摘要：Wind power is one of the most reliable renewable energy sources and internationally installed capacity is increasing radically every *** wind power has been favored by the public in general,the problem with the impact of wind turbine noise on people living in the vicinity of the turbines has been *** noise wind turbine design is becoming more and more important as noise is spreading more adverse effect of wind turbine to *** paper demonstrates the design of 10 kW class wind turbines,each of three blades,a rotor diameter 6.4 m,a rated rotating speed 200 r/min and a rated wind speed 10 m/*** optimized airfoil is dedicated for the 75% spanwise position because the dominant source of a wind turbine blade is trailing edge noise from the outer 25% of the *** computations are performed for incompressible flow and for Mach number at 0.145 and for Reynolds numbers at 1.02×106 with a lift performance,which is resistant to surface contamination and turbulence *** objectives in the design process are to reduce noise emission,while sustaining high aerodynamic *** broadband noise sources are predicted by semi-empirical formulas composed of the groundwork by Brooks et *** Lowson associated with typical wind turbine operation *** the airfoil redesign process,the aerodynamic performance is analyzed to reduce the wind turbine power *** results obtained from the design process show that the design method is capable of designing airfoils with reduced noise using a commercial 10 kW class wind turbine blade airfoil as a ***,the new optimized airfoil showing 2.9 dB reductions of total sound pressure level(SPL) and higher aerodynamic performance are achieved.

摘要：自弗洛伊德创建精神分析理论以来,精神分析运动已历百年,其内部有关"自我"的研究一直在不断深化,阿德勒的个体心理学、荣格的分析心理学,以及之后的自我心理学、社会文化学派都从不同角度、不同层面对"自我"进行了挖掘和探索,使"自我"的概念得以不断丰富和完善。文章对精神分析理论中"自我"(self与ego)概念进行了梳理,以厘清精神分析运动百年的发展脉络,进而加深对"自我"概念的理解。

摘要：Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents a reading of the seductive power of performance art as rooted in our theatrical nature. I will address performance art as an emancipated form of the theatrical, where by ＂theatrical＂ I mean a specific mode of presentation and a specific mode of perception： the mode of presentation of the self to the social and the mode of perception of the self through the social. Performance art, I will argue, is hardly an anomaly of our time. Rather, its source of disturbance and fascination lies in the natural, though excessive manifestation of our theatrical nature. By its appeal to the shocking, the perilous, or the mundane even, this form of art confirms what Paul Woodruff has addressed as ＂the necessity of watching and being watched.＂ Performance art shows us the danger of self-presentation, the recognition of the other gaze as the self＇s greatest need and greatest fear. It needs no words. Mere action is more seductive than speech and does not accept speech in return. Once it has been performed, it is no longer. In Nietzsche＇s words, it celebrates the fleeting moment＇s ＂greatest weight.＂ As Samuel Beckett used to tell his actors, performance artists seem to tell their spectators： ＂Go on failing. Go on. Only next time, try to fail better.＂

摘要：Body symbol is generally regarded as the representation of public self-identity in ***,it is neither a pure symbol nor a pure *** limits its thorough expression of the public self to a certain *** pan symbol mechanism of consumer society further dispels discord between symbol and natural body,so that body can clearly represent the self-identity of the public *** brand is a typical embodiment of body symbols in consumer *** the conceptual identification for constructing star brand belongs to commercial competition strategy,it is also the confirmation for public identity at the practical level.

摘要：In Jon Krakauer’s nonfiction writing,Into the Wild(1996),away from the early 1990s’American society filled with products and information,young McCandless headed for the Alaskan Wilderness which was believed as the last *** remote wilderness far beyond several designated wilderness areas in the American West was a destination of his spiritual *** image of the wilderness overlaps with the desert in the fourth-century hagiographic literature in terms of solitude,pure and *** the image of the wilderness is an illusion,harsh experience quite different from daily routine give McCandless a sense of *** his purpose of going to wildernesses was searching for“authentic self”through“bodily feelings”(Wang,361),the remote wilderness would be reckoned to have“existential authenticity”(Wang,358)which makes him feel ***,when the wilderness experience inspired McCandless to go back home,a sense of reality shifted from the remote wilderness to *** the Wild is probably not literature to praise desert solitude,rather,Krakauer focuses on the relative self among people.

摘要：This paper focuses on a non-linear relationship between the course of one individual＇s life and its creative reshaping in the literary work of art as experienced in Julian Barnes＇s novel The Noise of Time. Contemplating a creative process of writing, the author seems to insist on a symbiosis between art and life. Writing about Shostakovich, he goes on challenging aWs ability to deliver a clear message about life： how to put what one has experienced into words？ A creative dialogue thus established between a non-speaking, extra-linguistic, and unique self and its verbal representation in literature is built upon a relational nature of the said and the not-said. Eloquent silence is employed to transpose one＇s life experience into the realm of verbal represenation. Focusing on the limits of verbal representation, Barnes＇ character in The Noise of Time similarly strives to grasp a meaning of the relationship among language, ＂silence＂, and liberation from the self. Refiguring silence as one of the most valuable narrative devices, the text challenges the illusory nature of historical time, of historical places, and of selfhood

摘要：In this article, I read different poems of London through the perspectives of time and the self. The city of London, as a physical space, a world in the Alfred Tennyson＇s Cleopatra＇s Nee history to Tennyson＇s Victorian Lo globe, is changing dle, the flow of tid ndon. The Needle through both inner time and outer time. Firstly, in Lord e symbolises the passing time, through the long Egyptian has been through different seas and places. The sense of history, a fusion of inner time and outer time, is claimed by the Needle＇s subjective self, seeing London as a ＂monster town＂. Secondly, Ahren Wamer＇s Greek titled poem is trying to locate the one in London, which cannot be localized, in the trend of globalization, as the gazer observed on the bus. Struggling between the self and the other, inner and outer existences, happiness and being unhappy, W. B. Yeats＇ from Vacillation comes to show the reader that through reflection and memory, the sense of one＇s own self can be reinforced and affirmed, while creating one＇s own personal history. Last but not the least, I read a part from T. S. Eliot＇s Four Quartets As the dialectic of light and shadow plays a sense of Beauty, the soul is aware of all fancy things, but only without any meanings. The question of the self and tradition, the poet and the world, somehow, is a timeless one

摘要：为了精确地控制带钢轧制厚度,这里研究了带钢轨机液压伺服系统的神经网络自适应控制系统。建立了这种控制方法的数学模型。采用MATIAB软件进行了仿真研究。仿真结果很好地拟合了理论分析。