毕业论文外文翻译格式

毕业论文外文翻译格式
毕业论文外文翻译格式

因为学校对毕业论文中的外文翻译并无规定,为统一起见,特做以下要求:

1、每篇字数为1500字左右,共两篇;

2、每篇由两部分组成:译文 +原文。

3 附件中是一篇范本,具体字号、字体已标注。

外文翻译(包含原文)(宋体四号加粗)

外文翻译一(宋体四号加粗)

作者:(宋体小四号加粗)Kim Mee Hyun Director, Policy Research & Development Team, Korean Film Council (小四号)

出处:(宋体小四号加粗)Korean Cinema from Origins to RenaissanceP358~P34C)韩国电影的发展及前景(标题:宋体四号加粗)

1996~现在

在过去的十年间,韩国电影经历了难以置信的增长。上个世纪60年代,韩

国电影迅速崛起,然而很快便陷入停滞状态,直到90年代以后,韩国电影又重

新进入繁盛时期。在这个时期,韩国电影在数量上并没有大幅的增长,但多部电影的观影人数达到了上千万人次。1996年,韩国本土电影的市场占有量只有

23.1%。但是到了1998年,市场占有量增长到35.8%,到2001年更是达到了50% 虽然从1996年开始,韩国电影一直处在不断上升的过程中,但是直到1999年姜帝圭导演的《生死谍变》的成功才诞生了韩国电影的又一个高峰。虽然《生死谍变》创造了韩国电影史上的最高电影票房纪录,但是1999年以后最高

票房纪录几乎每年都会被刷新。当人们都在津津乐道所谓的“韩国大片”时,2000年朴赞郁导演的《共同警备区JSA〉和2001年郭暻泽导演的《朋友》均成功刷新了韩国电影最高票房纪录。2003年康佑硕导演的《实尾岛》和2004年姜帝圭导演的又一部力作《太极旗飘扬》开创了观影人数上千万人次的时代。

姜帝圭和康佑硕导演在韩国电影票房史上扮演了十分重要的角色。从1993

年的《特警冤家》到2003年的《实尾岛》,康佑硕导演了多部成功的电影。此外,从1996年至2004 年,康佑硕管理韩国最大的电影投资发行公司Cinema Service期间,一直保持了业内的领导地位。而姜帝圭导演则通过《生死谍变》和《太极

旗飘扬》充实了“韩国大片”的数量。另外,影院数量经历了爆炸性的增长,从1996年的511 家增长到2005 年的1648 家。电影院线的多元化,如Cj-CGV, Megabox和Lotte Cin ema等在扩大影院数量方面发挥了决定性的作用。伴随着荧幕数量的增长,这种增大发行量的方法在上世纪初本世纪初被完全认可接受,这使得发行商能够更容易快速吸引到大量观众。在韩国,《实尾岛》和《太极旗飘扬》两部电影同时上映的影院多达三四百家,几乎占了整个韩国的三分之一,这使得这两部电影有可能卖出上千万张影票。因为这些电影需要巨大的投资,也只有这些多元化的院线的建立才能够吸引大财团的资金。

1997 年金融危机以后,大财团投入到韩国电影工业中的资金虽然增长放

缓,但院线建设还是得到了加强。最终,Cj En terta in me nt 和Showbox两家公司所提供的资金力量不断得到加强。

第三,韩国电影开始在国外市场也有着出色的表现。1996年,韩国电影的出口总值在40 万美元左右,但到了2005年,出口总值几乎是1996 年的190 倍,达到了创纪录的7千6 百万美元。在2004年,原本以韩国电视剧为主导的“韩流”也开始出现了韩国电影的身影,同时,这一年韩国电影的出口总值比前一年增长了88%。对国外市场的开发,给扩大韩国电影工业提供了机遇,同时也能够克服本国市场狭小的弊端。韩国电影正在寻找能够使得“韩流” 更胜从前的新方法、新途径。

质量上的提升

在过去的十年中,韩国电影巨大的成功当然也包括影片质量上的提高。首先,韩国电影质量上有所提升的显著标志是韩国电影在几个国际性的电影节上有着出色的表现。2000 年,林权泽导演的《春香传》受到戛纳电影节官方邀请参加竞赛,这在韩国电影史上还是第一次。2002 年,林权泽导演凭借《醉画仙》获得戛纳电影节最佳导演奖。同年的威尼斯国际电影节,李昌东和文素丽凭借电影《绿洲》分别获得了特殊导演奖和最佳新人演员奖。2004 年,朴赞郁导演又凭借影片《老男孩》获得了戛纳电影节的大陪审团奖。也是在同年,金基德导演凭借《撒玛利亚城的女孩》获得了柏林电影节最佳导演奖。

第二,创办了很多国际性的电影节,如釜山国际电影节和全州国际电影节的创办都取得了巨大的成功。尤其是釜山国际电影节,自1996 年创办以来,已经成长为亚洲具有代表性的电影节,它的成功使得韩国电影能够在世界范围内被人们所认识。

第三,许多新晋值得关注的年轻导演开始走向人们的视线。郑勇进和金基德导演被认为是出色的导演,1996年分别凭借《猪堕井的那天》和《鳄鱼藏尸日记》同时出道。朴赞郁导演凭借《共同警备区JSA〉和《老男孩》成为兼具商业票房保证和艺术魅力的导演。

其他新的导演包括,导演《八月蜡像馆》的许秦豪, 导演《薄荷糖》的李昌东,导演《蔷花与红莲》的金知云,导演《杀人回忆》的奉俊昊,导演《丑闻》的李在容等人。

第四,大制作电影时代的到来。随着《生死谍变》的成功,很多宣称要一鸣惊人并投入超高预算的大制作电影被制作出来。但是,这些电影一部部在票房上失利。另外一方面,像《杀人回忆》、《薄荷糖》、《蔷花与红莲》、《老男孩》等电影虽然并非史诗巨作,但也都在票房上取得成功。大制作电影开始特定的指向这些电影,投资商及制片人尽可能的在保证合理预算的同时提升影片质量。

第五,韩国电影振兴委员会在1999年5月8日成立。韩国电影振兴委员会成功取代了有政府支持的电影促进会,转变喂非官方的组织。电影振兴委员会实施多种扶持计划,系统地理性地帮助艺术电影、独立电影、小制作电影的制作。随着低成本的小电影增长,许多导演的艺术特色通过这些电影被人们所认识。附外文原文(宋体小四号加粗)

The Growth and Outlook of the Korea n Cin ema

1996~Present (外文标题:四号加粗)

Growth in Qua ntity

Over the past decade, Korea n cin ema has show n in credible growth. Its ren aissa nee has come after a long period of stagnation after the heyday of the 1960s. With regard to quantity, the number of films produced did not in crease greatly but audie nces for Korea n films surged to ten milli on people for some films. The market share for Korean cinema was 23.1 per cent in 1996. In 1998 it in creased to 35.8 per cent, and in 2001 it passed 50per cent. Although Korea n cin ema was on a con siste nt upward curve form 1996,the success of Swiri (Ka ng Je-kyu 1999) triggered a boom,.

Even si nee Swiri became the biggest box-office hit in Korea n film history, new records for Korea n films have been set every year. Amid talk of Korean blockbusters,” joint Security Area /JSA

(Park Chen-wook,2000) and Friend (Kwak kyung-taek,2001) topped the box-office. Silmido (Kang woosuk) in 2003 and Tae-guk-gi (Kang Je-kyu) in 2004,inaugurated the ten millen-audience era. Kang Woo-suk and Kang Je-kyu have played an important role in the boxoffice history of Korean

films. Kang woo-suk has directed many successful films from Two Cops in 1993 to Silmido in 2003. Furthermore, he has maintained his position as the leading figure in

the Chungmuro scene form 1996 to 2004 while managing Cinema Service, a film production and distribution company. Kang Je-kyu extended the Korean blockbuster film with Swiri and Tae-gun-gi. Second, the number of screens has boomed form 511 in 1996 to 1,648 in 2005. Multiplex theater chains such an Cj-CGV , Megabox, and Lotte Cinema have played a decisive role in this. Along with the increase in the number of screens, the “wide release”method was fully adopted at the turn of the century, making it easier to attract a large audience rapidly. Silmido and Tae-guk-gi were released simultaneously on about three or four hundred screens around the country---a third of the national total---making it possible to sell more than ten million tickets. Because they require heavy investment, multiplex theaters are founded upon large conglomerate (or chaebol) capital.

After the IMF crisis of 1997, the chaebols'hesitant advance into the Korean film industry accelerated with the building of the multiplex theaters. As a result, the power of chaebol capital represented by Cj Entertainment (belonging to Cheil jedang Grounp) and Showbox (Orion Group) is strengthening.

Third, Korean films have begun to perform well in foreign markets. In 1996, the total export value of Korean films was around US$400,000. However, in 2005, it was 190 that amount, setting a new record of US$76 million. In 2004,it was judged that the Korean television drama

“hallyu (Korean wave, 韩流) ” was emerging in the cinema too, and the total experts of Korean films showed an increase of 88 per cent over the previous year. Considering that expansion into foreign markets provides the opportunity to expand the scale of the Korean film industry and overcome the limits of the domestic market, the Korean film industry is looking for ways to make the most of the hallyu fever.

Growth in Quality

Great success has also been achieved in quality over the last decade. First, Korean cinema has achieved remarkable success at major international film fesivals. In 2000, Chunhyang (Im Kwon-taek) was officially invited to compete at Cannes---a first in the Korean film history. In 2002, Im Kwon —taek received the Best Director Award at the Cannes Film festival for Chihwaseon. In the same year, Lee Changdong and Moon So-ri won the Special Director 's Award and the Marcello Mastroianni Award at the Venice International Film Festival for Oasis. In 2004, Park Chan-wook won the Grand Jury Prize at Cannes for Old Boy. In the same year, Kim ki-duk was awarded the Best Director Award for Samarian Girl at Berlin and for 3---Iron at Venice.

Second, many international film festivals, including Pusan International film

Festival(PIFF), Jeonju International Fantastic Film Festival (PiFan), were launched and have been quite successful. In particular, since its 1996 launch PIFF has grown into a film festival representing Asia, and its success has made Korean films known and well received worldwide.

Third, many new and noteworthy directors have come onto the scene. Hong Sangsoo and Kim Ki-duk are considered outstanding auteur directors. They both debuted in 1996, with The Day a Pig Fell into a Well and Crocodile respectively 。Park Chan-wook rose to become a star commercial and artistic director with Joint Security Area/JSA and Old Boy. Other new directors include Hur Jin-ho of Christmas in August (1998), Lee Chang-dong of A Peppermint candy(1999),Kim Jee-woon of A Tale of Two Sisters(2003),Bong Joon-ho of Memories of Murder(2003),and E J-yong of Untold Scandal(2003).

Fourth, the term “well-made film ”came into being. With Swiri 's success, many high budget films claiming to be Korean blockbusters were made. However, they failed at the box-office one after another. On the other hand, although films like Memories of Murder, Untold Scandal, A Tale of Two Sisters, and Old Boy---all received in 2003---were not epic productions, they achieved unexpected box-office success and positive reviews. The term “well-made film ” began to designate such films, and producers were able to achieve the utmost quality while striving for the most appropriate budget.

Fifth, the Korean Film Council (KOFIC) was launched on 8 May 1999.Transformed from the government-supported Korean Motion Picture Promotion Corporation (KMPPC) into a non-government organization, KOFIC has carried out various support programs for art films, independent films and short films in a systematic and rational way. As short film productions increased, many directors made their feature debut after being recognized for their talent in short films. 外文翻译二

作者:Daniel D. H. PARK, Director of International Promotion Department

出处:Korean Cinema 2005(P10~P11)

在过去的十年之间,韩国电影在数量和质量上都取得了显而易见得跨越式发展。但是也存在着一些未来继续发展的障碍。首先,有很明显的两级分化现象,大量的观众眼球只集中在某部特定的影片中,从而导致了一小部分的电影却占据了荧幕的支配地位。例如,在《实尾岛》上映的那一周,虽然它的票房达到了上千万人次,但却和《太极旗飘扬》一起占据了整个韩国三分之二以上的荧幕。超级大片和那些上座率超千万人次的大制作电影的扩张,在票房上取得了成功,却使得小制作电影失去了成长的空间。虽然院线在独立电影、小成本电影和艺术电影上的发行放映上得到了韩国电影振兴委员会不遗余力的支持,但观影人数却没有大的增长。2004 年,韩国本土电影和好莱坞电影占据了韩国电影市场份额的65.4% 。金基德的《空房间》和洪尚秀的《女人是男人的未来》两部艺术片在全国范围内分别只吸引到了95,000 和285 ,000 人次的观众。在这种大环境下,首尔的主体电影节,以及首尔独立电影节,还有一些像韩国实验电影协会和韩国独立电影及影像协会这样的机构,都在为从不同地区引进不同类型电影做着艰苦的努力。

其次,鉴于观众倾向于大制作电影,超出想象的制作方式、流星般闪过的明星的力量以及电影预算都在急速又危险的增长。1996 年,韩国电影平均的预算不超过十亿韩元(美元1,190,480 ),其中900 万韩元的电影产品预算和100 万韩元的的市场预算。但是,2004 年,电影产品和市场的预算各自增长到了28 亿韩国(美元2,705,314)和14 亿韩元(美元1,352 ,657),这使得平均的总预算达到了42 亿韩元(美元4,057,971)。同时,抛开预算的增长,使用在劳动力上的预算并没有增加多少,这中情况可能使得电影工业中的人力资源枯竭。韩国电影曾经依靠积极努力的工作和不断的生产各类型电影而成功的吸引了大量观众。但是,韩国电影工业中富的更富,穷的更穷的状况,使得韩国电影正处在危机的边缘。

然而,一个值得关注的新的现象是数字电影作品的活跃。数字电影作品可以无需依靠主流的制作系统,而尽可能的降低预算。如卢东石导演的《我们这一代》(2004 )和申才茵导演的《申星一不见了》(2005 )以及Yoon Jong-bin 导演的《不可饶恕》等就是数字电影的代表作。同时,韩国全州国际电影节中“数字电影的三个制作者” 系列已经成功建立并使之成为亚洲电影中标志性的节目。数字电影和独立电影将很有可能会是韩国电影下一个十年主流电影不可或缺的选择。附外文原文

Over the past decade, Korean cinema has definitely made a brilliant leap forward in quantity as well as in quality. However , there are a few issues that could be obstacles to future growth. First, there in polarization, whereby the audience comes together to see only one specific film and as a result a small number of titles dominates the screens. On the week when Silmido recorded its ten millionth ticket sale, it shared about two thirds of the total number of screens together with tae-guk-gi. The emergence of Korean blockbusters and the ten-million-audience film has amplified illusions about big films and box-office successes and small films are slowly losing ground. Although the Network of movie theaters specializing in independent films, low budget films and art films called Art plus Cinema Network (Renamed Nextplus Cinema Network in 2006) is in operation with support from KOFIC, there is little increase in the art film audience. In 2004, Korean and Hollywood films took 95.4 per cent of the total film market. And in the midst of joy over the-million-audience film, Kim Ki-duk 's 3-Iron and Hong Sangsoo 's Woman is the Future of Man attracted only 95,000 and 285,000 people respectively across the nation. Under such circumstances, thematic film festival in Seoul, and Seoul Independent Film Festival, as well as organizations like the Korean Association of Cinematheques and Association of Korean Independent Film & Video, are all struggling hard to introduce various films from various eras and around the world.

Second, due to the audience preference for big budget films, the wide release method, and skyrocketing budgets are rising steeply. In 1996, the average budget for Korean film did not exceed 1 billion won (US$1,190,480), with 900 million for production and 100 million for marketing. However, the production and marketing budgets increased each to 2.8 billion (US$2,705,314) and 1.4 billion won (US$1,352,657) respectively, making the average total budget 4.2 billon won (US$4,057,971) in 2004. Also, despite increased budgets, labor conditions and salaries have not improved much, and this is causing concern about a possible drying up of quality

human resources in the film industry. Korean cinema has succeeded in attracting audiences by constantly working hard and searching for ways to make a variety of films, But, after all these efforts, Korean cinema is on the verge of a crisis due to the rich-get-richer and the poorer atmosphere prevalent in the film industry.

毕业论文外文翻译模版

吉林化工学院理学院 毕业论文外文翻译English Title(Times New Roman ,三号) 学生学号:08810219 学生姓名:袁庚文 专业班级:信息与计算科学0802 指导教师:赵瑛 职称副教授 起止日期:2012.2.27~2012.3.14 吉林化工学院 Jilin Institute of Chemical Technology

1 外文翻译的基本内容 应选择与本课题密切相关的外文文献(学术期刊网上的),译成中文,与原文装订在一起并独立成册。在毕业答辩前,同论文一起上交。译文字数不应少于3000个汉字。 2 书写规范 2.1 外文翻译的正文格式 正文版心设置为:上边距:3.5厘米,下边距:2.5厘米,左边距:3.5厘米,右边距:2厘米,页眉:2.5厘米,页脚:2厘米。 中文部分正文选用模板中的样式所定义的“正文”,每段落首行缩进2字;或者手动设置成每段落首行缩进2字,字体:宋体,字号:小四,行距:多倍行距1.3,间距:前段、后段均为0行。 这部分工作模板中已经自动设置为缺省值。 2.2标题格式 特别注意:各级标题的具体形式可参照外文原文确定。 1.第一级标题(如:第1章绪论)选用模板中的样式所定义的“标题1”,居左;或者手动设置成字体:黑体,居左,字号:三号,1.5倍行距,段后11磅,段前为11磅。 2.第二级标题(如:1.2 摘要与关键词)选用模板中的样式所定义的“标题2”,居左;或者手动设置成字体:黑体,居左,字号:四号,1.5倍行距,段后为0,段前0.5行。 3.第三级标题(如:1.2.1 摘要)选用模板中的样式所定义的“标题3”,居左;或者手动设置成字体:黑体,居左,字号:小四,1.5倍行距,段后为0,段前0.5行。 标题和后面文字之间空一格(半角)。 3 图表及公式等的格式说明 图表、公式、参考文献等的格式详见《吉林化工学院本科学生毕业设计说明书(论文)撰写规范及标准模版》中相关的说明。

毕业论文英文参考文献与译文

Inventory management Inventory Control On the so-called "inventory control", many people will interpret it as a "storage management", which is actually a big distortion. The traditional narrow view, mainly for warehouse inventory control of materials for inventory, data processing, storage, distribution, etc., through the implementation of anti-corrosion, temperature and humidity control means, to make the custody of the physical inventory to maintain optimum purposes. This is just a form of inventory control, or can be defined as the physical inventory control. How, then, from a broad perspective to understand inventory control? Inventory control should be related to the company's financial and operational objectives, in particular operating cash flow by optimizing the entire demand and supply chain management processes (DSCM), a reasonable set of ERP control strategy, and supported by appropriate information processing tools, tools to achieved in ensuring the timely delivery of the premise, as far as possible to reduce inventory levels, reducing inventory and obsolescence, the risk of devaluation. In this sense, the physical inventory control to achieve financial goals is just a means to control the entire inventory or just a necessary part; from the perspective of organizational functions, physical inventory control, warehouse management is mainly the responsibility of The broad inventory control is the demand and supply chain management, and the whole company's responsibility. Why until now many people's understanding of inventory control, limited physical inventory control? The following two reasons can not be ignored: First, our enterprises do not attach importance to inventory control. Especially those who benefit relatively good business, as long as there is money on the few people to consider the problem of inventory turnover. Inventory control is simply interpreted as warehouse management, unless the time to spend money, it may have been to see the inventory problem, and see the results are often very simple procurement to buy more, or did not do warehouse departments . Second, ERP misleading. Invoicing software is simple audacity to call it ERP, companies on their so-called ERP can reduce the number of inventory, inventory control, seems to rely on their small software can get. Even as SAP, BAAN ERP world, the field of

概率论毕业论文外文翻译

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毕业论文 外文翻译#(精选.)

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毕业论文外文翻译模板

农村社会养老保险的现状、问题与对策研究社会保障对国家安定和经济发展具有重要作用,“城乡二元经济”现象日益凸现,农村社会保障问题客观上成为社会保障体系中极为重要的部分。建立和完善农村社会保障制度关系到农村乃至整个社会的经济发展,并且对我国和谐社会的构建至关重要。我国农村社会保障制度尚不完善,因此有必要加强对农村独立社会保障制度的构建,尤其对农村养老制度的改革,建立健全我国社会保障体系。从户籍制度上看,我国居民养老问题可分为城市居民养老和农村居民养老两部分。对于城市居民我国政府已有比较充足的政策与资金投人,使他们在物质和精神方面都能得到较好地照顾,基本实现了社会化养老。而农村居民的养老问题却日益突出,成为摆在我国政府面前的一个紧迫而又棘手的问题。 一、我国农村社会养老保险的现状 关于农村养老,许多地区还没有建立农村社会养老体系,已建立的地区也存在很多缺陷,运行中出现了很多问题,所以完善农村社会养老保险体系的必要性与紧迫性日益体现出来。 (一)人口老龄化加快 随着城市化步伐的加快和农村劳动力的输出,越来越多的农村青壮年人口进入城市,年龄结构出现“两头大,中间小”的局面。中国农村进入老龄社会的步伐日渐加快。第五次人口普查显示:中国65岁以上的人中农村为5938万,占老龄总人口的67.4%.在这种严峻的现实面前,农村社会养老保险的徘徊显得极其不协调。 (二)农村社会养老保险覆盖面太小 中国拥有世界上数量最多的老年人口,且大多在农村。据统计,未纳入社会保障的农村人口还很多,截止2000年底,全国7400多万农村居民参加了保险,占全部农村居民的11.18%,占成年农村居民的11.59%.另外,据国家统计局统计,我国进城务工者已从改革开放之初的不到200万人增加到2003年的1.14亿人。而基本方案中没有体现出对留在农村的农民和进城务工的农民给予区别对待。进城务工的农民既没被纳入到农村养老保险体系中,也没被纳入到城市养老保险体系中,处于法律保护的空白地带。所以很有必要考虑这个特殊群体的养老保险问题。

大学毕业论文---软件专业外文文献中英文翻译

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本科毕业设计(论文)中英文对照翻译 院(系部)电气工程与自动化 专业名称电子信息工程 年级班级 04级7班 学生姓名 指导老师

Infrared Remote Control System Abstract Red outside data correspondence the technique be currently within the scope of world drive extensive usage of a kind of wireless conjunction technique,drive numerous hardware and software platform support. Red outside the transceiver product have cost low, small scaled turn, the baud rate be quick, point to point SSL, be free from electromagnetism thousand Raos etc.characteristics, can realization information at dissimilarity of the product fast, convenience, safely exchange and transmission, at short distance wireless deliver aspect to own very obvious of advantage.Along with red outside the data deliver a technique more and more mature, the cost descend, red outside the transceiver necessarily will get at the short distance communication realm more extensive of application. The purpose that design this system is transmit cu stomer’s operation information with infrared rays for transmit media, then demodulate original signal with receive circuit. It use coding chip to modulate signal and use decoding chip to demodulate signal. The coding chip is PT2262 and decoding chip is PT2272. Both chips are made in Taiwan. Main work principle is that we provide to input the information for the PT2262 with coding keyboard. The input information was coded by PT2262 and loading to high frequent load wave whose frequent is 38 kHz, then modulate infrared transmit dioxide and radiate space outside when it attian enough power. The receive circuit receive the signal and demodulate original information. The original signal was decoded by PT2272, so as to drive some circuit to accomplish

毕业论文外文资料翻译

毕业论文外文资料翻译题目(宋体三号,居中) 学院(全称,宋体三号,居中) 专业(全称,宋体三号,居中) 班级(宋体三号,居中) 学生(宋体三号,居中) 学号(宋体三号,居中) 指导教师(宋体三号,居中) 二〇一〇年月日(宋体三号,居中,时间与开题时间一致)

(英文原文装订在前)

Journal of American Chemical Society, 2006, 128(7): 2421-2425. (文献翻译必须在中文译文第一页标明文献出处:即文章是何期刊上发表的,X年X 卷X期,格式如上例所示,四号,右对齐,杂志名加粗。) [点击输入译文题目-标题1,黑体小二] [点击输入作者,宋体小四] [点击输入作者单位,宋体五号] 摘要[点击输入,宋体五号] 关键词[点击输入,宋体五号] 1[点击输入一级标题-标题2,黑体四号] [点击输入正文,宋体小四号,1.25倍行距] 1.1[点击输入二级标题-标题3,黑体小四] [点击输入正文,宋体小四,1.25倍行距] 1.1.1[点击输入三级标题-标题4,黑体小四] [点击输入正文,宋体小四,1.25倍行距] 说明: 1.外文文章必须是正规期刊发表的。 2.翻译后的中文文章必须达到2000字以上,并且是一篇完整文章。 3.必须要有外文翻译的封面,使用学校统一的封面; 封面上的翻译题目要写翻译过来的中文题目; 封面上时间与开题时间一致。 4.外文原文在前,中文翻译在后; 5.中文翻译中要包含题目、摘要、关键词、前言、全文以及参考文献,翻译要条理

清晰,中文翻译要与英文一一对应。 6.翻译中的中文文章字体为小四,所有字母、数字均为英文格式下的,中文为宋体, 标准字符间距。 7.原文中的图片和表格可以直接剪切、粘贴,但是表头与图示必须翻译成中文。 8.图表必须居中,文章段落应两端对齐、首行缩进2个汉字字符、1.25倍行距。 例如: 图1. 蛋白质样品的PCA图谱与8-卟啉识别排列分析(a)或16-卟啉识别排列分析(b)。为了得到b 的 数据矩阵,样品用16-卟啉识别排列分析来检测,而a 是通过捕获首八卟啉接收器数据矩阵从 b 中 萃取的。

本科毕业设计外文翻译(原文)

Real-time interactive optical micromanipulation of a mixture of high- and low-index particles Peter John Rodrigo, Vincent Ricardo Daria and Jesper Glückstad Optics and Plasma Research Department, Ris? National Laboratory, DK-4000 Roskilde, Denmark jesper.gluckstad@risoe.dk http://www.risoe.dk/ofd/competence/ppo.htm Abstract: We demonstrate real-time interactive optical micromanipulation of a colloidal mixture consisting of particles with both lower (n L < n0) and higher (n H > n0) refractive indices than that of the suspending medium (n0). Spherical high- and low-index particles are trapped in the transverse plane by an array of confining optical potentials created by trapping beams with top-hat and annular cross-sectional intensity profiles, respectively. The applied method offers extensive reconfigurability in the spatial distribution and individual geometry of the optical traps. We experimentally demonstrate this unique feature by simultaneously trapping and independently manipulating various sizes of spherical soda lime micro- shells (n L≈ 1.2) and polystyrene micro-beads (n H = 1.57) suspended in water (n0 = 1.33). ?2004 Optical Society of America OCIS codes: (140.7010) Trapping, (170.4520) Optical confinement and manipulation and (230.6120) Spatial Light Modulators. References and links 1. A. Ashkin, “Optical trapping and manipulation of neutral particles using lasers,” Proc. Natl. Acad. Sci. USA 94, 4853-4860 (1997). 2. K. Svoboda and S. M. Block, “Biological applications of optical forces,” Annu. Rev. Biophys. Biomol. Struct. 23, 247-285 (1994). 3. D. G. Grier, “A revolution in optical manipulation,” Nature 424, 810-816 (2003). 4. M. P. MacDonald, G. C. Spalding and K. Dholakia, “Microfluidic sorting in an optical lattice,” Nature 426, 421-424 (2003). 5. J. Glückstad, “Microfluidics: Sorting particles with light,” Nature Materials 3, 9-10 (2004). 6. A. Ashkin, “Acceleration and trapping of particles by radiation-pressure,”Phys. Rev. Lett. 24, 156-159 (1970). 7. A. Ashkin, J. M. Dziedzic, J. E. Bjorkholm and S. Chu, “Observation of a single-beam gradient force optical trap for dielectric particles,” Opt. Lett. 11, 288-290 (1986). 8. K. Sasaki, M. Koshioka, H. Misawa, N. Kitamura, and H. Masuhara, “Optical trapping of a metal particle and a water droplet by a scanning laser beam,” Appl. Phys. Lett. 60, 807-809 (1992). 9. K. T. Gahagan and G. A. Swartzlander, “Trapping of low-index microparticles in an optical vortex,” J. Opt. Soc. Am. B 15, 524-533 (1998). 10. K. T. Gahagan and G. A. Swartzlander, “Simultaneous trapping of low-index and high-index microparticles observed with an optical-vortex trap,” J. Opt. Soc. Am. B 16, 533 (1999). 11. M. P. MacDonald, L. Paterson, W. Sibbett, K. Dholakia, P. Bryant, “Trapping and manipulation of low-index particles in a two-dimensional interferometric optical trap,” Opt. Lett. 26, 863-865 (2001). 12. R. L. Eriksen, V. R. Daria and J. Glückstad, “Fully dynamic multiple-beam optical tweezers,” Opt. Express 10, 597-602 (2002), https://www.360docs.net/doc/d89639434.html,/abstract.cfm?URI=OPEX-10-14-597. 13. P. J. Rodrigo, R. L. Eriksen, V. R. Daria and J. Glückstad, “Interactive light-driven and parallel manipulation of inhomogeneous particles,” Opt. Express 10, 1550-1556 (2002), https://www.360docs.net/doc/d89639434.html,/abstract.cfm?URI=OPEX-10-26-1550. 14. V. Daria, P. J. Rodrigo and J. Glückstad, “Dynamic array of dark optical traps,” Appl. Phys. Lett. 84, 323-325 (2004). 15. J. Glückstad and P. C. Mogensen, “Optimal phase contrast in common-path interferometry,” Appl. Opt. 40, 268-282 (2001). 16. S. Maruo, K. Ikuta and H. Korogi, “Submicron manipulation tools driven by light in a liquid,” Appl. Phys. Lett. 82, 133-135 (2003). #3781 - $15.00 US Received 4 February 2004; revised 29 March 2004; accepted 29 March 2004 (C) 2004 OSA 5 April 2004 / Vol. 12, No. 7 / OPTICS EXPRESS 1417

电气专业毕业论文外文翻译分析解析

本科毕业设计 外文文献及译文 文献、资料题目:Designing Stable Control Loops 文献、资料来源:期刊 文献、资料发表(出版)日期:2010.3.25 院(部):信息与电气工程学院 专班姓学业:电气工程与自动化级: 名: 号: 指导教师:翻译日期:2011.3.10

外文文献: Designing Stable Control Loops The objective of this topic is to provide the designer with a practical review of loop compensation techniques applied to switching power supply feedback control. A top-down system approach is taken starting with basic feedback control concepts and leading to step-by-step design procedures,initially applied to a simple buck regulator and then expanded to other topologies and control algorithms. Sample designs are demonstrated with Math cad simulations to illustrate gain and phase margins and their impact on performance analysis. I. I NTRODUCTION Insuring stability of a proposed power supply solution is often one of the more challenging aspects of the design process. Nothing is more disconcerting than to have your lovingly crafted breadboard break into wild oscillations just as its being demonstrated to the boss or customer, but insuring against this unfortunate event takes some analysis which many designers view as formidable. Paths taken by design engineers often emphasize either cut-and-try empirical testing in the laboratory or computer simulations looking for numerical solutions based on complex mathematical models.While both of these approach a basic understanding of feedback theory will usually allow the definition of an acceptable compensation network with a minimum of computational effort. II. S TABILITY D EFINED Fig. 1.Definition of stability Fig. 1 gives a quick illustration of at least one definition of stability. In its simplest terms, a system is stable if, when subjected to a perturbation from some source, its response to that

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