ch04.article
ch国拟作文
ch国拟作文I’m not good at writing essays. 但我知道作文是很重要的。
Writing can be difficult for some people. 写作对很多人来说是一项困难的任务。
It requires creativity, organization, and a clear understanding of the topic. 这需要创造力、组织能力和对话题的清晰理解。
For me, writing in English is easier than writing in Chinese. 对我来说，用英文写作比用中文写作更容易。
There are different rules and structures in the English language that I find easier to follow. 英文语言有着不同的规则和结构，我觉得更容易遵循。
It’s also easier for me to express my thoughts and emotions in English. 用英文表达我的想法和情感也更容易一些。
On the other hand, writing in Chinese can be more challenging for me. 另一方面，用中文写作对我来说可能更具挑战性。
It requires a different set of skills and a deeper understanding of the language. 这需要不同的技能和对语言的更深入理解。
There are also more complex characters and grammar rules to consider. 还有更复杂的汉字和语法规则需要考虑。
However, I understand the importance of being able to write effectively in both languages. 然而，我明白能够用两种语言有效地写作的重要性。
The Question of
Games and CultureDOI: 10.1177/15554120052818242006; 1; 72 Games and Culture Patrick Crogan The Question of Computer Games /cgi/content/abstract/1/1/72The online version of this article can be found at: Published by:can be found at:Games and Culture Additional services and information for/cgi/alerts Email Alerts:/subscriptions Subscriptions:/journalsReprints.nav Reprints:/journalsPermissions.nav Permissions:Patrick CroganAdelaide UniversityA short,speculative account of the state of play in the formation of a discipline or field ofcomputer games studies.The processes of academic teaching,research,and institutional positioning in regard to computer games are viewed from the perspective of wider cur-rents and crises influencing knowledge formation today.It is argued that the different approaches to computer games cannot ignore the differences in their conceptions of the object of study in a naive pluralism.These different conceptions of games as parts of the technocultural milieu must encounter each other in the name of the struggle against the avoidance of critical thought concerning the nature and forms of technoculture that often prevails in the production of specialist “knowledge” today.Keywords:computer games;disciplinarity;reason;technocultureFreud more or less says that all the questions impulsively posed by children serve as relays for the one they do not pose,which is the question of the origin.In the same way, we interrogate ourselves about everything,in order to sustain and advance the passion of the question,but all questions are directed toward one question alone—the central question, or the question of the whole.—Maurice Blanchot(1993,pp.11-12) The discipline of a short text to say what should be done in(or by)the study of com-puter games,what it has yet to do,and what it has done poorly allows for only an allu-sive,speculative response.Limitation is of course rightly acknowledged as an agent of effective and creative accomplishment,so I should accept this word length restric-tion as a gift rather than as a liability for at least giving me the opportunity(if not the guarantee)of accomplishment.1Paradoxically however,such a restriction inevitably causes the scope of my speculations to expand in inverse proportion to the shortening of word length,away from a reasonable,limited“intervention”in one or two areas of computer game research and toward the whole field of games studies—including the question of the possibility of the unified field—in its encounter with the young life of computer games.This dynamic and its paradoxical nature however are closely related to the question of computer games that I want to frame here for the community of re-searchers anticipated by the launch of this journal.72Crogan / The Question of Computer Games73 Computer games have been a significant cultural form for about30years.The scholarly,critical study of computer games is maybe20years old,and to argue for this figure(over others,e.g.,Espen Aarseth’s announcement in2001of“year one”of com-puter game studies),we already need more space to explore the histories and compet-ing patrimonies of game study in different disciplinary fields such as simulation and gaming,education,social science,computer science,human-computer interaction, and video game theory.2“We”—and as we will see it is a question precisely of the nature and identity of the we—are therefore concerned with a“new”form of entertain-ment,expression,learning,art,community,and so forth,a form that has more recently provoked attention in academic networks of knowledge production,marketing,and dissemination.3The novelty of the phenomenon or rather,phenomena of computer games,and the variety and increasing volume of descriptive,categorizing,critical,and applied research directed toward these phenomena make it very difficult to make broad summative statements about the merits and shortcomings of existing games studies work.What is happening today is that a plurality of game studies is developing in which different conceptions of the object of study operate in the various disciplinary and regional configurations of academic communities interested in computer games.We see the emergence of multiple conference circuits,publication opportunities,research funding avenues and interdisciplinary research center collaborations,different in-dustry affiliations and community linkages,and so on.At the recent Digital Games Research Association(DiGRA)conference hosted by Simon Fraser University in Vancouver,Changing Views:Worlds in Play,this process of the multiplication and division of games studies was in evidence both within the conference program and in the areas of intense activity on games research not represented(or underrepresented) there,such as work from the older gaming and simulation field,game programming and artificial intelligence research,and so on.The point is not that this is a failing of Changing Views or of DiGRA,an organization that sees itself as promoting a catholic, inclusive approach to the variety of games research.It is rather that no conference could include the diversity of games research in any coherent fashion because the diversity of“computer games”as objects defined by different disciplinary frame-works of pertinence tends toward Babel and not toward a synthesizing perspective on what underlies this diversity.“We”should,many may respond(as some have in e-list discussions and else-where),celebrate this diversity,respect the different beliefs and conceptions of the nature of computer games and the stakes of researching them.There is in this view no single essence of computer games,such is the variety of genres of games,game-playing hardware and contexts of use,and modes of game play.Or at least we should be realistic and accept that this is the way the institutional context of knowledge pro-duction is today,that it will unfold in a manner that will take care of itself,that the work of real value in the various versions of game studies will rise to the surface,that there will be some productive interchange between ludic Weltanschauungs,and so forth.I am one of these,one of“us,”insofar as this means I identify with the illusion of this future community of scholars.One of the most heartwarming experiences I had at74Games and CultureChanging Views was at the panel where Shanly Dixon’s and Bart Simon’s critical theoretical and ethnographically researched critique of the“third space”figure in-fluencing games studies was juxtaposed with Dmitri Williams’s and Constance Steinkuehler’s social science–based exploration mobilizing this very figure in a totally different disciplinary perspective.4Having said that,this panel did not so much evince a communicative interchange across epistemological frames as an encounter in good faith between incommensurables,an experience not so much of productive exchange as of the sharing of unworkable difference.On the other hand,I have a problem with this,with this“we”that imagines diversity and plurality will eventually constitute the“we”for the best,for the good of knowl-edge,for the community at large.This problem and its elaboration have a history.It was identified by Edmund Husserl(1936/1970)in his last book,The Crisis of the European Sciences,in which he examined the fragmentation of knowledge produc-tion into so many specialized compartments of the academy,each asserting its own objective validity.In Husserl’s view,the conflict between the notion of reason as uni-versal principle underlying all human understanding and the multiplication of specific and therefore individual,unique,and incommensurable rational programs across the different disciplinary fields of the modern university lies at the heart of this crisis.Spe-cialized applications of reason that resist and conflict with other expert knowledges undermine the universality of reason as foundational principle of human knowledge. In Rogues:Two Essays on Reason,Derrida(2005)reads Husserl’s assertion of a sov-ereign principle of universal reason ambivalently,exploring the aporia between the productive development of different knowledges,a situation problematic for universal notions of truth and communicability(and hence of community),and the transcenden-tal notion of reason,a notion allowing for the possibility of commonality,community, and universality,but itself always harboring a relation to partiality,and to a violent imposition of a particular order of thought(of the universal),traceable to its appeal to sovereignty,that is,to an auto-foundation in its own intrinsic power and authority.5 Derrida’s(2005)answer to the crisis is typically infuriating for those seeking cer-tainty in an unequivocal“answer”as such,including for myself as representative of the“we”of game studies.He said one can justly neither simply reject the specialization of knowledges nor abandon the idea of a universal rationality with its promise of truth and human commonality and community.Nor can one simply avoid this paradox of the general and the particular by proposing a relativist acceptance of multiple truths,a position blind to its own internal contradiction inasmuch as relativism becomes the new and only nonrelativizable principle.The aphoristic solution he leaves us with here is that it is necessary instead to“reason with reason.”What would this mean?This is another“bridge too far”for this little text,but more particularly,what would it mean for“us”here,faced with the proliferation of game studies,of which this new journal is representative and in respect to which it is aiming to provide effective orientation for its readers?Here I have the time and the inclination to propose one answer,and no doubt both of these preconditions reveal something of the problem of partiality and totality that I have been outlining here on behalf of“us,”as if I have the authority to speak thusCrogan / The Question of Computer Games75 (which of course I do,prospectively,inasmuch as I am published in this journal of the scholarly community of game studies researchers envisaged during its production).To acknowledge reflexively that my scholarly meditation on the state of game studies is not impartial,not a product of pure,disinterested reason,but bears the marks of my predilections and my(and“our”)career aspirations does not of itself guarantee a transparency through which the universal can be discerned behind the particularities of my take on the question before“us.”It does at least foreground the positionality of the position I am asserting in and through my answer to the question of how to reason with reason in describing what is to be done in game studies.My answer therefore follows the lead of Bernard Stiegler’s(2001)challenge to fight the undermining of critical thought today(and it is for him a lutte,a contest or a struggle).In“Our Ailing Educational Institutions,”Stiegler develops an account of the malaise affecting university education in France and elsewhere,an account with strong parallels to Husserl’s1930s discussion of the state of the European sciences.6 His response is to insist on the necessity of proposing synthesizing accounts of phe-nomena rather than to remain mired in a state of disenchantment with the viability of interpretations capable of providing an integrated comprehension of diverse phenom-ena and events.These integrating accounts can of course,he argued,be challenged, questioned,modified,or rejected—indeed they must be—but it is the increasing absence of these theoretical ventures that is paralyzing for critical thought.What results is what he calls a disorientation,function of the increasing failure of contempo-rary knowledge production to provide an orienting perspective(or at least the possibil-ity of one among others).Such a perspective interprets the origin—the“dawn”of the orient out of which“we”have come to be—of the existing state of things so that the nature and potentiality of the future provided to“us”precisely in and as the factical heritage of things(including computer games)are accessible through spatio-temporal coordinates that open up some way of adopting these things and not simply adapting to them.7For this is the alternative tendency today,one that I see across many aspects of games studies research inasmuch as it issues from these“ailing institutions,”a ten-dency that is provided by a kind of“default”orientation to the things of contemporary technoculture,one involving instrumental acclimatization,uncritical subscription to projected innovations in computer and communications technologies,extension of the purview of information networks in the regulation of cultural,economic,and military processes,and so forth.I would argue then that the questions posed in academic research about computer games are“relays”as Blanchot(1993)would say for the question of the origin,the whole of computer games,that is,of the nature of computer games as part of techno-cultural“life”today,its origin and therefore its telos or endpoint.This question ani-mates all computer game research,however specific,specialist,conditional,and qual-ified its parameters,purview,and methodology.Consequently,I would call for a more rigorous and reasoned addressal of the dynamics of this animating process by“we”game studies experts.This would allow“us”to reason with the diverse“reasons”ani-mating the proliferation of games studies research and development.76Games and CultureWhat is at stake when computer games are described as a“subgenre”of simula-tion?What does it mean to use a cybernetic term such as feedback loop in portraying game play dynamics?What is the“whole”implicated in the adoption of systems the-ory to discuss interactivity and player engagement?What orientations to the factical givens of computer game objects and routines of use are provided in the different notions of media,entertainment,learning,“virtual presence,”“experience design,”and so forth that circulate in different zones of computer games scholarship?What is the enduring legacy in computer games of the military technoscience that brought the digital computer into existence?Most of these terms and these wider questions relate not only to the study of computer games but to other technocultural forms,but that is one of the points to be grasped here.Of course,many researchers work at this level of the relation of computer games to other technocultural forms.Beyond that however, the thinking of technocultural forms,including all those emanating from today’s defining technology,must also always be led to an interrogation of technoculture,cul-ture,technology,and“life”today and into the future.For every thing“we”make—computer games themselves and the research we do about them(which also“makes”them)—is an answer to the question of“life.”It does these things no justice to think any the less of them.Notes1. And this perhaps in the Derridean sense of gift,one which can only truly be a gift when it cannot be recognized as such by either the donor or the recipient,thereby escaping any fall into an economy of indebtedness.2. See Ben Talbot’s (2001) review of the International Games Cultures conference.3. This assertion of the“newness”of computer games is made with acknowledgement of the legitimacy of debates over the paternity of computer games in other audiovisual media and in other mediations of games.4. Shanly Dixon and Bart Simon,Boyhood Spaces:Play and Social Navigation Through Video Games, and Constance Steinkuehler and Dmitri Williams,Where Everybody Knows Your(Screen)Name:Online Games as“Third Places,”were in the Boyhood Spaces/Third Places panel at DiGRA2005:Changing Views: Worlds in Play (V ancouver, June 2005).5. For reasons already given,my brutally short summary here does violence to the detailed and resonant reading of Husserl performed by Derrida(2005)in the essay titled“Teleology and Architectonic:The Neu-tralization of the Event” in that book.6. Somewhat inexplicably,two thirds only of this essay are translated into English under the same title in Culture Machine(2003),available at /frm_f1.htm.Unfortunately,the last third of the essay is where Stiegler articulated his polemic about what is to be done about the illness of educa-tion today.7. See Steigler (1996) for a more substantial discussion of this notion of disorientation.ReferencesBlanchot,M.(1993).The infinite conversation.Minneapolis:University of Minnesota Press. Derrida,J.(2005).Rogues:Two essays on reason.Stanford,CA:Stanford University Press.Crogan / The Question of Computer Games77 Husserl,E.(1970).The crisis of European sciences and transcendental phenomenology(D.Carr,Trans.).Evanston,IL:Northwestern University Press.(Original work published1936)Steigler,B.(1996).La technique et le temps2:La désorientation[Technics and Time2:Disorientation].Paris:Editions Galilee.Stiegler,B.(2001).La technique et le temps3:Le temps du cinéma at la question du mal-être[Technics and Time3:Cinema time and the question of being-sick].Paris:Editions Galilee.Talbot,B.(2001).Compete,command and conquer:Playing for space at the International Games Cul-tures conference.Intensities:The Journal of Cult Media,2.Retrieved April3,2003,from http:// /issue2/contents.htmPatrick Crogan teaches in the discipline of media at Adelaide University,Australia.He was an executive board member of the Digital Games Research Association from2003to2005.He has published work on film,animation,new media,and computer games.He is currently working on a project concerning war,com-puter games, and contemporary technoculture.。
华北电力大学研究生学位论文撰写规范
博士学位论文：理工科一般为6～8万字，管理及人文学科一般为8～10万字。
硕士学位论文：理工科一般为2～3万字，管理及人文学科一般为3～4万字。
1
1.1 题目
题目应以简明的词语恰当、准确地反映论文最重要的特定内容（一般不超过24字），应中英文对照。题目通常由名词性短语构成，应尽量避免使用不常用缩略词、首字母缩写字、字符、代号和公式等。
如题目内容层次很多，难以简化时，可采用题目和副题目相结合的方法，其中副题目起补充、阐明题目的作用。题目和副题目在整篇学位论文中的不同地方出现时，应保持一致。
华北电力大学研究生
学位论文撰写规范
华北电力大学
研究生学位论文撰写规范
华北电力大学研究生院（筹）
二2011年七月
1 内容要求4
2书写规定6
3 打印要求14
4 研究生学位论文书写范例19
5 相关网站链接20
附录1 中华人民共和国法定计量单位Ⅰ
附录2 有关数字用法的规定Ⅳ
附录3 有关电气图中图形符号、文字符号的国家标准Ⅴ
按照GB3100～3102-86及GB7159-87的规定使用，即物理量符号、物理常量、变量符号用斜体，计量单位等符号均用正体。
2.10 数字
按国家语言文字工作委员会等七单位1987年发布的《关于出版物上数字用法的试行规定》，除习惯用中文数字表示的以外，一般均采用阿拉伯数字(参照附录2)。
2.11 公式
引用网上参考文献时，应注明该文献的准确网页地址，网上参考文献和各类标准不包含在上述规定的文献数量之内。本人在攻读本学位期间发表的论文不应列入参考文献。
含水气井泡沫排水采气工艺设计
收稿日期:2004-02-19作者简介:王大勋(1956-),男,重庆人,讲师,从事石油工程教学工作。
含水气井泡沫排水采气工艺设计王大勋 徐春碧 刘玉娟 石永新400042重庆,重庆石油高专石油工程系摘 要:泡沫排水采气是开发积水气田的一项重要的增产措施。
文章介绍了泡沫排水采气工艺的原理和设计方法,并通过对辽河油田欢喜岭09井进行泡沫排水采气工艺设计的实践,提出了需要注意的有关问题。
关键词:天然气开采;助采工艺;泡沫排水;泡沫剂;工艺设计 在气田开发后期,多数气井因积水而导致减产、停产。
如何排水就成了气田面临的大问题。
常见的排水采气方法有优选管柱、气举、泡沫排水等。
泡沫排水具有施工容易、收效快、成本低、不影响日常生产等优点,成为产水气田开发的有效增产措施。
当然,这种技术仍然需要在实践程中不断完善。
笔者曾对辽河油田欢喜岭09井进行泡沫排水采气工艺设计。
下面结合设计的实际情况,介绍泡沫排水采气工艺的原理和设计方法及需要注意的有关问题。
1 泡沫排水采气机理泡沫排水采气的基本原理,是从井口向井底注入某种能够遇水起泡的表面活性剂(起泡剂),井底积水与起泡剂接触以后,借助天然气流的搅动,生成大量低密度含水泡沫,随气流从井底携带到地面。
泡沫助采剂主要是通过泡沫效应、分散效应、减阻效应和洗涤效应来实现助采的。
表1 C T5-2和U T-1对比表CT 5-2U T-1类 型复合型表面活性剂以植物皂为主剂的活性剂外 观棕褐色粘稠液红棕色粘稠液气 味微氨味无异味密 度 1.042g/m31.05g/m3溶解性任一比例溶于水任一比例溶于水pH 值7~86抗油指标<30%10%~30%矿化水指标<120g/l <120g/l 凝固点-21-10 包 装25kg/桶,100kg/桶25kg/桶价 格~1.8万元/t~1.0万元/t2 泡沫剂的选择泡排所需泡沫剂应具有起泡能力强、泡沫携液量大、泡沫稳定性适中等性能。
Research on Newly-Found Writing of ox bone in Warring States
Research on Newly-Found Writing of ox bone in Warring StatesSupported by the Educational Ministry Social Science Fund Planning Project “Research on Chinese casting and Chinese Character’s Development and Evolution”(XXXX).Received 2 December 2014; accepted 8 February 2015Published online 26 March 2015AbstractWriting of ox bone found in Zheng and Han areas is another important discovery for characters of Warring States. It presents the true appearance of Jin writing of Warring States. “卤”, “叔”in the previous report should be “?j”, “先”. And “起”is not explained in the previous report. Based on the way of writing of “巳（已）”, “卩”in Han Dynasty wooden tablets should be explained as “巳（已）”. The characters of ox bone were written curtly, briefly and optionally, they demonstrate changing sign like Qin characters changing into Clerical script, such as radical “水”is “氵”, like clerical script. Evolution of clerical script includes two concepts such as generalization and narrow sense, and generalization sense have characters of six countries. The discovery of writing of ox bonefurther demonstrates that evolution of clerical script is a common evolution trend of characters in different countries in Warring States.Key words: Characters of Warring States; Writing of ox bone explanation of a word; Evolution of clerical script INTRODUCTIONIn 2014, the fourth Huaxia Archaeology issued four account books written in writing of ox bone in Han country in the Warring States. Those materials were found in H2164 ash pit of Zheng and Han areas in Xinzheng city. Introduced by Mr. Cai Quanfa, the amount of discovered ribs are 48, 45 after combination. The largest reaches 29.4 cm, while the shortest 6.4 cm. And 39 ribs were written with different characters (Cai, 2014). From issued photos, most of writing of ox bone were destroyed, we can just see some intermittent strokes in some photos, while we can explain some characters in some photos. The writing of ox bone boasts very important value. It provides us new materials to do research about Jin character evolution, evolution of Chinese characters and generation of clerical script.1. EXPLAIN “?”Characters of ox bone record nearly 40 personal debit andcredit accounts. And the involving article is “”.Following are shapes of this character in articles:Relative complete examples involving this characters in ox bone are:( Letter “W”replaces this character below)1.……seventy nine?故?W three bundles.2.?埂?W twenty bundles，W nineteen-nine.3.Eighteen-four：蜀虎W sixteen bundles.4.Fifteen-nine：全W twenty bundles.5.全W twenty-nine bundles.6.Sixty-nine：□□W, W six bundles.7.□建W ten bundles.From examples above, ?故?, 蜀虎, 全are people’s name, W is a unit of “bundle”of some article. Because above part “田”of “胃”in old characters can be seen as “”,“”,“”and“”, Cai Quanfa thinks above part “田”of “胃”can also be seen as 米,十, 人, / or \. He also thinks that W in ox bone should be simplified style of“（?u）”in bronze script. In the article, it sounds “?r”, means “today’s cotton an d twine” (Cai, 2014).It is unbelievable that make a law of a character’s evolution analogize to other words. Mr. Zhang Zhenglangexplains in oracle bone script as “?j”. He points that the Xiao Zhuan shape of “?j”is “”, from 皿(Zhang, 2012, p.11). In other word, original writing of ?j is , later it was changed into .Inscribed wooden slip in Baoshan of Chu area No. 260: “一奠（郑）弓一纷?? ”, Mr. Liu Zhao explains “”as ?j. He thinks “???j”is “?j”, namely oversleeve. Moreover, Mr. Liu Zhao in his arti cle further explains “?j” in oracle bone script and bronze script and verifies originality and evolution of ?j (Liu, 2004, pp.149-156).In Inscribed wooden slip in Guodian of Chu area, “?j”is written as “愠”:（Xing Zi Ming Chu 34）（Xing Zi Ming Chu 35）（Yu Cong Er 7）（Yu Cong Er 30）(Li, 2003, p.615)“W”in account book of writing has similarity with “?j”in Inscribed wooden slip in Baoshan of Chu area No. 260 and “愠”in Inscribed wooden slip in Guodian of Chu area, therefore, no doubt, it should be explained as “?j”. In examples, “ people’s name + ?j + number +bundle ”, in it , the unit of “?j” is bundle, as a result, it cannot be explained as “oversleeves”, it means “?”. Duan Yucai said“It can be made clothes, and made fire, and be a rope.” (Duan, 1981, p.1162) From it , “?”means habijabi. It can be used in people’s daily life widely, such asknitting, lighting a fire and cable braiding. It is quite suitable for habijabi to regard bundle as unit.2. EXPLANATION OF “ORIGINALITY OF 先”In photo H12643, from the fifth rank of right, Mr. Cai Quanfa explains as: 叔□取?十七束，巳（已）. The first character is “”, while the copy of Mr. Cai “”. We think this word should be explained as “先”. In Shuo Wen, the description of “先”is “advance，following儿and之”, Its shape in oracle bone script: , ; in bronze script of Xizhou: , ; in bronze script of Chunqiu: , ; characters in warring states: , . In Gu Wen Zi Pu Xi Shu Zheng, “In terms of‘先’, 止or 之in the above of人，as if that someone is in front of others. It means advance.”(Huang, 2007, p.2767) From the photo and the copy of Mr. Cai Quanfa, the upper part of the character is 之and the under part of it is 人. It should be explained as “先”. The original report did not explain the second character. This character could be . Although it is severely damaged, with careful observation we can see the right side of this character is “si” while the upper-left side is “yao” and the left- lower side may be seen as shape of “zhi” indistinctly. Therefore this character can be identified as “qi”. (It means “up” in the Chinese character) which can be found in the classical work“shuowen" as . While in “the Bamboo Booklets of Qin Dynasty in Fangmatan of Tianshui” as “ ” and in "the Ba mboo Booklets of Qin Dynasty in Shuihu" as . It can be compared with the character “牛骨”（ox bond in English）“Xianqi”was used as one’s second name at the beginning, then it was used as the first name in Jin state of the Spring and Autumn Period. “Tong zhi si zu lve san”recorded that a person whose first name is “xian” is the descendant of the Xian Fu, a senior official of the Jin state and his offspring would be a minister generation by generation. “Zuo Zhuan” was recorde that there are people who named “Xian Zhen”, “Xian Ke”, “Xian You”, “Xian Du” and so on in Jin state. Jin state is the birthplace of the names began with “Xian”, therefore it is reasonable that names with “Xian” as the beginning appear in the account book written with ink and brush in Han state.3. “SI”IN “THE BOOKLETS OF HAN D YNASTY”We can find the character “si”at the end of the most of records in account books written down in the ox bond. In a sense, the character is used at the end of accounts, meaning “complete”or “end”in English. Coincidentally, in the booklets of Han Dynasty we can find “ ” ( the letter “J” instead) at the end of numerous recording characters. For example, wecan find it in “the Newly-found bamboo booklets in Juyan”EPT51.61:Take Dong Feizi gets less than 333 liters of grains.The servant Zhang nu gets 322 liters of grains, take by Feizi. J.The servant Zhuang Zhong gets 322 liters of grains, take by Feizi. J.The pattern of the character is , which is also found in “the Newly- found bamboo booklets in Juyan" EPT51.60,EPT51.235A and etc.; Inscribed money wooden tablets and registry booklets of Zheng Libing are to be count in “The First and Second Editions of the Bamboo Booklets of Han Dynasty in Juyan.” A 823, A 828, etc., and the 10th Grave of “the Bamboo Booklets of Han Dynsty in the Phoenix Mountain of Jiangling”, etc.. The “J”is explained as “卩”in the Newly-found Bamboo Booklets in Juyan, “the Integrations of the Chinese Bamboo Booklets”and “the Explanation of the Newly-found Bamboo Booklets in Juyan”, etc.. And Mr Lu Xixing regards it as “si”in “the Grass Writing Edition of the Bamboo Booklets of Han Dynasty”(Lu, 1989, p.283), and we believe his opinion is more or less correct. First of all, from the angle of glyph evolution, the character “巳”(si) was written as follows, or asoracle bone inscriptions, or as bronze inscriptions during West Zhou Dynasty, as bronze inscriptions during the Warring States Period, 、or in the booklets of Chu Dynasty, and or as bovine bone inscriptions. Thus it can be found that the conservative and hasty inscriptions, and appeared as the character “巳(已)”evolved from oracle bone inscriptions to bronze inscriptions of Warring States Period. The “J”in the bamboo booklets of Han Dynasty should developed from the hasty way of the Warring States Period character “巳(已)”. In addition, the (Yuelu Bamboo Booklets of Qin Dynasty) and (The First and Second Editions of the Bamboo Booklets of Han Dynasty in Juyan) should adopt the conservative inscription. In summary, the glyph evolution from oracle to the bamboo booklets of Han Dynasty of the character “巳(已)”can be described as follows, ――――――Secondly, from the angle of meaning, the “巳”Department of Shuowen said that “巳”means “already”and represents April in the Twelve Earthly Branches. And in April the weather gets warmer and less colder, days get longer, everything in nature comes to bloom and form a mix of colors just like the skins of snakes, so it also represents snake in shape.Duan Yucai said that “巳”means the end of something in the Book of Laws (Duan, 1981, p.1304). It can be regarded as ahabit of the ancients’accounting to write a “巳”as the completed mark at the end of record. However, if it is interpreted as “卩”, it has no certain meaning and can be only treated as some kind of mark.Lastly, from the angle of text examples, the character appears at the end of the records such as issuing rations, calculating money and goods, land rent tax statistics, and calculating loans in the bamboo booklets of Han Dynasty, which is close to the function of the bone ink book in recording the account. The last character of the bone account is “巳(已)”, thus it can be inferred that the character in the bamboo booklets of Han Dynasty should also be it. From the combination from the mentioned three angels, the character “”interpreted as “巳(已)”is reliable. Moreover, the unearthed bone ink book definitely proves that Mr. Lu’s opinion is undoubtly correct. But there is one more thing needed to be explained, the character “卩”in the words of Qin Dynasty is very close to the hasty writing of “巳（已）”of the other six country of Warring States Period, for example, the “卩”part of characters like (Liye Bamboo Booklets of Qin Dynasty)、( Shuihudi Bamboo Booklets of Qin Dynasty) and ( Shuihudi Bamboo Booklets of Qin Dynasty). The writing of the character “巳（已）in the bamboo booklets of Han Dynasty which is similar to the “卩”may be influenced by the mentioned reasons. Discussing about the Changes of the Clerical Script from the Perspective of Character Carved in Cattle Bone Clerical script of Later generations evolved from the qin character causing certain unavoidable changes. However the question whether there were any changes or relationships between the characters of six states and qin`s was still the debating focus among the academic circle. Mr Donlan said in “the history of Chinese philology” : “the characters of the six states becomes increasingly rash featuring the emergence of Clerical script” (Tang, 2005, p.131). Mr Zhao Pingan ever said: “A common destiny of the characters in six states is clerical script,……but this perspective is unpersuasive” (Zhao, 2008, pp.7-8). According to Mr Qiu xigui ,clerical script itself might be influenced by Oriental countries (Qiu, 2013, p.78)The unearthed characters carved in cattle bone belong to the warring states period which is exactly the transitional phase of the characters in eastern zhou dynasty evolved to the characters in qin and han dynasties, and these unearthedcharacters also provide cherished material for the study on the relationships between characters in six states and clerical script. Some of the characters on the cattle bone give hint to certain phenomena of briefness and even similarities with clerical script. For example,“束”is written as , compared with written in the form of inscriptions on the ancient bronze objects ，characters carved in cattle bone is accustomed to link the middle part“口”with the underpart “八”which break the structure of inscriptions. Another example is “巳”, written as ,which is equal to in Chu bamboo script,characters carved in cattle bone straighten the radicals on the left and then extend to the right direction which is the direct origin of ; Besides, another character on the cattle bone is “池”,written as （），the left radical“水”written as“氵”rather than ，these method of writing is identical with clerical script.Simplification is one of the important laws penetrating the history of the development of Chinese characters. The nature of the character in Qin dynasty transferred to the clerical script is to simplify the form of the seal character, the methods including: to change a curve to straight, to dissolute the seal character, to extend or shorten the radicals and to connect them etc. Through special form of scripts on cattle bone, wecan be sure that the characters in jin dynasty are also be simplified. (such as the word 束written in the form of ligatures; the word巳, changed from curve to straightness, part of the word池is cut off), and characters in jin dynasty had ever exerted certain influence to the formation of clerical script. however, the main questions rooted in whether the phenomena of simplification of characters in Jin dynasty,in six states and in Qin dynasty can be viewed as”tende ncy towards clerical script”. Mr Gui-yuan wang said, "from the perspective of the history of Chinese characters, the curve changed to be straight in the late warring states and all the changes occurred in different characters possess certain similarities,so applying the phrase ”tendency towards clerical script”to represent the change is reasonable……if this phrase can only be used to refer to the change of characters in Qin dynasty,then how people name the changes in the same phrase in six states. If we use another phrase to represent it,we are like naming the same phenomena with different words” (Wang, 2011). His opinion is appropriate,we hold the view that the phrase ”tendency towards clerical script” has two kinds of meaning, the narrow sense of this phrase is just the changes of characters in Qin dynasty from seal character to clericalscript.while the generalized sense of it refers to the changed characters in six states besides Qin dynasty.So here, concerning to the conception of “clerical script”a nd”tendency towards clerical script” we may make the following statement: the latter one evolved from characters in Qin dynasty and in six states. “clerical script” is derivedfrom ”tendency towards clerical script”, and is based on the development of characters in Qin dynasty, however, the characters in six states also exert great influence on the generation process of “clerical script”.SUMMERYWriting boasts specific value, comparing to script of oracle bone, bronze and seal. It reflects characte r’s appearance at that time. Casting characters are variations of writing characters in specific materials. Writing characters and casting characters in terms of shape have different features, along with different speed. And shape of writing characters is always more curt, and brief. For example, “则”of Chu xi bronze script is: ; and “则”of bamboo slip and silk is: . We can see that characters of bamboo slip and silk destroy bronze character component structure. In terms of Jin Xi characters, Houma allied paper, Wenxian allied paper and writing of ox bone show curtness,briefness and causality comparing to cast characters of Jin country.Seal character (This is a broad sense) is very neat and standard, suitable for some solemn and formal occasion. However its structure is quite complex and cannot be easy to write, which cannot be satisfied for the actual need. Therefore, it is unavoidable that ink writing the characters start to omit seal character’s strokes and structure, and present appearance of curtness. Curt shape adapts to Chinese character’s simplified law, satisfies writing’s actual need. It has been acknowledged by people gradually. With accumulation to some degree, it causes writing’s actual need-- change of clerical script. Mr. Chang Yaohua points, characters of Sanjin allied paper are a pioneer of change of clerical script. It destroys the out form of oracle bone script and bronze script--strokes and inner structure, and breeds an essential writing revolution (Chang, 2008，pp.597-605) REFERENCESCai, Q. X. (2014). Study on account book in writing of rib of Warring States in Zheng and Hai areas of Xinzheng city. Huaxia Archaeology, (4), 72-84.Chang, Y. H. (2008). Shanghai calligraphy and drawing press editing. Research books on calligraphy on twenty century.History and literature (pp.597-605). Shanghai: Shanghai Calligraphy and Drawing Press.Duan, Y. C. (1981). Shuo wen jie zi zhu (p.1162). Shanghai, China: Shanghai Ancient book Press.Duan, Y. C. (1981). The book of laws (p.1304). Shanghai, China：Shanghai Ancient Book Press.Huang, D. K. (2007). Gu wen zi pu xi shu zheng (p.2767). Beijing, China: Commercial Printing Press.Li, S, K. (2003). Collection of Chu characters (p.615). Shanghai, China: East China Normal University press.Liu, Z. (2004). manuscript of explanation on old characters (pp.149-156). Shangsha, China: Marsland Press.Lu, X. X. (1989). Grass writing edition of the bamboo booklets of Han dynasty (p.283). Shanghai, China: Shanghai Calligraphy and Drawing Press.Tang, L. (2005). The history of Chinese philolog (p.131). Shanghai, China: Shanghai Ancient Book Press.Wang, G. Y. (2011). New study on change of clerical script. Jinan Journal, (3), 5.Zhang, Z. L. (2012). Anthology of Zhang Zhenglang: Study on oracle bone scirpt and bronze script and Shang and Zhou history (p.11). Beijing, China: Zhonghua Book Company.Zhao, P. N. (2008). Study on change of clerical script (pp.7-8). Baoding, China: Hebei University Press.。
A_Study_on_the_Translation_of_Chinese_Four-Charact
US-China Foreign Language, July 2023, Vol. 21, No. 7, 279-286doi:10.17265/1539-8080/2023.07.005 A Study on the Translation of Chinese Four-Character Phrases —Taking the Iconology of the Decorated Writing-Paper of the TenBamboo Studio as an ExampleBAO De-wang, XIANG Hua-liNanjing University of Aeronautics and Astronautics, Nanjing, China The book named Iconology of the Decorated Writing-Paper of the Ten Bamboo Studio is a collection of arch andwoodblock paintings of Ming Dynasty, which is translated by the authors of this paper. The translation of this bookis mainly about the notes and provenance of the paintings. The goal of this paper is to describe the translation activityof Chinese four-character phrases with the practical translation methods and techniques including paraphrase,omission, addition, and shift, which is the most difficult part during the translation process of this book. The authorin this paper hopes that the methods for the translation of Chinese four-character phrases will provide certain help forthe understanding and spread of Chinese classical stories from the book Iconology of the Decorated Writing-Paperof the Ten Bamboo Studio.Keywords: Iconology of the Decorated Writing-Paper of the Ten Bamboo Studio, four-character phrases, translationstrategiesIntroductionIn the process of translating the book Iconology of the Decorated Writing-Paper of the Ten Bamboo Studio , 118 cases were selected from the project, including 26 cases applying omission translation method accounting for 22.0% of the total, 45 cases applied shift translation method, accounting for 38.1%, two cases applied addition, accounting for 1.8% of the total, and 45 cases applied paraphrase, accounting for 38.1%. Methods of paraphrase and shift are most frequently used, and the sum of the two reaches 76.2% of the whole. In this paper, the authors will separately illustrate the use of the four translation methods mentioned above in the translation practice, and at the same time the authors also explain the reasons for using these translation methods. It is intended to provide practical suggestions and references for the future translation of the painting, and at the same time contribute to the spread of Chinese culture. Acknowledgements: Thanks to the committee of Jiangsu Social Science. This paper is funded by Jiangsu Social Science Fund: The Iconography of the Decorated Writing-Paper of the Ten Bamboo Studio , which number is 20YYB005. This paper is also funded by Teaching Reform Project for Postgraduate Education (Construction of High-Quality Teaching Resources): Translation Industry Training (No. 2023YJXGG-C25), which is organized by the Postgraduate College of NUAA.BAO De-wang, Ph.D., professor, College of Foreign Languages, Nanjing University of Aeronautics and Astronautics, Nanjing, China. XIANG Hua-li, associate professor, College of Foreign Languages, Nanjing University of Aeronautics and Astronautics, Nanjing, China.D A VID PUBLISHINGDA STUDY ON THE TRANSLATION OF CHINESE FOUR-CHARACTER PHRASES280ParaphraseVia a large number of translation cases, the authors found that when the first two words and the last two words of a four-character phrases are parallel, but of different expressions, the translation method of paraphrase can be applied. In addition, in this translation practice, the method of paraphrase also applied to descriptive words which involve behaviors, condition, and allusions.Parallel PhrasesST: 诗句意为韩康不看重金钱名利，自己在云山之中逍遥畅快地采药卖药。
ch 4
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4.1 Introduction
Key words
programming language 程序设计语言 vocabulary 词汇表 grammatical rule 语法规则 instruct 指示 high-level language 高级语言 unique 独特的，唯一的 独特的， keyword 关键词 syntax 句法 compared to 和……相比 相比 complex 复杂
Unit 4 The Programming Languages
4.1 4.2 4.3 4.4 4.5 Introduction Machine language Assembly language High-level language Compiler
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第4单元 程序设计语言 单元
4.1 4.2 4.3 4.4 4.5 介绍 机器语言 汇编语言 高级语言 编译器
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4.1 Introduction
interpret 解释 consume 消耗 strength 长处，优势 长处， weakness 弱点 numerical data 数值数据 structured 结构的 readable 易读的 flexible 灵活的 embody 体现 object-oriented 面向对象的
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4.1 Introduction
Compile 1.编译 程序 2.汇编 编辑 编译(程序 汇编;编辑 编译 程序) 汇编 interpret [in't:prit] 解释 说明 诠释 解释,说明 说明,诠释 professional 1. 职业 上)的;从事特定 职业(上 的 从事特定 专业的 2. 职业性的 非业余 职业性的,非业余 性的 3. 很内行的 极称职 很内行的;极称职 的;高水平的 高水平的 is good for 有益于 适于 有益于;适于
pp_ch04
©The McGraw-Hill Companies, 2003
3. Property rights
It is implicitly assumed that property rights are assigned and that there are institutions, like the law / police / land registry, taking care of the registration and enforcement of these rights.
Economics and Management of Organisations:
Co-ordination, Motivation and Strategy
Chapter 4
Coase theorem
George Hendrikse
©The McGraw-Hill Companies, 2003
©The McGraw-Hill Companies, 2003
Conclusion
Equilibrium # pollution is A,
regardless
the allocation of prቤተ መጻሕፍቲ ባይዱperty rights.
©The McGraw-Hill Companies, 2003
Coase Theorem
What is the gain in surplus when you move from B units of pollution to A units of pollution?
©The McGraw-Hill Companies, 2003
p VMP
MD
0 Gain firm
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UNIX操作系统及应用第四章—文本编辑器vi李亦农唐晓晟内容简介目录1vi/vim的历史1 2进入vi3 3vi的模式3 4基本编辑命令4 5高级命令7 6编程辅助9 7示例11 8vi的配置128.1行方式下的设置 (12)8.2永久设置方式 (13)9帮助系统13 10vim资源14 11小结14声明•本章部分内容来自于：SMTH BBS,yubao.liu@:/att.php?s.731.15830.642.txt1vi/vim的历史vi/vim的历史•ed–ed是UNIX上最古老最基本的编辑器，它最初是UNIX之父Ken Thompson编写的，他第一次在ed中应用了正则表达式(regular expression)，这个创举将RE理论带入了实践，对UNIX界1造成了深远的影响。
实际上ed是受来自加州伯克利大学的QED编辑器的影响，Ken便是从所院校这里毕业的。
ed是一种行模式编辑器，下面是一个ed会话的例子：1$ed greeting20#因为新创建文件，所以读入了个字节03a#进入编辑模式(append)4hello world,eveyone.#输入一行文本5.#回到命令模式61p#显示(print第一行)7hello world,eveyone.81c#最后一个词写错了,修改(change第一行)9hello world,everyone.10.#回到命令模式111p#重新显示第一行,这回发现无误12hello world,everyone.13q#退出(quit)14?#表示没有保存或者命令不认识?15w#保存(write)1623#提示写了个字节2317q#退出–在70年代，许多使用UNIX的人都是用廉价的终端机通过电话线连到UNIX服务器上的，因为传输速率慢，所以这种简洁的行模式编辑就很有意义，现在虽然硬件有了长足的发展，ed编辑器很少有人用了，但是它的很多理念比如命令字符、正则表达式却在它的很多后辈身上体现出来。
下面这个网址有一些ed的笑话，从中我们或多或少能体会到那个时代人们的某种精神。
/fun/jokes/ed.msg.html–GNU ed:/software/ed/ed.html–Reference:/wiki/ed,/learn/nlc/ed.html,/cm/cs/who/dmr/qed.html,/topic/ ken-thompson•ex–ex是ed的扩展，实际上vi构建在ex之上，vi引入了现在我们所熟悉的全屏编辑模式。
•vi–随着硬件的发展，UNIX上许多全屏模式编辑器被开发出来，pico,nano,joe,jed,jove,但是最为广泛使用的无疑就是vi(nvi,elvis,vim等)和emacs(GNU Emacs,XEmacs等)。
–1976年左右Bill Joy开发了vi，他也是伯克利大学的毕业生，后来他跟其他人一起成立了Sun Microsystems公司并成为了Sun的首席科学家。
一开始Bill开发了ex,尔后开发了vi作为ex 的visual interface,也就是说vi允许一次能看到一屏的文本而非一行,vi也因此得名。
在当今的UNIX系统上，可能没有缺省安装emacs，但是肯定会有vi，当然，ed编辑器也必定存在:-)–Reference:/vi/history.html http://www.theregister.co.uk/2003/09/11/bill_joys_greatest_gift/•vim–技术不断进步，需求也在不断提高，vi的各种变种也不断涌现，知名的有nvi,elvis,vim, vile,yzis,其中移植性最好、特性最多、使用最广的当属vim,vim主要是Bram Moolenaar创作的。
–下面是vim的重要版本历史:2DATE VERSION Milestone2005Vim7.0aa Spell Checking,multi-tabpage2000Jul09Vim6.0a Folding(and more)1998Feb19Vim5.0Syntax coloring/highlighting1996May29Vim4.0Graphical User Interface(RobertWebb).1994Aug12Vim3.0Support for multiple buffers and win-dows.1992Vim1.22Port to Unix.Vim now competeswith vi.This was when VIM be-came Vi IMproved.1991Nov2Vim1.14First release(on Fred Fish disk#591).–Reference:Learning the vi Editor,6th Edition,O’Reilly./document/ oreilly/books/unix2/vi/index.htm(中国电力出版社有中译版)/vim/hist.html /vim/1vim:help vi_diff.txt2:help version4.txt3:help version5.txt4:help version6.txt2进入vi进入vi•vi是一个较大的UNIX命令，在启动的时候也有它自己的选项和参数•基本语法：vi[-options][+[n]][file]•常用选项：-r用于恢复系统突然崩溃时正在编辑的文件-R用于以只读方式打开文件+n用来指明进入vi后直接位于文件的第n行，如果不指定n，则位于最后一行3vi的模式vi的模式vi的常用模式有四种：命令模式、插入模式、行模式和可视化模式：1.命令模式（Normal Mode）•无论用户处于什么模式，按Esc键或组合键Ctrl+[就可以进入命令模式。
当用户初始进入vi时，也处于这个状态。
•用户在命令模式下可以输入各种合法的vi内部命令，这些命令不会回显，而且不需要回车就会被执行2.插入模式（Insert Mode）•在命令模式下使用某些命令会导致vi马上进入文本插入模式，这些命令包括：i,I,a,A,o,O等3•在这种模式下用户的任何模式都被当作是文件的内容看待，并将其显示在屏幕上3.行模式（Command-line Mode）•行模式又称为最后行模式，通过在命令模式下键入冒号可进入这个模式，在这种模式下vi会在屏幕的最后一行显示一个冒号并等待用户输入命令•行模式下用户输入的命令将回显在最后一行上，并且直到用户输入回车vi才会去执行它•命令执行完毕后，vi自动进入命令模式，或者在输入命令时敲Esc键或组合键Ctrl+[、或用退格键删除所有的输入之后再按一下退格键回到命令模式4.可视化模式（Visual Mode）•在命令模式下按Ctrl-v就可以进入可视化模式•可视化模式类似于UltraEdit/EditPlus中的列模式，可以按列的方式操作文本区域•敲Esc键或组合键Ctrl+[回到命令模式•在vi里面用最后行命令:help mode可以看到vi的所有模式•由于区分了模式，导致vi的命令非常简洁，而无模式编辑器比如emacs，所有的命令都需要加上控制键Ctrl或Alt•VI vs.Emacs:vi继承了ed的理念，另外也有历史原因，vi追求的是快捷—启动程序迅速、编辑文本高效、功能专注，而Emacs追求的是功能的丰富强大以及集成带来的方便，在Emacs里头可以发邮件、上新闻组、听mp3、浏览网页、玩游戏，几乎可以login→emacs→logout了:-),vi和Emacs 都是程序员的编辑器，相比而言，Emacs更是提供了一种程序员的生活氛围。
4基本编辑命令基本编辑命令•移动光标（cursor movement）Bksp左移一个字符Space右移一个字符Enter,+下移一行h左移一个字符l右移一个字符j下移一行k上移一行•vi中“字”的概念：广义：两个空格之间的任何内容为一个字狭义：空格是“字”的定界符，并且所有标点和非字母字符均被当成一个“字”•例：printf("Hello,world\n");广义时为两个字，狭义时为11个字。
•命令列表4w,W跳到下一个词的词首（狭义/广义）b,B跳到上一个词的词首（狭义/广义）(,)跳到前/后一句的句首{,}跳到前/后一段的段首e,E跳到下一个词的词尾（狭义/广义）n G跳到第n行（最后一行）gg跳到第一行（与1G等效）^跳到行首（第一个非空字符）0跳到行首（第一列）$跳到行尾zt将当前行滚卷至窗口首行zz将当前行滚卷至窗口中间zb将当前行滚卷至窗口底部Ctrl-u向下翻滚1/2屏Ctrl-d向上翻滚1/2屏Ctrl-f向下翻滚1屏Ctrl-b向上翻滚1屏Ctrl-n向下移动一行Ctrl-p向上移动一行•上述命令（除n G外）的前面均可增加一个数字来控制移动的次数•修改文本命令（modification）n r<char>用字符char代替光标处的字符，n指定字符char出现的次数。
n缺省为1n R<text>用text的内容替换当前行n次。
n缺省为1。
命令执行完后处于插入方式，必须按Esc键或组合键Ctrl+[回到命令方式•cW（广义）,cw（狭义）,cc（整行）,C（c$）替换一个词或替换到行尾•编辑中的每一行正文都有自己的行号，用下列行命令可以移动光标到指定行：:n将光标移到第n行•行命令模式下，可以规定命令操作的行号范围。
–数值用来指定绝对行号；–字符“.”表示光标所在行的行号；–字符“$”表示正文最后一行的行号；–字符“%”表示所有行；–简单的表达式，例如“.+5”表示当前行往下的第5行；:345将光标移到第345行•在命令模式下正确定位光标之后，可用以下命令切换到插入模式（Insert）：5i在光标左侧输入正文I在光标所在行的开头输入正文a在光标右侧输入正文A在光标所在行的末尾输入正文o在光标所在行的下一行增添新行O在光标所在行的上一行增添新行•删除文本命令（delete）x删除当前光标所在位置的字符X删除光标前的字符d<cursor movement>删除从当前光标位置直到<cursor movement>参数指定的位置dd删除当前行D删除从当前光标位置直到行尾的所有字符•字符串搜索（search）/[pattern]/[offset]<CR>/[pattern]<CR>?[pattern]?[offset]<CR>?[pattern]<CR>–上述四个命令分别表示向下/向上搜索指定的正则表达式[pattern]，并将光标停留在相对搜索结果距离为[offset]行处；搜索得到结果后，可以使用重复命令n或N沿着相同或相反的方向重复上一次的搜索–f<char>命令在当前行搜索指定的字符并将光标停在匹配字符上–t<char>命令在当前行搜索指定的字符并将光标停在匹配字符的左边–%搜索与当前字符匹配（括号对、某种编程语言的语句对）的位置并跳到匹配处•字符串替换（Substitute）–此命令要求先进入行方式–命令的语法为：[addr1,addr2|g]s/find exp/repl exp/[g|n][c]–上述命令表示在第addr1行到addr2行的范围内将字符串find exp用repl exp代替。