毕业设计外文翻译资料
毕业论文(设计)外文文献翻译及原文
金融体制、融资约束与投资——来自OECD的实证分析R．SemenovDepartment of Economics，University of Nijmegen，Nijmegen（荷兰内梅亨大学，经济学院）这篇论文考查了OECD的11个国家中现金流量对企业投资的影响.我们发现不同国家之间投资对企业内部可获取资金的敏感性具有显著差异,并且银企之间具有明显的紧密关系的国家的敏感性比银企之间具有公平关系的国家的低.同时，我们发现融资约束与整体金融发展指标不存在关系.我们的结论与资本市场信息和激励问题对企业投资具有重要作用这种观点一致，并且紧密的银企关系会减少这些问题从而增加企业获取外部融资的渠道。
一、引言各个国家的企业在显著不同的金融体制下运行。
金融发展水平的差别(例如，相对GDP的信用额度和相对GDP的相应股票市场的资本化程度），在所有者和管理者关系、企业和债权人的模式中，企业控制的市场活动水平可以很好地被记录.在完美资本市场,对于具有正的净现值投资机会的企业将一直获得资金。
然而，经济理论表明市场摩擦，诸如信息不对称和激励问题会使获得外部资本更加昂贵，并且具有盈利投资机会的企业不一定能够获取所需资本.这表明融资要素，例如内部产生资金数量、新债务和权益的可得性，共同决定了企业的投资决策.现今已经有大量考查外部资金可得性对投资决策的影响的实证资料（可参考，例如Fazzari（1998）、 Hoshi(1991)、 Chapman（1996）、Samuel(1998））.大多数研究结果表明金融变量例如现金流量有助于解释企业的投资水平。
这项研究结果解释表明企业投资受限于外部资金的可得性。
很多模型强调运行正常的金融中介和金融市场有助于改善信息不对称和交易成本，减缓不对称问题,从而促使储蓄资金投着长期和高回报的项目,并且提高资源的有效配置（参看Levine（1997)的评论文章）。
因而我们预期用于更加发达的金融体制的国家的企业将更容易获得外部融资.几位学者已经指出建立企业和金融中介机构可进一步缓解金融市场摩擦。
毕业设计外文翻译译文
1 工程概论1.1 工程专业1.2 工业和技术1.3 现代制造业工程专业1 工程行业是历史上最古老的行业之一。
如果没有在广阔工程领域中应用的那些技术，我们现在的文明绝不会前进。
第一位把岩石凿削成箭和矛的工具匠是现代机械工程师的鼻祖。
那些发现地球上的金属并找到冶炼和使用金属的方法的工匠们是采矿和冶金工程师的先祖。
那些发明了灌溉系统并建造了远古世纪非凡的建筑物的技师是他们那个时代的土木工程师。
2 工程一般被定义为理论科学的实际应用，例如物理和数学。
许多早期的工程设计分支不是基于科学而是经验信息，这些经验信息取决于观察和经历，而不是理论知识。
这是一个倾斜面实际应用的例子，虽然这个概念没有被确切的理解，但是它可以被量化或者数字化的表达出来。
3 从16、17世纪当代初期，量化就已经成为科学知识大爆炸的首要原因之一。
另外一个重要因素是实验法验证理论的发展。
量化包含了把来源于实验的数据和信息转变成确切的数学术语。
这更加强调了数学是现代工程学的语言。
4 从19世纪开始，它的结果的实际而科学的应用已经逐步上升。
机械工程师现在有精确的能力去计算来源于许多不同机构之间错综复杂的相互作用的机械优势。
他拥有能一起工作的既新型又强硬的材料和巨大的新能源。
工业革命开始于使用水和蒸汽一起工作。
从此使用电、汽油和其他能源作动力的机器变得如此广泛以至于它们承担了世界上很大比例的工作。
5 科学知识迅速膨胀的结果之一就是科学和工程专业的数量的增加。
到19世纪末不仅机械、土木、矿业、冶金工程被建立而且更新的化学和电气工程专业出现了。
这种膨胀现象一直持续到现在。
我们现在拥有了核能、石油、航天航空空间以及电气工程等。
每种工程领域之内都有细分。
6 例如，土木工程自身领域之内有如下细分：涉及永久性结构的建筑工程、涉及水或其他液体流动与控制系统的水利工程、涉及供水、净化、排水系统的研究的环境工程。
机械工程主要的细分是工业工程，它涉及的是错综复杂的机械系统，这些系统是工业上的，而非单独的机器。
毕业设计论文外文文献翻译
毕业设计(论文）外文文献翻译院系：财务与会计学院年级专业：201＊级财务管理姓名:学号：132148*＊*附件: 财务风险管理【Abstract】Although financial risk has increased significantly in recent years risk and risk management are not contemporary issues。
The result of increasingly global markets is that risk may originate with events thousands of miles away that have nothing to do with the domestic market。
Information is available instantaneously which means that change and subsequent market reactions occur very quickly。
The economic climate and markets can be affected very quickly by changes in exchange rates interest rates and commodity prices。
Counterparties can rapidly become problematic。
As a result it is important to ensure financial risks are identified and managed appropriately. Preparation is a key component of risk management。
【Key Words】Financial risk，Risk management，YieldsI. Financial risks arising1.1What Is Risk1.1.1The concept of riskRisk provides the basis for opportunity. The terms risk and exposure have subtle differences in their meaning. Risk refers to the probability of loss while exposure is the possibility of loss although they are often used interchangeably。
毕设设计类外文翻译
Interior Design Supports Art Education: A Case StudyInterior design, as a field of study, is a rapidly growing area of interest – particularly for teenagers in the United States. Part of this interest stems from the proliferation ofdesign-related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts.This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator’s community a nd with international design students in South Korea.Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem-solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education.IntroductionThe design of interior spaces is a growing area of interest in the United States. Studies indicate that people spend 90 per cent of their time indoors, thereby making the quality design of interiors critical to the health and welfare of the population. Youth have been unconsciously encouraged since their childhood to develop awareness of their personal interior spaces and furnishings through popular storybooks they read that introduce the awareness of scale, proportion and ergonomics at a very young age (e.g. Three Little Bears and Alice in Wonderland). More recently, teens in the United States have become unexpectedly ‘hooked’ on design related reality shows such as Trading Spaces, Changing Rooms and Design on a Dime. Although Trading Spaces was originally intended for adults, according to the Wall Street Journal article titled ‘The Teen-Room Makeover’ (18 October 2002) the audience has more than 125,000 viewers aged 12 to 17 [1]. In support of that finding, a survey conducted in 2003 for a national chain of hardware stores discovered 65 per cent of teens said they have watched home improvement-related television shows [2].Teens seemingly have a growing interest in the design of interior spaces.In the United States in 2002, a qualitative study was developed to determine if interior design subject-matter could support national academic standards in elementary and secondary schools (kindergarten – twelfth grade) [3]. Findings of the study indicated that art educators and curriculum specialists perceived interior design to be supportive in meeting their standards as a type of ‘practical application’ of the arts. Perceptions of the curriculum specialists indicated they were looking for new ways to interpret fine art standards in their existing curriculum and that interior design offered one solution. As a result, the researcher, who was an interior design educator, was encouraged to identify and develop a project or lesson plan that could introduce children and youth to the importance of well-designed interior spaces yet support an art education standard in the nation.This article discusses an experiential interior design project that was modified from an exercise used in the freshman and sophomore college studio classes and shared with students in third grade, high school, and with international students in South Korea by this interior design educator. The educator was later invited to present this project to art education teachers at her university. The project supported several school district visual art standards, including perception and community. It was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting visual art standards.Review of literatureThe review of literature briefly discusses (1) experiential learning theory, (2) findings from a qualitative study involving art educators, and (3) the interior design link with art education. The interior design project description and process of application will follow.Experiential learningExperiential learning theory, as an application of cognitive/perceptual models, is a tool toenhance the cognitive process of students. Specifically, the experiential learning cycleinvolves a concrete experience that leads to observations and reflections then to formation of abstract concepts and generalisations, before finally testing implications from concepts in new situations [4].The Association for Experiential Education defines experiential education astheprocess by which a learner constructs knowledge, skill and value from direct experience [5]. Drengson [6] defines experiential education as the process of practical engagement withconcepts and skills applied in a practical setting and delivered through physical and practical mental activity.One of the key components to enhance student learning is reflection. Dewey [7] suggests that to have meaning, an experience must be combined with thought. Kolb [8] suggests that reflections can offer a potential source of powerful data to link theory to practice. The mental engagement of an experiential learner can involve questioning, investigation, experimentation, curiosity, problem-solving, assuming responsibility, creativity and the construction of meaning [9].Experiential learning offers the spontaneous opportunity for learning, whether from unplanned moments, natural consequences, mistakes or successes [10]. Holistically, it involves not only the cognitive but also any combination of the senses, the emotions, and the physical [11].Qualitative study involving art educatorsIn 2001, a study was conducted to determine if interior design may be supportive tokindergarten – twelfth grade (K–12) teachers in meeting national academic standards,including the arts [12]. To understand perceptions of experts in interior design and elementary and secondary education, five focus group session sand six personal interviews were conducted with interior design educators, practitioners,K–12 teachers (elementary, junior high, and high school levels), national standards curriculum specialists (local and state level), and school-to-career curriculum specialists from June 2001 to April 2002[13].Focus group findings indicated that K–12teachers, at both elementary and secondary levels, felt that interior design could be supportive in meeting visual art standards because youth are frequently analysing their personal and public spaces. Participants described specific examples of interior design materials they currently needed in their course work to include: examples of good and bad interior spaces, information about elements and principles of design as they relate to interior spaces, and hands-on col our wheels of sturdy materials. In addition they requested that the materials be low cost, stimulating,‘touchable’,recyclable, self-contained, and fun. Lesson plans the visual art teachers suggested included:• reinvention of the ‘shoe box’ projec t;• development of well-known stories (The Three Pigs, Three Little Bears, and Alice in Wonderland) into space models to teach proportion and scale. In addition, it was suggestedthe following lesson plan: use of Goldilocks story to analyse ‘client or consumer needs’;• use of a Dr Seuss story (literary passage) to generate a conceptual model that enhances creativity;• study of cultural spaces at the junior high level that would enhance study of personal expression of identity in interiors [14].The visual arts curriculum specialists indicated hat interior design –as a ‘practical application’ should be introduced in elementary levels where there is a ‘small window of opportunity’ to give good information about the visual arts. See Table 1 fo r an example of the visual art standards in kindergarten – third grade levels. One visual art specialist advocated that the design process was more important to teach than a particular design method. He suggested moving students from designing personal spaces – and the study of elements and principles of design – in elementary levels to the analysis of private and public spaces in the junior high level. Then the high school levels could be reserved for additional indepth Exploration.Today, junior high and high school students are quite attracted to design-related reality shows. Over the last five years, the number of designrelated television shows has increased dramatically [15]. Why are these shows so attractive to teens and young adults? Rodriguez [16]has suggested that this interest is linked to the teens need for expression of self andself-identity.An individual’s unique identity is established through personalisation of space, which is critical to overall development of self [17]. Developing a sense of self involves the use of symbols to communicate to others one’s personal underlying identity.Interior design link with art educationIt is not common for interior design to be linked with art education in K–12 grade levels in the United States. However, the Foundation for Interior Design EducationResearch[18]standards and guidelines – the accreditation organization for higher education interior design programmes in the nation – reveal that there are many shared areas between visual arts and interior design (e.g.elements and principles of design).Rasmussen and Wright [19]advocate the need for a new model for art education. The new model should offer youth an aesthetic education that does more than just serve the traditional concerns of established arts curriculum. Experiences indicate that young people try to make sense of their own lives by creating contextual understanding through actively, and intentionally, making connections to signs, perceptions and experiences. This is a challenge to develop a new art education model that creates a balance between social andcontextual needs, knowledge of young people, and theaesthetic medium itself.The study of interior spaces offers one such context for learning in the physical environment.People spend 90 per cent of their time in interior spaces [20]. Youth consciously or unconsciously, analyse and respond to their near environment. They also learn best if they understand why they are learning what they are learning. Application of design and art to everyday life can assist in making connections in student learning, and develop more awareness of good design as well as an appreciation of the arts. Youth need theopportunity to learn more about design and human behavior so they can learn they have choices about how supportive their environments can be. Children can [determine] how design influences their behaviors; howdesign can be used to manipulate behavior; how design can encourage or discourage conversation, establish status, put people in power positions, increase or decrease anxiety [21].Therefore, based on (1) the experiential learning theoretical underpinnings, (2) recommendations made by art educators and curriculum specialists, and (3) a call for a new ways of teaching art education, an interior design educator at a higher education institution modified an experiential design project that involved the use of elements and principles of design and an opportunity for self-expression of personal spaces. The designproblem of the personal space was changed based on the grade level.Case study project descriptionAlthough art educators and curriculum specialists perceived that interior design content could be supportive to visual art standards, it was determined that a case study project needed to be developed and presented to various grade levels. It was also determined that a conceptual model of interior spaces should be used toenhance student creativity and exploration rather than a finite model that would offer too many rules and boundaries. Project descriptionThe experiential interior design project involved the construction of athree-dimensional concept model using 44 triangular and rectangular pieces of cardstock (stiff) paper in a neutral colour [22]. The objective was to discover, manipulate and create interior spaces based on a given design problem (e.g. design your space station on a planet of your choice or design your home in the Rocky Mountains of Colorado). The purpose ofthe project was to encourage students to design a conceptual structure from the interior out, keep-ing in mind the function of the building. The student’s model had to incorporate a minimum of six spaces and three levels to encourage vertical as well as horizontal volumes. All 44 pieces of cardstock had to be used in the finished model, which sometimes posed achallenge to the youth. The cardstock pieces could not be ripped, torn, or pierced. However, they could be bent and shapedaccording to the whim of the student.Flow from one space to another and one level to another was emphasized. The decision-making design process was explained and encouraged.Outcomes consisted of a three-dimensional abstract model which, if successfully executed, demonstrated the break-down of traditional spatial paradigms. Design problemsEach student grade level was given a different design problem based on the academic standards that were to be met in that class. In some cases, several academic standards were addressed at the same time. Two national standards for visual arts in the United States were selected to be supported with this project: communication and perception. The communication standard indicates that students in kindergarten – third grade should recognise the use of the visual arts as a means of communication (e.g. select and use visual images, themes and ideas in their own work). The perception standard indicates that students know, understand and apply elements of visual arts and principles of design (e.g. Identify elements and principles of design).Third grade studentsAfter procuring appropriate permission, the design educator brought volunteer college-age interior design students to the elementary school to help administer the project. Three third grade classes (twenty students in each class) had just finished a science unit on space and orbits and were studying specific visual art standards. The children were asked to design a personal space station on a planet of their choice. The goal was to help students relate the newly learned science information to something in real life (e.g. Their home), yet encourage exploration of visual arts (see Figs. 2–4).Each team of students was given the same 44 pieces of cardstock (all cut out) in a plastic bag, a cardboard base (15” x 15” square) on which to build the model, and cellophane tape to use in constructing the model. To enhance reflection of this experiential project, each team of three students was asked to give a two-minute verbal presentation in front of the class on their finished model. In this manner, they could discuss their design solution and the design educator could assess their use of creativity through design elements and principles.The college students and design educator rotated through the three classrooms of students to answer questions, encourage use of design elements and principles, and applaud their creative exploration. The third grade teachers assisted in supporting the structure of the class and encouraging shy students who were reluctant to begin.It was interesting to observe that the children rarely built the models on their provided classroom tables. Instead,they moved to the floor space, located the base for the model in between team members, and began construction. Each team member assumed a role in the process. One team member seemed t o act as the ‘designer’, one as the ‘builder/construction crew’ and the last as the ‘supplier’ of materials. Students excitedlydiscussed the positioning of the triangular pieces of cardstock in their model, their rooms in their space stations, and the different ways to turn the model to create different vantage points.The teams of third graders had one hour to complete the models. Then their verbal presentations began, interspersed with questions and comments from the design educator and third grade teachers. Informal observations indicatedthat application of design elements and principles was strong – perhaps due to the consistent rectangular and triangular shapes that had been provided – thereby supporting the visual arts perception standard. Manipulation of shapes was innovative. Line, shape and form were used to provide movement through adjoining spaces and offered a sense of verticality. Interior volumes were created that supported human behaveour in interior spaces. For example, one team’s presentation discussed how their space station boasted an exercise room with trampolines to strengthen human muscles that weakened as a result of zero gravity in outer space. The communication standard was supported in their finished models in a couple ways. First there was a theme of design as it relates to protection from foreign objects. For example, one team’s space station on Saturn incorporated a force field to protect it from flying rocks. Other visual themes of security and safety evoked the implementation of security cameras, alien detectors, missile launchers, telescope laboratories, control stations and transport rooms. Another visual theme related to circulation. Circulation within the structure was depicted by the third graders through the use of escalators, stairs, elevators and poles. A third visual theme was unique human needs as they relate to interior spaces. Almost every team’s space station incorporated a room for their mothers! In addition, depending on the students’ personal interests, unique space station features ranged from chemical rooms to sandboxes. It was obvious in their multiple unique design solutions their use of creativity had been explored and enhanced.Evaluation and assessment that took place, after the classes were dismissed, indicated that the third grade teachers perceived that this experiential design project supported the visual arts standards in both the communication and perception components as well as the third grade science academic standard concerning space and orbits. In addition, the experiential component of the project had unexpected results when certain quiet, unassuming students in the class became animated and highly engaged in learning. One teacher shared her excitement with the design educator about a new connection that wasformed with one of students that she had not been able to connect with before the design exercise.High school studentsAfter the case study with the third grade students, it was determined to offer this project to high school students. Diversity students in a nearby community were invited to attend a complimentary design workshop at a local library. The interior design educator was asked to present a design problem that would relate to arteducation (see Figs. 6–8).Their problem was to use the same experiential project and shapes to design and construct a conceptual model of their new home or cabin in the Rocky Mountain region. The same project constraints existed. Due to the students’ ages, discussions took place prior to the exercise about innovative problem-solving, the exploration of creativity and the elements and principles of design used within the design process. Some of these elements and principles included:Scale. Awareness of human scale was addressed to develop understanding of proportion and scale of the structure and interior spaces. Shape. Triangular shapes were deliberately selected to encourage students to break paradigms of rectangular interior spaces.Colour. The cardstock pieces were of a neutral colour to enhance spatial composition rather than draw attention to colour usage or juxtaposition. Volume/Mass. The mass of thethree-dimensional model was important in communicating the use of common elements and principles of design (e.g. line, rhythm). Line. A variety of different lines (e.g. diagonal, horizontal) were investigated in the manipulation of the shapes. Space. Space was created through the manipulation of shapes. Theories of complexity, mystery and refuge within interior spaces were discussed. Informal assessment of the finished design models indicated that the design solutions werevery creative.Later that semester, by invitation, the same design project was taken to college students training to be art educators in a mini-workshop format. The art education students found the exercise effective in enhancing creativity and understanding how interior design can enhance understanding of visual arts.International studentsAlthough there was no intention to meet a national visual arts academic standard at a specific grade level, this same experiential design project was presented in Seoul, South Korea to college-aged international students. The design problem was to use the same 44 pieces to develop a design concept model for acommercial building in Seoul. Language translators were used to help the design educatorintroduce the project, guide the students through the process, and understand their verbal presentations at the end of the workshop.Students commented during and after the workshop how the model enhanced their visual literacy skills (they used different words) and creativity within the context of everyday life. The experiential nature of the workshop was seemingly a pleasure to them (see Figs.9–11).Discussion and conclusionThis interior design case study project was designed to be experiential in nature to enhance student learning of the visual arts. Student and teacher assessment of the various groups indicated enthusiasm for the design project because it enhanced creativity, explored multiple design solutions, related to real life, and increased their understanding of human behaviour within the context of the physical environment. Teacherassessment of the age groups indicated that the project did support visual art standards at the appropriate grade level. In addition, their assessment indicated satisfaction with the manner in which the interior design project encouraged student usage of the design elements and principles and the application of design to everyday living. Several instructors indicated that quiet and shy students in their class became engaged in the learning process, which had not been previously observed. Perception of art educators and art education students was that this project supported a variety of visual art standards such as perception and communication. This interior design case study project can be modified for various age and cultural groups and may be of interest to educators who are interested in working collaboratively with colleagues from other disciplines.Visual art programmes in the United States are being cut from the K–12 curriculum. By linking visual arts to an up-and-coming aesthetic field, such as interior design, there may be new ways to sustain and grow visual art programmes in the nation.References1. Orndoff, K. (2003) ASID American Society of Interior Designers 2003 Strategic Environment Report. Future Impact Education, p. 9.2. Levitz, S. (2004) Teens Hooked on Home Décor, London Free Press (Ontario, CA), 24 June, p. D2.3. Clemons, S. (2002) Collaborative Links with K–12: A Proposed Model Integrating Interior Design with National Education Standards, Journal of Interior Design, Vol. 28, No. 1, pp.40–8.4. Rubin, S. G. (1983) Overcoming Obstacles to Institutionalization of Experiential Learning Programs, New Directions for Experiential Learning, Vol. 20, pp. 43–54.5. Luckman, C. (1996) Defining Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 6–7.6. Drengson, A. R. (1995) What Means this Experience? in Kraft, R. J. & Sokofs, M. [Eds] The Theory of Experiential Education. Boulder, CO: Association for Experiential Education, pp. 87–93.7. Dewey, J. (1916) Democracy and Education. New York: Macmillan.8. Kolb, D. A. (1984). Experiential Learning: Experience as the Sources of Learning and Development. Englewood Cliffs, NJ: Prentice-Hall.9. Luckmann, C. op. cit.10. Ibid.11. Carver, R. (1996) Theory for Practice: A Framework for Thinking about Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 8–13.12. Clemons, S. op. cit.13. Ibid.14. Ibid.15. Bien, L. (2003) Renovating how-to TV Shows in a Race to Duplicate Success of ‘Trading Spaces’. The Post Standard (Syracuse, NY), 31 October, p. E1.16. Rodriguez, E. M. (2003) Starting Young, Miami Herald, 28 December, p. H–1.17. Baillie S. & Goeters, P. (1997) Home as a Developmental Environment. Proceedings of the American Association of Housing Educators, New Orleans, LA, pp. 32–6.18. Foundation of Interior Design Education Research (FIDER) home page. Available from URL: / (Accessed 4th January 2005).19. Rasmussen, B & Wright, P. (2001) The theatre workshop as educational space: How imagined reality is voiced and conceived, International Journal of Education & the Arts, Vol. 2, No. 2, pp.1–13.20. Environmental Protection Agency (2006) An Introduction to Indoor Air Quality (online). Available from URL: /iaq/ ia-intro.html (Accessed 26th September 2006).21. InformeDesign (n.d.) Implications, Vol. 1, No. 2, p. 2 (online). Available from URL: /# (Accessed 4th January 2005).22. Curfman, J. & Clemons, S. (1992) From Forty-Four Pieces to a New Spatial Paradigm, in Birdsong, C. [Ed.] Proceedings of the Interior Design Educators Council Southwest Regional Meeting, New Orleans, pp. 2–4./detail/refdetail?tablename=SJWD_U&filename=SJWD00000744102&uid=WEEvR EcwSlJHSldSdnQ0SWZDdUlMV1dWZi9tOGkyYTBaTzBVQjVYeENXYVp4MVRJQjI3cmZRYS9YRmhvdnlxazJRPT 0=$9A4hF_YAuvQ5obgVAqNKPCYcEjKensW4IQMovwHtwkF4VYPoHbKxJw!!Interior Design in Augmented Reality EnvironmentABSTRACTThis article presents an application of Augmented Realitytechnology for interior design. Plus, an Educational InteriorDesign Project is reviewed. Along with the dramatic progress ofdigital technology, virtual information techniques are alsorequired for architectural projects. Thus, the new technology ofAugmented Reality offers many advantages for digitalarchitectural design and construction fields. AR is also beingconsidered as a new design approach for interior design. In an ARenvironment, the virtual furniture can be displayed and modifiedin real-time on the screen, allowing the user to have an interactiveexperience with the virtual furniture in a real-world environment.Here, AR environment is exploited as the new workingenvironment for architects in architectural design works, and thenthey can do their work conveniently as such collaborativediscussion through AR environment. Finally, this study proposesa newmethod for applying AR technology to interior designwork, where a user can view virtual furniture and communicatewith 3D virtual furniture data using a dynamic and flexible userinterface. Plus, all the properties of the virtual furniture can beadjusted using occlusion- based interaction method for a TangibleAugmented Reality. General TermsApplications of computer science in modeling, visualization andmultimedia, graphics and imaging, computer vision, human-computerinteraction, et al.KeywordsAugmented Reality, Tangible AR, CAAD, ARToolKit, Interiordesign.1. INTRODUCTIONVisualizing how a particular table or chair will look in a roombefore it is decorated is a difficult challenge for anyone. Hence,Augmented Reality (AR) technology has been proposed forinterior design applications by few previous authors, for example,Koller, C. Wooward, A. Petrovski; K. Hirokazu, et al. The relateddevices typically include data glassesconnected to a。
毕业设计外文文献翻译范文
毕业设计外文文献翻译专业学生姓名班级学号指导教师优集学院外文资料名称：Knowledge-Based Engineeri--ng Design Methodology外文资料出处：Int.J.Engng Ed.Vol.16.No.1附件： 1.外文资料翻译译文2.外文原文基于知识工程(KBE)设计方法D. E. CALKINS1.背景复杂系统的发展需要很多工程和管理方面的知识、决策，它要满足很多竞争性的要求。
设计被认为是决定产品最终形态、成本、可靠性、市场接受程度的首要因素。
高级别的工程设计和分析过程(概念设计阶段)特别重要，因为大多数的生命周期成本和整体系统的质量都在这个阶段。
产品成本的压缩最可能发生在产品设计的最初阶段。
整个生命周期阶段大约百分之七十的成本花费在概念设计阶段结束时，缩短设计周期的关键是缩短概念设计阶段，这样同时也减少了工程的重新设计工作量。
工程权衡过程中采用良好的估计和非正式的启发进行概念设计。
传统CAD工具对概念设计阶段的支持非常有限。
有必要，进行涉及多个学科的交流合作来快速进行设计分析(包括性能，成本，可靠性等)。
最后，必须能够管理大量的特定领域的知识。
解决方案是在概念设计阶段包含进更过资源，通过消除重新设计来缩短整个产品的时间。
所有这些因素都主张采取综合设计工具和环境，以在早期的综合设计阶段提供帮助。
这种集成设计工具能够使由不同学科的工程师、设计者在面对复杂的需求和约束时能够对设计意图达成共识。
那个设计工具可以让设计团队研究在更高级别上的更多配置细节。
问题就是架构一个设计工具，以满足所有这些要求。
2.虚拟(数字)原型模型现在需要是一种代表产品设计为得到一将允许一产品的早发展和评价的真实事实上原型的过程的方式。
虚拟样机将取代传统的物理样机，并允许设计工程师，研究“假设”的情况，同时反复更新他们的设计。
真正的虚拟原型，不仅代表形状和形式，即几何形状，它也代表如重量，材料，性能和制造工艺的非几何属性。
本科毕业设计外文文献翻译
（Sheaｒ waｌl ｓt ｒuctural desigｎ ofh ｉgh-ｌev ｅl fr ａmeworkＷｕ Jiche ｎgＡbstract ： In t ｈis pape ｒ the basic c ｏｎcepts of ｍａn ｐow ｅr ｆｒom th ｅ ｆra ｍｅ sh ｅａr w ａｌl str ｕc ｔｕｒｅ, analy ｓis of the ｓtruct ｕr ａｌ des ｉgn ｏf th ｅ c ｏnt ｅnt ｏｆ t ｈe fr ａme she ａr wall, in ｃｌudi ｎg the ｓeism ｉc wa ｌl she ａr spa本科毕业设计外文文献翻译学校代码： 10128学 号：题 目：Shear wall structural design of high-level framework 学生姓名： 学 院：土木工程学院 系 别：建筑工程系 专 业：土木工程专业（建筑工程方向） 班 级：土木08-（5）班 指导教师： (副教授)ｎratiｏdesign, ａnd a concrｅtｅｓtruｃtuｒe in thｅmｏst co ｍmonｌy useｄframe shear walｌstｒｕcturｅtｈｅdesign of p ｏiｎｔs to note.Keyworｄs: cｏncrｅｔｅ; fｒaｍｅshｅａｒwall sｔｒucｔｕre；hiｇh－risｅbuildｉｎｇsThe wall is aｍoｄern high－rｉｓe buiｌdiｎgs is an iｍpo ｒｔant buiｌdinｇconｔｅnt, the ｓize of thｅfraｍe sheａr wall must comｐly with buildｉng reguｌａtｉons. The pｒｉnｃipｌe is ｔhat the largeｒsｉzｅbｕt the thｉｃknessｍuｓt ｂｅsmaller gｅoｍetric featｕrｅｓshoｕlｄｂe ｐｒeｓented ｔo the pｌatｅ,ｔｈe forｃe is close to cylｉndrｉcal.Ｔhe waｌl sｈｅar wa ｌl strｕｃｔure ｉs a flaｔcomｐonent. Itｓeｘposure to tｈe force aｌoｎg ｔhe ｐlane leｖｅl of theｒole ofｓｈear and momｅｎt, must also take ｉｎtｏａccounｔthe veｒｔical preｓsure.Opeｒate unｄer thｅcomｂiｎed actｉｏn oｆbenｄing momeｎts and axial force aｎｄsheａr forcｅbｙthe caｎtilｅｖｅr deep beａm uｎder ｔｈe acｔion of the force leveｌｔo lｏo ｋinto ｔｈe bottom mouｎted on ｔhe basｉs of. Sheaｒｗaｌl ｉｓdiｖidｅｄinｔo a whole walｌand ｔheａssoｃiated ｓｈeａr wall in thｅactual project,a wholｅwａlｌfor ｅxａmpl ｅ, suｃh as ｇenｅraｌhｏusiｎｇｃonstｒuction in tｈe gablｅｏr fish bｏne strｕcture ｆｉlｍwａｌls ａnd small opｅningｓwall.Cｏupled Sｈeａr ｗalls are ｃonnｅcted bｙｔhｅcｏupｌing ｂeam shｅａr wall.Buｔｂecause tｈeｇｅnerａlｃｏupling beaｍstｉｆfness is less thaｎｔhe wall stiｆfnｅsｓof the lｉmbs，ｓｏ. Wａlｌliｍb aｌonｅis obviｏus.The ｃｅntral beam of tｈeｉnflｅｃtion pｏｉnｔtｏpay aｔtenｔiｏｎto tｈeｗaｌl pressｕre thａn the limiｔs of the lｉmb axis. Will forｍa shortｗiｄe beａms，widｅcolｕmn wａll liｍｂｓhear wａll ｏpｅnings toｏlarge ｃomｐonｅnt aｔbothｅn ｄs ｗith jｕst the domain of vａｒiabｌe crosｓ－ｓecｔｉon ro ｄin ｔhe intｅrｎａｌforcｅｓｕnder tｈｅaｃtioｎof maｎy Ｗalｌlｉmb iｎflｅcｔion point Ｔhｅｒeｆoｒe, ｔhe cａｌcula ｔions ａｎd consｔruction sｈouldAccordinｇtｏappｒoxiｍａｔe tｈe framｅstｒucｔure to ｃonsideｒ.Tｈe desｉｇｎof ｓhｅａr walls ｓhoulｄbe based on the cｈａractｅrisｔics ｏf ａvａｒｉｅty oｆwall itseｌｆ,ａnd dｉfferｅnｔmeｃhanical ch ａrａcteｒisｔｉcｓand requireｍents,wall oｆthｅinternａｌforceｄistrｉbutｉon and failurｅmoｄｅs ｏf sｐecific and cｏmprehensive ｃonｓideration of the design rｅinｆorcemｅnt aｎd stｒuctural measｕres. Ｆrame sｈear wall ｓｔrｕctuｒe deｓiｇn is to cｏｎsider the ｓtructｕre of the oｖerall ａnａｌysis for ｂoｔh dｉrecｔｉｏｎsｏｆthｅhｏrｉzontal and vｅrtiｃalｅfｆects. Oｂtain thｅinternal force ｉs reｑuirｅd in ａccｏrdancｅｗｉｔｈtｈe bias or paｒtｉal ｐull normal sｅcｔｉon forｃｅｃaｌculatiｏn.The waｌl strｕcture oｆtheｆｒame sｈear ｗall ｓｔructural dｅsign of ｔhe coｎtent frame hｉgh-rise buildings, in ｔhe actual ｐrｏjeｃｔiｎｔhｅuse of thｅｍoｓt seisｍic ｗａlls have suffiｃient quantitｉeｓto meｅt ｔheｌｉmitsｏf the lａyer displacement, the loｃation iｓｒelａtiｖely flexiblｅ. Seiｓmic wａll for cｏntinuous layout，ｆulｌ-length ｔhroｕgh．Should bｅdesigned to avoid the waｌl mutaｔioｎs ｉn limb ｌｅｎgth and alignment is noｔuｐａnd down the ｈolｅ. The samｅtｉme．Tｈe inｓide of ｔhe hole marginｓcｏlｕｍｎshｏｕld not ｂｅｌｅssｔhan３00mm ｉｎordｅｒtｏguaraｎteｅtheｌengtｈof the colｕｍn ａs the edgｅof tｈe coｍponent and constｒａiｎt eｄgｅcｏｍponeｎts．Thｅbi-direc ｔiｏnal laｔerａl forｃe ｒesiｓting strucｔurａl fｏrm of verticａl aｎｄhorｉzontaｌwalｌcoｎnected.Eａｃh ｏｔhｅr as ｔhe ａffiｎiｔｙof the shｅar wall. Ｆor ｏnｅ, two seismic frａme sｈe ａr ｗalｌｓ,ｅｖen beam highｒatio ｓhould noｔgreateｒthan 5 aｎd a height of nｏt less thaｎ400mm.Midline colｕmnａnd beａmｓ,wall ｍｉdline shouｌdｎoｔbe greaｔer tha ｎthe ｃoｌｕmｎwidｔｈof1/4，ｉn ordｅr ｔｏreｄuce thｅtoｒsional eｆfect of the sｅiｓmｉｃacｔion ｏnｔｈｅｃolｕmn．Oｔhｅrwｉsｅcan be taken tｏstrengthｅn theｓtirruprａｔｉo iｎｔhe cｏlｕmn tｏmake ｕp.If thｅshear wａｌl sheａｒsｐａn ｔhａnｔhe ｂig twｏ. Ｅveｎthe beａｍcro ｓs-heｉｇht ratiｏgreateｒthan 2.5, ｔhen tｈe design presｓｕｒe ｏf thｅｃｕt shoulｄnoｔmａkｅａｂig 0.2. Howevｅｒ, ｉf the sheａｒwallｓheａr sｐａｎｒatiｏof ｌess than two couｐlinｇｂeａms sｐan of ｌeｓs than ２．5, then the shear coｍｐres ｓiｏn rａｔiｏis noｔgreaｔer thａn 0.15. Thｅｏther haｎｄ，ｔhe bｏttom oｆthe fraｍe ｓhｅar walｌstructure ｔo enhａnce tｈｅdｅsign sｈould ｎoｔbe leｓs thaｎ２０0mmａnd noｔlesｓthaｎstorey 1/１6，othｅｒｐaｒtｓｓhｏulｄnot be lｅss than 160mm ａnd ｎｏt ｌｅss thaｎｓtoｒey １/20. Arounｄthe wall of the frame ｓhｅar ｗall strucｔure sｈｏulｄbe set ｔo the beａm or dark bｅamａnd the sｉｄe columｎｔｏform a borｄｅr. Ｈoｒizｏntａl ｄｉｓtrｉbuｔioｎoｆsｈear waｌls cａn from the sheａr effect，tｈｉs design wｈen ｂuilｄｉng higｈｅr longeｒor fｒaｍｅｓtructｕre reinfoｒcｅment shｏuld be aｐprｏpｒiatelｙincｒeａｓed, ｅspｅcｉａlｌy in the sｅnｓitivｅｐarts of the beam pｏsition ｏr teｍperaｔuｒe, stiffnｅsｓchａnge is besｔappｒopriatｅly increased, ｔｈeｎcｏnsidｅration sｈoulｄbe ｇｉveｎｔo the wａlｌvertｉcaｌreiｎforｃemeｎt,becaｕse ｉt is mａinly fｒom the bｅnding efｆecｔ, aｎｄtake in ｓome ｍｕlti-ｓtorｅｙshｅａｒｗａll structuｒereinforcｅｄreｉnｆorceｍent rate -likｅlｅsｓconｓtｒained edgｅｏｆｔhｅcomｐonent or components reinforｃemeｎt of thｅedge ｃomｐｏnent.Referｅnces: [1 sad Hａyaｓhi,He Yaming. Ｏn the shorｔshｅar ｗall ｈigh-riｓe bｕilｄinｇｄesign ［J]．Kｅｙｕaｎ, 2008, (O2).高层框架剪力墙结构设计吴继成摘要: 本文从框架剪力墙结构设计的基本概念人手, 分析了框架剪力墙的构造设计内容, 包括抗震墙、剪跨比等的设计, 并出混凝土结构中最常用的框架剪力墙结构设计的注意要点。
毕业设计论文 外文文献翻译
毕业设计（论文）外文参考文献翻译计算机科学与信息工程系系（院）2008 届题目企业即时通Instant Messaging for Enterprises课题类型技术开发课题来源自选学生姓名许帅专业班级 04计算机科学与技术指导老师王占中职称工程师完成日期：2008年4 月 6 日目录I NSTANT M ESSAGING FOR E NTERPRISE (1)1. Tips (1)2. Introduction (1)3. First things first (2)4.The While-Accept loop (4)5. Per-Thread class (6)6. The Client class (7)企业即时通 (9)1.提示 (9)2.简介 (9)3.首先第一件事 (10)4.监听循环 (11)5.单线程类 (13)6.用户端类 (14)Instant Messaging for Enterprise1. TipsIf Java is, in fact, yet another computer programming language, you may question why it is so important and why it is being promoted as a revolutionary step in computer programming. The answer isn’t immediately obvious if you’re coming from a tr aditional programming perspective. Although Java is very useful for solving traditional standalone programming problems, it is also important because it will solve programming problems on the World Wide Web. What is the Web?The Web can seem a bit of a mys tery at first, with all this talk of “surfing,”“presence,” and “home pages.” It’s helpful to step back and see what it really is, but to do this you must understand client/server systems, another aspect of computing that is full of confusing issues. The primary idea of a client/server system is that you have a central repository of information，some kind of data, often in a database。
毕业设计(论文)外文资料翻译(学生用)
毕业设计外文资料翻译学院：信息科学与工程学院专业：软件工程姓名： XXXXX学号： XXXXXXXXX外文出处： Think In Java (用外文写)附件： 1.外文资料翻译译文；2.外文原文。
附件1：外文资料翻译译文网络编程历史上的网络编程都倾向于困难、复杂，而且极易出错。
程序员必须掌握与网络有关的大量细节，有时甚至要对硬件有深刻的认识。
一般地，我们需要理解连网协议中不同的“层”（Layer）。
而且对于每个连网库，一般都包含了数量众多的函数，分别涉及信息块的连接、打包和拆包；这些块的来回运输；以及握手等等。
这是一项令人痛苦的工作。
但是，连网本身的概念并不是很难。
我们想获得位于其他地方某台机器上的信息，并把它们移到这儿；或者相反。
这与读写文件非常相似，只是文件存在于远程机器上，而且远程机器有权决定如何处理我们请求或者发送的数据。
Java最出色的一个地方就是它的“无痛苦连网”概念。
有关连网的基层细节已被尽可能地提取出去，并隐藏在JVM以及Java的本机安装系统里进行控制。
我们使用的编程模型是一个文件的模型；事实上，网络连接（一个“套接字”）已被封装到系统对象里，所以可象对其他数据流那样采用同样的方法调用。
除此以外，在我们处理另一个连网问题——同时控制多个网络连接——的时候，Java内建的多线程机制也是十分方便的。
本章将用一系列易懂的例子解释Java的连网支持。
15.1 机器的标识当然，为了分辨来自别处的一台机器，以及为了保证自己连接的是希望的那台机器，必须有一种机制能独一无二地标识出网络内的每台机器。
早期网络只解决了如何在本地网络环境中为机器提供唯一的名字。
但Java面向的是整个因特网，这要求用一种机制对来自世界各地的机器进行标识。
为达到这个目的，我们采用了IP（互联网地址）的概念。
IP以两种形式存在着：(1) 大家最熟悉的DNS（域名服务）形式。
我自己的域名是。
所以假定我在自己的域内有一台名为Opus的计算机，它的域名就可以是。
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外文出处：《Exploiting Software How to Break Code》By Greg Hoglund, Gary McGraw Publisher : Addison Wesley Pub Date : February 17, 2004ISBN : 0-201-78695-8译文标题：JDBC接口技术译文：JDBC是一种可用于执行SQL语句的JavaAPI（ApplicationProgrammingInterface应用程序设计接口）。
它由一些Java语言编写的类和界面组成。
JDBC为数据库应用开发人员、数据库前台工具开发人员提供了一种标准的应用程序设计接口，使开发人员可以用纯Java语言编写完整的数据库应用程序。
一、ODBC到JDBC的发展历程说到JDBC，很容易让人联想到另一个十分熟悉的字眼“ODBC”。
它们之间有没有联系呢？如果有，那么它们之间又是怎样的关系呢？ODBC是OpenDatabaseConnectivity的英文简写。
它是一种用来在相关或不相关的数据库管理系统（DBMS）中存取数据的，用C语言实现的，标准应用程序数据接口。
通过ODBCAPI，应用程序可以存取保存在多种不同数据库管理系统（DBMS）中的数据，而不论每个DBMS使用了何种数据存储格式和编程接口。
1．ODBC的结构模型ODBC的结构包括四个主要部分：应用程序接口、驱动器管理器、数据库驱动器和数据源。
应用程序接口：屏蔽不同的ODBC数据库驱动器之间函数调用的差别，为用户提供统一的SQL编程接口。
驱动器管理器：为应用程序装载数据库驱动器。
数据库驱动器：实现ODBC的函数调用，提供对特定数据源的SQL请求。
如果需要，数据库驱动器将修改应用程序的请求，使得请求符合相关的DBMS所支持的文法。
数据源：由用户想要存取的数据以及与它相关的操作系统、DBMS和用于访问DBMS的网络平台组成。
虽然ODBC驱动器管理器的主要目的是加载数据库驱动器，以便ODBC函数调用，但是数据库驱动器本身也执行ODBC函数调用，并与数据库相互配合。
因此当应用系统发出调用与数据源进行连接时，数据库驱动器能管理通信协议。
当建立起与数据源的连接时，数据库驱动器便能处理应用系统向DBMS发出的请求，对分析或发自数据源的设计进行必要的翻译，并将结果返回给应用系统。
2．JDBC的诞生自从Java语言于1995年5月正式公布以来，Java风靡全球。
出现大量的用java语言编写的程序，其中也包括数据库应用程序。
由于没有一个Java语言的API，编程人员不得不在Java程序中加入C语言的ODBC函数调用。
这就使很多Java的优秀特性无法充分发挥，比如平台无关性、面向对象特性等。
随着越来越多的编程人员对Java语言的日益喜爱，越来越多的公司在Java程序开发上投入的精力日益增加，对java语言接口的访问数据库的API 的要求越来越强烈。
也由于ODBC的有其不足之处，比如它并不容易使用，没有面向对象的特性等等，SUN公司决定开发一Java语言为接口的数据库应用程序开发接口。
在JDK1．x 版本中，JDBC只是一个可选部件，到了JDK1．1公布时，SQL类包（也就是JDBCAPI）就成为Java语言的标准部件。
二、JDBC技术概述JDBC是一种可用于执行SQL语句的JavaAPI（ApplicationProgrammingInterface，应用程序设计接口）。
它由一些Java语言写的类、界面组成。
JDBC给数据库应用开发人员、数据库前台工具开发人员提供了一种标准的应用程序设计接口，使开发人员可以用纯Java语言编写完整的数据库应用程序。
通过使用JDBC，开发人员可以很方便地将SQL语句传送给几乎任何一种数据库。
也就是说，开发人员可以不必写一个程序访问Sybase，写另一个程序访问Oracle，再写一个程序访问Microsoft的SQLServer。
用JDBC写的程序能够自动地将SQL语句传送给相应的数据库管理系统（DBMS）。
不但如此，使用Java编写的应用程序可以在任何支持Java的平台上运行，不必在不同的平台上编写不同的应用。
Java和JDBC的结合可以让开发人员在开发数据库应用时真正实现“WriteOnce，RunEverywhere！”Java具有健壮、安全、易用等特性，而且支持自动网上下载，本质上是一种很好的数据库应用的编程语言。
它所需要的是Java应用如何同各种各样的数据库连接，JDBC正是实现这种连接的关键。
JDBC扩展了Java的能力，如使用Java和JDBCAPI就可以公布一个Web页，页中带有能访问远端数据库的Ap plet。
或者企业可以通过JDBC让全部的职工（他们可以使用不同的操作系统，如Windwos，Machintosh和UNIX）在Intranet上连接到几个全球数据库上，而这几个全球数据库可以是不相同的。
随着越来越多的程序开发人员使用Java语言，对Java访问数据库易操作性的需求越来越强烈。
MIS管理人员喜欢Java和JDBC，因为这样可以更容易经济地公布信息。
各种已经安装在数据库中的事务处理都将继续正常运行，甚至这些事务处理是存储在不同的数据库管理系统中；而对新的数据库应用来说，开发时间将缩短，安装和版本升级将大大简化。
程序员可以编写或改写一个程序，然后将它放在服务器上，而每个用户都可以访问服务器得到最新的版本。
对于信息服务行业，Java和JDBC提供了一种很好的向外界用户更新信息的方法。
1．JDBC的任务简单地说，JDBC能完成下列三件事：1）同一个数据库建立连接；2）向数据库发送SQL语句；3）处理数据库返回的结果。
2．JDBC—一种底层的APIJDBC是一种底层API，这意味着它将直接调用SQL命令。
JDBC完全胜任这个任务，而且比其他数据库互联更加容易实现。
同时它也是构造高层API和数据库开发工具的基础。
高层API和数据库开发工具应该是用户界面更加友好，使用更加方便，更易于理解的。
但所有这样的API将最终被翻译为象JDBC这样的底层API。
目前两种基于JDBC的高层API 正处在开发阶段。
1）SQL语言嵌入Java的预处理器。
虽然DBMS已经实现了SQL查询，但JDBC要求SQL 语句被当作字符串参数传送给Java程序。
而嵌入式SQL预处理器允许程序员将SQL语句混用：Java变量可以在SQL语句中使用，来接收或提供数值。
然后SQL的预处理器将把这种Java／SQL混用的程序翻译成带有JDBCAPI的Java程序。
2）实现从关系数据库到Java类的直接映射。
Javasoft和其他公司已经宣布要实现这一技术。
在这种“对象／关系”映射中，表的每一行都将变成这类的一个实例，每一列的值对应实例的一个属性。
程序员可以直接操作Java的对象；而存取所需要的SQL调用将在内部直接产生。
还可以实现更加复杂的映射，比如多张表的行在一个Java的类中实现。
随着大家对JDBC兴趣的不断浓厚，越来越多的开发人员已经开始利用JDBC为基础的工具进行开发。
这使开发工作变得容易。
同时，程序员也正在开发对最终用户来说访问数据库更加容易的应用程序。
3．JDBC和ODBC及其他API的比较到目前为止，微软的ODBC可能是用得最广泛的访问关系数据库的API。
它提供了连接几乎任何一种平台、任何一种数据库的能力。
那么，为什么不直接从Java中直接使用ODBC 呢？回答是可以从Java中使用ODBC，但最好在JDBC的协助下，用JDBC－ODBC桥接器实现。
那么，为什么需要JDBC呢？要回答这个问题，有这么几个方面：1）ODBC并不适合在Java中直接使用。
ODBC是一个C语言实现的API，从Java程序调用本地的C程序会带来一系列类似安全性、完整性、健壮性的缺点。
2）其次，完全精确地实现从C代码ODBC到JavaAPI写的ODBC的翻译也并不令人满意。
比如，Java没有指针，而ODBC中大量地使用了指针，包括极易出错的空指针“void＊”。
因此，对Java程序员来说，把JDBC设想成将ODBC转换成面向对象的API是很自然的。
3）ODBC并不容易学习，它将简单特性和复杂特性混杂在一起，甚至对非常简单的查询都有复杂的选项。
而JDBC刚好相反，它保持了简单事物的简单性，但又允许复杂的特性。
4）JDBC这样的JavaAPI对于纯Java方案来说是必须的。
当使用ODBC时，人们必须在每一台客户机上安装ODBC驱动器和驱动管理器。
如果JDBC驱动器是完全用Java语言实现的话，那么JDBC的代码就可以自动的下载和安装，并保证其安全性，而且，这将适应任何Java平台，从网络计算机NC到大型主机Mainframe。
总而言之，JDBCAPI是能体现SQL最基本抽象概念的、最直接的Java接口。
它建构在ODBC的基础上，因此，熟悉ODBC的程序员将发现学习JDBC非常容易。
JDBC保持了ODBC的基本设计特征。
实际上，这两种接口都是基于X／OPENSQL的调用级接口（CLI）。
它们的最大的不同是JDBC是基于Java的风格和优点，并强化了Java的风格和优点。
最近，微软又推出了除了ODBC以外的新的API，如RDO，ADO和OLEDB。
这些API事实上在很多方面上同JDBC一样朝着相同的方向努力，也就是努力成为一个面向对象的，基于ODBC的类接口。
然而，这些接口目前并不能代替ODBC，尤其在ODBC驱动器已经在市场完全形成的时候，更重要的是它们只是ODBC的“漂亮的包装”。
4．JDBC两层模型和三层模型JDBC支持两层模型，也支持三层模型访问数据库。
如图所示，两层模型中，一个java Appple或者一个JA－va应用直接同数据库连接。
这就需要能直接被访问的数据库进行连接的JDBC驱动器。
用户的SQL语句被传送给数据库，而这些语句执行的结果将被传回给用户。
数据库可以在同一机器上，也可以另一机器上通过网络进行连接。
这被称为“Client/Server”结构，用户的计算机作为Client,运行数据库的计算机作为Server。
这个网络可是intranet，比如连接全体雇员的企业内部网，当然也可以是internet。
如图所示，在三层模型中，命令将被发送到服务的“中间层”，而“中间层”将SQL 语句发送到数据库。
数据库处理SQL语句并将结果返回“中间层”，然后“中间层”将它们返回用户。
MIS管理员将发现三层模型很有吸引力，因为“中间层”可以进行对访问的控制并协同数据库的更新，另一个优势就是如果有一个“中间层”用户就可以使用一个易用的高层的API，这个API可以由“中间层”进行转换，转换成底层的调用。
而且，在许多情况下，三层模型可以提供更好的性能。