毕业论文外文翻译-自然简约—对室内设计现象分析

毕业论文外文翻译-自然简约—对室内设计现象分析

附件1:外文资料翻译译文自然简约一对室内设计现象分析摘要：自然、简约的室内设计展现的是一种生活方式，它让我们更接近自然,更强调功能，更关注生活本身。营造的是一种诗意的空间。关键词：简约;空间；品位;室内设计;感觉远占时期，中国的木构架建筑.东方古印度的石窟建筑、欧洲古希腊「占罗马的石砌建筑等等装饰与构件紧密结合,与建筑主体溶为一体。然而十七世纪初欧洲巴洛克时代和十八世纪中叶的洛可可吋代，开始了室内装饰与建筑主体的分离,外部的建筑主体与内部的装修在使用年限上不匹配,因而导致建筑主体与室内装饰的分离,在营造法国宫廷建筑和贵族宅邸吋，新的职业“装饰工匠”诞生了，对建筑物的内部频繁不断地进行改装，不动建筑主体，更换建筑“服装”的时期己经到来。巴洛克式建筑的室内设计，一反文艺复兴时期的严肃.含蓄.平衡，倾向于豪华、浮夸。在教堂及宫殿中把建筑、雕塑、绘画结合成一个整体，追求动势与起伏,企图造成幻象。而洛可可式建筑室内则是皇宫贵族为了得到舒适的、私密的室内而追求优雅的更为亲切的室内装饰效果。具有纤细.轻巧.华丽和繁琐的装饰性；喜用C形.S形或漩涡形的曲线和轻淡柔和的色彩，多以花鸟、贝壳为题材，并为适应宫廷的异国情趣要求，在室内采用了许多屮国式装饰。巴洛克和洛可可式的手工制作达到了装饰的极致,被称为“室内装饰”的代表。近代工业革命的大发展，出现了新型的混凝土建筑，它不仅使室内装饰从建筑主体屮脫离,而且发展成为不依附于建筑主体而相对独力的部分。分离派运动解开了单纯装饰部件与建筑主体相结合的矛盾，成为现代主义设计的先驱。包豪斯学派强调功能决定形式，认为空间是建筑的主角，提倡抛弃表面虚假的装饰，一切围绕着架构合理的空间服务。要求排除装饰，强调使用功能以及造型的简单化。自然风格倡导设计自然空间，美学上推崇“自然美”，力求表现悠闲、舒畅、自然的田园生活情趣，也常运用天然木.石.藤.竹等材质质朴的纹理。巧于设置室内绿化，创造自然.简朴.清新淡雅的氛围。只有崇尚自然.结合自然，才能在当今高科技、高节奏的社会生活中，使人们能取得生理和心理的平衡。简约不等于简单，它是一种生活态度。当我们在现代生活屮，承受太多的压力,我们开始渴望拥有白由的感觉、优雅的姿态和不凡的品位。我们需要让浮躁的心境趋向平和，于是我们呼唤简约。从大的建筑空间到普通的居住空间，从职业设计师到普通公民，自然简约风格一一开始成为室内设计界非常流行的方向。简约的精神起源主耍源自于二十世纪初期的西方现代主义。英国JOHNPawson与法n国的ClaudioS订vcrstcin两位室内设计师在80年代屮期引领了简约主义的设计潮流。当时欧美的经济不景气，艺廊老板们开始在艺术品的展示空间上找出路，一些报费的工厂车间简单布置，成为艺术展厅，目的是以最少的经费作出最好的展示空间，而这么做的结果就是简化空间，不装饰多余的东西，实际上,这也反映了一种新审美的出现。从设计居家引入到艺廊的设计，使得展示空间与艺术品呈现出同一种美学特征。简约艺术也就在这个时候开始与室内设计相吻合，并逐渐开始流行起来，到现在简约主义成了室内设计追崇的风格。回归自然的简约主义是人类特有的劳动成果。其目的是以简洁的表现形式来满足人们对空间环境那种感性的.本能的和理性的需求。从某种意义上说,简约主义的盛行是人类发展的必然趋势。自然.简约的室内设计营造的是一种诗意的空间。我们知道，“诗”的艺术特点就是用极其简洁的语汇,按照一定的规则组合，形成“诗”这样一种语言，其字里行间包含了极大的空间，一种隐含的静态的空间。在设计屮把人的思想情感，人生的向往注入到环境中去，通过“意境”将其立体、空间地再现于现实中，使人入其境，则忘乎其身，这是一种超乎物质感受的精神感受，“意境”的创造，正是通过气氛的营造来达到体现某种精神意义上的“亲和力”。实际上,简约主义室内设计就是这样一种“诗意”空间的营造。用极简的物体摆设产生想象使用空间，这个空间实际上是一种副空间，有各个家具组合产生的副空间，它往往给人视觉上“空”的感觉，而“空”犹如诗所产生的“意境”，极大调动着身处其中的人的情绪，激发人的联想能力。简约室内设计强调形式美感。如果说，一般的室内设计把家具，诸如沙发.桌子等物品称为主体物的话，那么简约主义室内设计是不存在这样的区分的。简约主义室内设计认为处在空间中的任何部分都分担着同样重要的作用，包括墙面.地面.顶面等。空间中所有物体的协调组合具有很强的形式美感，这主要体现在点、线、面三个空间元素的表现上。中国几千年的文化，沉淀出多少恒世佳作，特别是中国汉代建筑更是集精华美妙之灵气，以“简单、厚实、精准、雅致”为原则，将东方特有的审美观念，独立浑厚的气质.凝练渺远的简约神韵，响绝于世。它至今还影响着国际建筑的设计理念,也影响着室内设计的美感。设计之所以能以尽量少的语言表达尽量多的信息，有赖于其将诸多设计表现形式要素科学的融合在一起，其中色彩的选择和使用起了十分关键的作用。我们知道色彩是不同波长的光反射和吸收的结果,光的传播速度比图形文字的传播速度快,这使得它让人在第一时间感受到,所以对空间最先感受到的就是色彩，而不同色彩可以引起人们不同的心理反映和感受。在自然.简约的室内设计中，黑色和白色以及材料的本色是它的代表色,也是常常使用的颜色，这些颜色被认为是最没有倾向的颜色,对人的视觉干扰最小。同时室内设计也强调对光的使用，往往通过天窗等获取自然光源,这对塑造一种轻淡整一的色彩空间起着相当重耍的作用，也体现了简约主义所宣扬的简洁但不简单的风格。每一个表现手段都以居住为目的,对每一个局部都强调其功能性和舒适性。实际n上，这种对功能的充分表述体现了设计的基本美学原理,也是很容易理解的，任何设计都是以人为服务对象的,人在消费设计的吋候，最主要是消费它的实用功能。所以，当我们看到一张看似坚硬的座椅，不要马上判断它必然带给你冰冷的感觉，坐上去的一刹那,也许正是它背上的那道不经意的弧线带给你恰倒好处的舒适体验。应该说，自然、简约的室内设计展现的是一种生活方式，它让我们更接近自然,更强调功能，更关注生活本身。对简洁的理解因人而异，由于人们的年龄.见识.素养.生活背景的不同，所产生的品味要求也就不同。社会的发展，时代的进步，新思维.新结构.新材料的出现必定会产生与此适应的装饰新概念.新形式.新空间。简洁这一现代的装饰表现形式已经深入影响到建筑产品.工业产品.生活产品等诸多领域。几根钢管,一个木桩，一个布堆就能做出不同形式的现代家具。它已悄然让人们的生活方式和思想观念产生质的变化。有人认为简洁的设计风格必然会一枝独秀，成为21世纪人们生活追求的吋尚。以简洁的表现形式来满足人们对空间环境那种感性的、木能的和理性的需求,这也是当今国际社会流行的设计风格。而现代人快节奏、高频率.满负荷，已让人到了无可复加的接受地步。人们在这日趋繁忙的生活中，渴望得到一种能彻底放松.以简洁和纯净来调节转换精神的空间,这是人们在互补意识支配下，所产生的亟欲摆脱繁琐.复杂.追求简单和自然的心理。在印尼巴里岛旅馆系列设计中，灵感来自巴里岛上的民俗风格，但在空间架构及动线安排上是延伸简约设计的精神。在材料表现上，出现了自然原始的当地原木，草席及石板。设计师将这些具有自然民俗的元素用精确及简洁的细部来处理以加强主题，同时也将装饰的部分简单化,所呈现的空间可以说是现代巴里岛风格。纵观世界建筑设计人师们无论是德国密斯•凡德罗、还是美国的理查德•迈耶.日本的安藤忠雄.美籍华人贝聿铭，他们都以最纯净的形式,用相当普通的材料，使用最精简的手法,表现出非常深度的内涵和崇高的空间气质。他们一件件充满灵性的作品有着无穷的生命力，他们的设计思想震撼着当今时代。也引领着时代潮流的发展。附件2：外文原文Naturalsimplicity■oninteriordesignAnalysisAbstract:Thenatural,simpleinteriordesignshowisawayoflife,itallowsusclosertonature,moreemphasisonfunctionality,moreconcernedaboutlifeitself,createapoeticspace.Keywords：minimalism;space;grade;interiordesign;feelingAncienttimes,ChinesewoodenframeworkarchitectureofancientIndia,theOrient,Europe,buildingcavesinancientGreece,ancientRomeandsoondecorativestonebuildingcloselyintegratedwiththecomponents,withthemainbuilding,however,dissolvedintonEuropeintheearlyseventeenthcenturyBaroquetimesandthemid-eighteenthcenturytheRococoera,beganwiththeinteriordecorationofthemainbuildingseparatedfromthemainbuildingexternalandinternalfitting-outperiodintheuseofthemismatch,thusleadingtothemainbuildingandinteriordecorationoftheseparation,intheconstructionoftheFrenchcourtarchitectureandaristocraticmansion,thenewoccupationndecorativeartisan11wasborn,thebuilding'sinternalfrequencycontinuousmodification,fixedthemainbuilding,thereplacementbuilding,”clothing”thetimehascome.Baroque-stylearchitectureoftheinteriordesign,oneanti-Renaissancesolemn,subtle,balanced,tendtoexaggerate,luxury,inchurchesandpalacesinthearchitecture,sculpture,paintingintoawhole,thepursuitofmomentumwiththeupsanddowns,butanattempttocausetheillusion.Rococointeriorarchitectureisthepalaceofnobilityinordertobeintimateandcomfortable,elegantinteriorandthepursuitofamoreintimateinteriordecorativeeffect,withthin,lightweight,beautifulandcomplexdecorative;hi-shaped,withC-shapedorS-shapedcurveofthevortexandsoftpastelcolorswithflowersandbirds,manyshellsasatheme,andthecourtordertomeettherequirementsoftheexotic,muchusedininteriordecoration.Chinese-styleBaroqueandRococo-stylehand-madedecorationreachedperfection,referredtoasninteriordecoration”,modernrepresentativesofthegreatdevelopmentoftheindustrialrevolution,therehasbeenanewtypeofconcretebuilding,itsinteriordecorationnotonlyfromthemainbuildingfromtheMedium,anddevelopedintothemainbuildingandnotattachedtothesolepartoftherelativeseparation.SportscampsolvedsimplydecorativebuildingcomponentswithacombinationofthemaincontradictionsinmodernistdesignbecomeapioneerintheBauhausschoolofthought,decisiontoemphasizethefunctionalform,considerthespaceofthebuildingaretheprotagonist,advocatediscardingfalsesurfacedecoration,allaroundthearchitecturereasonablespacerequirementsServices,excludedecoration,emphasisontheuseoffunctionsandsimplifiedshapes.Advocatethedesignofthenaturalstyleofnaturalspace,aestheticpromotedtheideathatUnaturalbeauty”totheperformanceofrelaxed,comfortable,naturalpastorallife,andisoftentheuseofnaturalwood,stone,rattan,bambooandothermaterialsrustictexture,cleverininteriorsettingsgreening,createanatural,simple,freshandelegantatmosphere,onlyupholdsnature,combinedwiththenaturalorderintodayfshigh-tech,high-pacedsociallife,sothatpeoplecanachievephysicalandpsychologicalbalance.Simpledoesnotmeaneasy,itisanattitudetowardslife,whenweareinmodernlife,tobeartoomuchpressure,webegantolookforthefeelingoffreedom,gracefulpostureandextraordinarytaste,weneedtotendtoapeacefulstateofmindimpetuous,Sowecallforsimplicity,fromthebuildingspacetothegenerallivingspace,fromdesignerstotheordinarycitizenvocationalnaturallysimplestyle-interiordesignhasbecomeverypopulardirection.ThespiritofsimplicityismainlyderivedfromtheorigintotheearlytwentiethcenturyWesternModernism.BritainandFranceJOHNPawsontwoClaudioSilversteininteriordesignersinthemid80stoleadthetrendofminimalismdesign.EuropeandtheUnitedStatesatthetimeofeconomicdownturn,theArtGallerybossesbegantodisplayworksofnartspacetofindawayout,somereportedcostsfactoryfloorlayouteasytobecomeartexhibitionhall,thepuiposeoffundingisbasedonatleastmakethebestdisplayspace,whiletheresultsofdoingsoistosimplifythespace,notdecorationsuperfluousthings,infact,thisalsoreflectstheemergenceofanewaestheticdesign,fromhomeintothedesignofartgalleries,theexhibitionspacewithworksofartshowingthecharacteristicsofthesametypeofaestheticsimplicity,artatthistimeitstartedwiththeinteriorcoincidewiththedesignandgraduallybegantosliptothepresentminimalismbecamethestyleofinteriordesignandpursuecareers.Returntonatureofminimalismarehuman-specificlabo匚itspurposeistoconciseformofexpressiontomeetthepeople'sspaceenvironment,thekindofinstinctive,emotionalandrationalneeds.Inasense,theprevalenceofminimalismaretheinevitabletrendofhumandevelopment.Natural,simpleinteriordesigntocreateapoeticspace.Weknowthatthe"poem”TheArtofthecharacteristicsistouseverysimplevocabulary,accordingtocertainrulesofcomposition,formaHpoemHofsuchalanguage,itsbetweenthelinescontainsagreatdealofspace,astaticimplicitinthedesignspace,people'sideologicalfeelings,life,longingforinjectionintotheenvironmentthroughthe"mood”toreproducethethree-dimensionalspace,inreality,itmeansitshabitat,thenforgottenbyhisbody,whichisaspiritualexperiencebeyondthephysicalexperience,Hmoodnofcreation,itisbycreatinganatmospheretoachieveacertainspiritualsignificanceembodiedthenaffinityu.Infact,theinteriordesignisminimalismsucha"poetic”tocreateaspacewithminimalistobjects,havetoimaginetheuseofdisplayspace,thisspaceisactuallyavice-space,hasgeneratedvariouscombinationsoffurniture,deputyspace,itoftengivesavisual"empty”feeling,whilenempty11likepoetrygeneratedbytheHmood,agreatmobilizationofthepersoninwhichemotions,abilitytoinspirepeopleassociation.Simpleinteriordesignaesthetictoemphasizetheform.IfSay,thegeneraldesignoftheinteriorfurniture,suchassofas,tablesandotheritemsreferredtoasthemainobject,thenminimalisminteriordesignisthereisnosuchdistinction.Minimalismininteriordesignconsideranypartofspacewillsharethesameimportantrole,includingthewalls，ground,andsoontopofalltheobjectsinspace,coordinationportfoliohasastrongaestheticform,whichismainlyembodiedinpointLine,surface,thethreeelementsoftheperformancespace.Chinaforthousandsofculture,howmuchprecipitationHengBankworks,especiallytheHanChinesearebuildingamorebeautifulsetofAuraessenceto"simple，solid,precise,elegant11astheprinciplesuniquetoOrientalaestheticideas,independentandvigoroustemperament,concisevaguedistantcharmofsimplicity,theworldshouldring,ithasalsoaffectedtheinternationalbuildingdesignconcepts,butalsoaffecttheinteriordesignaesthetiCeDesignisabletoexpressthelanguageaslittleaspossibleasmuchinformationaspossible,dependsonitsdesignwillbemanymanifestationsofthecombinedelementsofscience,inwhichthechoiceanduseofcolorplaysaverycrucialrole.WeknowcolorsaredifferentwavelengthsLightreflectionandabsorptionoftheresultofthespreadoflightfasterthanthespreadofgraphiclanguagefaster,whichmakesitthefirstntimepeoplefeel,sothefirstsenseofspaceisthecolor,anddifferentcolorscancausedifferentandfeelingsofpsychologicalreflect.Natural,simpleinteriordesign,blackandwhiteandcolormaterialsarerepresentativeofitscolor,isoftenusedincolor,thesecolorswerenotinclinedtothinkmostarethecolorsofthevisualinterferenceofthesmallestpersonoInteriordesignatthesametimealsoemphasizedtheuseoflight,oftenthroughaccesstonaturallightsource,suchasskylights,whichcreateapastelcolorspaceofonewholeplaysaveryimportantrole,butalsoembodiestheminimalismadvocatedbythesimplebutnotsimpleStyle.Theperformanceofeverymeanstoliveforthepurposeof,foreachpartialemphasizeditsfunctionalityandcomfortoInfact,suchafullexpressionoffunctionaldesignembodiesthebasicaestheticprinciple,isalsoveryeasytounderstand,anydesignServiceisbasedonman・madeobject,personintheconsumerdesign,arethemostimportantconsumerofitspracticalfunctionoso,whenweseeaseeminglyhardseat,donotimmediatelyjudgeitisboundtobringyouthefeelingofcold,gogetthemoment,perhapsitisthatitbacksthearcRoadinadvertentlybringyoudownjusttoexperiencethebenefitsofcomfort.Itshouldbesaidthatnatural,simpleinteriordesignshowisawayoflife,itallowsusclosertonature,moreemphasisonfunctionality,moreconcernedaboutlifeitself.Conciseunderstandingofthepersontoperson,becauseofpeople'sage,knowledge,qualityoflife,differentbackgrounds,andthetastewillbedifferentrequirements,socialdevelopment,theprogressofthetimes,newthinking,newstructure,theemergenceofnewmaterialswillhavetoadapttothisnewconceptofdecoration,newforms,newspace,decorativesimplicityofthismodernformofexpressionhasdepthaffectthebuildingproducts,industrialproducts,inmanyfieldssuchasLivingProducts,severalpipe,atimber,areactorclothcanmakedifferentformsofmodernfurniture,ithasquietlyletpeople'swayoflifeandideashavebeenaqualitativechange,thinkconcisedesignstyleisboundtooutshineothers,tobecomepeople'slives,thepursuitof21stcenturyfashion.Aconciseformofexpressiontomeetthepeople'sspaceenvironment,thekindofinstinctive,emotionalandrationalneeds,thisisalsotheinternationalcommunitytoday-populardesignstyleandmodemfast-paced,high-frequency,fullload,hasnopeopletoReusableopointincreaseintheacceptanceofpeopleinthisincreasinglybusylife,adesiretobeabletocompletelyrelax,simpleandpurespirittoregulatetheconversionofspace,whichisdominatedinthecomplementarysense,arisingfromtryingtoshakeoffcumbersome,complicated,easyandnaturaltopursuethepsychological,hostelsinIndonesiaBaliSeriesdesign,inspiredbyBali'sfolkstyle,butinspacearchitectureanddynamiclinearrangementsaredesignedtoextendthespiritofsimplicityoperformanceintheMaterialstheemergenceofthelocalnaturaloriginaltimber,strawandstoneodesignersofthesenaturalelementsoffolkwithaccurateandconcisedetailtodealwithinordertostrengthenthethemewillalsobepartofdecorativesimplistic,presentedbythespacecanbesaidmodernBalinesestyle.Takingapanoramicviewoftheworld'sarchitecturaldesign,whethertheyareGermannMaster•MiesvanderRohe,ortheUnitedStates•RichardMeyer,TadaoAndoofJapan,Chinese-AmericanIMPei,theyarethemostpureform,withaveryordinarymaterials,useofthemostconciseway,showinggreatdepthofmeaningandnoblequalitiesospaceapieceoftheirworkisfullofspiritualityhasinfinitevitality,andtheirdesignideaintoday'seraofshockoalsoledthedevelopmenttrendofthetimes.TalkingaboutthesymbolsintheenvironmentoftheuseofArtandDesignAbstract：Theinheritanceandinnovationovertheyearstherelationshipbetweenartanddesignenvironmenthasbeenthefocusofattention.Thisarticlehopesforthedesignofsymbolsusedtoexploretheculture,aboutthemysteriesofinheritanceandinnovationofthetraceofsentiment.Keywords：deformationgrammarseparatistsymbolsconstituteInheritanceandinnovationovertheyearstherelationshipbetweenartanddesignenvironmenthasbeenthefocusofattention.Infact,fromthelinguisticpointofview,thiscontradictionisthelanguageofstabilityandvariationbetweenthecontradiction.Asadesignerintheformofdesignsuccessesandfailuresofthesuccessorfailuredependsonthemaster,nthetermntherichandtheuseof"grammar"ofproficiency.Designerstomaketheirworksbyotherscantrulyunderstand,wemustchoosetheappropriatenwordnandmustcomplywiththeHgrammar.nThisdoesnotmeanthatdesignerscanonlyfollowthebeatentrack,nopersonalcontribution.Designersskillfullyusethenewindividualsymbols,oraconsciouschangeininter-symbolcombinationofanumberofconventionalrelations,createnewworksofmoving,whichisdesigninnovation.Compositionhasa"specific"componentapproach,thatseemstobeveryplaininthecompositionofthesuddenappearanceofanheterogeneousnelements,makingtheprogramitselfisveryplaintoachieveunexpectedresults,withasenseofinnovationofnewsymbolslikethisHheterogeneous.HInpeoplesaccustomedtothingsdifficulttoarouseenoughattentionandinterestincase,somecommonsymbolsdeformation,splitting,orthepreparationofthecodetochangetheorder,youcanplayacompelling,thought-provoking,thestrengtheningofenvironmentalmessaginglanguagerole.UnitedStatesrenownedarchitectCharlesMooredesignedthecityofOrleans,"ItalianPiazzanisboldindesignelementstakenfromavarietyofclassicalsymbols,andsymbolicmeanstoreproducethem.TheentiresquaretoacircularplaneBaroqueforthecompositiontothegradualproliferationofblack-and-whiteconcentriccirclesandtothesurroundingpavementsurfacetoextendoutuntilthethreesidesofthestreetentrance.ClassicalRomancolumn,afteraface-lifttothefaceofnewshows,suchastheCorinthiancolumnisusedinstainlesssteelcolumn,canopieswallcarvedwiththeLatinofHthisfountainforthepublictonallthepeoplewhoofferthegifts11ofthemessage;DoriccolumnontheFlowingDowngurgle,roundcoupononthemolarsmilingportrait,waterisconstantlyspitfromhismouth…hereisnotonlyfullofbrightrichatmosphereofamoderncommercial,butalsoastrongattachmenttolocalfeelings-MapsandItalianApenninePeninsula,SicilyandSardinia'splan;ancientRome,thefive-column,thedeformationMotifcombinationsandtheArcdeTriomphe;circularporticoWaiKwongHop.Infact,youareimmediatelyawarethatitisamockeryofclassicalMarxism.Thisisajoyous,almostclassicaltraditionarehystericalembracepleased.Today,avarietyofsidebox-stylebuildingwasconsideredaloofinthehistoricandlocalaboveonlyhasthetechnologyandasmallnumberoffunctionalsemanticsemantics,thereisnoroomforthinkingaftertaste,theenvironmenthasledtoapathyandboringcriticism.Thisuseofinformationtheorytoexplaintheprinciplethateffectiveenvironmentalinformationcontainedinthesymbolsystemtoo.Inviewofthis,post-modernarchitectsVenturiloudlycalledfor:"buildingarichcontent,whilebuildingtoincludeotheraspectsofthemulti-dimensionalart,evenincludingthelanguage,sothatitisnolongerameretoolforthespace.nItadvocatesenvironmentalcomplexityandcontradictorynatureofmodernismpromotedbysubstitutesimplicity;tosemanticambiguityandtensioninplaceofstraightforward;tothemultiplicityofsemanticoppositiontooneortheotherofopportunism;shouldbemixedataglanceratherthanunity.Sterndesignedthe"best”productshowroomareatypicalexample,itadoptedlegislationfacesmanyofthetraditionalsymbolsandconstituteaform,liketheancientGreekpantheonofelevation,thussuggestinghewastryingtoconveythemepurposive:thatis,thebuildingasa"templeofconsumerism/thecommercializationofsocietyreflectthevaluesofpeopleandcommercialactivitiesofdailylifetoday,theimportanceof.Butthewaymetaphorsarecomplex,multiple,withoutseriousthought,itisdifficulttounderstandimmediatelyapparentfromitsrealsignificance.Thisdesignworks,forexample,notonlythedepthoftheboxthinkingismorethansimplythepursuitlikeasailingboatorabirdofpreysuchasthesymbolismofamoreintriguing,morephilosophical.Theenvironmentasasymbolicphenomenon,inordertoaddressthelong-standingproblemforthedesignersoftheinheritanceandinnovationoftheparadoxicalproblemofprovidingaeffectiveway.Designlanguageasthelanguageofsymbols,arerootedinpastexperiencewiththerapiddevelopmentofthesocietyislinkedtothenewfeatures,newmaterials,newtechnologyandcallsonnewideas.Ontheonehand,asifitweresogenerallanguagelanguagechangesslowly,ontheotherhand,withtherapiddevelopmentofsociety.Howtomaketheenvironmentnotonlyofhistoricalcontinuity,butalsotoadapttothenewrequirementsofthetimes?Withtheadvanceofscienceandtechnologyprogressandfrequentculturalexchanges,nvocabularyHandngrammarMinthedevelopingtrendofconvergence,butanationbecauseofnaturalconditions,economicandtechnological,socio-culturalpracticesnofthedifferentenvironmentAssociationhasanumberofuniquesymbolsandarrangement.Spokenlikethedialect,likethedesignerscleverlyinjectthiskindof"accent”canenhancetheenvironmentforasenseofhistoryandlocalflavor,andenhancetheinfluenceoflanguageenvironment.ModernJapaneseArchitectureMasterKenzoTangedesignedKagawahallisaHnewformofthetraditionalsemantic”modelAlthoughthebuildingareusedbyordinaryreinforcedconcreteframestructure,buttheexternalformoftreatmentistheuseofLuMingChuanhead,beamtoptraditionalsymbols,verticalhorizontalpartitionisanaturalassociationtotheJapanesemaintowerofthelayersofeaves.Layouthasabsorbedtheadvantagesofthesquaretowerofthetrafficandpublicfacilitiesontheplanarcore(similartothetowerKagutaventricle),sothattheysharethesmallestGetallfloorsoftheshortestroutetraffic.Soastoshowastructurewithmodernformsoftechnologytoreflectthestyleoftraditionallocalmethods.UnitedStatesartistSusanLangeoncesaid,Hisalwaysasymboltosimplifytheformoftheperformanceofitsmeaning,thatisexactlywhatwecangraspthereasonsforit.Regardlessofaworkofart(orevenallofthearts)ishowthecomplexityof，profoundandrich,itiseasythanreallife.Therefore,thearttheoryisundoubtedlytheestablishmentofaneffectiveheartsandmindsinavividrealityoftheconceptofsuchagreatcauseofthepreambleismore,"symbolicactivitieshavebeenincludedintheactivitiesofsomeabstractnolongerremainintheindividualabovethe.Visualsymbolsareanartsymbols,butalsotheperformanceofsexualsymbols.Relativereasoningintermsofsexualsymbols,visualsymbolsdonothavetheirownsystem,andanyvisualsymbolshaveacertaindegreeofculturalcontent,andonlyreflectedinacertaindegreeofemotionalstructure,aroundaparticularthemeoforganiccombination.EducatedYouthHotel,MaoJiaRestaurantcommercialbuildingandsoon,italsoadoptedthehats,cornonthecob,roughwoodentablesandchairs,wellsandsoon,andevenmoreinordertocreateanatmosphereofclothingaretobeattendants,aswellasthemenuwerealsocleverlyintegratedintotheAmongthem,thesedifferentgeographicalsignificanceinruralareastypicallyrichinvisualsymbolstocreateanenvironmenthereislikeanoldalbum,recordingadifferentperson'sexperience,makingthedesignbecomemorecordial,butalsoworthpondering.Visualsymbols,notonlyinsymbolicformtocreatethevisualassociationand,moreimportantly,itcanevokethoughtsassociation,whichhaveempathy,toachieveemotionalresonance,thusbuildingmoremeaningfulTherapiddevelopmentofurbanconstructionhasbroughtrapidchanges,butatthesametimewealsolostmanywillneverbeabletorecoverthings-historicalcontext.Thehistoryoftheformationofthestreets,alleys,arches,religiousshrinesandsoonurbanformasacompleteexpressionofarchitectureandurbanimageofthesymbolsystem,beingintofilms,ShingStreet,intoaSquaretoberemoved,threatstotheurbanformofthecompatibilityandcontinuity•Respectforhistoricaltraditiondoesnotmean,rigidlytraditional.Instead,consciouslykeepthesetraditions,willmakethecitymorelocalflavorInfact,^establishinganew11donothaveto"old",thekeyliesinhowtoapproachntraditionalandfashiontocreateanewsymbiosisofoldandnewurbanform(symbols)."NewWorld11projectislocatedinShanghai,XingyeRoadHuangpiRoad,amajorsiteoftheChineseCommunistsofthesurroundingarea."Venue”oppositethesouthblock,designforthemodemarchitectureisnothigh,whichisdottedwithsomereservationsthetraditionalarchitecture,andtheHvenueninharmony.And"venue”wherethenorthblock,theneighborhoodretainedalargepattern,carefullypreservedandrepairedthebuildingexteriorfacadeShikumen,detailandneighborhood-scalespace,thebuildingwasmadelargerinternaltransformationinordertoadapttooffice,commercial,accommodation,cateringandentertainmentandothermodemlife.Havebeenbuiltfromthecurrentpartofview,receivedmuchpraise,hasagreaterimpact.Itissaidthatsalesandcost-effectivenessalsoverygood.Infact,inShanghai,theeasternandwesterncultureshockmetropolis,thetraditionalneighborhoodlifestyleneverdieoff,"NewWorldnjustgiveitareasonablechangeandcontinuity,areleftforustothinkmoreandenlightenment.FamousphilosopherErnstCassirerpersonthinksymbolsareanimals.Allhumanspiritualandculturalactivitiesaretheproductofsymbols.Theessenceofthatpersoninthathecanusetocreateculturalsymbols.Therefore,allculturalforms,isbothasymboloftherealityofEventsisalsothepersonofthenatureoftheobject-Theso-calledmasterculture,inthesymboliclevelatleast,tobeskilledtooperateconstitutetheculturalsymbolsandculturalsystemratherthanthesymbolitself,thenewexperiencesandinsightswovenintosymbolsgo,infact,symbolsthemselvesarealsochanging,andtheculturalheritageandtheinnovationofthemysteriesofitexistinthisvariationofthe.ConfuciusandSocratesarestillhumanbeingsareeternalbeacon,andthesymbolsofmodemsubjectsinthisstudycallforusfromthebacktoSocrates.Willbesimpleandcomplexsemantics,traditionalandfashionablephrasestructure,andappliedtothedesignofmodernart,therebycreatingapersonalized,HumanCulture'snewdesignsymbols.nFiberartandinteriordesignAbstract：Fiberartisafunctionalfiberartandaestheticvalueinoneartform.Fiberartisfullofnaturalflavortothematerialtextureandflavorofthesimplehand-woventomeettheemotionalneedsofawiderangeofpeople,itandothertypesofinteriordecorationascomparedtoanirreplaceableadvantages.Fiberarthasbeentoinfiltratethebuildingandenvironmentalmattersinallaspectsofdesign,itismainlytheuseofvariousmaterialsandtechniquestoexpresstheconceptofmoderndesignandmodernlife.Keywords：Fiberarts;notincludetheindoorenvironment;fiberartFiberArtcollectionofclassicalandmodem,romanticandcalm,industrialcivilizationandtraditionsinonehand,areanancientandyoungarts.Itisnaturalanimalandplantfiberorsyntheticfibermaterials,withknitting,ringbinding,winding,Stitchandotherproductionmeans,thecreationofplanar,three-dimensionalimageofaformofart.Fiberarts,includingtraditionalflat-stylefabric,modernpopularthree-dimensionalfabrics,dailyartsandcrafts,aswellasspaceinmodernarchitecturewiththeexpressionofavarietyoffibermaterialsmodelinglanguageworks.1.fibertextureartinteriorenvironmentaldesignontheimpactofmaterialselection.Theperformanceoffiberartaretextureandtexturetocreateitems,which,whetherinvisualortactile,thebothhaveanunparalleledvisualappeal.Fiberartofmaterialselectionisveryextensive,almostalltypesoftextilefibersmaybeapplicable.Theuseofdifferentmaterialsthroughdifferentprocessingortheuseofdifferentstructurescanproducedifferenttextures.Texturebytheobjectsareuniquecolor,luster,shape,texture,cold,thick,softandhardandtransparencyandsoonconstitutealargenumberofattributes-Constitutetheattributesofdiverse,complexportfolio,willalsochangetextureinfinite.Atthesametime,texturesarealsobelongtothecommonperceptionofvisualandtactilequalitiesofmaterials,exteriormaterialsandtexturescomplementeachother,allkindsofmaterialsareexposedthroughthetexturetoitstruefeaturesandthroughthetexturetoexpressthecharacteristicsofmaterials.Fiberinterioraccessoriesthroughtactilesensesgivendifferentpsychologicalfeelings,suchashardandsoft,thick,hotandcoldandsoon.Atthesametime,setupinthememoryofvisualperception,evokeimagesofdifferentpsychologicalperception,distinguishingtexturecharacteristics.Modernfiberartisabreakthroughandgobeyondthetraditional,mainlymanifestedasfibersuchmaterialonahigherlevelofunderstandingandapplication.Traditionalfiberart,mainlyinnaturalfibermaterials.Thesematerialsincludesilk,wool,hemp,cottonandsoon.Usedinmodernfiberartmaterials,hasbrokenthroughthetraditionalconstraints-Herethe"fiber”isnolongerjustcotton,hemp,wool,brown,rattanandothertraditionalfibermaterials,includingchemicalfiberandlatitudeofthehardnandsoftwovenmaterial,aswellasallofthelinearmaterial,andevensomemetalfibershavealsobeenartistsofallages.AmericanfiberartistssuchasNancy'swork"TheGoldenWave”usedwool,viscosefiberandcopperwireasmaterialBulgariaCaymanmillionfiberartistsworknwiththeweft”aplastictubeandwoolasamaterial.ModemfiberartofpaintingfromnaturethanfromthepursuitandbegantofocusontheperformanceofmaterialsintheUnitedStatesitself,thenaturalformoffibermaterials,richtexture,justbetweenthedifferentfibersandSophie,straightandcurly,miscellaneousandpure,Mingwithdark,lightandheavycontrast,andtoappreciatethosewhobringawealthofaestheticexperience.FiberArthasalwaysbeenknownastheartisticandtexture.Whoofweavingisatraditionalfiberartsmajorprocess.However,moderntechnologyoffiberartpracticeshavenotbeenlistedoutinfull,suchasweaving,hitch,winding,Stitch,collage,aswellasdyeing,painting,spraying,printingandsoon•Manyartistswillalsoscienceandtechnologyintothefieldoffiberartcreations.AmericanartistCynthia'snRunsH,”Lakerain1'loomsforthecreativeuseofcomputertools,theuseofthree-waywarpspacetocreateauniqueeffectinthefabrictextureandstructuretoshowtheendlessimagination,differenttypesandcoloroverlaywiththecoverline,resultinginthetraditionalprocesscannotbeachievedonmanylevelsofsubtlechanges.Therearemanyartists,makeuseoftheexistingproductstocreate,butalsotheeffectofunusuallytouching.Forexample,thepioneerofmodernfiberarts-UnitedStatesMissLeiNuoseniorartistsintheearly80soflastcenturytheUnitedNationsbuildinginNewYorkdesignedthegiantfiberworksofartHwhiteflutteringfiber.HThisworkofartfromtheinteriorofthebuildingabout6msquareverticalhoistingtheroofdowncountlessarticlesandwhitefibers,thisfiberbundlewithabunchofslightlyswingingthewind,bothlightalsogenerous,wealsoimplicitlysimple,itrevealsahazyandincludesthestateoftuneoftherealmoftheUnitedStates.TheseworksandtheuseofmaterialsthroughtheexcavationoftheUnitedStatesitselfandtheintegrationwiththeenvironment,soastoachievetheunusualdecorationoftheUnitedStatescannotmatchtheartisticrealm.2.fiberartsculptureontheinterioroftheimpactofenvironmentaldesignComparedwithtraditionalfiberart,contemporaryfiberartisanimportantfeatureofitssculpture.Traditionalfiberartssuchascarpet,wall,纟革丝andotherworks,themainworksareflat.Sincethe60soflastcentury,fiberartsgraduallytosemi-relieffromtwo-dimensionaluntiltheemergenceoffullythree-dimensionalspaceoftheworkofHsoftsculptures11・withtheflexibilityandelasticityofthesculpture.Someartiststakeintoaccountinthedesignworksareworksofmorespacefortheoverallsituationbroughtaboutbydecorative.PolishartistsworknrednWallyestosculpture,toworksofthelandmarkspace.Ruiforwardintothecorneraftertheirfulldeepovaltoformastrongcontrast,likeacouldnotsuppressthepassionagitatedlyeruption.1992〜1993createdto"nest”asrepresentedbytheworks,shewillbeofgoodpulpPourinbamboowascarriedoutonafanhascreatedasingulareffect.Alongthislineofthought,sheworksmoreextensivespace,shecreateda"wrapped”，"chain”aseriesofworks,withtheexceptionofpaperpulp,bamboo,wood,butalsotheuseofflaxfiber.IntheHcolumn,shebegantopursueanupwardextensionoftheworknresults.Ifwesaythattheaboveworksintheoutdooraircangivethemagicquestion,freshvisualfeel,she's"knot”and"Box”seriesofworks,thencreatedaninteriorspace,mysterious,thedust-ladeneffect,theygivepeopleisthelostinadistantera,butitisalsoalingeringmiragecontemporary,aseriesofcreativebreakthedrawspeciesboundariestonewmaterialaswellastheprocessofarttointroducetheartofsculpturearea,expandedthebordersofsculpture,suchpositiveeffortstochangethesculpturefortheshelfthinking,tobreaktheclosedstate,pioneeringvisioninthebroaderfieldofsculpturespacefordevelopmenttoseektoplayapositiveroleinpromoting.2.fibercombinationofartandarchitectureFiberartasasymbolofwarm,soft,warmsymbols,combinedwiththebuildinghasbeentheembodimentofperfection.Aroundtheendofthe1970stothe1980s,themodernfiberartbegantobeappliedbyarchitectsthinkareapathy,lackofemotioninthebuilding.70's,published"BeyondCraft:ContemporaryFiberArtHand"FiberArt:mainstream”bookonthetwospecificonmodernfiberartinavarietyofbuildingspaceandpublicspacetotheimportantroleandsignificance.Withthedevelopmentofthetimes,fiberarthasinfiltratedintointeriorarchitectureandenvironmentaldesigninallitsaspects,hasenteredthemodernfamily,withotherinteriordecorativematerialsoforganiccombinationofeachother,withitsshape,textureandwithcombinationofdecorativeandenhancetheinteriordecorationoftheartisticeffect.Itismainlytheuseofvariousmaterialsandtechniquestoexpresstheconceptofmoderndesignandmodernlife,whileSophieAllmodemdecorativeshapes,colors,andtakingwiththewalls,theindoorenvironment,spatialrelations.Fiberartbeabletoaddartisticeffectsofspace,easytocreatewealthtothe"humantouch"ofthenaturalspace,andthuseasethebuildingandtheinteriorspaceofrigidsenseofspacetoplaytheroleofblur,butalsoaddedabuildingwiththeinteriorspaceofthecolor,givesaharmoniousandcomfortable,practicalexperienceperfect.Becauseofthespecialpropertiesoffibers,fiberartbringsnotonlyavisualsenseofbeauty,morewarm,friendly,comfortable,etc.enjoy.Inaddition,frommodelingtocolor,fromplanartothree-dimensional,fromthesubjecttohaveaverybroadculturalconnotationoftheperformancespace,andthusdevelopedveryrapidlyandhasnowbeenwidelyusedinbuildingtheoveralldesignanddecorationinthebedroom.Fiberartastheindoorenvironmentanimportantcomponentoftheenvironmentintheinterioroccupiesanimportantposition,alsoplayadecisiverole.Itcannotonlybeabletodecoratingthespace,richenvironment,theperformanceofculture,architectureandinteriorspaceandbeabletocolor,lighting,materialstobuildanorganicwhole,oneoftheartofbuildingspaceandintegration,thusbuildingtheinternalenvironmentreceivedawarmelegantartisticrealm,andcreateavarietyofhumanspace.3•modernfiberartandotherinteriordecorativematerialsoforganiccombinationBuildingoutdoorspaceandindoorenvironmentareequallyimportant.Inordertofullyenjoythewell-beingandprivacyneeds,thereisroomcomfortrequirementscontinuetogrow.Wallandsoftsculpturesuchasfiberartsasinteriordecorations,inEurope,nAmericaanddevelopedawiderangeofapplications.Peopledependingonfabricwallhangingwithpainting,piano,etc.asasymbolofwealth,itsinteriordecorationandfurnishingsontheimportantposition.Theywerewool,cotton,hemp,silkasrawmaterial,orseveralkindsofsoftmaterials,mix,totextiles,winding,hitch,Stitchandotherproductionmeans,thecreationofplanarandthree-dimensionalimageofaformofart.fortheDoubletreeSuitesHotelinSeattle,theUnitedStatesdesignedthefabricofspaceareHsoftsculpture11masterpiece.Theenormoussizeofthepainting,coveredtheentirebuildinginteriorspace.Enormousstretchingtodifferentdirectionswithdifferentcurvatureofthesurface,sothatpeople'sattentioninlinewiththesurfaceandtheexerciseoftheprocess,havearelaxedfeel.RenoifsnAutumnnaturalnisalsosuchawork.Indomestichotels,restaurants,seniorhousinghasbeenincreasinglyusedinfabrics,tobeautifytheroom.Theuseofdecorativefabricwalls,thethicknessofthefabricitselfandvisualthicknessattachedtothewallforpeopletoaddawarmfeelingfortheaddgorgeoushomeatmosphere.Coloroftheinteriorenvironmentoftheinteriorspacesensitivity,comfort,atmosphere,efficientuseofpeople'spsychologicalandphysicalhaveagreatimpact,indoorenvironment,coloristhesoulofthedesignoftheindoorenvironment.Inafixedenvironment,thefirsttobreakintoourvisualsensesarecolor,whilethemostappealingisthecolor.Differentcolorscangiverisetodifferentpsychologicalfeelings,goodcolorenvironmentistheidealcombinationofthesefeelings.PeoplefromtheharmoniousandeyecolorintheUnitedStateshaveareverie,Transformationforthelove,gofarbeyondthelimitationsoftheinterio匚Thosewhocanmovethefurniture,fabrics,suchasthemiddleareaofcolorinfactconstitutetheindoorenvironmentarethemostimportantpart,butalsotocreatevariousshadesofthemostbasicfactors.Indoorenvironmentinthemosteasytochangeasmallareaofcolor,suchaswallhanging,cushion,decorativeproducts,areoftenthemostprominentuseofstrongcolorplayedaroleinthefinishingtouch.Modernfiberarthasbeentoenterthemodernfamily,withotherinteriordecorativematerialsoforganiccombinationofeachother,withitslightcolor,shape,textureandpermutationandcombination,moredecorativeandenhancetheinteriordecorationoftheartisticeffect,andtheuseofcolorchangesinthestrengthandscopeofcontrolhasreceivedprominentandrenderinginteriorofthemaincentersandtheleveloftheproportionofspace,addspaceforartisticeffect,givesluxuriousstyle,comfortandharmonious,practicalexperienceperfect.5.ConclusionModernfiberartmaterialsarenaturalfiber,syntheticfiber,metalfiber,etc.;techniquescanbedyed,embroidery,knitting,guitar,pestering,bypass,looping,up,etc.;shapecanbeplanar,three-dimensionalspace.Itreliesondifferentpatterns,togetherwiththespaceenvironment,itsvisual,tactileperception,suchastheUnitedStatesgetmorepleasure.Anabsolutelybeautiful,hightastefiberart,beabletoestablishamorepleasantatmosphereoftheindoorenvironmen匸Inthemoderninteriordesignenvironment,fiberarthasamoderninteriordecorationisbecominganimportantcomponentofitsdecorationinthefamilynplayedaveryimportantrole.五分钟搞定5000字毕业论文外文翻译，你想要的工具都在这里!在科研过程中阅读翻译外文文献是一个非常重要的环节，许多领域高水平的文献都是外文文献，借鉴一些外文文献翻译的经验是非常必要的。由于特殊原因我翻译外文文献的机会比较多，慢慢地就发现了外文文献翻译过程中的三大利器：Google”翻译,濒道、金山词霸（完整版本）和CNK广翻译助手”。具体操作过程如下：1•先打开金山词霸自动取词功能，然后阅读文献；2•遇到无法理解的长句时，可以交给Google处理，处理后的结果猛一看，不堪入目，可是经过大脑的再处理后句子的意思基本就明TT；3•如果通过Google仍然无法理解，感觉就是不同，那肯定是对其中某个“常用单词"理解有误，因为某些单词看似很简单，但是在文献中有特殊的意思，这时就可以通过CNKI的“翻译助手"来查询相关单词的意思，由于CNKI的单词意思都是来源与大量的文献，所以它的吻合率很高。另外，在翻译过程中最好以“段落"或者“长句'作为翻译的基本单位，这样才不会造成“只见树木，不见森林''的误导。四大工具：1>Google翻译：http://www.google.cn/languagetoolsgoogle,众所周知，谷歌里而的英文文献和资昼还算是比较详实的。我利用它是这样的。一方面可以用它查询英文论文，当然这方面的帖子很多，大家可以搜索，在此不赘述。回到我自己说的翻译上来。下面给大家举个例子来说明如何用吧比如说“电磁感应透明效应''这个词汇你不知道他怎么翻译，首先你可以在CNKT里查中文的，根据它们的关键词中英文对照来做，一般比较n准确。在此主要是说在google里怎么知道这个翻译意思。大家应该都有词典吧，按中国人的办法,把一个一个词分着查出来，敲到google里，你的这种翻译一般不太准，当然你需要验证是否准确了，这下看着吧，把你的那支离破碎的翻译在google里搜索，你能看到许多相关的文献或资料，大家都不是笨蛋，看看，也就能找到最精确的翻译了，纯西式的！我就是这么用的。2、CNKI翻译：http://dict.cnki.netCNKI翻译助手，这个网站不需要介绍太多，可能有些人也知道的。主要说说它的有点，你进去看看就能发现：搜索的肯定是专业词汇，而且它翻译结果下面有文章与之对应（因为它是CNKI检索提供的，它的翻译是从文献里抽出来的），很实用的一个网站。估计别的写文章的人不是傻子吧，它们的东西我们可以直接拿来用，当然省事了。网址告诉大家，有兴趣的进去看看，你们就会发现其乐无穷！还是很值得用的。http://dict.cnki.net3、网路版金山词霸（不到1M）：http://pickup.mofile.com/69469016379448064、有道在线番羽译：http://fanyi.youdao.com/7keyfirom二fanyi.logo这里我谈的是电子版和打卬版的翻译速度，按个人翻译速度看，打印版的快些，因为看电子版本一是费眼睛，二是如果我们用电脑,可能还经常时不时玩点游戏，或者整点别的，导致最终SPPEED变慢，再之电脑上一些词典（金山词霸等）在专业翻译方面也不是特别好，所以翻译效果不佳。在此本人建议大家购买清华大学编写的好像是国防工业出版社的那本《英汉科学技术词典》,基本上挺好用。再加上网站如：googleCNKI翻译助手，这样我们的翻译速度会提高不少。具体翻译时的一些技巧（主要是写论文和看论文方面）n大家大概都应预先清楚明白自己专业方向的国内牛人，在这里我强烈建议大家仔细看完这些头上长角的人物的中英文文章，这对你在专业方向的英文和中文互译水平提高有很大帮助。我们大家最蹩脚的实质上是写英文论文，而非看英文论文，但话说回来我们最终提高还是要从下大工夫看英文论文开始。提到会看，我想它是有窍门的，个人总结如下：1、把不同方面的论文分夹存放，在看论文时，对论文必须做到看完后完全明白（你重视的论文）；懂得其某部分讲了什么（你需要参考的部分论文），在看明白这些论文的情况下，我们大家还得紧接着做的工作就是把论文中你觉得非常巧妙的表达写下来，或者是你论文或许能用到的表达摘记成本。这个本将是你以后的财富。你写论文时再也不会为了一些表达不符合西方表达模式而烦恼。你的论文也降低了被SCI或大牛刊物退稿的几率。不信，你可以试一试2、把摘记的内容自己编写成检索，这个过程是我们对文章再回顾，而但是对你摘抄的经理妙笔进行梳理的重要阶段。你有了这个过程。写英文论文时，将会有一种信手拈来的感觉。许多文笔我们不需要自己再翻译了。当然前提是你梳理的非常细，而且中英文对照写的比较详细。3、最后一点就是我们往大成修炼的阶段了，万事不是说成的，它是做出来的。写英文论文也就像我们小学时开始学写作文一样，你不练笔是肯定写不岀好作品来的。所以在此我鼓励大家有时尝试着把自己的论文强迫自己写成英文的，一遍不行，可以再修改。最起码到最后你会很满意。呵呵，我想我是这么觉得的。