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In order to predict the post-construction settlement, based on a thorough analysis on the law of settlement development, citing the Verhulst model which good reflect its main characteristic, using the curve fitting method, mining the information contained in the construction data; betakes the improvement non-linear fitting algorithm on the model parameter inversion.

目的 为提高软土路基的工后沉降量预测精度，给设计和造价控制提供反馈信息。方法在深入分析沉降发生发展规律的基础上，引入Verhulst模型，采用改进的曲线拟合的经验计算方法，挖掘施工期的实测数据所蕴含的信息。

The article adopts "humidity ratio" integrated emendation method and other two traditional emendation methods in emendation calculating on several group test results. The tests are : simulating test in artificial climate room on 110kV substation equipment of Yangbajing, Lasa and Yanghu by Xi"an High Voltage Lab; power frequency voltage discharge test of ZS-110 by Yunnan provincial electrical research academy. It compares and analyses the equipment test voltage emendated to standard atmosphere conditions with the equipment nominal withstanding voltage. And then it concluded that: the emendation value educed by "humidity ratio" integrated emendation method is basically equal or close to the equipment nominal withstanding voltage; but the values by two traditional emendation methods are mostly higher.It also proves that,"humidity ratio integrated emendation method is more perfect than any other methods, and it can reflect the influence degree of atmospheric parameters on electrical equipment outer insulation discharge voltage actually. The method should be spread in designing high elevation power projects.

文中选择&比湿&综合校正法和两种传统校正法，分别对西高所为羊八井、拉萨、羊湖110kV变电所设备所做的人工气候室模拟试验数据及云南中试所做的ZS-110工频放电电压试验数据进行校正计算，将试验电压的校正值与试验设备的标称耐受电压水平进行比较分析；认为：&比湿&综合校正法的校正值与设备耐受电压水平基本相等或接近，而两传统校正法的校正值大多高于设备耐受电压水平；进一步证明，&比湿&综合校正法是目前诸多校正法中较为完善的，能真实地反映大气参数对电气设备外绝缘放电电压的影响程度的校正法，在高海拔电力工程设计中应推广应用。

This research tried to construct the develop track of urban writing of Taiwan new literature from 20's to 30's. On the basis, I resurveyed the previous research on history of Taiwan literature during Japanese period, which is revolved around the traditional countryside and the pauperism. Furthermore, this thesis would reflect the contemporary discourse on colonial modernity under the grand narrative of national perspective, de-colonization, and resistance spirit.

本研究试图建构出二、三○年代台湾新文学都市书写的发展脉络；并藉著都市书写的发展脉络重新审视既有以农村、贫民为中心的日治时期台湾文学论述，进而反思当代研究者在国族命运、反殖民、抵抗精神等「大叙述」中过分偏重「殖民性」、现代性反而遭到虚位化、扁平化的「殖民地现代性论述」。

Based on rail/wheel reaction and track/bride reaction theory and systems engineering theory, new vehicle-track and vehicle-track-bridge system dynamic models are established and discussed in details, including ballast track model and ballastless track model. The characteristics of the models are:(1) vehicle-track and vehicle-track-bridge system dynamic models are coupled in vertical and lateral;(2) track vibration on bridge is taken in account, track on bridge is considered as one or two layer continuous-point supported rail model, according to actual track structure, interaction between vehicle and bridge transfer from track structure;(3) three type of ballastless track models (tieembanked, elastic-tie-block, slab track) are presented;(4) models reflect the main feature of actual vehicle, track and bridge structure, the response computation frequency of models is relatively broad, which can be applied to analyze both low frequency and high frequency vibration.

基于轮轨相互作用和线桥相互作用特点，本文从系统工程角度出发建立了车辆、有碴轨道和无碴轨道、简支箱梁桥垂向和横向耦合系统动力分析模型，该系统模型具有以下特点：（1）车线、车线桥体系均考虑为垂向、横向耦合振动系统，车线间通过轮轨接触几何关系耦合，轨道与桥梁间通过轨道与梁体间的力与位移协调条件耦合；（2）充分考虑桥上线路在车线桥系统中参振作用，根据桥上线路轨道结构特点将桥上轨道结构模型具体化，即对桥上轨道结构视为多层支承体系，车桥间的动力作用通过轨道结构来传递；（3）建立了三种形式无碴轨道动力分析模型，即长轨枕埋入式、弹性支承块式和轨道板式无碴轨道模型；（4）系统模型详细，分析频带宽，适用范围较广。

In A (1991-1992) it is done on classical sculptures, which are the symbol of western culture, to express the cultural conflicts between China and the Western world. In B(1993) it is done on China's political icon MAO to illustrate the crazy worships in the modern China, and in C (1993 to 1996) it is done directly on Fashion model to reflect the current consumption culture,which has pointed out the same things like in the work of Stock Issue,to predict that the pop culture epoch has arrived in China.

整个系列保持了使用国粹——针灸——这一主体媒介的一致性，A部（1991——1992）以象征西方文化的古典雕塑模型为对象，切入中西文化冲突的问题；B部（1993）以毛泽东像的雕塑模型为对象，是针对现代中国的疯狂政治偶像崇拜问题的； C部（1993——1996）直接使用作为时装模特的商品模型，在问题的指向上与1992年的《发行股票》一样联系到了当下的消费文化，提示取代主流精英的市民化审美趣味的时代来临。

Deep autumn of setting sun, that low hill that go to many year agos of timespace pullouts, I am in setting sun the 静静 lookings at the remaining 辉, soon the small grass that wither away at nearby float shake, do not know is that tree ascends the leaf that drop down, from my in front float, I want to stretch hand to hold tight it, I want that again see it float the zero body the 姿, wanting to use my heart 暖 it the lifetime, but I have no, I did not stretch hand, selfish I let it is from I nearby float walk, a remaining for leaving I first individual being fond of 茫 lookinging at setting sun reflects shine on the earth, breeze not tight not slowly blow, the distant place spread the mineral area the broadcast in of song, break continuously and continuously come right away my ear the beside," probably tomorrow the sun the west descends the tired bird have returned, you will already step on old hour of the way home, life rare look for again mutually the companion that know, life finally difficult give up the very blue white cloud a remaining for" I in such deep autumn, setting sun in deep autumn I remembering this a few lyricses, autumnal winds bringing doing not calculate wonderful singing, however taking foliar feeling in autumn, setting sun reflect shine on my face, however the 勾 has the much more several remembering fondly.

深秋的夕阳，把时空拉回到多年前的那个山岗，我在夕阳里静静的看着余辉，快要枯萎的小草在身边飘摇，不知道是那棵树上掉下来的叶子，从我面前飘过，我想伸手去抓住它，我想再一次看看它飘零的身姿，想用我的心暖它一辈子，可是我没有，我没有伸手，自私的我让它从我身边飘走了，只留下我一个人迷茫的看着夕阳的余辉映照着大地，风不紧不慢地吹着，远处传来了矿区广播里的歌曲，断断续续的就来到我的耳旁，&或许明日太阳西下倦鸟已归时，你将已经踏上旧时的归途，人生难得再寻觅相知的伴侣，生命终究难舍蓝蓝的白云天&我在这样的深秋，在深秋的夕阳里我记住了这几句歌词，秋风带来不算美妙的歌声，却带走了秋叶的情，夕阳的余辉映照着我的脸，却勾起了几多的思念。

The sysop can carry on the unification through this system to the express item related information the management, the system can reflect accurately the express item the faction delivers, the receive, aspect and so on relay each kind of informations, help the customer to carry on inquiry as well as the express company internal statistics to the express item transmission situation.

系统能够准确反映快件的派送，接收，中转等方面的各种信息，以帮助顾客对快件的发送情况进行查询以及快递公司自己内部的统计；系统还能实现对资料的备份与还原。

It is applied as the basic features of make-up soil to create a wealth of decorative techniques, that is, all kinds of colored glaze decoration, depiction of flowers, pick flowers, and white flowers, white painted underglazed designated flower, and red and green color, low-lead three-color glaze and white printing, printing and so on more than 30 kinds of celadon; techniques in particular rust spent five kilns broke through the limitations of single-colored glaze, with the artistic effect of traditional ink painting and traditional Chinese painting, calligraphy, art and porcelain technology combine to create a new integrated arts, explore the ancient ceramics of the new realm of aesthetics; for the future and colorful blue and white porcelain had paved the way for development.ci zhou yao decorative themes are rich and varied, unique, artist have a very cool way, and masterly skills of painting, will be pleased to see civilyu chong bird, rare birds andrui shou , landscape character, opera stories, poems Qu Fu,min yan motto, children at play Zaju painted on porcelain, etc., to retain a large number of ancient folk painting, calligraphy and folk customs reflect the kind of information, forming a simple, free and easy, a crisp, Haofang's artistic style and rich color and a distinctive non-governmental national characteristics, and the world at large on the domestic ceramics have had a profound impact.

它以施用化妆土为基本特征，创造了丰富的装饰技法，即有各类色釉装饰、刻划花、剔花、白地黑花、白地釉下绘划花，又有红绿彩、低温铅釉三彩和印花白瓷、印花青瓷等三十多种；尤其是铁锈花技法突破了五大官窑单色釉的局限，具有传统水墨画的艺术效果并把中国的传统绘画、书法技艺与制瓷工艺结合起来，创造了新的综合艺术，开拓了古代陶瓷美学的新境界；为以后青花和五彩瓷器的发展开辟了道路。磁州窑的装饰题材丰富多彩，别具一格，画师们以极其潇洒的手法和高妙的画技，将民间喜闻乐见的花鸟鱼虫、珍禽瑞兽、山水人物、戏曲故事、诗词曲赋、格言民谚、婴戏杂剧等绘于瓷器，保留了大量古代民间绘画、书法及反映民俗民风的实物资料，形成了质朴、洒脱、明快、豪放的艺术风格及浓郁的民间色彩和鲜明的民族特色，对国内乃至世界陶瓷产生了深远的影响。

In particular, black white flower, the five kilns broke through the limitations of single-colored glaze, with the artistic effect of traditional ink painting, traditional Chinese painting, calligraphy, ceramics and art combine to create a new integrated arts, opened up the aesthetics of ancient ceramics a new realm, and for the future and colorful blue and white porcelain million development opened the way.ci zhou yao decorative themes are rich and varied, unique, very cool artist who adopted the tactics and superb skill of the art technology, willyu chong people loved flowers and birds, rare birds andrui shou , landscape character, drama, stories, myths and legends, poetry Qu Fu, epigram proverbs, such as painting children at play acrobatics on top of the porcelain to retain a large number of ancient folk painting, calligraphy and folk customs reflect the kind of information, forming a simple, free and easy, a crisp, Haofang artistic style, rich color and a distinctive non-governmental national characteristics , on the domestic and the world of ceramic and have had an enormous impact on a far-reaching, becoming old and sonic booms, renowned Chinese and foreignming yao generation.

尤其是白地黑花，突破了五大官窑单色釉的局限，具有传统水墨画的艺术效果，把中国的传统绘画、书法技艺与陶瓷工艺结合起来，创造了新的综合艺术，开拓了古代陶瓷美学的新境界，并为以后元青花及五彩瓷器的发展开辟了道路。磁州窑的装饰题材丰富多彩，别具一格，画师们采用极其潇洒的手法和高超精湛的画技，将民间喜闻乐见的花鸟鱼虫、珍禽瑞兽、山水人物、戏剧故事、神话传说、诗词曲赋、警句谚语、婴戏杂技等绘于瓷器之上，保留了大量古代民间绘画、书法及反映民俗民风的实物资料，形成了质朴、洒脱、明快、豪放的艺术风格、浓郁的民间色彩和鲜明的民族特色，对国内及世界陶瓷产生了深远而巨大的影响，成为声震古今、享誉中外的一代名窑。

It is applied as the basic features of make-up soil to create a wealth of decorative techniques, that is, all kinds of colored glaze decoration, depiction of flowers, pick flowers, and white flowers, white painted underglazed designated flower, and red and green color, low-lead three-color glaze and white printing, printing and so on more than 30 kinds of celadon; techniques in particular rust spent five kilns broke through the limitations of single-colored glaze, with the artistic effect of traditional ink painting and traditional Chinese painting, calligraphy, art and porcelain technology combine to create a new integrated arts, explore the ancient ceramics of the new realm of aesthetics; for the future and colorful blue and white porcelain had paved the way for development.ci zhou yao decorative themes are rich and varied, unique, artist have a very cool way, and masterly skills of painting, will be pleased to see civilyu chong bird, rare birds andrui shou , landscape character, opera stories, poems Qu Fu,min yan motto, children at play Zaju painted on porcelain, etc., to retain a large number of ancient folk painting, calligraphy and folk customs reflect the kind of information, forming a simple, free and easy, a crisp, Haofang's artistic style and rich color and a distinctive non-governmental national characteristics, and the world at large on the domestic ceramics have had a far-reaching implications.

它以施用化妆土为基本特征，创造了丰富的装饰技法，即有各类色釉装饰、刻划花、剔花、白地黑花、白地釉下绘划花，又有红绿彩、低温铅釉三彩和印花白瓷、印花青瓷等三十多种；尤其是铁锈花技法突破了五大官窑单色釉的局限，具有传统水墨画的艺术效果并把中国的传统绘画、书法技艺与制瓷工艺结合起来，创造了新的综合艺术，开拓了古代陶瓷美学的新境界；为以后青花和五彩瓷器的发展开辟了道路。磁州窑的装饰题材丰富多彩，别具一格，画师们以极其潇洒的手法和高妙的画技，将民间喜闻乐见的花鸟鱼虫、珍禽瑞兽、山水人物、戏曲故事、诗词曲赋、格言民谚、婴戏杂剧等绘于瓷器，保留了大量古代民间绘画、书法及反映民俗民风的实物资料，形成了质朴、洒脱、明快、豪放的艺术风格及浓郁的民间色彩和鲜明的民族特色，对国内乃至世界陶瓷产生了深远而巨大的影响。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。