塑料成型模具設計課程設計-大口桶蓋注塑成型工藝與模具設計-資料下載頁

　　

【正文】 ）的力復位，推板（件4）靠彈簧（件23）也同時退回。為避免產品曲撓，特設有兩個頂出桿（件29），既可作頂出用，又可保證頂出機構的完全復位。第13章 設計總結此次課程設計是學習好塑料模具這門課程的一個重要環節，是對整個課程的一個全面的考察，也是對我們以前學過的工程制圖、互換性與測量技術基礎、機械原理，材料成型原理，材料成型工藝，材料成型設備，等一系列課程的綜合考察。使我們能夠更好的分析和解決塑料模具設計中的問題，進一步鞏固，加深和拓寬我們所學的知識。通過設計實踐，逐步樹立正確的設計思想，設計思路，和流程。掌握塑料模具設計的一般規律，培養分析和解決問題的能力。通過計算，繪圖和運用各種技術標準和規范，設計手冊等有關資料，對設計一整套模具的方法有了充分的認識，為畢業設計做好了準備。 此次設計的模具相對來說比其他同學的要簡單，采用的是雙分型面，沒有側抽芯機構，是最常用的一類模具。主流道設置在定模板上，開模是可以利用塑件在型芯上的包緊力將塑件留在動模一側，然后利用斜滑塊和頂出桿將塑件推出。整個過程簡單，而且運行平穩。在設計工程中所涉及到的公式，都是從各個參考文獻中經過比較而選取的，選擇上來講，還是較為合理的，計算結果正確，能滿足塑件的制造要求。模具在選材過程中，在滿足要求的前提下盡量采用性價比高而又滿足要求的的材料，主要的零部件都是較為常用的制造方便，能夠使用標準件的盡量使用標準件。模具在裝配好以后要保證適當的配合關系，能夠很好的運動，不會出現松動和咬死等現象。使制造出的塑件達到設計的要求。在這次的設計過程中，我學到了很多書本上沒有學到的東西，在老師的指點和同學的幫助下，順利的完成了這次任務。也使我發現了自身很多不足的地方。在選取某些材料，配合公差時，經常是和參考文獻上的一樣，不是特別的熟練。使我認識到自己水平的有限和專業知識的欠缺，另外就是缺少實踐經驗，在思考某些東西的時候要查閱很多的書籍才能搞懂，為我以后的學習指明了方向。第14章 參考文獻【1】:【2】:【3】:【4】:【5】:【6】：【7】：【8】北京意達利技術開發有限責任公司 ： 附錄：外文翻譯In Wang Zuoliang’s translation practices, he translated many poems, especially the poems written by Robert Burns. His translation of Burn’s “A Red, Red Rose” brought him fame as a verse translator. At the same time, he published about ten papers on the translation of poems. Some argue that poems cannot be translated. Frost stresses that poetry might get lost in translation. According to Wang, verse translation is possible and necessary, for “The poettranslator brings over some exciting work from another culture and in doing so is also writing his own best work, thereby adding something to his culture. In this transmission and exchange, a richer, more colorful world emerges. ”(Wang, 1991:112). Then how can we translate poems? According to Wang’s understanding, the translation of poems is related to three aspects: A poem’s meaning, poetic art and language. （1）A poem’s meaning “Sociocultural differences are formidable enough, but the matter is made much more plex when one realizes that meaning does not consist in the meaning of words only, but also in syntactical structures, speech rhythms, levels of style.” (Wang, 1991:93).（2）Poetic art According to Wang, “Bly’s point about the ‘marvelous translation’ being made possible in the United States only after Whitman, Pound and Williams Carlos Williams posed poetry in speech rhythms shows what may be gained when there is a genuine revolution in poetic art.” (Wang, 1991:93).（3）Language “Sometimes language stays static and sometimes language stays active. When language is active, it is beneficial to translation” “This would require this kind of intimate understanding, on the part of the translator, of its genius, its idiosyncrasies, its past and present, what it can do and what it choose not to do.” (Wang, 1991:94). Wang expresses the difficulties of verse translation. Frost’s ment is sufficient to prove the difficulty a translator has to grapple with. Maybe among literary translations, the translation of poems is the most difficult thing. Poems are the crystallization of wisdom. The difficulties of poetic prehension lie not only in lines, but also in structure, such as cadence, rhyme, metre, rhythm, all these conveying information. One point merits our attention. Wang not only talks about the times’ poetic art, but also the impact language’s activity has produced on translation. In times when the language is active, translation is prospering. The reform of poetic art has improved the translation quality of poems. For example, around May Fourth Movement, Baihua replaced classical style of writing, so the translation achieved earthshaking success. The relation between the state of language and translation is so 28