外文翻译---中国传统图案在服装设计中的应用

附录

Traditional Patterns InFashion Design

Art Fashion Design Fashion design is basic and decorative fabrics and specific forms of the fundamental expression, following the style, materials and colors later an important design element. With the apparel industry, apparel design more and more respected by the designer.

Existence as a nation must have its own national culture, heritage and folk culture to the development of communication is an important part. In today's world economy, cultural exchanges and integration continue to "accelerate" the rolling tide, the "popular culture without borders," the awareness has been more accepted. "National is the world's" five thousand years of Chinese traditional culture of our origin a long, more designers paying attention to the Chinese nation's traditional arts, and applied to the design work. How to mix traditional Chinese design practice in fashion design, fashion designers have become common at home and abroad in the area.

Why are more and more people to pay attention to Chinese traditional culture? The first is rising to meet the aesthetic needs of consumers. Aesthetic needs of people today tend to simplify, naturalization, simple technology. The use of traditional Chinese designs to fashion design, in line with people's mentality to make the design simple and strong ethnic characteristics have to meet the consumers of traditional culture and artistic pursuits.Chinese traditional pattern for the elements of style and fashion design with the design, to the clothing into the rich cultural connotation and flavor of the times.Second, national culture, open up new design. Outstanding costume design, not only in function, shape, color and decorative elements to be unified with the same time, should be implied in the design of a values, cultural attributes, aesthetic taste and fashion sense. From the current design trends can be seen, both in the domestic market or international market, decorated with Chinese traditional style of clothing pattern design can always attract more attention, not only can produce good economic returns, but also to promote national culture, Costume Design for the international market in China, played a major role in promoting.

Chinese traditional patterns behind the "meaning" people obsessed with the shape of the key. Whether ancient or modern, all the good things feel the same desire, so its auspicious meaning behind the traditional style also applies to fashion design, suitable for modern design to convey ideas. In the pattern creation, the theme of the role of performance is crucial, and chooses a good subject matter, often can make the viewer

memories, never forget. Chinese traditional patterns are the essence of Chinese culture, both as a symbol of the Chinese nation and the performance of a long history, but also modern art inexhaustible source. People think the traditional pattern, turned out mostly good things, even depicting the reality of things, but also through the processing and deformation, is trying to convey the mood of a complete harmony and beauty.

The performance of Chinese traditional patterns, from its appearance features to be divided: animal pattern, plant lines, symbols, patterns, characters pattern, integrated profiling and so on, which are mainly used in animal costumes patterns, patterns of plant patterns and symbols. The overall meaning is "symbolic meaning, than by the material objects to convey ideas, to give good luck." The implication has always stressed the theme, such as the pattern for good luck, form the theme of: "Lucky (chicken sheep) Ruyi", "Dragon and Phoenix", "Vientiane update", "Gold and Jade (fish) full house," "bumper harvest" "Five children Corrections", "more than auspicious (fish)", "Fu (bat) from the days", "I wish (bamboo) reported safety", "the year to come," and so on; to the theme of love and marriage patterns in the form of: "Magpie Dengmei", "mandarin ducks playing in the water," "Peacock opera Peony", "Carp in Lotus", "Search" and so on; to the family pattern of reproduction in the form of the theme: "Even the (Lotus) Takako" "Kirin Songzi", "Durian open a hundred times", "Songzi Goddess", "endless", etc.; to the town of evil spirits demon form the theme of pattern: "top five evil spirits", "Dragon," "White Tiger" "Suzaku", "basaltic" and so on; to the theme of divine saints are: "Dragon", "Phoenix", "Turtle," "Heaven" and "land", "Day", "month", "Buddha" "Eight Immortals" and so on. Throughout the works of international fashion design masters, each a winner in the subject's performance also has its unique perspective. Artistic creation, although the performance of a wide range of subjects, but the good subject matter, first of all is human nature to be "true", "good" and "emotion" sincere expression, followed by the people should be deeply concerned about, or need to know, or novel strange, surprising, or sincere, moving, or the characteristics of the times, or lead times, and so the theme works. Only then can cause the viewer's attention, and attractive, resonate.

Costume design, the use of examples of Chinese traditional patterns a lot, but the designers for China's understanding and grasp of traditional design is not enough to make a lot of work left a regret, some works appeared pure imitation and similar. Design to innovation, but in itself is a traditional auspicious patterns, its content and form nearly perfect for thousands of years ago, how to change it, only to give it a new

form of expression, sparking a strong visual impact of the design, but also retain and extend its meaning rich, deep Chinese culture, make the design work and integration with Chinese characteristics that reflect the culture in the world, this is the new designers and craftsmen of the difference between civil. I think the modern costume drama can best be reflected in the existence of carrier concentration from a studio set, the actors costumes, props vessel patterns on the decorative pattern can not be separated. Romance of the different historical dynasties auspicious patterns should be used and different, but the audience was concerned only with their own entertaining drama, for which the use of patterns in a form is correct, whether the different historical backgrounds, the plot needs, social life is not important. However, in design, the use of traditional Chinese designs with more stringent accuracy requirements. Designers must have knowledge of the designer's art and design skills, the designer of the natural and social science knowledge and skills, as well as designers of social responsibility.

Let us keep up the trend of innovation, bring a new feel. Should be a traditional style, is a fashion, through a variety of ways in the traditional sense of the times reflected a pattern. Traditional patterns in fashion design and performance using the new direction of development will be more affected by the economic, market, culture, society, history, tradition and the designer itself, the impact of various factors, develop for the plural and diverse. Different countries, different regions or different models for the domestic market, the use of traditional development of traditional, targeted at foreign markets, the development of modern blend of traditional and modern, in development for unity, the Chinese tradition into the world total, making the traditional Chinese patterns in fashion design and performance by the use of extreme.

中国传统图案在服装设计中的应用

服饰图案是服饰艺术中设计的基础，它与面料都是具体装饰形式的根本体现，是继款式、材质和色彩后又一重要的设计元素。随着服装行业的发展，设计师越来越注重服饰图案的设计。

一个民族的存在，必须有自己的民族文化，而民俗的传承与传播正是民族文化得以发展的重要组成部分。在当今世界经济一体化、文化的交流与融合不断“提速”的滚滚潮流中，“流行文化无国界”的认识已经被更多的人们所接受。“民族的就是世界的”，我们中华民族五千年传统文化渊源流长，更多的设计师开始重视我们中华民族的传统艺术，并应用到设计作品中。如何将中国传统图案融会于服装设计的实践中，成为国内外服装设计师们共同思考的课题。

现在越来越多的人开始关注中国传统文化。究其原因，首先是满足消费者日益上升的审美需求。当今人们的审美需求趋向简单化、自然化、纯朴化。将中国传统图案运用到服装设计中，符合人们的这种心态，使设计具有古朴浓郁的民族特色，满足了消费者对传统文化和艺术的追求。以中国传统图案为元素的设计风格与服装设计结合，给服装注入了浓厚的文化内涵和时代气息。其次，弘扬民族文化，开辟新的设计风格。优秀的服装设计不仅在功能、造型、色彩和装饰等要素的配合上要统一，同时在设计中应蕴涵一种价值观、文化属性、审美品位和时尚感。从当前设计的趋势可以看到，无论在国内市场还是国际市场，具有中国传统图案装饰样式的服装设计，总能够吸引更多人的注意，不但能产生良好的经济效益，而且对弘扬民族文化，促进我国服装设计走向国际市场，起到重大的推动作用。

中国传统图案背后的“意”是人们迷恋其造型的关键。不论古人还是现代人，对美好的事物都同样的心存向往，因而其传统造型背后的吉祥意味同样适用于服装设计，适用于传达现代人的设计意念。在图案创作中,题材的表现是具有至关重要的作用的，选择一个好的题材，往往可以使观者记忆深刻、过目不忘。中国传统图案是中华民族文化的精华，它既是中华民族悠久历史的象征和表现，也是现代艺术取之不尽、用之不竭的源泉。传统图案多是人们想象幻化出来的美好事物，即便是描绘现实中的事物，也经过了加工和变形，力图表现一种圆满和谐的意境和美感。

中国传统图案的表现，从它的外观特征来分有：动物纹、植物纹、符号纹、人物纹、综合纹等，其中用于服饰的主要有动物纹、植物纹与符号纹。其总体含义是“象征寓意，借物比物，传达思想，赋予吉祥”。历来强调题材的寓意性，如以祝福吉祥为题材的图案形式有：“吉祥(鸡羊)如意”、“龙凤呈祥”、“万

象更新”、“金玉(鱼)满堂”、“五谷丰登”、“五子登科”、“吉庆有余(鱼)”、“福(蝠)自天来”、“祝(竹)报平安”、“吉星高照”等；以爱情婚姻为题材的图案形式有：“喜鹊登梅”、“鸳鸯戏水”、“孔雀戏牡丹”、“鲤鱼闹莲”、“凤求凰”等；以家族繁衍为题材的图案形式有：“连(莲)生贵子”、“麒麟送子”、“榴开百子”、“送子娘娘”、“生生不息”等；以镇妖辟邪为题材的图案形式有：“五毒辟邪”、“青龙”、“白虎”、“朱雀”、“玄武”等；以神灵圣贤为题材的有：“龙”、“凤”、“龟”、“天”、“地”、“日”、“月”、“菩萨”、“八仙”等。纵观国际时装大师的设计作品，每一个成功者，在题材的表现上也均有其独特的视角。艺术创作，题材的表现虽种类繁多，但好的题材，首先应是人性中“真”、“善”、“情感”的真诚体现，其次应是人们所深切关注，或是需要了解，或是新异奇特、出人意外，或是情真意切、感人至深，或是具有时代特色,或是领先时代潮流等等的题材作品。只有这样,才有可能引起观者的注意，并引人入胜，产生共鸣。

服装设计中，中国传统图案的运用实例不少，但设计师对于中国传统图案的理解与把握不够，使得很多作品留下了遗憾，有的作品出现了纯粹的模仿与雷同。设计力求创新，但吉祥图案本身是传统的，它的内涵与形式在几千年前就已近乎完美，如何运用、改变它，既赋予它新的表现形式，激起设计中强烈的视觉冲击，又保留和延伸它丰富的寓意、深层的中国文化，使设计作品即体现中国特色又接轨于世界文化，这是新型的设计师与民间艺匠的区别。我认为现代古装剧最能把这些存在载体集中体现出来，从片场布景、演员服装、器皿道具上都离不开图案纹样的装饰。演义不同的历史朝代就要选用不同的吉祥图案，然而受众关注的只是电视剧本身的娱乐性，对于其中纹样的存在形式运用是否正确，是否符合不同的历史背景、情节需要、社会生活已不重要。但在设计中，对于中国传统图案设计运用的准确性有着更严格的要求。设计者必须拥有设计师的艺术与设计知识技能、设计师的自然与社会学科知识技能,以及设计师的社会职责。

让我们紧跟时代潮流，推陈出新，给人带来全新的感受。传统应是一种风格，是一种时尚，可以通过多种途径在传统图案中体现出时代感。中国传统图案在服装设计中运用与表现的发展新方向必定会更多的受到经济、市场、文化、社会、历史传统以及设计师本身各因素的影响，发展面向多元化、多样化。针对不同国家、不同区域或不同的模式，针对国内市场，运用传统发展传统，针对国外市场，糅合传统与现代发展现代，在发展中求统一，把中国传统的变为世界共有的，使中国传统图案在服装设计中得到极至的运用与表现。

外文文献翻译中性化服装设计

外文文献原文+译文 原文 The study on the design of neuter clothing H ous e W Abstract Social and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from the beginning of non-mainstream des ign till n ow has develop ed i nt o on e of the mains t ream fas hi on d es ign style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable. K ey words: Neut e r; Cl ot hing; Gender roles; Design 1 Introduction The beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable e lement s, s uc h a s dust coa t w i th a ne ut ral style, s ui ts, t-shirt s and j e ans have bec om e people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economic development, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results.

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。

服装设计与高科技外文翻译文献

文献信息： 文献标题：Evolution of Fashion Design in the Era of High-Tech Culture （高科技文化时代服装设计的演变） 国外作者：Galina Mihaleva，C.Koh 文献出处：《International Scholarly and Scientific Research and Innovation》,2016,10(7):2447-2451 字数统计：英文2079单词，11462字符；中文3549汉字 外文文献： Evolution of Fashion Design in the Era of High-Tech Culture Abstract Fashion, like many other design fields, undergoes numerous evolutions throughout the ages. This paper aims to recognize and evaluate the significance of advance technology in fashion design and examine how it changes the role of modern fashion designers by modifying the creation process. It also touches on how modern culture is involved in such developments and how it affects fashion design in terms of conceptualizing and fabrication. By comparing case studies, existing fashion design examples and crafting method experimentations; we then spot patterns in which to predict the direction of future developments in the field. A breakdown on the elements of technology in fashion design helps us understand the driving force behind such a trend. The results from explorations in the paper have shown that there is an observed pattern of a distinct increase in interest and progress in the field of fashion technology, which leads to the birth of hybrid crafting methods. In conclusion, it is shown that as fashion technology continues to evolve, their role in clothing crafting becomes more prominent and grows far beyond the humble sewing machine. Keywords: Fashion design, functional aesthetics, smart textiles, 3D printing. INTRODUCTION It is common knowledge that the environment we live in greatly influences the

【最新推荐】印花在服装设计中的应用外文文献

文献出处：A Dehghani. The application of digital printing in fashion design [J]. International Journal of Clothing Science and Technology, 2015, 16(2): 263-271. 原文 The application of digital printing in fashion design A Dehghani Abstract The appearance of digital printing for textiles printing provides a new train of thought, digital printing with the current textile fabric printing a variety of requirements of the market of printing technology, including high quality printing precision, high efficiency of printing on reaction time and the printing of the diverse demand, these advantages directly promoted the digital ink jet printing in the rapid development of textile fabric printing direction. In this paper, the design method of the digital printing design of different style and means of decoration and design method in the fabrics for summary, it is concluded that digital printing design cuttings in fabric printing, clothing apparel printing method and the application of the traditional fabric secondary design and decorative effect. Through the above research, digital printing and garment design and garment style between the relationships between the shapes, thereby further to bring into full play the advantages of

大学毕业论文---软件专业外文文献中英文翻译

软件专业毕业论文外文文献中英文翻译 Object landscapes and lifetimes Tech nically, OOP is just about abstract data typing, in herita nee, and polymorphism, but other issues can be at least as importa nt. The rema in der of this sect ion will cover these issues. One of the most importa nt factors is the way objects are created and destroyed. Where is the data for an object and how is the lifetime of the object con trolled? There are differe nt philosophies at work here. C++ takes the approach that con trol of efficie ncy is the most importa nt issue, so it gives the programmer a choice. For maximum run-time speed, the storage and lifetime can be determined while the program is being written, by placing the objects on the stack (these are sometimes called automatic or scoped variables) or in the static storage area. This places a priority on the speed of storage allocatio n and release, and con trol of these can be very valuable in some situati ons. However, you sacrifice flexibility because you must know the exact qua ntity, lifetime, and type of objects while you're writing the program. If you are trying to solve a more general problem such as computer-aided desig n, warehouse man ageme nt, or air-traffic con trol, this is too restrictive. The sec ond approach is to create objects dyn amically in a pool of memory called the heap. In this approach, you don't know un til run-time how many objects you n eed, what their lifetime is, or what their exact type is. Those are determined at the spur of the moment while the program is runnin g. If you n eed a new object, you simply make it on the heap at the point that you n eed it. Because the storage is man aged dyn amically, at run-time, the amount of time required to allocate storage on the heap is sig ni fica ntly Ion ger tha n the time to create storage on the stack. (Creat ing storage on the stack is ofte n a si ngle assembly in structio n to move the stack poin ter dow n, and ano ther to move it back up.) The dyn amic approach makes the gen erally logical assumpti on that objects tend to be complicated, so the extra overhead of finding storage and releas ing that storage will not have an importa nt impact on the creati on of an object .In additi on, the greater flexibility is esse ntial to solve the gen eral program ming problem. Java uses the sec ond approach, exclusive". Every time you want to create an object, you use the new keyword to build a dyn amic in sta nee of that object. There's ano ther issue, however, and that's the lifetime of an object. With Ian guages that allow objects to be created on the stack, the compiler determines how long the object lasts and can automatically destroy it. However, if you create it on the heap the compiler has no kno wledge of its lifetime. In a Ianguage like C++, you must determine programmatically when to destroy the

【参考文献翻译】服装设计中独特性的表达.doc

英文翻译： The unique expression in fashion design Abstract: With the social progress and people's aesthetic awareness, clothing design requirements are constantly changing, not only beautiful, comfortable, personalized for different purposes, and more and more people started to pay attention the unique design of the clothing. unique expression of the clothing design has something in common, in common, there are three factors most typical one of the means of the use of the plastic arts; is to follow the basic rules of the plastic arts; the pursuit of art content and beauty of form harmony and unity. The face of increasingly fierce competition in society, from clothing unique starting to play to their strengths, so that the costume design perfected. Key words: aesthetic sense; costume design; uniqueness; expression Introduction With the rich substance of social development, improved quality of life, the pursuit of unique clothing is also more than plus strong, the face of the popularity and unity to the mass production of clothing has become a problem to be solved in order to fashion designers. An important design point, then become a unique expression of the costume design costume design costume design unique refers to the characteristics of the presentation of the representative from the clothing on the whole, it is unique content and form unity. China fashion design unique expression as a complete system of disciplines to study the ancient times to now there, but the uniqueness of expression in fashion design is not perfect, therefore, the uniqueness of this study fashion design to express Modern fashion design is of great significance. 1. The unique overview of clothing In short, The unique nature of the clothing is the clothing unique. In a broad sense refers to the presentation of the representative characteristics from the whole of the clothing works, it is one of the unique form and the objectivity of the unity of the unity of content, costume designer on the subjective aspect of creative and clothing subject matter difficult to find words to express, but it is not difficult to make us feel unique style. The unique nature of the clothing, but also refers to the values, artistic characteristics and inherent character of a nation, an era, a genre or a person's clothing in the content and format of the show out. The unique nature of the appearance of the mind, the pursuit of the realm of fashion design in the final analysis is unique in design and positioning, the unique expression of the costume design also reflects the designer's unique creative thinking and the pursuit of art also reflects the distinctive character.

电子信息工程专业毕业论文外文翻译中英文对照翻译

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

服装设计褶皱拼缝外文文献

Vol. 3 (3), April, 2009 ISSN 1994-9057 (Print) ISSN 2070-0083 (Online) Effect of Seams on Drape of Fabrics (Pp. 62-72) Sukumar Nachiappan- Lecturer, Textile Engineering Department, Faculty of Engineering, Bahir Dar University, Bahir Dar, Ethiopia. Email: sugumaraan@https://www.wendangku.net/doc/e917146500.html, Gnanavel. P. - Lecturer, KSR College of Technology, Tiruchengode–637 215, TamilNadu, India Ananthakrishnan, T.- Professor and Head, Department of Textile Technology, Government Sri Krishna Rajendra silver jubilee Technical Institute, Bangalore – 560 001, India Abstract Drape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyse the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.

服装设计参考文献

参考文献 [1]李平.面料再造的艺术表现力[J].服装设计师,2009，10 [2]艺术与设计[J].2011.05 [3]马慧颖,肖圣颖.浅谈环保主义影响下的服装设计[J].才智，2009，06 [4]李苏君,彭景荣.三宅一生与解构主义服装[J]. 美与时代2010, 01 [5]余建春.服装市场调查与预测[M]. 北京：中国纺织出版社,2002 [6]服装设计师.月刊.[J] .服装设计师杂志社，2008.01 [7]肖文陵，李迎军．服装设计[M].北京：清华大学出版社,2006 [8]许星．服饰配件艺术[M]. 北京：中国纺织出版社,2005 [9]罗森.魅力先生[J].青年与社会,2006，04 [10]李霞云.服装造型设计[M].上海：上海纺织工业专科学校，2008 [11]刘瑞璞．服装纸样设计原理与技术(男装编)[M].中国纺织出版社,2003 [12]尹定邦.设计学概论[M].衡阳:湖南科学科技出版社,2001.10 [13]原研哉. 设计中的设计[M]，济南：山东人民出版社，2006 [14]吴静芳. 服装配饰学[M].上海:东华大学出版社,2004.1 [15]刘元凤. 服装设计学[M]，北京：高等教育出版社，2005 [16]肖文陵.李迎军．北京：服装设计[M]. 北京：清华大学出版社.2006 [17]谢锋.时尚之旅（第二版）[M]. 北京：中国纺织出版社,2007 [18]李采姣.时尚服装设计[M]. 北京：中国纺织出版社,2007 [19](美)多丽丝·普瑟.穿出影响力[M]. 北京：中国纺织出版社,2006 [20]袁利.打破思维的界限[M]. 北京：中国纺织出版社,2005

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

服装英语论文

服装英语论文 文章一 Change Of Chinese Clothing Tradition An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance, but also an internal symbolism. Each and every piece oftraditionalclothing communicates a vitality of its own. This combination of external form with internal symbolism is clearly exemplified in the pair of fighting pheasant feathers used in head wear originating in the battle wear of the Warring States period (475-221 B.C.). Two feathers of a ho bird (a type pheasant good at fighting) were inserted into the head wear of warriors of this period to symbolize a bold and warlike spirit. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. Variety and consistency in clothing were roughly established by the era of the Yellow Emperor and the Emperors Yao and Shun (about 4,500 years ago). Remains of woven silk and hemp articles and ancient ceramic figures further demonstrate the sophistication and refinement of clothing in the Shang Dynasty (16th to 11th century B.C.). The three main types of traditional Chinese clothing are the pien-fu, the ch'ang-p'ao, and the shen-i. The pien-fu is an ancient two-piece ceremonial costume of a tunic-like top extending to the knees and a skirt or trousers extending to the ankles. The ch'ang-p'ao is a one-piece garment extending from the shoulders all the way to the heels. The shen-i is a cross between the pien-fu and the ch'ang-p'ao; it consists of a tunic and a skirt or trousers like the pien-fu, but the tunic and the skirt are sewed together and essentially one piece like the chang-pao. Consequently, the shen-i was the most widely worn of the three types. Typical of these three types of clothing were wide and voluminous sleeves and a very loose fit. Tunic and trousers or tunic and skirt, utilized a very minimum number of stitches for the amount of cloth used. So because of their relatively plain design and structure, embroidered edgings, decorated bands, draped cloth or silks, patterns on the shoulders, and sashes were often added as ornamentation. These varied designs came to be one of the unique features of traditional Chinese dress. Darker colors were favored over lighter ones in traditional Chinese clothing, so the main color of ceremonial clothing tended to be dark while bright, elaborate tapestry designs accented. Lighter colored clothing was worn more frequently by the common people for everyday and around the house use. The Chinese associate certain colors with specific seasons: green represents spring, red symbolizes summer, white represents autumn, and