网页设计毕设外文翻译--基于JSP网页自动生成工具设计实现分析
毕设外文翻译是什么意思(两篇)
引言概述：在现代高等教育中，毕业设计（或称为毕业论文、学士论文等）是学生完成学业的重要环节。
而对于一些特定的专业，例如翻译专业，有时候还需要完成外文翻译这一项任务。
本文将探讨毕设外文翻译的意义和目的，以及为什么对翻译专业的学生而言这一任务极其重要。
正文内容：1.提高翻译能力和技巧外文翻译是一项对翻译专业学生而言十分重要的任务，通过进行外文翻译，学生们可以通过实践提高自己的翻译能力和技巧。
在这个过程中，他们可以学习如何处理不同类型的外文文本，熟悉不同领域的专业术语，并掌握一些常用的翻译技巧和策略。
2.扩展语言和文化知识毕设外文翻译要求学生们对翻译语言的相关知识和背景有一定的了解。
在进行翻译时，学生们需要遵循目标语言的语法规则，并确保所翻译的内容准确、清晰地传达源语言的意义。
通过这一过程，学生们可以进一步扩展自己的语言和文化知识，提高自己的跨文化沟通能力。
3.提供实践机会毕设外文翻译为学生们提供了一个实践的机会，让他们能够将在课堂上所学到的理论知识应用于实际操作中。
通过实践，学生们可以对所学知识的理解更加深入，同时也可以发现并解决实际翻译过程中的问题和挑战。
这对于学生们将来从事翻译工作时具备更好的实践能力和经验具有重要意义。
4.培养翻译专业素养毕设外文翻译要求学生们具备良好的翻译专业素养。
在进行翻译过程中，学生们需要保持专业的态度和责任心，严谨地对待每一个翻译任务。
他们需要学会如何进行翻译质量的评估和控制，以确保最终翻译稿的准确性和流畅性。
这一系列的要求和实践，可以帮助学生们培养出色的翻译专业素养。
5.提升自我学习和研究能力毕设外文翻译要求学生们进行广泛的文献阅读和研究，以便更好地理解所翻译的内容，并找到适当的翻译方法和策略。
在这个过程中，学生们需要培养自己的自主学习和研究能力，提高对学术和专业领域的敏感性，并能够独立思考和解决问题。
这将对学生们未来的学术研究和进一步的职业发展产生积极的影响。
总结：引言概述:毕业设计外文翻译（Thesis Translation）是指在毕业设计过程中，对相关外文文献进行翻译，并将其应用于研究中，以提供理论支持和参考。
jsp毕业设计论文
jsp毕业设计论文JSP毕业设计论文随着互联网的迅猛发展，Web应用程序的开发变得越来越重要。
JSP （JavaServer Pages）作为一种基于Java的服务器端技术，被广泛应用于Web应用程序的开发中。
在毕业设计中选择JSP作为开发技术，可以帮助学生深入了解Web应用程序的开发流程和技术细节，提升自己的编程能力。
在JSP毕业设计论文中，可以选择一个具有实际意义和挑战性的课题。
例如，可以设计一个在线购物网站，实现用户注册、商品浏览、购物车管理、订单处理等功能。
这个课题涉及到数据库设计、用户界面设计、交互逻辑设计等多个方面，可以全面锻炼学生的综合能力。
在论文的开头，可以介绍JSP的基本概念和工作原理。
JSP是一种动态网页技术，它允许开发人员将Java代码嵌入到HTML页面中，实现动态生成网页内容。
JSP页面在被访问时，服务器会将JSP代码转换为Java代码并编译执行，最终生成HTML页面返回给客户端。
接着，可以详细介绍所选择的毕业设计课题。
首先，需要进行需求分析，明确网站的功能和用户需求。
然后，进行系统设计，包括数据库设计、用户界面设计、系统架构设计等。
在设计过程中，需要考虑系统的可扩展性、安全性和性能等方面的问题。
在论文的主体部分，可以逐步介绍实现的细节。
可以先介绍数据库设计和数据模型的建立，包括表的设计、字段的定义和关系的建立。
然后，可以介绍用户界面的设计和实现，包括网页布局、样式设计和交互效果的实现。
接着，可以介绍后台逻辑的实现，包括用户注册、登录验证、商品浏览、购物车管理和订单处理等功能的实现。
在实现过程中，可能会遇到一些技术难题和挑战。
可以在论文中详细描述这些问题，并提出相应的解决方案。
例如，可能会遇到数据库性能问题，可以通过优化查询语句、增加索引等方式提升性能。
又或者，可能会遇到安全性问题，可以通过加密算法、访问控制等方式增强系统的安全性。
除了功能的实现，还可以在论文中介绍一些创新点和改进方向。
毕设三项文档之-外文翻译
本科生毕业设计 (论文)
外文翻译
原文标题
Worlds Collide:
Exploring the Use of Social Media Technologies for
Online Learning
译文标题
世界的碰撞：
探索社交媒体技术在在线学习的应用
作者所在系别计算机科学与工程系作者所在专业计算机科学与技术作者所在班级
作者姓名
作者学号
指导教师姓名
指导教师职称讲师
完成时间2013年2月
北华航天工业学院教务处制
注：1. 指导教师对译文进行评阅时应注意以下几个方面：①翻译的外文文献与毕业设计（论文）的主题是否高度相关，并作为外文参考文献列入毕业设计（论文）的参考文献；②翻译的外文文献字数是否达到规定数量（3 000字以上）；③译文语言是否准确、通顺、具有参考价值。
2. 外文原文应以附件的方式置于译文之后。
英汉互译系统设计—毕业设计(论文)
摘要英汉互译系统是基于J2EE开发的，在J2SDK和Eclipse平台上使用java与Microsoft Access开发的，主要是解决个人及广大的朋友们实现英译汉、汉译英的功能，本系统实现对生词、错词进行添加、删除和修改。
之所以选择J2EE来开发本系统有诸多的优越性，下面分别介绍：J2EE的优越性：J2EE是一套全然不同于传统应用开发的技术架构，包含许多组件，主要可简化且规范应用系统的开发与部署，进而提高可移植性、安全与再用价值。
Java语言的优越性和前景：java是以撰写跨平台应用软件的面向对象的程序设计语言，是由Sun Microsystems公司于1995年5月推出的Java程序设计语言和Java平台（即JavaSE, JavaEE, JavaME）的总称。
Java 技术具有卓越的通用性、高效性、平台移植性和安全性，广泛应用于个人PC、数据中心、游戏控制台、科学超级计算机、移动电话和互联网，同时拥有全球最大的开发者专业社群。
在全球云计算和移动互联网的产业环境下，Java更具备了显著优势和广阔前景。
作品的选材：现在我们处于一个信息的时代，随着时代的进步，语言也伴随这进步，我们处在一个形形色色的语言大家庭中，会其他国家的语言变得尤为重要，而英语在这些语言中又显得突出了，之所以选择做一个英汉互译的翻译软件是为了帮助自己和他人能学习更多的英语词汇，提升自己的技能水平。
系统用程序的方式解决了那些非常复杂的操作，比如翻越词典，所有的步骤只需在电脑或者手机上安装即可查询。
只需要查询，添加，删除和修改简单的几步操作就可以完成，非常简单实用。
【关键词】 java技术；英汉互译；查询；删除；修改；添加AbstractTranslation system is based on J2EE development, developed using java the J2SDK and Eclipse platform and Microsoft Access, mainly to solve personal and the majority of the friends realized English to Chinese and Chinese to English functionality of the system to achieve the new words,wrong word to add, delete, and modify. Chose J2EE to develop the system has many advantages, the following were introduced:The superiority of J2EE:J2EE is a set of completely different from traditional application development, technical architecture, contains a number of components, mainly to simplify the specification of application systems development and deployment, and to improve portability, security and re-use value.The superiority of the Java language and prospects:java programming language in writing object-oriented cross-platform software applications, was launched in May 1995 by Sun Microsystems, Inc. Java programming language and the Java platform (ie JavaSE, JavaEE, and JavaME) general. Java technology has excellent versatility, efficiency, platform portability, and security, are widely used in personal PC, data center, gaming consoles, scientific supercomputers, mobile phones and the Internet, at the same time has the world's largest community of professional developers . Global cloud computing and mobile Internet industry environment, Java has significant advantages and broad prospects.The selection of works:Now we are in an information age, with the progress of the times, the language is also accompanied by this progress, we arein a diverse languages extended family, will be the language of the other countries has become particularly important, and the prominent English language , chose to do a translation translation software to help themselves and others to learn more English vocabulary, enhance their level of skills.Program to solve a very complex operation, such as crossing the dictionary, all the steps are simply installed on a computer or mobile phone can query. Only need a few simple steps operation can be completed, a very simple and practical.【Key Words】java technology; Translation; queries; delete; modified; Add目录第一章问题定义及内容简介 (9)1.1问题的定义 (9)1.2 内容简介 (9)第二章研究背景与研究意义 (10)2.1 研究背景 (10)2.2 研究意义 (11)第三章开发平台与语言简介 (13)3.1 Eclipse简介 (13)3.2 java 简介 (14)3.3 Access 简介 (15)第四章系统需求分析及可行性分析 (16)4.1 系统需求分析 (16)4.1.1 现状分析 (16)4.1.2 功能需求分析 (17)4.1.3 数据库需求分析 (17)4.1.4 系统数据流程分析 (18)4.2 系统总体功能介绍 (20)4.3 模块功能介绍 (20)4.3.1 主界面功能 (20)4.3.2 英译汉功能 (20)4.3.3 汉译英功能 (21)4.4 数据项 (21)4.5 系统难点分析 (23)第五章系统设计 (23)5.1系统的总体设计 (23)5.1.1系统的功能模块设计 (23)5.2 系统的详细设计 (25)5.2.1 概念设计 (25)5.3 系统的物理设计 (26)第六章总体设计 (27)6．1 算法的实现 (27)6.2 字符串的联系 (28)6.3 数据库设计 (28)6.3.1 数据库图 (28)6.3.2 数据库的约束与关系 (29)6.4 系统的实现 (29)6.4.1 主界面功能实现 (29)6.4.2 英译汉功能实现 (31)6.4.3 汉译英功能及词库备份实现 (32)6.4.4 查询类的实现及数据库绑定 (34)6.4.5 添加类的实现及数据库绑定 (35)6.4.6 修改类的实现及数据库绑定 (37)6.4.7 删除类的实现及数据库绑定 (39)第七章 Socket编程 (43)7.1 Socket编程 (43)7.2 Socket的实现 (43)第八章程序总结 (49)8.1 本系统的优点 (49)8.2 本系统的不足及改良 (50)8.3 设计和实现过程中的收获 (50)参考文献 (51)参考书籍： (51)谢辞 (53)第一章问题定义及内容简介1.1问题的定义解决英译汉、汉译英以及传统的英汉互译的软件缺陷进行以下的改变：1.实现添加生词到数据库，方便下次查询，备份词库、避免数据丢失。
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。
jsp网上商城系统毕业设计答辩外文文献及译文
毕业设计说明书英文文献及中文翻译学生姓名：学号：学院：专业：指导教师：Struts——an open-source MVC implementationBy: Malcolm Davis.Source: Struts--an open-source MVC implementation[J].IBM Systems JournalThis article introduces Struts, a Model-View-Controller implementation that uses servlets and JavaServer Pages (JSP) technology. Struts can help you control change in your Web project and promote specialization. Even if you never implement a system with Struts,you may get some ideas for your future servlets and JSP page implementation.IntroductionKids in grade school put HTML pages on the Internet. However, there is a monumental difference between a grade school page and a professionally developed Web site. The page designer (or HTML developer) must understand colors, the customer, product flow, page layout, browser compatibility, image creation, JavaScript, and more. Putting a great looking site together takes a lot of work, and most Java developers are more interested in creating agreat looking object interface than a user interface. Java Server Pages (JSP) technology provides the glue between the page designer and the Java developer.If you have worked on a large-scale Web application, you understand the term change.Model-View-Controller (MVC) is a design pattern put together to help control change. MVC decouples interface from business logic and data. Struts is an MVC implementation that uses Servlets 2.2 and JSP 1.1 tags, from the J2EE specifications, as part of the implementation. Y ou may never implement a system with Struts, but looking at Struts may give you some ideas on your future Servlets and JSP implementations.Model-View-Controller (MVC)JSP tags solved only part of our problem. We still have issues with validation, flow control, and updating the state of the application. This is where MVC comes to the rescue.MVC helps resolve some of the issues with the single module approach by dividing theproblem into three categories:• ModelThe model contains the core of the application's functionality. The model encapsulates thestate of the application. Sometimes the only functionality it contains is state. It knows nothing about the view or controller.• View• The view provides the presentation of the model. It is the look of the application. The view can access the model getters, but it has no knowledge of the setters. In addition, it knows nothing about the controller. The view should be notified when changes to the model occur. ControllerThe controller reacts to the user input. It creates and sets the model.MVC Model 2The Web brought some unique challenges to software developers, most notably the stateless connection between the client and the server. This stateless behavior made it difficult for the model to notify the view of changes. On the Web, the browser has to re-query the server to discover modification to the state of the application.Another noticeable change is that the view uses different technology for implementation than the model or controller. Of course, we could use Java (or PERL, C/C++ or what ever) code to generate HTML. There are several disadvantages to that approach:• Java programmers should develop services, not HTML.• Changes to layout would require changes to code.• Customers of the service should be able to create pages to meet their specific needs.• The page designer isn't able to have direct involvement in page development.• HTML embedded into code is ugly.For the Web, the classical form of MVC needed to change.MVC Model 2 Struts, an MVC 2 implementation Struts is a set of cooperating classes, servlets, and JSP tags that make up a reusable MVC 2 design. This definition implies that Struts is a framework, rather than a library, but Struts also contains an extensive tag library and utility classes that work independently of the framework.• Client browserAn HTTP request from the client browser creates an event. The Web container will respond with an HTTP response.• ControllerThe Controller receives the request from the browser, and makes the decision where to send the request. With Struts, the Controller is a command design pattern implemented as a servlet. The struts-config.xml file configures the Controller.• Business logicThe business logic updates the state of the model and helps control the flow of the application.With Struts this is done with an Action class as a thin wrapper to the actual business logic.• Model stateThe model represents the state of the application. The business objects update the application state. ActionForm bean represents the Model state at a session or request level, and not at a persistent level. The JSP file reads information from the ActionForm bean using JSP tags.• ViewThe view is simply a JSP file. There is no flow logic, no business logic, and no model information -- just tags. Tags are one of the things that make Struts unique compared to other frameworks like V elocity.Struts detailsDisplayed in Figure 6 is a stripped-down UML diagram of the org.apache.struts.action package and shows the minimal relationships among ActionServlet (Controller), ActionForm (Form State), and Action (Model Wrapper).The ActionServlet classDo you remember the days of function mappings? Y ou would map some input event to a ointer to a function. If you where slick, you would place the configuration information into ale and load the file at run time. Function pointer arrays were the good old days of structured rogramming in C.Life is better now that we have Java technology, XML, J2EE, and all that. The Struts ontroller is a servlet that maps events (an event generally being an HTTP post) to classes. guess what -- the Controller uses a configuration file so you don_t have to hard-code the alues. Life changes, but stays the same.ActionServlet is the Command part of the MVC implementation and is the core of the ramework. ActionServlet (Command) creates and uses Action, an ActionForm, and ctionForward. As mentioned earlier, the struts-config.xml file configures the command. uring the creation of the Web project, Action and ActionForm are extended to solve the pecific problem space. The file struts-config.xml instructs ActionServlet on how to use the xtended classes. There are several advantages to this approach:• The entire logical flow of the application is in a hierarchical text file. This makes itasier to view and understand, especially with large applications.• The page designer does not have to wade through Java code to understand the flow of e application.• The Java developer does not need to recompile code when making flow changes. Command functionality can be added by extending ActionServlet.The ActionForm classActionForm maintains the session state for the Web application. ActionForm is anbstract class that is sub-classed for each input form model. When I say input form model, Im saying ActionForm represents a general concept of data that is set or updated by a HTML form. For instance, you may have a UserActionForm that is set by an HTML Form. The Struts framework will:• Check to see if a UserActionForm exists; if not, it will create an instance of the class.• Struts will set the state of the UserActionForm using corresponding fields from the HttpServletRequest. No more dreadful request.getParameter() calls. For instance, the Struts framework will take fname from request stream and call UserActionForm.setFname().• The Struts framework updates the state of the UserActionForm before passing it to the business wrapper UserAction.• Before passing it to the Action class, Struts will also conduct form state validation by calling the validation() method on UserActionForm. Note: This is not always wise to do. There might be ways of using UserActionForm in other pages or business objects, where the validation might be different. V alidation of the state might be better in the UserAction class.• The UserActionForm can be maintained at a session level.Notes:• The struts-config.xml file controls which HTML form request maps to which ActionForm. • Multiple requests can be mapped UserActionForm.• UserActionForm can be mapped over multiple pages for things such as wizards.The Action classThe Action class is a wrapper around the business logic. The purpose of Action class is to translate the HttpServletRequest to the business logic. To use Action, subclass and overwrite the process() method.The ActionServlet (Command) passes the parameterized classes to ActionForm using the perform() method. Again, no more dreadful request.getParameter() calls. By the time the event gets here, the input form data (or HTML form data) has already been translated out of the request stream and into an ActionForm class.Note: "Think thin" when extending the Action class. The Action class should control the flow and not the logic of the application. By placing the business logic in a separate package or EJB, we allow flexibility and reuse.Another way of thinking about Action class is as the Adapter design pattern. The purpose of the Action is to "Convert the interface of a class into another interface the clients expect. Adapter lets classes work together that couldn_t otherwise because of incompatibility interface" (from Design Patterns - Elements of Reusable OO Software by Gof). The client in this instance is the ActionServlet that knows nothing about our specific business class interface. Therefore, Struts provides a business interface it does understand, Action. By extending the Action, we make our business interface compatible with Struts business interface. (An interesting observation is that Action is a class and not an interface. Action started as an interface and changed into a class over time. Nothing's perfect.)The Error classesThe UML diagram (Figure 6) also included ActionError and ActionErrors. ActionError encapsulates an individual error message. ActionErrors is a container of ActionError classes that the View can access using tags. ActionErrors is Struts way of keeping up with a list of errors.UML diagram of the relationship of the Command (ActionServlet) to the Model (Action) The ActionMapping classAn incoming event is normally in the form of an HTTP request, which the servlet Container turns into an HttpServletRequest. The Controller looks at the incoming event and dispatches the request to an Action class. The struts-config.xml determines what Action class the Controller calls. The struts-config.xml configuration information is translated into a set of ActionMapping, which are put into container of ActionMappings. (If you have not noticed it, classes that end with s are containers) The ActionMapping contains the knowledge of how a specific event maps to specific Actions. The ActionServlet (Command) passes the ActionMapping to the Action class via the perform() method. This allows Action to access the information to control flow.ActionMappingsActionMappings is a collection of ActionMapping objects.Struts pros Use of JSP tag mechanism The tag feature promotes reusable code and abstracts Java code from the JSP file. This feature allows nice integration into JSP-based development tools that allow authoring with tags.• Tag libraryWhy re-invent the wheel, or a tag library? If you cannot find something you need in the library, contribute. In addition, Struts provides a starting point if you are learning JSP tag technology.• Open sourceY ou have all the advantages of open source, such as being able to see the code and having everyone else using the library reviewing the code. Many eyes make for great code review.• Sample MVC implementationStruts offers some insight if you want to create your own MVC implementation.• Manage the problem spaceDivide and conquer is a nice way of solving the problem and making the problem manageable.中北大学2014届毕业设计英文文献译文Struts 一个开源的MVC实现作者：马尔科姆·戴维斯。
基于JSP的课程学习网站设计与实现
基于JSP的课程学习网站设计与实现摘要《高频电子线路》课程的学习网站是利用JA V A语言编写的，并采用myeclipse8.5开发工具编写而成的。
其后台数据库采用Microsoft Sql Server 2000数据库进行支持，界面美化是利用Adobe PhotoshopCS3图片处理软件进行处理的。
本系统从使用者角度出发，界面友好美观，人机信息交互灵活、方便、快捷，安全可靠，系统同时具有很大的可扩充性。
系统由系统设置模块、学习资源材料分类管理模块、学习资源文件管理模块、用户管理模块、老师审核管理模块、在线查看审核结果管理模块等模块组成。
每个模块都实现了增加、删除、修改，查询等相关操作。
为了保证系统的安全性，在用户登录系统设计时，用户需输入正确的工号和用户口令才能进入系统，并且不同的身份的用户具有不同的权限。
本论文主要是根据用户对《高频电子线路》课程的学习网站的需求，分析写出的系统设计文档，本文档作为《高频电子线路》课程的学习网站的依据。
关键词：高频电子线路；学习网站；JSP；文件审核Abstract" Electronic circuit" course website is the use of JA V A language, and the use of myeclipse8.5development tools to prepare a. The background database using Microsoft Sql Server 2000database support, beautify the interface is the use of Adobe PhotoshopCS3 image processing software for processing. The system from the user point of view, friendly interface, flexible man-machine information interactive, convenient, fast, safe and reliable, the system also has great extensibility. The system consists of system settings module, learning resource material classification management module, learning resource file management module, user management module, teacher management module, view online audit results management module and other modules. Each module has realized increase, delete, modify, query and other operations. In order to ensure the safety of the system, the user is logged in the system design, the user needs to input the correct number and password to enter the system, and the different identities of users with different privileges. This paper is based on users of" electronic circuit" course web site needs analysis, write system design documents, the document as" electronic circuit" course learning website based on.Key words: high-frequency electronic circuits; learning website; JSP; document review目录基于JSP的课程学习网站设计与实现 (1)摘要 (1)第一章绪论 (4)1.1 课题的研究背景及意义 (4)1.2课题的研究现状及发展趋势 (4)1.3 课题的主要内容介绍 (5)1.4 本章小结 (5)第二章需求分析 (6)2.1 系统可行性分析 (6)2.2 需求分析 (7)2.2.1 用户需求 (7)2.2.2 系统资源需求 (8)2.2.3功能需求 (8)2.2.4数据字典 (8)第三章系统的总体设计 (11)3.1系统总体结构 (11)3.2系统功能结构 (11)3.2.1用户信息管理功能模块 (12)3.2.2文件分类信息管理功能模块 (12)3.2.3文件管理功能模块 (13)3.2.4我的审核管理功能模块 (13)3.2.5审核管理模块 (14)3.2.5系统维护模块 (14)第四章数据库设计 (15)4.1概念结构设计 (15)4.2逻辑结构设计与实施 (17)第五章详细设计 (19)5.1登陆模块设计与实现 (19)5.2用户信息管理设计与实现 (21)5.3 文件分类功能设计与实现 (23)5.4 文件管理功能设计与实现 (25)5.5 我的审管理功能设计与实现 (27)5.6审核功能设计与实现 (29)5.7 系统维护功能设计与实现 (31)第六章系统的测试与运行 (34)6.1黑盒测试 (34)6.1.1 用户登录测试 (34)6.1.2 密码修改测试 (35)6.1.3 添加用户 (35)6.1.4 文件审核管理 (36)6.2白盒测试 (36)6.3测试小结 (37)致谢 (38)参考资料 (39)第一章绪论1.1 课题的研究背景及意义信息时代，随着计算机技术以及通信网络的飞速发展，信息的发布和交流开始越来越广泛，利用计算机、网络管理和信息采集势在必行。
网站自动生成器的设计和实现
网站自动生成器的设计和实现作者：方奕， 潘荫荣， 胡幼华， 窦亮作者单位：华东师范大学计算机科学系,上海,200062刊名：计算机应用与软件英文刊名：COMPUTER APPLICATIONS AND SOFTWARE年，卷(期)：2004,21(1)被引用次数：7次1.莫少东;罗伟其构造Web信息发布系统模型[期刊论文]-计算机工程 2001(05)2.Stephen Walter Active Server Pages 20 Unleashed 20003.查看详情 20011.李勇.蔡利军一个动态网站自动生成发布系统[期刊论文]-电脑编程技巧与维护2003(1)2.何清林.张本成.HE Qing-lin.ZHANG Ben-cheng基于的区乡农业网站自动生成[期刊论文]-计算机技术与发展2007,17(1)3.徐青.卿昕.李兴芳.XU Qing.QING Xin.LI Xing-fang动态网站自动生成器关键技术研究[期刊论文]-电脑知识与技术2010,6(12)4.何清林.李柳柏.陈华一个语义网站自动生成系统的设计和实现[期刊论文]-计算机系统应用2005(4)5.马伟锋.雷运发.MA Wei-feng.LEI Yun-fa基于MSHTML的精品课程网站自动生成系统的实现[期刊论文]-浙江科技学院学报2006,18(2)6.李斌.薛强.Li Bin.Xue Qiang网站生成器设计与实现[期刊论文]-延安职业技术学院学报2009,23(1)7.田敬军.杜学东.TIAN Jing-jun.DU Xue-dong网站自动生成系统的开发[期刊论文]-唐山师范学院学报2009,31(2)8.刘洁.LIU Jie网站自动生成系统应用研究[期刊论文]-河北省科学院学报2006,23(3)9.段淑敏.徐自力.王勇.张连堂.杜纪霞.DUAN Shu-min.XU Zi-li.WANG Yong.ZHANG Lian-tang.DU Ji-xia动态网站自动生成系统的设计与实现[期刊论文]-河南大学学报（自然科学版）2006,36(4)10.尹忠华JSP网页自动生成工具的设计[期刊论文]-科技风2010(9)1.张烨.苏雪梅"采编发"系统在中国疾病预防控制中心网站的实现和应用[期刊论文]-预防医学情报杂志 2004(6)2.陶舟.段艳鸽.徐健剑高校二级网站监管机制与措施——以长江大学为例[期刊论文]-长江大学学报：社会科学版 2011(12)3.肖信民基于J2EE与XML的网站自动生成技术研究[期刊论文]-电脑与电信 2009(1)4.陈红红.马威.贺相春基于MVC结构的高校智能建站系统的设计与实现[期刊论文]-西北师范大学学报（自然科学版） 2009(5)5.孙枫网站动态生成平台管理系统的设计[期刊论文]-南通航运职业技术学院学报 2010(4)6.龙民.黄剑华.李琰.赵志强案例推理在智能化网站自动生成系统中的应用[期刊论文]-微处理机 2005(5)7.黄诗诗基于AJAX和RSS商情网站的设计[学位论文]硕士 2006。
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附件1：外文资料翻译译文基于JSP网页自动生成工具的设计与实现Web开发技术是Internet应用的一个重要方面，而JSP又是Web开发的最先进的技术，是当前Web开发人员的首选技术。
但是由于JSP对Web开发人员要求较高，所以许多一般的Web开发人员还不能够使用这一项先进的技术。
讨论基于模板和标签库的JSP网页自动生成工具的设计和实现，提出具体的设计思想和实现方法。
随着WWW（World Wide Web）的普及，动态网页技术也急速发展。
从原来的CGI（Common Gateway In－terface）到ASP（Active Server Page），都从某种程度上满足了网页开发人员对动态网页开发技术的需求。
但是不管是CGI还是ASP都存在一定的局限性，如CGI对服务器资源的耗费，ASP 只能同Microsoft IIS一起使用等，这些都限制了这些技术的使用围，极阻碍了它们的推广。
广大的页面开发人员都热切地盼望一种统一的页面开发技术，该技术应该具有的特点：①与操作平台无关，能够在任何Web或应用程序服务器上运行；②将应用程序逻辑和页面显示分离；③提供代码重用，简化开发基于Web 的交互式应用程序的过程。
JSP（Java Server Page）技术就是被设计用来满足这样的要求的。
JSP是由Sun MicroSystem公司于1999年6月推出的新的网页开发技术，它是基于Java Serv－let以及整个Java体系的Web开发技术，是Servlet2．1API的扩展。
利用这一技术，可以建立先进、安全和跨平台的动态。
Java是未来的主流开发技术，具有很多优势。
JSP则是Java在Internet ／Intranet Web上的重要应用技术，得到了广泛的支持和承认，它可以和各种Java技术完好地结合在一起，从而实现非常复杂的应用。
作为一种基于文本的、以显示为中心的开发技术，JSP提供了Java Servlet 的所有好处。
为了做到逻辑功能和显示功能分开，JSP已经可以和JavaBeans、Enterprise JavaBeans（EJB）和Servlet一起工作。
JSP的开发人员可以通过使用JavaBeans、EJB和Servlet来完成大部分与逻辑相关的工作，而仅仅把显示的工作交给JSP页面来完成。
容和显示逻辑分开的好处在于，更新页面外观的人员不必懂得Java代码，而更新Java类的人员也不必是设计网页的行家。
这就可以用带Java类的JSP页面来定义Web模板，以建立一个具有相似外观的页面组成的。
Java类完成数据提供，在模板中就没有Java代码，这意味着这些模板可以由一个HTML编写人员来维护。
JSP作为当前主流的网页开发技术，具有如下特点：（1）将容的生成和显示进行分离：使用JSP技术，Web页面开发人员可以使用HTML或者XML标识来设计和格式化最终的页面。
使用JSP标识或者小脚本来生成页面上的动态容（容是根据请求来变化的）。
生成容的逻辑被封装在标识和JavaBeans组件中，并且捆绑在小脚本中，所有的脚本在服务器端运行。
如果核心逻辑被封装在标识和JavaBeans中，那么其他人，如Web管理人员和页面设计者，能够编辑和使用JSP页面，而不影响容的生成。
（2）强调可重用的组件：绝大多数JSP页面依赖于可重用的、跨平台的组件来完成应用程序所要求的更为复杂的处理。
得益于Java的操作平台无关性，开发人员能够很方便共享和交流执行普通操作的组件，或者使得这些组件为更多的使用者所使用。
基于组件的方法加速了总体的开发过程，极提高了项目整体开发的效率。
虽然JSP功能强大，但是它要求网页开发人员对Java要相当熟悉。
而现在Java程序员还比较少，对一般的网页开发人员来说，JSP的语法还是比较难于掌握的。
所以，就需要有一种网页开发工具，为一般的网页开发人员提供常用的JSP应用，让只懂得一般页面开发技术（HTML）的开发人员也能够使用JSP的强大功能。
系统设计目标和使用的主要技术：（1）设计目标本系统的设计目标是为只懂得HTML但完全不了解JSP的一般网页开发人员提供一个网页开发工具，使他们能够根据系统文档，通过标签使用JSP的常用功能，最后生成一个只包含静态HTML和JSP标签的动态JSP网页。
（2）主要技术本系统在设计时，主要考虑使用模板和JSP标签的技术来实现。
1、模板技术模板技术被广泛地应用于各种开发和应用系统中。
它预先生成一些常用的框架结构，使用户可以根据自己的需要方便地从模板库中选择模板，而不用自己重新去搭建，节省了用户的开发时间，方便了用户的使用。
在本系统中，将页面按照功能类型进行分类，归纳出常用的页面类型，生成模板库。
2、标签库技术在JSP中，动作是可以创造与访问程序语言对象和影响输出流的元素。
JSP 定义了六个标准的动作。
除了这六个标准动作以外，用户可以定义自己的动作来完成特定的功能。
这些动作被称为客户化动作，它们是可重用的程序模块。
通过这些动作，程序员就可以在JSP页面中把页面的显示功能也部分地封装起来，使整个页面更加简洁和易于维护。
在一个JSP页面中，这些客户化动作是通过客户化标签来调用的。
而标签库（Tag Library）就是客户化标签的集合。
JSP标签库是一种通过JavaBeans生成基于XML的脚本的方法。
它是JSP 的最大特点之一。
通过标签库，能够无限制地扩展JSP应用，完成任何复杂的应用需求。
JSP标签库具有以下特点：①易于使用：JSP中的标签和一般的HTML标记外表上是完全一样的，使用起来和普通的HTML标记一样方便。
②易于代码重用：标签库中的每一个标签都能完成一定的功能。
一旦定义好了一个标签库，只需要把这个标签库包装成一个Jar文件，那么以后只要在别的系统中使用这个标签库就行了，而不用重新开发代码，极提高了系统开发效率，降低了开发成本。
③易于代码维护：所有的应用逻辑都封装在标签处理器和JavaBeans中，所有的标签都集中在一个标签库中。
如果需要更新代码或者需要修改一个网页上的功能，只需要修改相应的标签即可。
通过这种统一维护方式，不用在每个网页上去作修改，极减少了维护的工作量，节约了维护成本。
④易于系统扩充：如果需要向系统中添加新的功能，只需要定义一个新的标签来完成这一功能即可，无需对系统的其它方面作任何改动。
标签库可以继承JSP 规各方面的特性。
这样就可以无限制地扩展和增加JSP的功能，而不需要等待下一版本JSP的出现。
系统的组成和实现：（1）系统组成本系统主要由四个部分组成:1、数据库连接部分：本系统支持常用的几个数据库，包括Oracle、Sybase、MSSQLServer、MySQL和DB2，根据用户选择的数据库类型和用户提供的数据库名称、用户名、密码使用JDBC同数据库相连。
2、系统基本表生成部分：和数据库连接以后，根据同数据库相连的用户名生成两个系统基本表TC－Tables和TC－Columns，TC－Tables表包含在该数据库中属于该用户的所有的表的英文名称、中文名称和一些属性，如是否可修改、是否可查询等；TC－Columns表包含在该数据库中属于该用户的所有的表的所有列的中英文名称和其它一些属性。
如是否可显示、是否可查询等。
这两个系统基本表在整个系统的开发过程中提供用户所使用数据库的基本信息。
3、模板选择和网页生成部分：该部分是系统的核心部分。
它包含了两个子模块。
①模板选择部分：系统为用户提供模板选择界面，让用户根据需要从模板库中选择所要使用的模板。
②模板处理部分：根据用户选择的模板，系统调用指定的模板处理模块对这个模板进行处理。
当处理程序遇到模板中的标签时，就为用户提供交互界面，让用户为指定的标签输入参数，并由系统验证用户输入的标签的有效性。
最后由系统完成JSP页面的生成。
4、网页预览和修改部分：网页生成出来以后，系统为用户提供了一个网页预览窗口和代码查看修改窗口。
通过这个预览窗口，用户可以预览一下生成出来的JSP页面的效果。
如果用户对页面的静态方面的效果不太满意，用户可以通过代码查看修改窗口修改代码中的HTML代码。
如果用户对页面的静态效果有进一步的要求，系统还为用户提供了一个调用Dreamweaver编辑器的接口，用户可以使用它来对生成出来的JSP页面的静态效果进行进一步的修改和完善。
（2）系统的实现1、模板库和标签库的实现标签库的规划和设计在整个系统设计中至关重要，它关系到了代码重用的程度和系统运行的效率。
它的规划应该遵循以下原则。
1）在标签中应该尽量少的包含静态的HTML。
对于一般用户来说，标签是透明的。
用户不能够查看和修改标签。
如果在标签中包含了过多的静态HT－ML 语句，将影响用户对页面的静态效果的修改和完善，限制标签的使用。
2）尽量提高代码的重用度。
在对JSP应用进行分类是尽量把公用的JSP应用提取出来，形成标签。
而不用在每个标签中都重复实现该应用。
这样在以后要对该应用进行修改和完善时，只需对这一个标签进行修改即可，易于代码的维护。
3）方便用户的使用。
在设计标签库时，应该充分考虑到用户的使用情况，使用户能够很容易和方便地理解和使用标签。
①标签库的定义：定义一个标签库，必须首先定义一个标签库描述文件（TLD）。
这是一个基于XML的脚本文件，在这个文件中定义了XML的版本、所使用的编码、标签库的版本、所使用的JSP的版本、标签库的名称和这个库中所包含的所有的标签的定义和参数描述，包括标签的名称，标签所对应的Java 类，标签的描述信息等。
②标签的实现：一个标签就是一个特殊的Java 类，这个类必须继承TagSupport类，这个类是在javax．servlet．jsp．tagext包中定义的。
在标签类中，包含了这个标签的参数初始化方法（Set／Get）、标签的主体处理方法（Handler）以及供下一级标签调用的方法等。
③模板的实现：一个模板就是一个含有标签引用的JSP文件。
为了在模板中引用所定义的标签，必须首先引入标签库。
＜％tagliburi＝“tag．tld”prefix＝“ctag”％＞其中uri指定标签库描述文件的路径；prefix指定引用标签时所使用的前缀。
在模板中引用指定的标签时，使用引入标签库时所指定的前缀，指定标签的名称；为标签的参数赋值。
2、系统开发环境本系统主体程序开发使用的是Borland公司的JBuilder 6．0，模板开发使用是Microsoft公司的Front－Page2000，标签库开发使用的是UltraEdit编辑器，JDK采用的是JDK1．4。
系统测试环境是JRun3．0。
Java是未来开发语言的主流，而Java在Web上的主要应用JSP也必将成为未来Web开发的主流技术。