The little SAS book 学习笔记第五章
必修五第五单元知识点(2)
必修五Unit5（2）1.Honorn. 不可数荣誉，尊敬;名誉It‟s a point of honor with me to reply all my debts promptly.可数引以为荣的人/事，只用单数。
The successful launch of the “Shenzhou VI” is an honor to our country.do sb an honor /the honor （of doing sth）使某人有特殊的荣幸,赏光Will you do me the honor of dining with me? 可否赏光和我一起吃饭？in sb‟s /sth‟s honor出于对…的敬意We are planning a big Christmas party in your honor.我们正筹备为你举行一次盛大的圣诞晚会。
in honor of… ，为纪念…，为庆祝…A monument was built in honor of the heroes who gave up their lives during the war.为了纪念在战争中献身的英雄们，建立了一座纪念碑。
Honorv.给予表扬（或奖励、头衔、称号）honor sb/sth （with sth）The President honored us with a personal visit.be honored for…因…而受到尊敬Dr Bethune was honored for his selfless work.白求恩大夫由于他无私的工作而受到赞誉。
be/feel honored that…很荣幸能做…I am honored that you should notice me.我很荣幸您能注意到我。
be/feel honored to do 很荣幸能做…。
I am honored to be here with you.能和你在这里我感到很荣幸。
新视野大学英语4读写教程unit 5讲义
to refer to myself, next week I will use the plural form.
While the others are absent you can stretch out your
soul until it fills up the whole room, and use your
waterproof selfcentered
companiona slippery ble
ego
observation
humble
choke
seal
on purpose cast out
back up at length
in line
settle down
for the time being
commodity reliance
随笔
词汇学习
课文分析
导入
预习
小结 写作
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Para. 9a Actualy,he live a mile,or 20minutes’ walk,from his nearest neighbor;half a mile from the railroad;three hundred yards from a busy road.He had company in and out of the hut all day,asking him how he could possibly be so noble.
freedom, coming and going as you please without
►One of the main writing techniques employed is making comparisons. In Paragraphs 11 to 13 the writer compares how people living with others feel when they are left alone with the feeling of those living alone, and also the solitary people’s different solutions to the need to talk.
语言学第五章
语言学第五章Chapter Five Meaning(semantics)What is Semantics?Semantics is the study of meaning.More specifically, it is the study of the meaning of linguistic units, words and sentences.I didn’t mean to hurt you.He never says what he means.Fame and fortune mean nothing.What’s the meaning of the word “cut”?Life without faith has no meaning.the meaning of girl+ human + female + young + unmarriedsemantic featuresBoys and girls! My little girl is very lovely.1. Meanings of meaningOgden & Richards The Meaning of Meaning LeechSemantics7 types of meaning Leechconceptual meaning概念意义associative meaning联想意义thematic meaning主位意义Conceptual meaning概念意义also denotative [di'n?ut?tiv] (外延), concerned with the relationship between a word and the thing it refers to.概念意义是对客观对象本质特征的反映，一般在词典中固定下来An instrument made of plastic or metal used for writing with ink penfather 1、male parent 父亲2、ancestors 祖先3、founder or first leader 创始者倡导者Stepmother: A woman who has married their father after the death or divorce of their mother. (wife ofone's father by a later marriage )Associative meaning 联想The total of all the meanings a person thinks of when he comes across the word. Connotative meaning 内涵意义Social meaning 社会意义Affective meaning 感情意义Reflected meaning 反射意义Collocative meaning 搭配意义Connotative meaning ['k?n?uteitiv] 内涵意义What is communicated by virtue of what language refers to. It shows the communicative value. 通过语言所传达的意义曹教授：有些人我看是有意的给三峡泼点脏水，有意的妖魔化三峡。
奈达翻译理论研究第五章笔记
奈达翻译理论研究第五章笔记Chapter Five Attempts to further amend Nid a’stranslation theory5.1 The application of Nida’s theory to literary translationThe significance or the validity of Nida?s theory: 1) the application of “dynamic equivalence”, 2) the significance of the concept of the decoder?s channel capacity, and 3) the important role of receptors play in evaluating literary translation.5.1.1 The application of Dynamic equivalenceThe prin ciple of “dynamic equivalence”, which is defined as “the closest natural equivalent to the source-language message”, points out two ways to achieve the goal of “equivalent effect”: 1) the closest equivalent, 2) the natural equivalent.By “the closest equivalent”, Nida means a rendering that has the highest degree of approximation to the original text.“Natural equivalent”refers to a “stylistically acceptable rendering”, about which a bilingual and bicultural person might say “That is just the way we would say it”.A natural translation has no trace of awkwardness or strangeness in its grammatical and stylistic forms. The principle of “natural equivalent”helps the translator consciously avoid “translationese”in their work, and improves the quality of literary translation.A natural expression “tries to relate the receptor to modes of behavior relevant within the context of his own culture”, and it “does not insist that he understand the cultural patterns of the source-language context in order to comprehend th e message”.Following the principle of “naturalness”, the translator isentitled to make certain cultural adaptations to make the monolingual reader understand the translated message with ease.5.1.2 The significance of the concept of the decoder’s channel capacityNida borrows the concept of the decoder’s channel capacity from information theory to explain why good translations tend to be longer than the original text.In his view, any well-constructed text is designed to fit the channel capacity of the intended reader. However, the channel capacity of the average reader in the receptor language is much narrower than that of the reader in the source language. In order that the translated message fits the channel capacity of the receptor language reader, the translator is obliged to make implicit information in the original text explicit in the translated text. Only by doing so can the translators ensure the realization of the objective of equivalent effect.5.1.3 The important role receptors play in evaluating literary translationBy examining the response of the reader, for whom a translation is intended, we can make a more objective judgment of literary translation.5.2 The limitation of Nida’s theory in literary translationHis definition of translating seems to have put equal emphasis upon transferenceof meaning and that style. But his discussions of style are not adequate for literary translation,It is generally agreed that literary translation should not only convey accurately the sense of the original text, but also reproduce appropriately the style if the translator wants to attain“equivalent effect”. But in Nida?s theory, the focus is on transference of meaning instead of transference of style.When discussing the first stage of translating process, Nida adopts various techniques of modern semantics to deal with meanings but makes no mention of style.In the second stage of “transferring”, Nida shows a complete disregard for style.In the third stage of “restructuring”, style is treated in a broad sense, referring to varieties of language.According to Nida, features of style are classified into “formal features”and “lexical features”, and functions of style into “efficiency” and “special effect”.“Formal features” are arrangement of words, and “lex ical features” are words or lexical units.Formal LexicalEfficiency A CSpecial effects B DThe style in Nida?s theory is mainly related to “efficiency” of a text in terms of both lexical features and formal features.Since Nida mainly provides guidelines for the popular translation of the Bible (also called the common-language version”), it is understandable that his discussion of style is predetermined by the purpose of making the Word of God acceptable to the average reader. His immediate concern with Bible translation for evangelism prompts him to place his focus on the functional approach to style on the part of receptors.According to Nida., the Bible translator for a popular version is justified to “sacrifice many features of B and D in order to concentrate on A and C. That is to say, the translator can make his translation simpler in terms of lexical features and formalfeatures.By and large, although Nida?s functional approach to style has its validity for general translation practice, it fails to explore the transference of aesthetic values in literary translation.5.3 The importance of transferring aesthetic values in literary translationWhy is the transference of aesthetic values so important in literary translation? Well, we could say that it is determined by the nature of literature.Lu Xun says that literature is an art of beauty with three beautiful features: 1)beautiful thought that appeals to the heart, 2)beautiful sound that pleases the ear, 3)beautiful form that attracts the eye.Geoffrey N. Leech and Michael H. Short present an equation to illustrate thecrucial role of stylistic values in literary work:SENSE +STYLISTIC VALUE=(total) SIGNIFICANCESense here refers to “the basic logical, conceptual, paraphrasable meaning.Significance ref ers to “the total of what is communicated to the world by a given sentence or text”.Stylistic value is “a writer?choice to express his sense in this rather than that way”. It is stylistic value that distinguishes the uniqueness of a literary work.The quality of literary translation depends on the successful representation of aesthetic values. Only when aesthetic values of the original text are satisfactorily conveyed in the receptor language can the reader of the translated text have similar response as the original reader.In a word, to neglect the artistic nature of literary translationis to neglect its social function and, if that is the case, it is bound to end up in formalism of translation, thus reproducing works that are linguistically correct but artistically pale and weak”.Dryden stated that the translator should make his translation graceful “by the spirit which animates the whole”.By comparison, in the field of traditional Chinese translation theory there have been abundant discussions about transference of aesthetic values or spirit. From Y an Fu?s “faithfulness, expressiveness and elegance”through Lin Yutang?s “fidelity, smoothness and beauty” to Zhu Shenghao and Fu Lei?s “spirit resemblance” and Qian Zhongshu?s “sublimation”, all emphasized the importance of transference of spirit in translating.Regrettably, most discussin about spirit transference have not gone beyond the sphere of the translator?s subjective perception and appreciation. Such terms as “雅”“意境”“神韵”“神似”“化境”, borrowed from Chi nese classic literary criticism and painting criticism, are characterized by fuzziness and do not provide any practical approach as to how to reach for the objective of “spirit resemblance”.5.4 Transference aesthetic values in literary translationThe beauty of literary translation is determined by the artistic nature of the original work. Therefore, how to represent its aesthetic values should be considered the ultimate objective of literary translation.Liu Miqing has classified aesthetic values into formal aesthetic constituents and non-formal aesthetic constituents. Formal constituents are visible and audible, while non-formal constituents are"of a non-material nature that cannot be felt by intuitive association ( 直觉想象）---the upgraded intuitiveassociation".Based on his classification, the transference of aesthetic values can be dealt with from two aspects, (1)formal aesthetic markers (2) non-formal aesthetic markers.Formal markers are perceptible aesthetic features, which can be identified by salient formal features such as choice of words, syntactical structures and textual construction.Non-formal markers are intangible aesthetic features that the reader can feel, but find it difficult to pinpoint out where the beauty resides in a text.5.4.1 Transferring formal aesthetic markersLiu Xie states that the spirit of a text can never go without language: Sentences are made up of words, paragraphs of sentences and a whole article of paragraphs. That an article is excellent is due to its flawless paragraphs, that a paragraph is fine is due to its blemishless sentences and that a sentence is good is due to proper words.The translator can convey aesthetic values by means of formal markers at five levels: phonological, lexical, syntactical, rhetorical and textual level.(1) phonological levelThe British writer W. Somerset Maugham states, "words have weight, sound and appearance; it is only by considering these that you can write a sentence that is good to look at and good to listen to"Zhu Guangqian also says that the spirit of language depends largely on sound and rhythm, which are the most direct means to convey the feeling of the writer and the flavor of the text.(2)lexical levelWords play a significant role in transferring the spirit of aliterary text. In order to convey the spirit, the writer usually selects the most appropriate words to express his meaning.(3) syntactical level(4) rhetorical level(5) textual levelAt textual level, we are mainly concerned with cohesiveness and coherence.Nida rightly points out: For Chinese and English, perhaps one of the most important linguistic distinctions is the contrast between the hypotaxis and parataxis. In English and in most Indo-European languages, a great deal of subordination is clearly marked conjunctions. One may, however, communicate essentially the same concepts by means of parataxis; that is to say, placing propositions together without marking the relationship but indicating by content what is the evident relationship.5.4.2 Transferring non-formal aesthetic markers意境, which in traditional Chinese aesthetic and literary criticism refers to a harmonious relationship between the writer's personal feeling and the outside world.Liu Xie says, "Languages are like leaves of a tree, but the soul of a literary text is the writer's feeling and thought". (辞为肤叶，志实骨髓）liu Shicong also points out: The weightiness of a writing, however, is determined first and foremost by the profundity of the thought and the loftiness of the moral character on the part of the author, and its elegance and strength by the brevity, clarity and the appropriateness of syntactic structure.In a sense, non-formal aesthetic markers rely in large measure on the writer's personality. Hence before translating, thetranslator should try to familiarize himself with the writer, and feel the way the writer feels about what he writes.Imagery is an aesthetic object created by the writer. It is not simply an image (either an object or a person), but is an artistic one that combines an objective image with the subjective feeling of the writer. [意象是经过艺术构思后形成的审美对象，寄托着作者的感情。
(精品文档)小学牛津英语第5章
Unit 5 At the market单元教材分析本单元的重要教学内容是“认物”。
主要学习句型是What are these？They are …在教学中，教师可以采用以旧带新的方法，用1A中所学的What`s this？It`s…句型引出本单元的这个句型，在创设相应情景对句子进行强化训练。
本单元出现了四个蔬菜类单词的单数形式，而在句型的操练和运用中，这些单词都以复数形式出现，并涉及了词形和读音的变化，在教学中教师要帮助学生读准、读好这些单词单数形式的基础上，呈现相应的复数形式，加强在句型中的训练。
在教学中，教师需要注意一些购物的情景，使语言的学习变得更生活化。
学情分析本节课是有关物品复数的学习，复数形式学生没有接触过，所以我可以利用之前学生学过的物品，进行复数类的教授，让学生对复数这个概念有个整体的感知。
并且对复数类单词的读音进行归纳总结。
本单元中，有个别几个单词的读音比较难掌握，如carrot，these这两个单词。
学习了句型后要让学生马上学会运用，这样就可以达到学以致用的效果。
单元教学总要求1．能听懂What are these？并能根据实际情况用They are …作出回答。
2．能使用What are these？向他人询问和确认某些物，品语音语调准确。
3．能听懂、会说、初步认读carrot，bean，tomato和potato这四个单词的单数和复数形式，发音正确。
4．会歌曲At the market。
教学重点、难点1．能听懂What are these？并能根据实际情况用They are …作出回答。
2．能使用What are these？向他人询问和确认某些物，品语音语调准确。
3．能听懂、会说、初步认读carrot，bean，tomato和potato这四个单词的单数和复数形式，发音正确。
4．会歌曲At the market。
课时安排五课时第一课时一、教学内容牛津小学英语2A Unit5 B部分单词carrot , bean 以及这两个单词的复数形式A部分句型What are these?They are…二、教学要求1．能听得懂、会说、初步认读单词carrot , bean 以及这两个单词的复数形式,发音正确。
五下模块一
模块一改变和不同Module 1 Changes and differences第一单元整理Unit 1 Tidy up!它们是你的吗？Are they yours?不，它们不是。
No, they aren’t.Listen and say1莎丽Sally: 看看你的卧室Look at your bedroom. 真是一团糟！What a mess! 我们一起来整理整理吧Let’s tidy it up.彼得Peter: 好的，莎丽Sure, Sally.莎丽Sally: 那些袜子是谁的？Whose socks are those? 它们是你的吗，彼得？Are they yours, Peter?彼得Peter: 不，它们不是No, they aren’t. 它们是保尔的They’re Paul’s.莎丽Sally: 你能把它们放在他的床上吗？Can you put them on his bed?彼得Peter: 好的Sure.2莎丽Sally: 这是谁的帽子？Whose cap is this?彼得Peter: 是我的It’s mine.莎丽Sally: 有一件T恤There’s a T-shirt. 这是你的吗，彼得？Is this yours too, Peter?彼得Peter: 不No. 它是保尔的It’s Paul’s.莎丽Sally: 你能把它放在他的床上吗？Can you put it on his bed?彼得Peter: 好的Sure.3彼得Peter: 房间现在干净整洁了The room is now clean and tidy. 谢谢你的帮助，莎丽Thank you for your help, Sally.莎丽Sally: 不客气，彼得You’re welcome, Peter.Ask and answer the questions in pairs.这是谁的卧室？Whose bedroom is it?它是……It’s…谁在整理卧室？Who is tidying up the bedroom?…这是谁的……/ 那些是谁的……？Whose…is this / are those?它是……/ 它们是……It’s / They’re…Look and learn帽子cap短袜socks蜡笔crayon雨伞umbrellaRead a story魔法石头A magic stone1吉米看到桌子上有一个小盒子Jimmy sees a small box on the table. 里面放满了钉子It is full of nails.吉米问：“它是你的吗，爸爸？”“Is it yours, Dad?”asks Jimmy.他的父亲说：“是的，它是我的。
5.现代英语词汇学(第五章)
B. Specialization/narrowing in a social milieu/'mi:ljə:/ Polysemy often arises through a kind of verbal shorthand. For example, ―action‖ will naturally mean ―legal action‖; for the soldier it will mean a military operation, without any need for a qualifying epithet. In this way the same word may acquire a number of specialized senses, only one of which will be applicable in a given milieu. C. Figurative language A word can be given one or more figurative senses without losing its original meaning: old and new will live on side by side as long as there is no possibility of confusion between them. Polysemy that is based on metaphor can be exemplified by the following phrases:
Change of meaning can be brought about by many causes. 1. Polysemy Polysemy is ―term used in semantic analysis to refer to a lexical item which has a range of different meanings.‖ It is a universal feature to all natural languages. This particularly true of highly developed languages like English. In modern English, an overwhelming majority of words are polysemous. A casual glance of any pages of an English dictionary will justify the fact. There are words that have two or
二语习得引论翻译笔记-第五章
第五章SLA与社会环境【真题：语言社团；反馈】交际能力P100言语沟通民俗学：交际能力：一个说话者在一个特定的语言社团里知道自己需要说什么。
不但包括词汇语音语法结构，还要知道什么时候说对谁说和在既定环境里适当的表达。
还包括说话的人应该指导社会文化方面的知识，应该具有保证顺利地和别人交流的能力。
语言社团：一组人；用同一种语言；因此，多语者属于多个语言社团。
非本族语的人讲话和本地人相差很大，即使他们属于同一个语言社团。
比如包括语言结构组合的不同，对话、写作等规则使用不同，同一个词汇意思不同。
P101外语[FL]：在当地环境下学习二语，没机会与该语言的语言社团进行互动（除非出国），且没有机会完全融入该外语的社会，学习这种语言大多是课业要求。
附加语[AL]P102微观社会因素学习者语言的变异社会语言学家认为语言的变异是指在语言的产出过程中，把语言的不系统的不规则的变化当做次于语言系统规则模式的变异性特点。
交际环境的多个维度：语言学环境：语言形式和功能的成分心理学环境：在语言加工过程中，起始阶段要倾注多少注意力，从控制加工到自动化加工；微观社会环境：环境与互动特征与交际部分相关，并在此过程中被产出、翻译、协商宏观因素：政治背景下，哪种语言应该学习，社会对某种语言的态度。
适应理论[accommodation theory]：说话者会随着说话对象的说话方式改变自己的语调难易。
工作地点影响语言输入的性质和群体认同性。
自然变异：中介语的产物，是习得二语语法的必要步骤Ellis 变异的性质随着学习二语的深入而变化：1.一个简单的形式被用于多种功能2.其它形式一开始会用于中介语3.多种形式被系统化地使用4.无目的的形式被摘除，自由变异的清楚使中介语更加高效P105语言的输入与互动P106一、自然输入的修改语言输入对一语二语都是绝对必要的。
外国式谈话[foreigner talk]：一语学习者对二语学习者说话时调整说话的语气速度来适应二语者的语言。
小书虫难忘米兰达英语读书笔记
小书虫难忘米兰达英语读书笔记书虫中难忘的米兰达的英文简介It’s Cathy Wilson’s First job.she is going to live with the Harvey family.and look after the two young children and the house.Cathy’s parents are dead,and she has no brothers or sisters.she wants to be happy in her new home,but she is sometimes lonely,Duncan the children’s father,is often away in london.cathy likes the children and she likes old Mrs Harvey.Duncan‘s mother,but she has no firend.Of course,there is Nick.Nick has very blue eyes and a warm,firendly smile.but Duncan doesn’t like Nick.Why?Becuse Miranda-Duncan’s wife likes Nick.Many days ago.on one day night.Miranda tell Duncan.She likes Nick.she want to find him.and fall.and the biggest question was this:did.Miranda fall or someone push her many days ago Cathy know,It Mrs Harvey Pust Miranda and she know Nick.in the end Cathy Wilson and Duncan Harvey loved each other.Read this story I know.do man must like the Duncan and doesn’t like the Nick.becu se none but this just have the in deed blessedness.难忘米兰达读后感500字（中文版）近日，我读完了《昆虫记》这本书，感触很深。
英语语言学 第五章
(5) Reflected meaning
Many taboo terms are result of this.
(6) Collocative meaning
The associations a word acquires on account of the meanings of words which tend to occur in its environment.
Semantics
The study of language meaning
Semantics----the study of language meaning. Meaning is central to the study of communication. What is meaning?---- Scholars under different scientific backgrounds have different understandings of language meaning.
What is the meaning of “mean”? What is the meaning of “desk”? √ I didn't mean to hurt you. (intend) Life without faith has no meaning. (value) It was John I mean not Harry (refer to )
Step mother
(3) Social meaning
What a piece of language conveys about the social circumstances of its use. – Dialect: the language of a geographical region or of a social class. – Time: the language of the 18th c., etc. – Province: language of law, of science, of advertising, etc. – Status: polite, colloquial, slang, etc. – Modality: language of memoranda, lectures, jokes, etc. – Singularity: the style of Dickens, etc.
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The little SAS book 学习笔记第五章用ODS增强你的输出结果5.1 ODS（Output Delivery System）的概念过程步不会产生输出，它只会产生数据，然后把数据发送给ODS，以决定输出的样式等。
所以，不要考虑是否使用ODS，而考虑怎么使用，是接受默认输出还是改变设置。
ODS就像一家商务飞机，游客乘坐car和bus赶来，在机场确认行李、安检、最终登机，飞往目的地。
ODS中，数据就像游客，通过各种过程步而来，ODS处理每一个数据集并发送到目的地。
实际上，不同的ODS类型就是目的地，当达到目的地时，数据的样式是由模板决定。
模板是一个告诉ODS如何格式化您的数据的指令集。
目的地和模板这两个概念的是你了解可以用ODS做什么的基础。
目的地如果没有指定目的地，那么你的数据默认发往“列表listing”，这里有几种可选的目的地：LISTING 标准SAS输出Output SAS输出数据集Html 超文本标记语言RTF 富文本格式PRINTER 高分辨率的打印机输出（PS, PCL, and PD）PS 附言PCL Printer Control Language 打印机控制语言PDF Portable Document FormatMARKUP markup languages including XMLDOCUMENT output document风格和表模板模板描述ODS如何制定数据格式并呈现数据。
最普通的两个模板类型和是表模板类型和风格模板类型。
表模板类型制定基本的输出结构，而风格模板类型制定输出将如何呈现。
ODS将过程产生的数据和表模板结合成输出对象，输出对象接着与风格模板结合，并发送到目的地，创建输出。
可以使用template过程创建自己的风格模板，但proc template过程晦涩难懂。
幸运的是，有一个最简单和最快速的方法控制修改输出，即使用内置风格模板。
可用proc template语句来访问内置模板：PROC TEMPLATE;LIST STYLES;RUN;一些内置模板如下：注意RTF和PRINTER既是目的地名又是风格名。
DEFAULT是HTML的默认风格，RTF是RTF输出的默认风格，PRINTER是PRINTER的默认风格。
Print、report、TABULATE三个过程中，可以使用style=option来直接控制输出特征，而不需要创建一个新的模板。
5.2 追踪选择过程的输出当ODS接受来自过程步的数据时，它将数据与表模板结合。
对应的表模板和数据就叫做输出对象。
如果使用by语句，SAS会为每一个BY组产生一个输出对象。
每一个输出对象都有名字，可以用ODS TRACE语句来查找，并用ODS SELECT语句来选择。
ODS TRACE语句ODS TRACE语句告诉SAS打印出SAS日志中输出对象的信息。
这里有两个ODS TRACE的语句，一个是打开trace，一个是关闭。
使用方法实例如下：注意关闭语句要在run后面，否则在程序运行之前就关闭了trace。
例子有关于番茄种类的数据，包括每种番茄的名字、颜色、从播种到收获的天数、典型重量：下面代码创建了一个名为giant的数据集，并使用ODS TRACE ON和ODS TRACE OFF语句来追踪proc means过程。
程序运行后，日志窗口中就会有如下的追踪（由于使用了BY语句，故按照BY的组来追踪）：ODS select语句知道输出对象的名字之后，可以用ODS SELECT语句来选择需要的输出对象。
基本形式为：Output-object-list是名字、标签、一个或更多的输出对象的路径。
例子下面代码对giant运行了proc means，并用ODS SELECT语句选择了第一个输出对象，mean：输出结果为：5.3 从过程输出中创建SAS数据集有时需要把一个过程的结果弄到SAS数据集中，有的过程用output或out=实现。
但用ODS，可以储存从过程输出的任何一部分。
首先要使用ODS TRACE语句决定选择输出对象名。
然后使用ODS OUTPUT语句将输出对象发送到OUTPUT目的地中。
ODS OUTPUT语句基本形式为：ODS OUTPUT output-object=new-data-set;这个语句不属于数据步和过程步。
ODS OUTPUT打开SAS数据集并等待正确的过程输出，数据集保持开放，直到过程步的结尾。
因为ODS OUTPUT是立即执行的，它将应用于proc 正在处理的数据，或者应用于下一个proc（如果目前没有proc）。
为确保得到正确的输出，建议将ODS OUTPUT语句放在PROC语句之后，下一个PROC 、DATA或RUN语句之前。
例子仍然是关于番茄的数据：下面是引用与SAS日志，显示由proc tabulate产生的追踪（trace），tabulate产生一个叫做table 的输出：下面的代码读取数据、使用ODS OUTPUT语句来创建叫做TABOUT（来自TABLE输出对象）的SAS数据集，然后用proc print打印出新数据集。
有两部分输出结果，第一部分是标准tabular结果，有proc tabulate产生。
下面是TABOUT 数据集，由ODS OUTPUT语句产生，并有proc print打印。
5.4 使用ODS语句创建HTML输出将输出发送到HTML目的地，将得到HTML格式的文件。
这个文件也可以被读入spreadsheets，甚至被打印或导入到文字处理软件中（有些格式会发生变化）。
总之，产生一个HTML文件只需两步语句——打开HTML文件、关闭。
ODS语句将输出发送到HTML目的地，使用ODS HTML语句，基本形式为：ODS HTML BODY='body-filename.html' options;Option是用来改变HTML的类型(contents,page,or frame)，●Contents= contents文件是一个链接到主体文件的一个目录表，它将会列出输出的每个部分，点击表中某个条目，相关输出会出现。
●Page= page文件类似于contents文件，不同的是，contents通过标签列出输出的每个部分，而page文件通过页码列出。
●Frame= frame允许同时访问在不同区域、框架或浏览器窗口中，访问主体文件、contents文件和page文件。
●Style= 这个选项允许指定一个风格模板，默认的模板名为default。
下面的语句告诉SAS发送一个输出给HTML目的地，储存一个名为AnnualReport.html的主体文件，并使用D3D风格。
ODS HTML BODY='AnnualReport.html' STYLE=D3D;ODS 语句不属于数据步也不属于过程步，摆放它的好位置是proc过程步之前，这个过程步的输出正是你希望捕捉的。
关闭HTML文件的ODS语句为：ODS HTML CLOSE;将这个语句放在proc之后，接在run语句之后。
输出中包括有些程序（如PROC MEANS和PROC FREQ）过程的名称。
您可以使用ODS NOPROCTITLE语句删除程序名称，该语句可放在data步之前。
ODS NOPROCTITLE;例子下面的数据是关于选择的鲸鱼或鲨鱼的平均长度（英尺）下面的代码创建了两个输出，一个是来自means过程，一个来自print过程。
并且有两个ODS 语句，一个创建了四个HTML文件：body,contents,page,and frame，一个是关闭HTML文件。
输出结果如下：5.5 使用ODS语句创建RTF输出当你创建了富文本格式，可以将其发送到word中，并像word表格一样编辑修改。
语句与HTML语句差不多，区别在于option：ODS语句ODS打开RTF文件的基本形式为：ODS RTF FILE='filename.rtf' options;不像HTML，RTF文件只有一种类型，一些option如下：●COLUMNS=n 要求一个柱状输出，n是第几列。
●Bodytitle●Sasdate 这个选项告诉SAS当前的SAS会话开始运行时，使用日期和时间。
●Style= 指定一个风格模板下面的代码告诉SAS将输出发送到RTF目的地，储存一个名为AnnualReport.rtf的主体文件，并使用FANCYPRINTER风格。
ODS RTF FILE='AnnualReport.rtf' STYLE=FANCYPRINTER;放置这个代码的较好位置也是在proc之前，而关闭语句也是放置在proc语句之后，接在run 之后。
ODS RTF CLOSE;例子仍然是鲸鱼和鲨鱼平均重量的数据：如下的代码从means和print中产生输出，程序中有两个ODS语句，一个打开RTF文件，一个关闭RTF文件。
Marine.RTF文件在word中的结果如下，每一部分的输出结果在不同页面中出现：5.6 使用ODS创建printer输出ODS语句打开printer目的地的ODS语句最基本形式为：ODS PRINTER;如果使用这个简单的语句，SAS将创建你先在系统需要的输出类型，并自动打印输出，而不是储存文件。
可以用add=option来储存输出。
类似RTF，只有一种PRINTER类型文件。
创建指定的输出类型的基本形式如下面几种：●Default printer: ODS PRINTER FILE='filename.extension'options;●PCL: ODS PCL FILE='filename.pcl'options;●PDF: ODS PDF FILE='filename.pdf'options;●PostScript: ODS PS FILE='filename.ps'options;目的地一些有效的选项如下●COLUMNS=n 要求一个柱状输出，n是第几列。
●STYLE= 指定一个风格模板下面的代码告诉SAS创建PostScript output，将结果存在AnnualReport.ps中，并使用FANCYPRINTER风格。
ODS PS FILE='AnnualReport.ps' STYLE=FANCYPRINTER;放置它的位置也是在proc之前。
关闭一个printer文件ODS语句基本形式为;ODS destination-name CLOSE;destination-name可能是PRINTER,PCL,PDF,或者PS，视开启语句中的目的地而定。