AMT控制器壳体试装报告

试验工程师        

审核        

批准        

                      

一、试装项目

     提供公司：东莞市凯璇塑胶模具有限公司

     试装日期：20##年1月22日

     试装产品：AMT控制器壳体

二、评价项目

1.壳体外观评价

                              下壳体

                              上壳体

壳体外表面光滑明亮，壳体无变形

2.螺丝螺孔安装评价

 

                      螺孔无偏移，螺纹无滑丝

   3.防水透气塞安装评价

                          螺孔无滑丝

4.高度差评价

上下壳体嵌合度高，无明显高度差

  三、综合评价

      壳体外观完好，形状标准，满足图纸所要求尺寸公差。

       试装结果：可用

第二篇：《一个青年艺术家的肖像》读书报告 Journal of A Portrait of The Artist as a Young Man

I have never read Joyce before. I know he is a master of stream of consciousness and I know he is a great writer. However, it always makes me frustrated when I read something highly recommend by others but discover no joy myself. But in the end I decided to give myself and the book Portrait of the Artist as a Young Man a chance to see whether I will like it.

Joyce treats his fictional version of his younger self with a mixture of irony and sympathy. The novel tells the story of Stephen, a young Irishman, from earliest childhood until his decision to leave Ireland for Paris and become a writer. Before achieving his destiny as an artist, the young man experiences various epiphanies, most of those epiphanies are misleading ones.

The early chapters of the novel chronicle Stephen’s confusions as a small boy at a strict Jesuit school; in his adolescence, he visits prostitutes and found him indulged in sin. Later, he becomes deeply religious and considers entering the priesthood, he tried to train himself in many ways including hearing, taste and sight…to pay back his debts of adultery. Finally, he recognizes that his destiny is to become not a Catholic priest but a writer, “a priest of eternal imagination, transmuting the daily bread of experience into the radiant body of everliving life.” Joyce signals Stephen’s premature agedness when, after hearing the catalogue of his sins, “a squalid stream of vice,” at confession, a priest asks him his age and Stephen responds: “Sixteen, father.”

I think The Development of Individual Consciousness is one major theme.

Perhaps the most famous aspect of A Portrait of the Artist as a Young Man is Joyce's innovative use of stream of consciousness, a style in which the author directly transcribes the thoughts and sensations that go through a character's mind, rather than simply describing those sensations from the external standpoint of an observer. Joyce's use of stream of consciousness makes A Portrait of the Artist as a Young Man a story of the development of Stephen's mind. In the first chapter, the very young Stephen is only capable of describing his world in simple words and phrases. The sensations that he experiences are all jumbled together with a child's lack of attention to cause and effect. Later, when Stephen is a teenager obsessed with religion, he is able to think in a clearer, more adult manner. Paragraphs are more logically ordered than in the opening sections of the novel, and thoughts progress logically. Stephen's mind is more mature and he is now more coherently aware of his surroundings. Nonetheless, he still trusts blindly in the church, and his passionate emotions of guilt and religious ecstasy are so strong that they get in the way of rational thought. It is only in the final chapter, when Stephen is in the university, that he seems truly rational. By the end of the novel, Joyce renders a portrait of a mind that has achieved emotional, intellectual, and artistic adulthood.

The development of Stephen's consciousness in A Portrait of the Artist as a Young Man is particularly interesting because, insofar as Stephen is a portrait of Joyce himself, Stephen's development gives us insight into the development of a literary genius. Stephen's experiences hint at the influences that transformed Joyce himself into the great writer he is considered today: Stephen's obsession with language; his strained relations with religion, family, and culture; and his dedication to

forging an aesthetic of his own mirror the ways in which Joyce related to the various tensions in his life during his formative years. In the last chapter of the novel, we also learn that genius, though in many ways a calling, also requires great work and considerable sacrifice. Watching Stephen's daily struggle to puzzle out his aesthetic philosophy, we get a sense of the great task that awaits him.

A Portrait of the Artist as a Young Man explores what it means to become an artist. Stephen's decision at the end of the novel—to leave his family and friends behind and go into exile in order to become an artist—suggests that Joyce sees the artist as a necessarily isolated figure. In his decision, Stephen turns his back on his community, refusing to accept the constraints of political involvement, religious devotion, and family commitment that the community places on its members.

However, though the artist is an isolated figure, Stephen's ultimate goal is to give a voice to the very community that he is leaving. In the last few lines of the novel, Stephen expresses his desire to "forge in the smithy of my soul the uncreated conscience of my race." He recognizes that his community will always be a part of him, as it has created and shaped his identity. When he creatively expresses his own ideas, he will also convey the voice of his entire community. Even as Stephen turns his back on the traditional forms of participation and membership in a community, he envisions his writing as a service to the community.

Also, I’d like o say something about the characters.

Modeled after Joyce himself, Stephen is a sensitive, thoughtful boy who reappears in Joyce's later masterpiece, Ulysses. In A Portrait of the Artist as a Young Man, though Stephen's large family runs into deepening financial difficulties, his parents manage to send him to prestigious schools and eventually to a university. As he grows up, Stephen grapples with his nationality, religion, family, and morality, and finally decides to reject all socially imposed bonds and instead live freely as an artist. Stephen undergoes several crucial transformations over the course of the novel. The first, which occurs during his first years as Clongowes, is from a sheltered little boy to a bright student who understands social interactions and can begin to make sense of the world around him. The second, which occurs when Stephen sleeps with the Dublin prostitute, is from innocence to debauchery. The third, which occurs when Stephen hears Father Arnall's speech on death and hell, is from an unrepentant sinner to a devout Catholic. Finally, Stephen's greatest transformation is from near fanatical religiousness to a new devotion to art and beauty. This transition takes place in Chapter 4, when he is offered entry to the Jesuit order but refuses it in order to attend university. Stephen's refusal and his subsequent epiphany on the beach mark his transition from belief in God to belief in aesthetic beauty. This transformation continues through his college years. By the end of his time in college, Stephen has become a fully formed artist, and his diary entries reflect the independent individual he has become.

Emma is Stephen's "beloved," the young girl to whom he is intensely attracted over the course of many years. Stephen does not know Emma particularly well, and is generally too embarrassed or afraid to talk to her, but feels a powerful response stirring within him whenever he sees her. Stephen's first poem, "To E— C—," is

written to Emma. She is a shadowy figure throughout the novel, and we know almost nothing about her even at the novel's end. For Stephen, Emma symbolizes one end of a spectrum of femininity. Stephen seems able to perceive only the extremes of this spectrum: for him, women are either pure, distant, and unapproachable, like Emma, or impure, sexual, and common, like the prostitutes he visits during his time at Belvedere.