容易变的

By the theory of complex functions, dynamic propagahon problem on Dugdale model of mode Ⅲ interface crack for nonlinear characters of materials was studied. The general expressions of analytical solutions are obtained by the methods of serf-similar functions. The problems dealt with can be easily transformed into Riemann-Hilbert problems and their closed solutions are attained rather simple by this approach.

通过复变函数论的方法，对材料的非线性特性下的Ⅲ型界面裂纹Dugdale模型的动态扩展问题进行了研究，采用自相似函数的方法可以获得解析解的一般表达式，应用该法还可以很容易将所讨论的问题转化为Riemann-Hilbert问题，并可以相当简单地得到问题的闭合解，利用这些解并采用叠加原理，就可以求得任意复杂问题的解。

Up to this time, the major challenge to sign language recognition is how to develop approaches that scale well with increasing vocabulary size In this paper, an approach to large vocabulary, continuous Chinese sign language recognition is presented, which uses subwords instead of whole signs as the basic units Since the number of subwords is limited, HMM based training and recognition of the CSL signal become more tractable and have the potential to recognize enlarged vocabularies Furthermore, the proposed method facilitates the CSL recognition when finger alphabet is blended with gestures About 2400 subwords are defined for CSL One HMM is built for each subword, and then the signs are encoded based on these subwords A decoder that uses tree structured network is presented Clustering of the Gaussians on the state, language model and N best is used to improve the performance of the system Experiments on a 5119 sign vocabulary are carried out, and the correct rate is over 90% for continuous sign recognition

迄今为止，手语识别面临的最大问题是如何解决词汇集易扩充的连续识别提出一种大词汇量连续中国手语识别方法，将词根作为识别基元，由于基元的数目是有限的，因此基于HMM的手语信号的训练和识别变得比较容易处理，可以实现更大词汇量的识别除此之外，所提方法还有利于实现手势语和手指语的混合识别从中国手语中共整理出2 4 0 0多个词根，为每个词根建一个并行的HMM模型，对各数据流的HMM模型进行聚类，确定出手语识别的基元根据这些基元对手势词编码，并建立了树状搜索网格，使用状态结点上高斯密度函数聚类、语言模型和N Best方法提高系统的速度和精度对 5 119个手语词做了实验，连续语句的识别率可在 90 %以上

The results showed that there existed variation among eucalypt families in wood physical-mechanical properties and wood chemistry. There were significant differences among E.pellita families、E.grandis families and E.urophylla譋.grandis clones in wood colors as well as between Strains and within trees.The variation of the surface wetability of wood between E.grandis families and E.urophylla譋.grandis clones were significant.Even in the same families level or clones level,there still existed the same regulation. The degree of collapse of eucalypt had a large relation in the amount of tylosis in vessel and vestured pits on the cell wall of vessel. The more rich tylosis and vestured pits in vessels,the more probability to occur collapse for eucalypt.The biggest moment collapse was probably the critical point of the drying degrade.During the fomulation of drying technology,it is necessary to adopt moderate condition to make the vessels which had formed the biggest moment collapse at the biggest moment collapse resume,especially to prevent the permanent set.At the normal temperature level,the main factors which influenced residual collapse were the contents of ray parenchyma and axial parenchyma .Nearly all the cells joined the course of forming the moment collapse and biggest moment collapse.Interval drying was fit for eucalypt plantation which was easier to make collapse.

研究表明：桉树不同家系间木材物理力学性质和化学组成存在差异；粗皮桉家系间、巨桉家系间、尾巨桉无性系间材色存在显著差异，株间、株内木材材色存在变异；桉树木材表面润湿性在巨桉家系间、尾巨桉无性系间存在着显著差异，在同一家系或同一无性系中，株间和株内也存在着相同的变化规律；桉材皱缩程度与其导管中侵填体的多少和导管壁上纹孔具有的附物多少密切相关，侵填体含物越丰富，纹孔附物越多，桉材越容易皱缩；最大瞬间皱缩是能产生更大干燥降等的临界点，在制定干燥工艺时，必须在最大瞬间皱缩发生时，采用温和条件，使已产生最大瞬间皱缩的细胞尽可能多的恢复，尤其不能使其产生永久变定；在常温条件下，影响残余皱缩的主要因子是射线薄壁细胞和轴向薄壁细胞含量；而对于瞬间皱缩和最大瞬间皱缩，几乎所有细胞都参与它们的形成过程；对于易皱缩的桉树木材，间歇干燥是最有前途的干燥方法。

Leaves 3 or 4(–8) per ultimate branch; sheath densely deciduously setose; auricles readily deciduous, falcate; oral setae radiate, purple, ca. 3 mm; ligule prominent, ca. 5 mm; blade lanceolate, 10–23 ×(1–)2.5–3.3 cm, secondary veins 7- or 8-paired, abaxially yellow-green and white tomentellate, adaxially light green and glabrous, base asymmetrically cuneate, margins serrulate.

每末级的分枝的叶3或4(-8)；鞘浓密具刚毛的脱落的；叶耳容易落叶，镰刀形；口头的刚毛辐射状，变紫，约3毫米；杰出的叶舌，约5毫米；叶片披针形， 10-23 *(1-)2.5-3.3 厘米，次脉7-或8配对，背面的黄绿色和白色短绒毛，正面和无毛的淡绿，不对称的楔形的基部，边缘有细锯齿。

For the reason is that rituals and ceremonies not only are the mirror that can reflect our history but also are the proper medium for ourselves to learn tradition culture more easily, since this vivid and mimical genuine circumstance and atmosphere of past historic famous events appears effective and direct on sensible and reasonable way for our better perception.

这里的原因是风俗和仪式不仅是一面镜子，能够反映我们过去的历史，但也是个适当的媒介，对于我们自己了解传统文化变得更为容易。这是因为这些生动高度模仿的历史中的重大事件的真实气氛，过去的历史人物，表现出了更加直接且明智和合理的方式对于我们更好的理解和领悟。

This paper therefore examines the development of "the folklore Pai-Chang of Peking opera aria in Tainan city" through literature review depth-interview oral history and participant observation The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music Some people who came from other places and played Peking opera aria had also known or learned "Pai-Chang" with touching Tainan local amateurs "Pai-Chang" used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards Amateurs volunteered to perform "Pai-Chang" only for their duty temples and fraternity of Peking opera aria The majority of the audience is people who perform or like "Pai-Chang" or who live nearby There is a fixed pattern of the performance including the repertoire and the arrangement of the band The main meaning of this performace is to pray God's blessings therefore the procedure of "Ban-Hsian" is the most essential and ahead of Peking opera aria singing With time goes by the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence some of the amateurs have been trained to become professional performers Besides although the idea and the meaning of "Pai-Chang" remains the pattern of the performance has become simplified and rigid which is because of the performers' number decreasing and market adapting Nowadays the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed and most people's pursuing of specialization and utilitarianism etc ) According to the findings in this paper the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies For the studies of the Taiwanese culture however the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore) but also reflects the characters of diversification integration adaptation and compromise of Taiwanese culture which used to be influenced by different regimes and the historical contexts Facing such a multicultural context this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood

代表了什麼意义？对於上述疑惑，查既有研究成果，不消没有论述者，具体提即「京调排场」现象的可说没有，基於此，有必要对台南市及其周边之民俗性京调排场，不管是语汇来由或者其现象本身，做一番研究。本研究透过文献、访谈、口述史、参与观察等方法，以文化有机体之纵的发展概念为经，以民俗表演之横切面各主客要素为纬，试图先对此文化现象调查并推论出一概貌：台南市民俗性京调排场的形成，是在京调传入台南，台南本地北管子弟改习或兼习京调后，结合北管音乐文化所固有的排场表演型态及民俗演出传统，融合而成，形成时间至迟在日治晚期。而一些不同时期的外来京调人士(如原本生长於其他地区、后移住台湾的票友，和中国大陆琴师等等)，也曾透过与当地子弟的接触，而习得或知晓「排场」语汇以及本地京调排场习俗者。此项音乐民俗表演在过往多由业余子弟於神诞或民众婚俗做寿时，对其有义务或交陪的庙宇及子弟间做酬酢性的演出，不收报酬；聆赏者多是京调同好与邻近民众，也有少数路过者；演出模式包括节目安排、乐队编制皆有一定；表演意涵上以「扮仙」祈求神明赐福人间最为重要，因此排仙必不可少，且一定先於京调演唱。随著时间推移，京调排场表演活动的各要素都有变动，惟变迁速度不一，大体而言，业余表演者锐减，人们对酬神娱神节目的需求仍在，因此一些过往的业余表演者遂逐渐转型为职业表演者。此外，虽然表演意涵不变，但在职业表演人员少、又要适应市场的情况下，表演模式亦逐渐流於简化、僵化。目前京调排场整体生态仍在转变的过程中，而这种变化应与工商社会时间空间的被压缩、事事追求专业化与尼Q化等因素有关。再者，据此概貌，在结论部分厘清其意义、定位以及其对台湾文化研究之启示。台南市及其周边之民俗性京调排场现象，可视为京剧研究与民俗研究的一环，然而对於台湾文化研究，除了其题材本身标志了京剧的本土化与台湾民俗活动之新类型，进一步扩充整体台湾文化研究的内容外，更重要的是现象背后所反映的台湾文化的多元融合与妥协适应取向。台湾的海岛地理位置与长期被不同文化背景政权所殖民的历史，其文化自然容易随社会环境改变而弹性适应变迁，呈现多元纷呈、多重覆叠的特色，因此展望未来，从事台湾文化研究应秉除单一观点，保持一定程度之开放与客观胸襟，方不忽视或误识更多重要的文化现象。

Currently in a surface warship of the our country everyplace all provided with the sail coal gas body to report to the police the instrument on the boat, gas density that sensor adopt to convey gas density value traditional 4-20mA mode of analog signal, have to each measure passway allocate one is it is it report to the police to measure to have and density value show measuring board of function, as the density of gas measures the passway board of the different quantities of different outfit of the figure of the passway, but there is many figure of the large-scale naval vessel passway, so the volume of warning system will become very huge , unfavorable to attenbants to use, and traditional 4-20mA electric current ring transmits the signal, unfavorable to transmitting at a long distance, easy to bring and interfere.

核心提示：摘要目前在我国各地型水面舰船上都配备了航煤气体报警仪，气体浓度传感器采用的是传统的4-20mA模拟信号的模式传送气体浓度值，只好每个检测通道配备一块具有检测报警及浓度值显示功能的检测板，随着气体浓度检测通道数目的不同配备不同数量的通道板，但大型舰船通道的数目比较多，因此报警系统体积会变得十分庞大，不利于操作人员使用，而且传统的4-20mA电流环传输信号，不利于长距离传输，容易带来干扰。为了巡检的需要，需要将其改造成现场智能仪表，通过将传感器检测结果

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。