one the ties that bound her to friendship and to earth were loosed.
The day wore away, and even through the twilight they could see the lone ivy leaf clinging to its stem against the wall. And then, with the coming of the night the north wind was again loosed, while the rain still beat against the windows and pattered down from the low Dutch eaves.
When it was light enough Johnsy, the merciless, commanded that the shade be raised.
The ivy leaf was still there.
Johnsy lay for a long time looking at it. And then she called to Sue, who was stirring her chicken broth over the gas stove.
"I've been a bad girl, Sudie," said Johnsy. "Something has made that last leaf stay there to show me how wicked I was. It is a sin to want to die. You may bring a me a little broth now, and some milk with a little port in it, and - no; bring me a hand-mirror first, and then pack some pillows about me, and I will sit up and watch you cook."
And hour later she said:
"Sudie, some day I hope to paint the Bay of Naples."
The doctor came in the afternoon, and Sue had an excuse to go into the hallway as he left.
"Even chances," said the doctor, taking Sue's thin, shaking hand in his. "With good nursing you'll win." And now I must see another case I have downstairs. Behrman, his name is - some kind of an artist, I believe. Pneumonia, too. He is an old, weak man, and the attack is acute. There is no hope for him; but he goes to the hospital to-day to be made more comfortable."
The next day the doctor said to Sue: "She's out of danger. You won. Nutrition and care now - that's all."
And that afternoon Sue came to the bed where Johnsy lay, contentedly knitting a very blue and very useless woollen shoulder scarf, and put one arm around her, pillows and all.
"I have something to tell you, white mouse," she said. "Mr. Behrman died of pneumonia to-day in the hospital. He was ill only two days. The janitor found him the morning of the first day in his room downstairs helpless with pain.
His shoes and clothing were wet through and icy cold. They couldn't imagine where he had been on such a dreadful night. And then they found a lantern, still lighted, and a ladder that had been dragged from its place, and some scattered brushes, and a palette with green and yellow colours mixed on it, and - look out the window, dear, at the last ivy leaf on the wall. Didn't you wonder why it never fluttered or moved when the wind blew? Ah, darling, it's Behrman's masterpiece - he painted it there the night that the last leaf fell."
基本简介：真实姓名：威廉·西德尼·波特(William Sydney Porter)
笔名：欧·亨利(O.Henry)
生卒年代：1862.9.11-1910.6.5
美国著名批判现实主义作家，世界三大短篇小说大师之一。（欧·亨利、莫泊桑、契诃夫）
原名威廉·西德尼·波特（William Sydney Porter），是美国最著名的短篇小说家之一，曾被评论界誉为曼哈顿桂冠散文作家和美国现代短篇小说之父。他出生于美国北卡罗来纳州格林斯波罗镇一个医师家庭。
基本信息：他的一生富于传奇性，当过药房学徒、牧牛人、会计员、土地局办事员、新闻记者、银行出纳员。当银行出纳员时，因银行短缺了一笔现金，为避免审讯，离家流亡中美的洪都拉斯。后因回家探视病危的妻子被捕入狱，并在监狱医务室任药剂师。他创作第一部作品的起因是为了给女儿买圣诞礼物，但基于犯人的身份不敢使用真名，乃用一部法国药典的编者的名字作为笔名。1901年提前获释后迁居纽约，专门从事写作。
欧·亨利善于描写美国社会尤其是纽约百姓的生活。他的作品构思新颖，语言诙谐，结局总使人“感到在情理之中，又在意料之外”；又因描写了众多的人物，富于生活情趣，被誉为“美国生活的幽默百科全书”。代表作有小说集《白菜与国王》、《四百万》、《命运之路》等。其中一些名篇如《爱的牺牲》、《警察与赞美诗》、《麦琪的礼物》（也称作《贤人的礼物》）、《带家具出租的房间》、《最后一片藤叶》等使他获得了世界声誉。
名句：“这是一种精神上的感慨油然而生，认为人生是由啜泣、抽噎和微笑组成的，而抽噎占了其中绝大部分。”(《欧·亨利短篇小说选》)
作者简介：1862年9月11日，美国最著名的短篇小说家之——欧·亨利（O.Henry）出生于美国北卡罗来纳州有个名叫格林斯波罗的小镇。曾被评论界誉为曼哈顿桂冠散文作家和美国现代短篇小说之父。1862年他出身于美国北卡罗来纳州格林斯波罗镇一个医师家庭。父亲是医生。他原名威廉·西德尼·波特(William Sydney Porter)。他所受教育不多，15岁便开始在药房当学徒，20岁时由于健康原因去德克萨斯州的一个牧场当了两年牧牛人，积累了对西部生活的亲身经验。1884年以后做过会计员、土地局办事员、新闻记者。此后，他在德克萨斯做过不同的工作，包括在奥斯汀银行当出纳员。他还办过一份名为《滚石》的幽默周刊，并在休斯敦一家日报上发表幽默小说和趣闻逸事。1887年，亨利结婚并生了一个女儿。正当他的生活颇为安定之时，却发生了一件改变他命运的事情。1896年，奥斯汀银行指控他在任职期间盗用资金。他为了躲避受审，逃往洪都拉斯。1897年，后因回家探视病危的妻子被捕入狱，判处5年徒刑。在狱中曾担任
药剂师，他创作第一部作品的起因是为了给女儿买圣诞礼物，但基于犯人的身份不敢使用真名，乃用一部法国药典的编者的名字作为笔名，在《麦克吕尔》杂志发表。1901年，因“行为良好”提前获释，来到纽约专事写作。正当他的创作力最旺盛的时候，健康状况却开始恶化，于1910年病逝。
名作
欧·亨利在大概十年的时间内创作了短篇小说共有300多篇，收入《白菜与国王》(1904)[其唯一一部长篇，作者通过四五条并行的线索，试图描绘出一幅广阔的画面，在写法上有它的别致之处。不过从另一方面看，小说章与章之间的内在联系不够紧密，各有独立的内容]、《四百万》(1906)、《西部之心》(1907)、《市声》(1908)、《滚石》(1913)等集子，其中以描写纽约曼哈顿市民生活的作品为最著名。他把那儿的街道、小饭馆、破旧的公寓的气氛渲染得十分逼真，故有“曼哈顿的桂冠诗人”之称。他曾以骗子的生活为题材，写了不少短篇小说。作者企图表明道貌岸然的上流社会里，有不少人就是高级的骗子，成功的骗子。欧·亨利对社会与人生的观察和分析并不深刻，有些作品比较浅薄，但他一生困顿，常与失意落魄的小人物同甘共苦，又能以别出心裁的艺术手法表现他们复杂的感情。他的作品构思新颖，语言诙谐，结局常常出人意外；又因描写了众多的人物，富于生活情趣，被誉为“美国生活的幽默百科全书”。因此，他最出色的短篇小说如《爱的牺牲》(A Service of Love)、《警察与赞美诗》(The Cop and the Anthem)、《带家具出租的房间》(The Furnished Room)、《麦琪的礼物》(The Gift of the Magi)、《最后的常春藤叶》（The Last Leaf）等都可列入世界优秀短篇小说之中。
他的文字生动活泼，善于利用双关语、讹音、谐音和旧典新意，妙趣横生,被喻为[含泪的微笑]。他还以准确的细节描写，制造与再现气氛，特别是大都会夜生活的气氛。
手法
欧·亨利还以擅长结尾闻名遐迩，美国文学界称之为“欧·亨利式的结尾”他善于戏剧性地设计情节，埋下伏笔，作好铺垫，勾勒矛盾，最后在结尾处突然让人物的心理情境发生出人意料的变化，或使主人公命运陡然逆转，使读者感到豁然开朗，柳暗花明，既在意料之外，又在情理之中，不禁拍案称奇，从而造成独特的艺术魅力。有一种被称为“含泪的微笑”的独特艺术风格。欧·亨利把小说的灵魂全都凝聚在结尾部分，让读者在前的似乎是平淡无奇的而又是诙谐风趣的娓娓动听的描述中，不知不觉地进入作者精心设置的迷宫，直到最后，忽如电光一闪，才照亮了先前隐藏着的一切，仿佛在和读者捉迷藏，或者在玩弄障眼法，给读者最后一个惊喜。在欧·亨利之前，其他短篇小说家也已经这样尝试过这种出乎意料的结局。但是欧·亨利对此运用得更为经常，更为自然，也更为纯熟老到。
小人物
描写小人物是欧·亨利的短篇小说最引人瞩目的内容，其中包含了深厚的人道主义精神。欧·亨利长期生活在社会底层，深谙下层人民的苦难生活，同时也切身感受过统治阶层制定的法律对穷人是如何无情。因此，他把无限的同情都放在穷人一边。在他的笔下，穷人有着纯洁美好的心灵，仁慈善良的品格，真挚深沉的爱情。但是他们却命运多坎，弱小可怜，孤立无援，食不果腹，身无居所，苟延残喘，往往被社会无情地吞噬。这种不公平的现象与繁华鼎盛的社会景象相映照，显得格外刺目，其中隐含了作者的愤愤不平。
欧·亨利纪念奖
欧·亨利给美国的短篇小说带来新气息，他的作品因而久享盛名，并具有世界影响。美国自1918年起“欧·亨利纪念奖”，以奖励每年度的最佳短篇小说，由此可见其声望之卓著。
死因
在纽约，由于大量佳作出版，他名利双收。他不仅挥霍无度，而且好赌，好酒贪杯。写作的劳累与生活的无节制使他的身体受到严重损伤。1907年，欧·亨利再婚。可惜，第二次婚姻对他来说并没有什么幸福可言。1910年6月3日，他病倒了。两天后，即6月5日，与世长辞，死于肝硬化，年仅48岁。
创作特色：意料之外，情理之中；从题材的性质来看，欧·亨利的作品大致可分为三类。
一类：以描写美国西部生活为主。
二类：写的是美国一些大城市的生活。
三类：则以拉丁美洲生活为对象。这些不同的题材，显然与作者一生中几个主要生活时期的不同经历，有着密切的关系。
而三类作品当中，无疑又以描写城市生活的作品数量最多，意义最大。
思想和作品的弱点：欧·亨利思想的矛盾和他作品的弱点，与他的创作环境有极大关系。即使在他已经成名，受到读者广泛欢迎的时候，他的生活也依然经常处于拮据状态。他曾经直言不讳地说：我是为面包而写作的”。
作品评价：欧·亨利因为他本身是一个穷苦的人，因此他的文章主人公大多是一些贫穷的劳动人民，充满了对劳动人民的同情。我认为，欧·亨利的小说之所以让我喜欢，是因为他的小说，我们往往猜不出结果是什么，而真正的结果会让我们难以置信，这也说明了他丰富的想象力，欧?亨利的小说语言很生动而且很精练，他的短篇小说一开始就抓住了我们的兴趣和注意力，小说中除了文字的幽默诙谐之外，总有一些让费人猜测的地方，他常常让我们以为以逻辑思维就可以猜到的结局，却往往情节一转，使故事的结尾变的出人意料却又合情合理,从而造成独特的艺术魅力,因此被誉为“欧·亨利式结尾”，这也是欧·亨利最为出名的一个方面。《欧·亨利》的短篇小说内容很多：其中多为描写一些小人物，描写美国西部牧场，描写那些死要面子，成天做白日梦的小职员，以及一些城市的骗子，和对拜金主义者的嘲讽。尽管欧·亨利对于社会现状总有不满，可他也没有放弃希望，因此，悲惨的故事和人物总会有一个相对比较好的结局，也让我们深深的体会到微笑里的辛酸，讽刺里的悲哀和无可奈何。
作品目录及译名(部分):
赏析：
冬天一定会到，树上的叶也一定会落尽——藤叶也不例外。不要以为这是树木斗不过天，它是无能的，也是无奈的。因为这恰恰体现了树木的一种智慧，为了明年春天的萌发，它实在没有必要死守着最后一片叶子，苦苦地挣扎，为此耗尽了最后一丝力量。
因为，叶子落尽并未表示生命的死亡或者希望彻底地成为泡影；反之，这是一种大智的等待，重新萌生的希望——在它落尽最后一片叶子时，新的希望，也就在叶子落下的叶柄处悄悄地孕育了，萌生了。然后是静静地、静静地等待。此时的静静也就像沉睡的火山，一旦春天到来，它就以不可阻挡之势爆发出来了。
而假如，到了冬天所有的叶子都不落下来，那么第二年也就会少了许多新生的芽，至少我们将失去欣赏一树新芽花朵般盛开的机会。
也因此，守住你的最后一片藤叶的办法就是让秋天的叶子随风飘尽，而守住那叶子落下处的饱满的叶芽，因为那叶芽里面，就是一片新的藤叶，一个新的春天。
我们今天也一样，我们要学的决不是如何使自己永不摔倒，而是要学会在摔倒之后如何站起来，如何在摔倒中吸取教训，汲取力量，使摔倒的地方成为重新站起和前进的起点。这样，摔倒越多，吸取的力量也就越多，就像小溪东流，越流越宽广，最后成为大海。而坚守住最后一片上一个秋天的藤叶，让自己在冬天中耗尽养份的笨办法，只会招之更大的失败。我们现在已经是初三了，对于部分同学来说，高中的理想已经成了风中的最后一片藤叶，对此，我的观点是顺应自然，让落叶落尽，等待春天，另辟蹊径，再萌生新的希望之嫩芽。
冬天的落叶，你随风去吧！但你千万别忘了在明年春来之时，重新长出嫩芽！
人生如梦亦如歌!
接下来则是欧.亨利小说赏析：
欧·亨利的小说通俗易懂，其中无论发生了什么，发生在何处，也无论主人公是何等人物，他的故事写的都是世态人情，并且易有浓郁的美国风味。一般说来，驱使人们行动的欲望和动机是相当复杂的，但是欧·亨利人物的思想相对来说却都比较简单，动机也比较单一，矛盾冲突的中心似乎都是贫与富。这一方面大概因为美国是个平民社会，不存在天生高人一等的贵族阶级，既然金钱面前人人平等，贫富就成了社会的主要矛盾。另一方面，此时正值美国内战后的“镀金时代”，拜金主义盛行，坑蒙拐骗样样齐全，贪污舞泛滥成灾，似乎只人能赚到钱便是成功，并不问问钱的来历是否清白合法，难怪金钱的占有程度便成了人们关注的中心，与欧·亨利同时代的马克·吐温说得好：“在世界上任何地方，贫穷总是不方便的。但只有在美国，贫穷是耻辱。”欧·亨利笔下的芸芸众生就是生活在这样一个金钱主宰的世界中，他们的处境动机，他们的的喜怒哀乐，大都与金钱的占有有关，所以欧·亨利描绘的世态人情，无论是善是恶，都有某种美国式的单纯。
两难的处理和意外的结局往往产生令人啼笑皆非的幽默效果，在欧·亨利的小说中，幽默是贯穿始终的，有的专门是为幽默而幽默的。绑架孩子的歹徒被顽童折磨得苦不堪言，宁可倒贴钱把孩子护送回家。幽默家被近日复一日地制造幽默，竟变成了一个心力交瘁的吸血鬼，最终在殡仪馆的后房中才得以告别尘世的愚蠢，重新恢复了一个正常人的知觉。欧·亨利显然是把自己视为一个幽默家，他在《幽默家自白》中写道：“我的笑话的性质是和善亲切的，绝不流于讽刺，使别人生气。”这句话也适用于欧·亨利本人，他讽刺，但不流于讽刺，他的嘲讽和幽默通常是善意的，有时能令人震惊地揭示出人生的真谛，如《生活的陀螺》和《钟摆》那样，它们体现了欧·亨利透视生活的能力。欧·亨利的语言本身也充满了夸张和幽默，而幽默能直到淡化事物悲剧性的作用，使大众读者更能接受。
有译名
"Girl" “姑娘”
“Next To Reading Matter”“醉翁之意”
"What You Want" “君欲何求”
An Adjustment of Nature 自然之修正
After Twenty Years 二十年后
An Afternoon Miracle 午后的奇迹
The Atavism Of John Tom Little Bear 小熊约翰·汤姆的返祖现象
Babes In The Jungle 丛林中的孩子
Best-Seller 畅销品
Between Rounds 闹剧
A Bird Of Bagdad 巴格达的鸟
A Blackjack Bargainer 闪锌矿的讲价者
Blind Man's Holiday 盲人的节日
The Brief Debut of Tildy 特尔迪的登场
Buried Treasure 埋藏的珍宝
By Courier 邮差
The Caballero's Way 绅士之道
The Cactus 仙人掌
Caliph 哈里发
The Cupid and the Clock 丘比特与钟
A Call Loan 电话贷款
The Call Of The Tame 驯服的号召
Calloway's Code 卡罗威密码
The Chair Of Philanthromathematics 慈善事业数学讲座
Confessions of a Humorist 幽默家的告白
Conscience In Art 艺术良心
The Cop and the Anthem 警察与赞美诗
A Cosmopolite in a Cafe 咖啡馆里的世界公民
The Day Resurgent 复活日
The Detective Detector 几位侦探
A Double-dyed Deceiver 双料骗子
The Duel 决斗
The Duplicity of Hargraves 哈格里弗斯的两面性
The Fifth Wheel 第五轮
From the Cabby's Seat
The Furnished Room 带家具出租的房间
Georgia's Ruling 乔治亚的统治
The Gift of the Magi 麦琪的礼物（也有人译为《贤人的礼物》）
The Girl And The Graft 女孩与贪污
The Girl And The Habit 女孩与习惯
The Gold That Glittered 闪亮的金子
The Green Door 绿色的门
The Handbook of Hymen 婚姻手册
The Head-Hunter 猎头者
Hearts and Crosses 心与十字架
Hearts and Hands 心与手
The Hiding of Black Bill 布莱克·比尔藏身记
The Higher Abdication 退位
The Higher Pragmatism 实用主义
Hygeia at the Solito 索利托牧场的卫生学
The Hypotheses of Failure 失败的假设
The Indian Summer of Dry Valley Johnson 干燥峡谷约翰逊的印第安夏日Jimmy Hayes And Muriel 吉米·海斯和缪里尔
Jeff Peters As A Personal Magnet 催眠术家杰甫·彼得斯
The Last Leaf 最后一片常春藤叶
A Little Local Colour 地方特色
A Little Talk About Mobs 小谈暴徒
Lost on Dress Parade 华而不实
Madame Bo-peep of the Ranches 女牧场主波皮普Mammon and the Archer 爱神与财神
Man About Town 城中男子
The Man Higher Up 黄雀在后
The Marionettes 提线木偶
The Marry Month of May 五月是个结婚月
Memoirs of a Yellow Dog 黄狗追思录
The Missing Chord 断了的弦
The Moment of Victory 胜利时刻
A Municipal Report 市政报告
A Newspaper Story 报纸的故事
A Night In New Arabia 新阿拉伯一夜
No Story 没有故事
One Dollar's Worth 一元钱的价值
Out of Nazareth 拿撒勒之外
The Pimienta Pancakes 比绵塔薄饼
The Poet And The Peasant 诗人与农夫
A Poor Rule 愚昧的规定
The Princess and the Puma 公主与美洲狮
Proof Of The Pudding 布丁的证明
Psyche And The Pskyscraper 心理分析与摩天大楼
A Ramble In Aphasia 小谈失语症
The Ransom of Mack 马克的救赎
The Ransom of Red Chief 红色酋长的救赎
The Red Roses of Tonia 托尼娅的红玫瑰
The Reformation of Calliope 雄辩女神的改变
The Roads We Take 我们选择的道路
The Robe Of Peace 和平之长袍
The Romance of a Busy Broker 证券经纪人的浪漫故事The Rose of Dixie 南部之花
The Rubber Plant's Story 橡胶树的故事
A Sacrifice Hit 祭祀冲突
Schools and Schools 学校
Seats of the Haughty 傲慢之席位
A Service of Love 爱的牺牲
Shearing The Wolf 虎口拔牙
The Skylight Room 带天窗的房间
The Snow Man 雪人
Sociology in Serge and Straw
The Song and the Sergeant 歌曲与警官
The Sparrows in Madison Square 麦迪逊广场的麻雀The Sphinx Apple 斯芬克斯苹果
Suite Homes and their Romance 套间的浪漫
Supply and Demand 供需
A Technical Error 技术性失误
Telemachus, Friend 刎颈之交
The Theory and the Hound 理论与猎犬
Thimble Thimble 顶针
The Third Ingredient 第三种成分
To Him Who Waits 给等待的人
Tobin's Palm 托宾的手掌
Tommy's Burglar 汤米的窃贼
Two Thanksgiving Day Gentlemen 两位感恩节的绅士An Unfinished Story 没说完的故事
The Unknown Quantity 未知数量
The Venturers 投机者
While The Auto Waits 汽车等待的时候
The Whirligig of Life 生活的波折
Withes' Loaves 女巫的面包
The World and the Door 世界与门
无译名：
A Chaparral Christmas Gift
A Chaparral Prince
Christmas by Injunction
The Coming-Out of Maggie
Compliments Of The Season
The Dog and the Playlet
Cupid a la Carte
He Also Serves
The Love-Philtre of Ikey Schoenstein
A Matter of Mean Elevation
Past One At Rodney's
Round The Circle
Rus in Urbe
Sisters of the Golden Circle
Springtime a la Carte
Strictly Business
The Things The Play
相关作品
Tom Waits的歌曲Last Leaf
歌曲信息：歌名：Last Leaf
歌手：Tom Waits
伴唱：Keith Richards
吉他：Tom Waits, Keith Richards, Marc Ribot
贝斯：James Whiton
管风琴：Tom Waits
专辑：《Bad As Me》(2011)
内容简介：本歌曲选自美国民谣歌手汤姆·韦茨（Tom Waits）2011年发行的新专辑《Bad As Me》。汤姆·韦茨生于1949年12月7日，1973年发行第一张个人专辑《Closing Time》，至今已发行24张专辑。他的音乐作品多以低下层人民的生活为主题，以低哑的嗓音、幽默而辛酸的歌词，及充满灵性的词曲编配手法，演绎出一个个楚楚动人的人生故事。通过Last Leaf 这首歌，汤姆·韦茨用苍老的歌喉重新演绎了美国短篇小说家欧·亨利(O.Henry)的经典小说The Last Leaf(最后一片树叶)，表达了自己对人生的坚定信念及对音乐的执着追求。
英文歌词
Last Leaf
I'm the last leaf on the tree
The autumn took the rest
But they won't take me
I'm the last leaf on the tree
When the autumn wind blows
They're already gone
They flutter to the ground
Cause they can't hang on
There's nothing in the world
That I ain't seen
I greet all the new ones
That are coming in green
I'm the last leaf on the tree
The autumn took the rest
But they won't take me
I'm the last leaf on the tree
They say I got staying power
Here on the tree
But I've been here since Eisenhower
中英文翻译
Fuzzy Logic Based Autonomous Skid Steering Vehicle Navigation L.Doitsidis,K.P.Valavanis,N.C.Tsourveloudis Technical University of Crete Department of Production Engineering and Management Chania,Crete,Greece GR-73100 {Idoitsidis ,kimonv,nikost}@dpem.tuc.gr Abstract-A two-layer fuzzy logic controller has been designed for 2-D autonomous Navigation of a skid steering vehicle in an obstacle filled environment. The first layer of the Fuzzy controller provides a model for multiple sonar sensor input fusion and it is composed of four individual controllers, each calculating a collision possibility in front, back, left and right directions of movement. The second layer consists of the main controller that performs real-time collision avoidance while calculating the updated course to be applicability and implementation is demonstrated through experimental results and case studies performed o a real mobile robot. Keywords - Skid steering, mobile robots, fuzzy navigation. Ⅰ .INTRODUCTION The exist several proposed solutions to the problem of autonomous mobile robot navigation in 2-D uncertain environments that are based on fuzzy logic[1],[2],evolutionary algorithms [3],as well as methods combining fuzzy logic with genetic algorithms[4] and fuzzy logic with electrostatic potential fields[5]. The paper is the outgrowth of recently published results [9],[10],but it studies 2-D environments navigation and collision avoidance of a skid steering vehicle. Skid steering vehicles are compact, light, require few parts to assemble and exhibit agility from point turning to line driving using only the motions, components, and swept volume needed for straight line driving. Skid steering vehicle motion differs from explicit steering vehicle motion in the way the skid steering vehicle turns. The wheels rotation is limited around one axis and the back of steering wheel results in navigation determined by the speed change in either side of the skid steering vehicle. Same speed in either side results in a straight-line motion. Explicit steering vehicles turn differently since the wheels are moving around two axes. The geometric configuration of a skid steering vehicle in the X-Y plane is shown in Fig1，while a t is the heading angle, W is the robot width, θ the sense of rotation and S1, S2 are the speeds in the either side of the robot. The derived and implemented planner a two-layer fuzzy logic based controller that provides purely” reactive behavior” of the vehicle moving in a 2-D obstacle filled
最后一片叶子（欧亨利小说） 《最后一片叶子》，一译《最后的常春藤叶》，主人公是琼西、苏艾、贝尔曼。文中作者着力挖掘和赞美小人物的伟大人格和高尚品德，展示他们向往人性世界的美好愿望。最后一片叶子”的故事，着实让我们为琼西的命运紧张了一番，为苏艾的友谊感叹了一回，为贝尔曼的博爱震撼了一次。 作者通过对穷苦朋友间友谊的描写，刻画出一个舍己为人的以自己生命为代价创造真正杰作的画家形象，讴歌了以贝尔曼为代表的普通人的高尚。 书名 最后一片叶子 又名 最后的常春藤叶 作者 欧·亨利 原版名称 The Last Leaf 装帧 平装 开本 16 1 ? ? 2 3 ? ? 4
作者简介 生平 1862年9月11日，美国最着名的家之——欧·亨利（）出生于美国有个名叫格林斯波罗的小镇。曾被评论界誉为桂冠散文作家和美国现代短篇小说之父。1862年他出身于美国格林斯波罗镇一个医师家庭。父亲是医生。他原名威廉·西德尼·波特(William Sydney Porter)。他所受教育不多，15岁便开始在药房当学徒，20岁时由于健康原因去德克萨斯州的一个牧场当了两年牧牛人，积累了对西部生活的亲身经验。1884年以后做过会计员、土地局办事员、新闻记者。此后，他在德克萨斯做过不同的工作，包括在奥斯汀银行当出纳员。 他还办过一份名为《滚石》的幽默周刊，并在休斯敦一家日报上发表幽默小说和趣闻逸事。 1887年，亨利结婚并生了一个女儿。正当他的生活颇为安定之时，却发生了一件改变他命运的事情。1896年，奥斯汀银行指控他在任职期间盗用资金。他为了躲避受审，逃往洪都拉斯。1897年，后因回家探视病危的妻子被捕入狱，判处5年徒刑。在狱中曾担任，他创作第一部作品的起因是为了给女儿买圣诞礼物，但基于犯人的身份不敢使用真名，乃用一部法国药典的编者的名字作为笔名，在《麦克吕尔》杂志发表。1901年，因“行为良好”提前获释，来到专事写作。正当他的创作力最旺盛的时候，健康状况却开始恶化，于1910年病逝。 欧·亨利在大概十年的时间内创作了短篇小说共有300多篇，收入《白菜与国王》(1904)[其唯一一部长篇，作者通过四五条并行的线索，试图描绘出一幅广阔的画面，在写法上有它的别致之处。不过从另一方面看，小说章与章之间的内在联系不够紧密，各有独立的内容]、《》(1906)、《西部之心》(1907)、《》(1908)、《滚石》(1913)等集子，其中以描写纽约市民生活的作品为最着名。他把那儿的街道、小饭馆、破旧的公寓的气氛渲染得十分逼真，故有“曼哈顿的桂冠诗人”之称。他曾以的生活为题材，写了不少短篇小说。作者企图表明的里，有不少人就是高级的骗子，成功的骗子。欧·亨利对社会与人生的观察和分析并不深刻，有些作品比较浅薄，但他一生困顿，常与失意落魄的小人物同甘共苦，又能以别出心裁的艺术手法表现他们复杂的感情。他的作品构思新颖，语言诙谐，结局常常出人意外； 又因描写了众多的人物，富于生活情趣，被誉为“美国生活的幽默百科全书”。因此，他最出色的短篇小说如《》(A Service of Love)、《》(The Cop and the Anthem)、《带家具出租的房间》(The Furnished Room)、《》(The Gift of the Magi)、《》（The Last Leaf）等都可列入世界优秀短篇小说之中。 他的文字生动活泼，善于利用双关语、讹音、谐音和旧典新意，妙趣横生,被喻为[含泪的微笑]。他还以准确的细节描写，制造与再现气氛，特别是大都会夜生活的气氛。 手法
Unit1 1.背离传统需要极大的勇气 1) It takes an enormous amount of courage to make a departure from the tradition. 2.汤姆过去很腼腆，但这次却非常勇敢能在大庭广众面前上台表演了。 2) Tom used to be very shy, but this time he was bold enough to give a performance in front of a large audience. 3.很多教育家认为从小培养孩子的创新精神是很可取的。 3) Many educators think it desirable to foster the creative spirit in the child at an early age. 4.假设那幅画确实是名作，你觉得值得购买吗？ 4) Assuming (that) this painting really is a masterpiece, do you think it’s worthwhile to buy/purchase it? 5.如果这些数据统计上市站得住脚的，那它将会帮助我们认识正在调查的问题。 5) If the data is statistically valid, it will throw light on the problem we are investigating. Unit2 1.该公司否认其捐款有商业目的。 1) The company denied that its donations had a commercial purpose.
Johnsy：Sue：Doctor Berhman 旁白 情景一 旁白：In November, a terrible virous- Pneumonia, touching here and there with his icy fingers. （拿起一张写有Pneumonia的纸条 给观众看，拿几张团成纸团抛向群众，抛向谁谁咳嗽） 【琼西伏案写着日记。。。。。。（这时抛向了Johnsy）然后先咳嗽再逐渐面色苍白的在床上躺着，一动不动的盯着窗外。快要哭了。】 【苏这时在买菜回来的路上。】 医生：Sue, wait for me, I have something to tell you. Your friend Johnsy has one chance in ten,And that chance is for her to want to live. She has made up her mind that she's not going to get well. （语气沉重地）Has she anything on her mind? 苏：She - she wanted to paint the Bay of Naples some day. 医生：Paint? - bosh! （难以置信地）Has she anything on her mind worth thinking about twice - a man for instance? 苏："A man?"（有一点轻蔑的大声说）"Is a man worth - but, no doctor; （坚定地）there is nothing of the kind." 医生：Well, But whenever my patient begins to count how many days are left to her, I half the power of medicines 情景二 【医生走后，苏艾走进工作室里，把一条日本餐巾哭成一团湿。后来她手里拿着画板，装做精神抖擞的样子走进琼西的屋子，嘴里吹着爵士音乐调子。】 【琼西躺着，脸朝着窗口，被子底下的身体纹丝不动。Sue关切的看了看Johnsy 后开始画插图。】 旁白：Young artists must pave their way to Art by drawing pictures that young authors write to pave their way to Literature. 【在苏画的时候，突然得到琼西的低语声。】 琼西：（琼西睁大眼睛看着窗外。。。。。。。）"Twelve。。。。。。Eleven。。。 ten,。。。Nine。。。eight 。。seven", almost together. “12，歇 了一会又说，“11”，然后是“10”，和“9”，接着几乎同 时数着“8”和“7”。 苏：What is it, dear? 琼西：Six（小声低语）They're falling faster now. Three days ago there were almost a hundred. It made my head ache to count them. But now it's easy. There goes another one. There are only five left now." 苏：Five what, dear? 琼西：Leaves. On the ivy vine. When the last one falls I must go, too.I've known that for three days. Didn't the doctor tell you? 苏：Oh, I never heard of such nonsense,（满不在乎的样子）What have old ivy leaves to do with your getting well? Don't be so silly. Why, the doctor told me this morning that your chances for getting well real soon were - let's see exactly what he said - he said the chances were ten to one! Try to take some soup now. 琼西：（还是盯着窗外)"No, I don't want any soup now.goes another.
BPMN 2.0 Introduction to the Standard for Business Process Modeling By Thomas Allweyer 2.1 A First BPMN Model As a starting point, a simple BPMN process model is considered. The model of posting a job in figure 1 can be directly understood by most people who previously have been concerned with any kind of process modeling. The way of modeling is similar to well known flow charts and activity diagrams. Figure 1: A simple BPMN model A business department and the human resources department are involved in the process “Post a Job”. The process starts when an employee is required. The business department reports this job opening. Then the human resources department writes a job posting. The business department reviews this job posting. At this point, there are two possibilities: Either the job posting is okay, or it is not okay. If it is not okay, it is reworked by the human resources department. This is once more followed by the business department reviewing the job posting. Again, the result can be okay or not okay. Thus, it can happen that the job posting needs to be reviewed multiple times. If it is okay, it is published by the human resources department, and the end of the process is reached. In reality, the process for creating and publishing a job posting can be much more complex and extensive. The presented example is –like all examples in this book –a simplification in order to have small and easily understandable models which can be used for explaining the different BPMN elements. 2.2 BPMN Constructs Used Below each element from the model in figure 1 is explained more closely. The entire process is contained in a pool. This is a general kind of container for a complete process. In the example above, the pool is labeled with the name of the contained process. Every process is situated within a pool. If the pool is not important for understanding the process, it is not required to draw it in the diagram. In a process diagram which does not show a pool, the entire process is contained in an invisible, implicit pool. Pools are especially interesting when several pools are used in order to model a collaboration, i.e. the interplay of several partners’processes. Each partner’s process is then shown in a separate pool. This will be described in chapter 5. The pool from figure 1 is partitioned into two lanes. A lane can be used for various purposes,
最后一片叶子 教学目标： 1、体会“最后一片叶子”在情节发展中所起的作用，赏析小说的巧妙构思，提高学生的小说鉴赏能力和作文构思水平。 2、引导学生分析小说人物形象所蕴含的美好品质，感受小说中人与人之间相濡以沫的情感，珍惜生命，感悟生命的美好。 教学重点： 理解贝尔门的形象。 教学难点： 体会小人物之间相濡以沫的温情，体验、理解琼西的脆弱和希望。 教学方法： 自读法、讨论法。 教学手段： 多媒体课件展示。 教学时间： 两课时。 第一课时 一、导入新课 富兰克林说：希望是生命的源泉，失去它生命就会枯萎。今天，就让我们一起走近作家欧亨利，感受他的小说《最后一片叶子》中爱与希望的故事给我们带来的震撼！ 二、整体感知 引导：十一月，华盛顿广场西面的一个小区，弱小的琼西被一个冷酷、看不见的不速之客——“肺炎”用冰冷的手指触摸了一下而一病不起。可怜的琼西病情经历了怎样的变化呢？请同学们快速阅读课文，根据文章中清晰的时间的推移变化填写表格。 过渡： 小说的结局是琼西脱离了危险，最后一片叶子竟然挽救了一个年轻而又几乎失去希望的生命。 三、讲读课文 思考： 琼西把自己的生命和什么联系在了一起，又是什么让琼西的病情有了好转？在琼西的眼
里，这是怎样的一片叶子？ 琼西把自己的生命托付给了藤叶，叶在人在，叶落人亡。叶子是希望的象征。如果叶子落了，她也就给自己找到了放弃生命的理由：当然，只要叶子不落，她就有所期待，有所抗争，在最后一片叶子的鼓舞下，重新振作起来，直到康复。 四、课堂小结 不幸的琼西将最后一片叶子视为生命的希望生存的理由。是最后一片叶子让琼西的生命得以延续，最后一片叶子就是琼西生命的支柱、精神的支点。 的确，人活着是要有精神的。有了精神，我们才能积极乐观地面对生活，精神越丰富，我们的生命就越顽强。 五、布置作业 第二课时 一、复习旧课 二、继续研读 思考： 问题1：琼西把自己的生命和叶子联系在了一起，那这片叶子到底落没落呢？ 引导： 原来小说中还隐含着另外一个故事，贝尔门的故事，让我们梳理一下相关的故事情节。 续，贝尔门却因最后一片叶子而结束了生命。 问题2：我们学到这里已体会到这片叶子对琼西、对贝尔门意义已不一般，那么对琼西来说这片叶子是＿生存的希望＿＿，对贝尔门来说这片叶子是＿艺术的杰作＿问题3：在故事情节展开的同时，贝尔门的形象也一一展现在我们面前，那么贝尔门是个怎样的人？ 外貌描写：初见，邋遢，性格暴躁，喝酒无节制，爱讲大话…… 语言描写：又见，善良，有同情心、关心他人。 侧面描写：再见，舍己为人、自我牺牲精神。 小结：我们看到了贝尔门平凡的甚至有点讨厌的外表下有一颗火热的爱心，虽然穷困潦倒，却无私关怀。帮助他人，甚至不惜牺牲自己的生命画了一片叶子，挽救了琼西的生命。 问题4：那贝尔门画最后一片叶子应是小说的一个重要环节，作者却没有实写，这样处理有什么好处？（补充介绍欧·亨利简介） 1.结局在意料之外，却在情理之中。 欧·亨利式结尾 2.情节空白——给读者留下想象的空间。
Unit 1 1.她连水都不愿喝一口，更别提留下来吃饭了。(much less) She wouldn't take a drink, much less would she stay for dinner. 2.他认为我在对他说谎，但实际上我讲的是实话。(whereas) He thought I was lying to him, whereas I was telling the truth. 3.这个星期你每天都迟到，对此你怎么解释？(account for) How do you account for the fact that you have been late every day this week? 4.他们利润增长的部分原因是采用了新的市场策略。(due to) The increase in their profits is due partly to their new market strategy. 5.这样的措施很可能会带来工作效率的提高。(result in) Such measures are likely to result in the improvement of work efficiency. 6.我们已经在这个项目上投入了大量时间和精力，所以我们只能继续。(pour into) We have already poured a lot of time and energy into the project, so we have to carry on. Unit 2 1.尽管她是家里的独生女，她父母也从不溺爱她。(despite) Despite the fact that she is the only child in her family, she is never babied by her parents. 2.迈克没来参加昨晚的聚会，也没给我打电话作任何解释。(nor) Mike didn't come to the party last night, nor did he call me to give an explanation. 3.坐在他旁边的那个人确实发表过一些小说，但决不是什么大作家。(next to; by no means) The person sitting next to him did publish some novels, but he is by no means a great writer. 4.他对足球不感兴趣，也从不关心谁输谁赢。(be indifferent to) He has no interest in football and is indifferent to who wins or loses. 5.经理需要一个可以信赖的助手，在他外出时，由助手负责处理问题。(count on) The manager needs an assistant that he can count on to take care of problems in his absence. 6.这是他第一次当着那么多观众演讲。(in the presence of sb.) This is the first time that he has made a speech in the presence of so large an audience. Unit 3 1.你再怎么有经验，也得学习新技术。(never too... to...) You are never too experienced to learn new techniques. 2.还存在一个问题，那就是派谁去带领那里的研究工作。(Use an appositional structure) There remains one problem, namely, who should be sent to head the research there. 3.由于文化的不同，他们的关系在开始确实遇到了一些困难。(meet with) Their relationship did meet with some difficulty at the beginning because of cultural differences. 4.虽然他历经沉浮，但我始终相信他总有一天会成功的。(ups and downs; all along) Though he has had ups and downs, I believed all along that he would succeed someday. 5.我对你的说法的真实性有些保留看法。(have reservations about) I have some reservations about the truth of your claim.
建筑结构在冲击负载作用下连续倒塌分析方法 摘要：建筑物在冲击负载作用下的连续倒塌已经引起了全世界的极大关注。对于一个经济的，安全的，能够抵抗冲击负载作用下连续倒塌的建筑结构设计，连续倒塌分析是必不可少的。因为连续倒塌的灾难性特点，和为了抵抗它而潜在的建造和改造建筑物的高额费用，所以连续倒塌分析方法是绝对必要且可信的。对于工程师们而言，他们估算连续倒塌的方法不仅仅要求精确和简要，而且容易上手，立竿见影。因而，最近许多研究者都在发展可靠有效和直接的连续倒塌分析方法上花费了很多的精力。在最近的干物上，当前在文献资料中找得到的关于连续倒塌的分析方法被重新审阅。人们广泛讨论它们的适宜性、适用性和可靠性。我们也提出了最近刚刚完成的关于钢筋混凝土框架在爆破荷载下的连续倒塌新分析方法。 关键词：连续倒塌分析；建筑结构；爆炸荷载；冲击荷载 连续倒塌被定义为“由于一个基本的局部构件失效在构件之间扩散最终造成整个结构或者是不成比例的一大部分倒塌”。其含义为一个或者一组关键承重构件的失效造成周围构件的失效和部分或者是整个结构的倒塌。建筑结构的连续倒塌可能由一系列的意外和人为的因素造成，比如：错误的建造顺序，偶然过载造成的局部失效，爆炸和地震造成的关键组件的损坏。这篇论文仅仅研究了特殊荷载（如：爆炸和冲击），造成的建筑结构连续倒塌的分析。 随着最近Alfred P．Murrah联邦大楼和世界贸易中心（WTC）的倒塌，许多的研究更多的关注如何建造抵抗由于爆炸和冲击荷载造成连续倒塌的建筑。对于一个经济的，安全的，能够抵抗冲击负载作用下连续倒塌的建筑结构设计，连续倒塌分析是必不可少的。因为连续倒塌的灾难性特点，和为了抵抗它而潜在的建造和改造建筑物的高额费用，所以连续倒塌分析方法是绝对必要且可信的。对于工程师们而言，他们估算连续倒塌的方法不仅仅要求精确和简要，而且容易上手，立竿见影。因而，最近许多研究者都在发展可靠有效和直接的连续倒塌分析方法上花费了很多的精力。
GRA VITY RETAINING?WALL 1. INTRODUCTION Retaining walls are structures used to provide stability for earth or other material where conditions disallow the mass to assume its natural slope, and are commonly used to hold back or support soilbanks,coal or ore piles, and water. Retaining walls are classified, based on the method of achieving stability, into six principal types (Fig.1). The gravity-wall depends upon its weight, as the name implies, for stability. The cantilever wall is a reinforced-concrete wall that utilizes cantilever action to retain the mass behind the wall from assuming a natural slope. Stability of this wall is partially achieved from the weight of soil on the heel portion of the base slab. A counterfort retaining wall is similar to a cantilever retaining wall, except that it is used where the cantilever is long or for very high pressures behind wall and has counterforts, which tie the wall and base together, built at intervals along the wall to reduce the bending moments and sheers. As indicated in Fig.1c, the counterfort is behind the wall and subjected to tensile forces. A buttressed retaining wall is similar to a counterfort wall, except that the bracing is in front of the wall and is in compression instead of tension. Two other types of walls not considered further are crib walls, which are built-up members of pieces of precast concrete, metal, or timber and are supported by anchor pieces embedded in the soil for stability, and semigravity walls, which are walls intermediate between a true gravity and a cantilever wall. (a)(b)(e)
co-production 联合拍摄 production摄制 Consultant 策划 project supervisor专案主管 executive producer执行监制 senior producer总监制 assiatant producer助理监制 Post-Production Supervisor 后期制片监制人Producer 制片人 Production Controller 制片总监P roduction Director 监制人 Production Supervisor 制片监制C o-Producer 联合制片人 Associate Producer 助理制片人E xecutive Producer 执行制片 Produced by制作人pr oduction co-ordinator/continuity外联制片/场记location manager 外联制片 production administration 行政制作administration supervisor行政主管 marketing producer制片主任production manager制片 production secreary制作秘书 production accountant制作会计 unit manager 项目经理c lapper 场记板 Chief Director 总导演 Director 导演A ssistant Director 助理导演 Associate Director 副导演 Shooting Script 分镜头剧本O riginal Story 原著A dapted by 改编B a sed on X’s Y （电影）根据X（作家）的Y（小说）改编W riter编剧 Written by / Scripted by 编剧 screenplay by 编剧 script translation剧本翻译english subtitles by英文字幕翻译 Conducted by 指挥 Director of Photography 总摄影C inematography摄影C inematography by 摄影A ssociate Director of Photography 副摄影师C utter 剪辑师M ontage 剪辑（蒙太奇 Film Editing剪辑first cameta assistant 副摄影师 camera assistant摄影助理Fireworks 烟火L ighting 灯光，照明lighting assistant 灯光助理
姓名中英文翻译大全 A: 艾--Ai 安--Ann/An 敖--Ao B: 巴--Pa 白--Pai 包/鲍--Paul/Pao 班--Pan 贝--Pei 毕--Pih 卞--Bein 卜/薄--Po/Pu 步--Poo 百里--Pai-li C: 蔡/柴--Tsia/Choi/Tsai 曹/晁/巢--Chao/Chiao/Tsao 岑--Cheng 崔--Tsui 查--Cha
常--Chiong 车--Che 陈--Chen/Chan/Tan 成/程--Cheng 池--Chi 褚/楚--Chu 淳于--Chwen-yu D: 戴/代--Day/Tai 邓--Teng/Tang/Tung 狄--Ti 刁--Tiao 丁--Ting/T 董/东--Tung/Tong 窦--Tou 杜--To/Du/Too 段--Tuan 端木--Duan-mu 东郭--Tung-kuo 东方--Tung-fang E: F:
范/樊--Fan/Van 房/方--Fang 费--Fei 冯/凤/封--Fung/Fong 符/傅--Fu/Foo G: 盖--Kai 甘--Kan 高/郜--Gao/Kao 葛--Keh 耿--Keng 弓/宫/龚/恭--Kung 勾--Kou 古/谷/顾--Ku/Koo 桂--Kwei 管/关--Kuan/Kwan 郭/国--Kwok/Kuo 公孙--Kung-sun 公羊--Kung-yang 公冶--Kung-yeh 谷梁--Ku-liang H:
韩--Hon/Han 杭--Hang 郝--Hoa/Howe 何/贺--Ho 桓--Won 侯--Hou 洪--Hung 胡/扈--Hu/Hoo 花/华--Hua 宦--Huan 黄--Wong/Hwang 霍--Huo 皇甫--Hwang-fu 呼延--Hu-yen I: J: 纪/翼/季/吉/嵇/汲/籍/姬--Chi 居--Chu 贾--Chia 翦/简--Jen/Jane/Chieh 蒋/姜/江/--Chiang/Kwong
文档简介 一，英语翻译经典文章之英文原稿二，中文翻译：这篇英语文章的最好翻译版本！不是俺说的，是俺老师说哒！！ 英文原稿Brian It seems my only request (“please, let me sleep”) is not clear enough, so I made this simple table that can help you when you’re in doubt. Especially during the night
中文翻译小子： 我只想好好地睡觉，你不明白吗？！所以，我做了这个简表。当你不知道怎么办时，特 别是在晚上的时候，你可以看看它。 具体情况行动指南 1，我正在睡觉禁止进入 2，你不确定我是否睡觉，你想搞清楚管你“鸟”事；禁止进入 3，你嗑了药，想奔向我的床你他妈的滚远点 4，你在youtube上看了一个超赞的视频，禁止进入；在脸书上把链接发给我想让我看看 5，就算第三次世界大战开始了管我屁事，他妈的别进来 6，你和你的基友们想和我“玩玩”抱歉，直男一枚。不要碰我的任何东西，门都别碰 7，你想整理我的房间我谢谢你了！我自己会打扫 8，普京宣布同性婚姻合法化终于等到“它”！还好你没放弃！还是不要来我房里！ 9，我不在家进我房间，想都别想 10，白天，我在家。你敲了门，我说“请进” 你可以进来了 福利放送！！
如果你已经看到了这里，那么说明你应该是英文爱好者哦。 下面有一些非常实用，我精心整理的英文资料，你一定用得到！快去看看吧！ 一，最常用英语翻译政治文体句型总结大全完美版 二，英文合同翻译最常用句型总结专业版 三，英语毕业论文提纲模板优秀完整详细无敌版
Process Parameters Selection for Friction Surfacing Applications Using Intelligent Decision Support Abstract Friction surfacing is an advanced manufacturing process, which has been successfully developed and commercialised over the past decade. The process is used for corrosion and wear resistant coatings and for reclamation of worn engineering components. At present the selection of process parameters for new coating materials or substrate geometries is by experiment requiring lengthy development work. The major requirement is for flexibility to enable rapid changes of process parameters in order to develop new applications, with variations of materials and geometries in a cost effective and reliable manner. Further improvement requires development of appropriate mathematical models of the process, which will facilitate the introduction of optimisation techniques for efficient experimental work as well as the introduction of real-time feedback adaptive control. This paper considers the use of combined artificial intelligence and modeling techniques. It includes a new frame of a neurofuzzy-model based decision support system—FricExpert, which is aimed at speeding up the parameter selection process and to assist in obtaining values for cost effective development. Derived models can then be readily used for optimisation techniques, discussed in our earlier work. Author Keywords: Surfaces and interfaces; Metals and alloys; Materials engineering