英語(yǔ)畢業(yè)論文A-Symbolic-Approach-to-A-Portrait-of-the-Artist-as-a-Young-Man《一個(gè)青年藝術(shù)家的畫(huà)像》

PAGEPAGE13ASymbolicApproachtoAPortraitoftheArtistasaYoungMan內(nèi)容摘要詹姆斯喬伊斯是描繪人物的革命和發(fā)展現(xiàn)代小說(shuō)情節(jié)的方法的愛(ài)爾蘭小說(shuō)家。他以驚人的方式構(gòu)建小說(shuō)，他對(duì)人性的坦誠(chéng)寫(xiě)照，完整的英語(yǔ)結(jié)構(gòu)，使他對(duì)20世紀(jì)的文學(xué)產(chǎn)生了巨大的影響。一個(gè)青年藝術(shù)家的肖像是自傳體小說(shuō)?！兑粋€(gè)青年藝術(shù)家的畫(huà)像》生動(dòng)地描述了主人公斯蒂芬從嬰兒朦朧時(shí)期到青年成熟時(shí)期的成長(zhǎng)過(guò)程以及他為擺脫腐朽勢(shì)力追求藝術(shù)事業(yè)所作的精神斗爭(zhēng)。小說(shuō)自始至終以主人公的心理矛盾和精神感受為基本內(nèi)容，深刻地揭示了他隱密的內(nèi)心世界與各種社會(huì)勢(shì)力之間的沖突。喬伊斯別開(kāi)生面地采用了各種象征手法來(lái)表現(xiàn)主人公內(nèi)心深處錯(cuò)綜復(fù)雜的意識(shí)活動(dòng)，增加了該著作的文學(xué)色彩。本文將著力對(duì)《一個(gè)青年藝術(shù)家的畫(huà)像》中的主人公和一組反復(fù)出現(xiàn)的形象的象征手法進(jìn)行較為詳盡的分析，從而深入挖掘其與作品主題的關(guān)系。關(guān)鍵詞：一個(gè)青年藝術(shù)家的畫(huà)像；象征意義；斯蒂芬．迪德勒斯

AbstractJamesJoycewasanIrishnovelistwhorevolutionizedthemethodsofdepictingcharactersanddevelopingaplotinmodernfiction.Hisastonishingwayofconstructinganovel,hisfrankportrayalofhumannatureinhisbooks,andhiscompletecommandofEnglishhavemadehimoneofthetremendousinfluencesonliteratureinthe20thcentury.APortraitoftheArtistasaYoungManislargelyautobiographical,shortlyafteritspublicationin1916.Itdescribesthechildhood,youthandearlymanhoodofStephenDedalus,ahighlygiftedyoungIrishman.Aftermentaltormentandinnerconflict,StephenabandonsCatholicismandleavesIrelandandmakesuphismindtodevotehimselftoartistcareerinexile.Itisasymbolicstoryconcerningtherelationshipbetweenanartistandsocietyaswellasthatbetweenartandexileinthemodernwesternworld.InfluencedbytheEuropeanmovement,Joycemakesexperimentwithsymbolicdevices,thatis,usingcertainmyths,historicalanalogies,recurrentimagesinhisstory.Joyce’suseofsymbolsreflectsthemainthemeofthebooktosomeextent,anditmakesAPortraitoftheArtistasaYoungManamoreenjoyableread.ThispaperaimsatmakingadetailedanalysisofsymbolicdevicesusedinAPortraitoftheArtistasaYoungManandseekingtheconnectionbetweenthesymbolsandthethemeofthebook．Keywords:APortraitoftheArtistasaYoungMan；symbol；StephenDedalus

ContentsAcknowledgements =1\*romaniTOC\o"1-1"\uAbstract（English） =2\*romaniiTOC\o"1-1"\uAbstract（Chinese） =3\*romaniiiTOC\o"1-2"\u1.Introduction 11.1Theauthor 11.2Thenovel 11.3Symbolism 12.Asymbolicreadingofthenovel 22.1DecipheringNames 22.2Road 32.3Cow 32.4Water 42.5Woman 42.6Birdandflower 6TOC\o"1-1"\u3.Conclusion 8WorksCited 9

Introduction1.1TheauthorJamesJoyceisanIrishnovelistwhorevolutionizedthemethodsofdepictingcharactersanddevelopingaplotinmodemfiction.Hisastonishingwayofconstructinganovel,hisfrankportrayalofhumannatureinhisbooks,andhiscompletecommandofEnglishhavemadehimoneofthetremendousinfluencesonliteratureinthe20thcentury.1.2ThenovelAPortraitoftheArtistasaYoungMan,shortlyafteritspublicationin1916,evokedpowerfulreactionamongthereviewers.EzraPound,whohelpedtohaveAPortraitserializedinTheEgoist,singledoutforspecialpraisethenovel’sdisciplinedclarityandclaimedthatthenovelwas“thenearestthingtoFlaubertianprosethatwehavenowinEnglish”.APortraitislargelyautobiographical.Itdescribesthechildhood,youthandearlymanhoodofStephenDedalus,ahighlygiftedyoungIrishman.Aftermentaltormentandinnerconflict,StephenabandonsCatholicismandleavesIrelandandmakesuphismindtodevotehimselftoartistcareerinexile.Itisasymbolicstoryconcerningtherelationshipbetweenanartistandsocietyaswellasthatbetweenartandexileinthemodernwesternworld.ItisgenerallyacknowledgedbymanycriticsthatsymbolsplayaveryimportantpartinthewholedesignofAPortrait.ProfessorWilliamYorkTindalldefinesasymbolasaconcreteimagewhichis“indefinitelysuggestive”initsmeanings,AsheputsinTheLiterarySymbol,“Joyce’simage,thoughpartlyassigned,howeverdeliberate,aresuggestive,indefinite,andnotaltogetherexplicable.Theyrevealnotonlythequalityofexperiencebutitscomplexity.Withoutattendantoressentialimages,APortraitwouldbesomuchlessimmediateandlessmovingthatfewwouldpickitupagain.”(Tindall23)InAPortraitlinesofimageswithsuggestivemeaningsareusedbyJoycenotonlytoconveythemeaningofAPortraitbutalsotorevealthecharacter’smentaldevelopmentandshapethebookstructurally.1.3SymbolismTheSymbolistmovementoriginatedwithagroupofFrenchpoetsinthelate19thcentury.Symbolismwasacomplexliterarymovementthatdeliberatelyextendedtheevocativepowerofwordstoexpressthefeelings,sensationsandstatesofmindthatliebeyondeverydayawareness.Theopen—endedsymbolscreatedbyCharlesBaudelairebroughttheinvisibleintobeingthroughthevisible,andlinkedtheinvisiblethroughothersensoryperceptions—notablysmellandsound.StephaneMallarme,thehighpriestoftheFrenchmovement,theorisedthatsymbolswereoftwotypes.Onewascreatedbytheprojectionofinnerfeelingsontotheworldoutside.Theotherexistedasfundamentalwordsthatwhichslowlypermeatedtheconsciousnessandexpressedastateofmindinitiallyunknowntotheiroriginator.ThisthesisaimsatmakingadetailedanalysisofallsortsofsymbolicdevicesusedinAPortraitandseekingtheconnectionbetweenthesymbolsandthethemeofthebook.AsymbolicreadingofthenovelInfluencedbytheEuropeansymbolistmovement,Joycemakesexperimentswithsymbolicdevices,thatis,usingcertainmyths,historicalanalogies,recurrentimagesinhisstorytosymbolizeothermeanings,suchastherelationshipbetweenanartistandsociety,ortheconflictbetweenartandexile.Joyce’suseofsymbolsreflectsthemainthemeofthebooktosomeextent,anditmakesAPortraitamoreenjoyableread.ThemostimportantsymbolinthebookisthatofthenameoftheheroStephenDedalus.Stephen’snamesuggeststhatheisamartyr,maker,exile,andapridefulsinneraswell.Inaway,Stephen’snamereflectsthethemeofthebook.Anotherimportantuseofsymbolicdeviceistherecurrentimage.Reoccurringagainandagain,theimagesaddrichness,depth,andimmediacytowhatwegetfromcharacterandplot.Withoutthesesymbolicdevices,APortraitwouldbelessimmediateandlessenjoyable.2.1DecipheringnamesThemostobviouskindofculturallydeterminedsymbolisminAPortraitistheuseofhistoricalandmythologicalanalogies,suchasthatinvitedbythehero’sname.AsStephen,heinvitesacomparison,simultaneouslyvalidandexaggerated,withSt.Stephen,aJewofGreekeducationwhobecamethefirstChristianmartyrwhenhewasstonedtodeathafterhisconvictionforblasphemy.Here-enactsthecrucification,asParnelllaterwastodo.JoyceaswellasStephenidentifiedhimselfwiththesemartyrs.St.Stephen’sGreeninSouthDublin,onthesouthsideofwhichUniversityCollegewassituated,isalsonamedforSt.Stephen.‘‘CrossingStephen’sthatismygreen.”(Joyce224)HissurnameDedalusisderivedfromDaedalus,amythologicalartistcraftsmanofancientGreece,whobuiltallinescapableLabyrinthforKingMonosofCrete.WhenMinosturnedagainsthimandimprisonedhimintheLabyrinth,DaedalusandhissonIcarus,escapedfromCretebyflyingonwingswhichDaedalusfashionedoffeathersandbeeswax.Icarusdisregardedhisfather’sadviceandinhisprideflewtoonearthesunsothathiswingsmeltedandheplungedtohisdeathinthesea2.2RoadAsforroads:sometimesstraight,sometimescircular,theyruneverywherethroughAPortraittothelastpage,where“thewhitearmsofroads,”abandoningtradition,inviteescape,likethebridge,whichtobesure,isaroadinawayorbetter,awayinaroad.Mostoftheroads,however,arelessencouraging:thatdarkcountryroadwhereDavinseesthebeckoningwoman,andallthosecirculartracks.OnthecirculartrackintheparkMikeFlynntrainsStephentorunincustomarystyle.(Joyce56)BreakinghisspectaclesonthetrackatClongowes,Stephenisallbutblinded.(Joyce42)NotsotheJesuits,“walkingroundthecyclesroundandroundthefield’’ThegoatishcreaturesofStephen’sprivatehell—asifinDante’s—swish“inslowcirclesroundandroundthefield.”Circularpaths,implyingcustomandconfinementaredisagreeablethroughoutAPortrait.2.3CowAcow,comingalongittoaccosttheboycouldimplyeverythingaggressivelymaternal:churchandcountry,forinstance.(ThecowisatraditionalimageofIreland.)Theseimplicationsareconfirmedbyreappearanceinothersettings.Later,StephenlovestowalktheroadsaroundStillorganwithtradition—lovingUncleCharlesandtoridealongthemwiththemilkman.Hownicetobeamilkman,hethinks,untildismayedbythecowhousewithits“foulgreenpuddles”,Herethemilkmanissupposedtosuggestthepriest,andthecowsuggeststheChurch,ThenStephen’schildishdesiretofollowamilkmansuggestsvocation.Inthiscase,theseimagesembodyandpredictthefuture.Stilllater,wefindthatJesuswasbornnotinamangerbutina“cowhouse”.Stephen，becoming“Bous”,orox,aswehaveseen,goestotheBull,emulatesDaedalustheartificialcowmaker,and,expoundinganaesthetictheory,usesthecowtoillustrateapoint.(Anderson14)Neartheend,Cranly,hiscritic,isreadingDiseasesoftheOx.2.4WaterAmoreimportantimagethanroadorcowiswater.Joycewatertraditionallycarriesthemeaningsoflifeanddeath;foritisouroriginandourgoal.Ambivalentfromthefirst,wateriseitherwarmorcold,agreeableorfrightening.ThemakingofwateratthebeginningofAPortraitseemsanimageofcreationthatincludestheartist’stworealities.Inthenovel'sfirstchapter,Hismotherputontheoilsheet.Stephen’swetbediswarmatfirst,thencold,firstagreeable,thendisagreeable,thewatercreatesanunpleasantassociationforStephenfear.HisclassmatesWalespushedhimintotheditchcoldwater,deathsceneflashedinhismind,madehimfeelextremefear.AtschoolStephenisshoulderedintothe“squareditch,”squarenotbecauseofshapebutbecauseitreceivestheflowoftheurinalor“square.”(Joyce10)ThisimagewarnsStephenoftheperilsofregression,towhichlikeoneofthoseratswhoenjoytheditch,heistemptedbythediscomfortsofexternalreality.“ThewarnlturfcolouredbogwaterofthebathaddssomethingpeculiarlyIrishtohiscomplex.”(Scholes20)“DirtywaterdownthedrainattheWicklowHotelandthewaterysoundofcricketbats(connectedinhismindwithpandybatsandbats)confirmhisfears.”(Seed11)Theconcludingimageofthefirstchapter;assignedonlybypreviousassociations,embodieshisinfantilecareer:“Pick,pack,pock,puck,”gothecricketbats,“l(fā)ikedropsofwaterinafountainfallingsoftlyinthebrimmingbowl.”(Joyce38)IfStephenhimselfissuggestedbythisbowlandhisdevelopmentbyanablautseries,waterisnotaltogetherbad.Thispossibilityisestablishedtowardthemiddleofthebook,where,changingcharacter,waterbecomesgoodonthewholeandunmistakablyasymbolofcreation.Onhiswaytothebeach,Stephenstillfindstheseacoldand“infra—human.”Thebathingboysrepelhim,butthesightofthewadinggirlgiveswateranotheraspect.Rollinguphistrousers,hehimselfgoeswading.(Joyce156)Herewatersymbolizesthenewlife.Stephenstoodonthebeach,theseasothathesuddenlywakesuptorealizetherealpurposeoflife.Waterasasymbolofhisre-birth.Thusconstitutesaseriesofwaterimages,sothatthewholecontentofthenoveltostringtogether.2.5WomanWomanembodiesStephen’saspirationandincreasingly,hiscreativepower.Eileen,thegirlwhoappearsatthebeginningofthebookunattainablebecauseProtestant,issoonidentifiedwithsexandtheTowerofIvory,symboloftheBlessedVirginMercedes,Stephen’sdreamgirlfromMonteCristowholivesinagardenofrosesalongthemilkman’sroad,alsosuggeststheVirginbyhernamewhileaddingovertonesofremoteness,exileandrevenge.“OutsideBlackrock,ontheroadmatledtothemountain,stoodasmallwhitewashedhouseinthegardenofwhichgrewmanyrosebushes:andinthishouse,hetoldhimself,anotherMercedeslived.”(Anderson30).Bothontheoutwardandonthehomeward.Aswecansee,Stephen’srefusalofMercedes’slovesuggestshisunconsciousrefusalofreligion.EmmaisanothergirlwhosuggeststheBlessedVirgin.EmmaappearsinChaptertwoasStephentriestowriteapoembutfails.TheninChapterthree,beforeheconfesseshissintothepriest,Stephenhasthreedaysofretreat.StephenhearsafierysermononthetormentsofhellandthepunishmentsmetedoutbythejustbutstemGod(Anderson25).Stephenismadesickwithfear;thesermonsseemasthoughtheywerewrittenspecificallyforhim.Hethinksabouthissins,andistoofearfultoconfesstoGod,whoseemstoofearsome,ortheBlessedVirgin,whoseemstoopure.HeimaginesbeingbroughtbacktoGodthroughEmma.LaterinChapterfive,asheheadstowardthelibrary,StephenseesEmma.Heisspeechlessasalways.Hefeelssomewhatcrosstowardsherbecausehethinksshehasflirtedwithapriestandmockedhimbehindhisback.Evenhisangerfeelslikeakindofhomage.Buthedreamsaboutherthatnight,andisinspiredtowriteanotherpoemtoher.ItistenyearssincehefailsinthewritingofhisfirstpoemtoEmma.Thistimehesucceeds,buthedoesnotsendit.Hisnewideasaboutbeautyarehisobsession.Nowhehasmovedfromsensitivityandunfocusedloveofbeautytoanobsessiveandmethodicalcontemplationofaesthetics.HisobsessionwithEmmaismoreaestheticandabstract;hehasadmiredherfromafarfortenyears,butintruthhedoesnotknowherthatwell.Hiscontemplationofherisbasedonaveryabstractideaofwoman.Hecanonlydamnherorworship.Emmaisrejectedatlastasanimageofreligion.Thegirlwadingintheoceanwater,whoembodiesmortalbeauty,givesStephenarevelationofgreatstrength.Inlookingatherbeauty,hefeels“alloutburstofprofanejoy”(p.156).“Profane”becauseintheCatholicismofStephen’supbringing,hisspiritualreactiontoagirl’sphysicalbeautyisalien.Stephenrealizedthathisfateis“tolive,toerr,tofall,totriumph,torecreatelifeoutoflife”.(Joyce156)Herimagehaspassedintohissoulforeverandnowordhasbrokenthe“theholysilenceofhisecstasy.”Hereyeshavecalledhimandhissoulhasleapedatthecall.Inallowinghimselftoenjoythebeautyofthegirl,tobelieveinherbeauty,Stephenacceptshisownnature.Hefindsheranimageofhisowncapacity.Sothisgirlactivateshissubconsciousartisticqualification,beforethat,allonreligiousandfamilydissatisfactionandoppositionfailedtofindtherightexit,theembodimentofartangelsonbehalfofartscalltohim,sothathesuddenlyunderstoodhisownidealsandcareerdirection,andhedeterminestoleaveIreland,tothepursuitofartisticfreedom.2.6BirdandflowerThebirdmakesitsfirstappearanceintheopeningofthebookastheeaglewhoistopunishStephen’sguiltbymakinghimblind.TheeaglescanberegardedastheemissariesoftheGodwiththehairyface:thepunisher.TheyevokePrometheusandgnawingguilt:again-bite.IntheGreekmyth,PrometheuswasawiseTitanwho,duringthefightbetweentheGodsandTitans,foughtforZeus,latertheleaderofallgods.Zeusrewardedhimbygivinghimgreatpower.Hewassenttoearthtomakestatusesofmanoutofclay,breathinglifeintothemandteachingthemhowtolive.Hewasforbiddentobringfirewithhim.Inordertomakelifemorecomfortableonearth,PrometheusmanagedtostealfirefromOlympusandpresentedittomanasagift.Forthis,PrometheuswaspunishedbytheorderofZeustoarock.Hisliverwaspeckedbyeagleseveryday.TheovertureofAPortraitendswithStephenhidingunderthetableawaitingtheeagles.YoungStephenDedaluscomesfromanIrishCatholicfamily.OneofhisneighborsisalittlegirlnamedEileen,andStephenannouncesthatwhenheisgrown,hewillmarryher.HisannouncementinfuriatesDante,Stephen’sgoverness，afanaticallyCatholicwoman.WelearnlaterthatEileenisProtestant.HereStephen’sconflictbetweenreligionandindependenceisforeshadowed.ThebirdmakesitsnextappearanceasHeron,who,lookingandactinglikeabirdofprey,triestomakeStephenconform.Badatfirst,birdsbecomegoodasStephenapproachesmortalbeautyatthebeach.HethinksofDaedalus,“ahawklikemanflyingsunward”,andwantstouttercriesofhawkoreagle,imagesofnolongeroppressionbut,retainingauthorityofcreation.Thewadinggirlisastrangeandbeautifulseabird.“Theimageofbirdiscomplicatedbythebat,nobird,ofcourse,butenoughlikeoneforreadyassociation”(Tindall40).Davin’speasantwomanatherdooralongthedarklonelyroadseemstoStephen“atypeofherraceandofhisown,abatlikesoulwakingtotheconsciousnessofitselfindarknessandsecrecyandloneliness”(Joyce166)StephenwondersifE.C.,hisgirl,ismorelikeabirdorbat.Connectedwiththepandybatandthecricketbatsofthefirstchapter,batalsoconnectswiththethemeofblinding:thefamousspit,thebrokenspectacles,andtheloweredblindsattheretreat.Moreover,theartist,lessthanthebirdhewantstobe,isalittlebatty.Davin’sbat-womanlivesalifeof“darknessandsecrecyandloneliness”thataccordswiththeartist’sprospectof“silence，exile，andcunning”.Therose,asymbolwhich,carriestraditionalsignificance,becomesaftermuchrecurrence,Stephen’simageofbeautyandcreativity.RosesofdifferentcolorsareinterwinedwithStephen’slifeatmanysubsequentcrises,Lackingsufficientcontextatitsfirstappearancetohavecertainmeaning,therose,madegreenbyStephen,CanpossiblybeassociatedwithStephen’simaginationandcreativity.GreenisthecolorofIreland,ofimmaturityandofvegetablecreation.ThegreenroseseemstoanticipateStephenimmaturedesireforIrishartanditprophesiesthatStephenwillpursuethe1ifeofanartistinthefuture,whichisregardedunnatural,insteadofthelifeofapriest,whichisquitenatural.Atschool,StephenischampionofthewhiterosethatlosestotheredinacademicWarofroses,andhebroodsonthebeautyandcolorsofroses.ToStephen,rosesofallcolorsaresymbolsofbeauty,buthefavoursthewildgreenrose,whichheistryingtohave.Thegreenrosesuggestshisdesireforart.Attheendofthebook,weareremindedthathehasnotyetmet“sweetRosieO’Grady”,whichperhapssuggestgreenrose.However,itistheredrosethatattendshiscreativeecstasiesneartheBullWall,afterheseesthewadinggirlandresolvestofollowmortalbeauty.Thesignificanceofrosesinthenovelvarieswiththeircolorsanothersourceoftraditionalsymbolism.Whiterepresentspurityandbeauty:redrepresentsexcitement;greenrepresentscreativity;yellowcorruption;greynullity.“However,thesedefinitionsdonotimplythatthecolorsarenotambiguous”Purity,forexample,maybepositive,withallattractivewhiteness,likethatof“towerofivory”,ortherecollectionofEmmadancingataparty:“herwhitedressalittlelifted,awhitespraynoddinginherhair”.(Joyce20)3.ConclusionAswehaveseenfromtheaboveanalyses,JoyceexperimentedwithsomesymbolicdevicesinAPortraitoftheArtistasaYoungMan,allofwhichembodysuggestionsbeyondtheirapparentcapacityand,oftencarrytheprinciplemeanings.ThemostimportantsymbolinthebookisthatofthenameoftheheroStephenDedalus.Thename“Stephen”suggestsSt.Stephen.aJewofGreekeducationwhobecamethefirstChristianmartyrwhenhewasstonedtodeathafterhisconvictionforblasphemy.Anotherimportantuseofsymbolicdeviceistherecurrentimagery.Unobtrusive,escapingnoticeatfirstappearance,itgainspowerthroughreappearance.Bringingmeaningfromoneplacetoanother,itdepositssomeand,acquiringmore,bringsitalong.ManyimagesappearinAPortrait．TheimportantliterallyforrevealingStephen’sinfancyandhisdelightinallfivesenses,introducesroad,cow,water,woman,flowerandbird,andthesethingsareelaborated.Thealertreader，preferringtoknowwhataffectsthehero，willfindpleasureinitsdiscovery．Withouttheseessentialimages,APortraitwouldbesomuchlessimmediateandlessmovingthatfewwouldpickitupagain.WorkcitedAnderson,ChesterG.,ed.APortraitoftheArtistasaYoungMan:Text,Criticism,andNotes.NewYork:TheVikingPress,1970.Brown,Malcolm.,ed.ThePoliticsofIrishLiterature.London:Allen&Unwin,1972.Bolt,Sydney.APrefacetoJoyce.NewYork:LongmanGroupLimited,1981.Joyce,James.APortraitoftheArtistasaYoungMan.London:GranadaPublishingLimited,1977.Seed,David,.ed.JamesJoyce’sAPortraitoftheArtistoftheYoungMan；CriticalStudiesofKeyTexts.Liverpool:LiverpoolUniversityPress,1992.Scholes,Robert.InSearchofJamesJoyce.Chicago:TheUniversityofIllinoisPress,1992.Tindall,WilliamYork.AReader’sGuidetoJamesJoyce.NewYork:TheNoondayPress,1959.李正娜.《一個(gè)青年藝術(shù)家的畫(huà)像》中的意象.山東師大外國(guó)語(yǔ)學(xué)院學(xué)報(bào)，2001(04)：22-27.司空草.喬伊斯和喬伊斯研究者.外國(guó)文學(xué)評(píng)論，2000(01)：16-21.張立光.喬伊斯作品中象征主義手法的運(yùn)用.長(zhǎng)春工業(yè)大學(xué)學(xué)報(bào)，2003(04)：10-15.基于C8051F單片機(jī)直流電動(dòng)機(jī)反饋控制系統(tǒng)的設(shè)計(jì)與研究基于單片機(jī)的嵌入式Web服務(wù)器的研究MOTOROLA單片機(jī)MC68HC（8）05PV8/A內(nèi)嵌EEPROM的工藝和制程方法及對(duì)良率的影響研究基于模糊控制的電阻釬焊單片機(jī)溫度控制系統(tǒng)的研制基于MCS-51系列單片機(jī)的通用控制模塊的研究基于單片機(jī)實(shí)現(xiàn)的供暖系統(tǒng)最佳啟停自校正（STR）調(diào)節(jié)器單片機(jī)控制的二級(jí)倒立擺系統(tǒng)的研究基于增強(qiáng)型51系列單片機(jī)的TCP/IP協(xié)議棧的實(shí)現(xiàn)基于單片機(jī)的蓄電池自動(dòng)監(jiān)測(cè)系統(tǒng)基于32位嵌入式單片機(jī)系統(tǒng)的圖像采集與處理技術(shù)的研究基于單片機(jī)的作物營(yíng)養(yǎng)診斷專家系統(tǒng)的研究基于單片機(jī)的交流伺服電機(jī)運(yùn)動(dòng)控制系統(tǒng)研究與開(kāi)發(fā)基于單片機(jī)的泵管內(nèi)壁硬度測(cè)試儀的研制基于單片機(jī)的自動(dòng)找平控制系統(tǒng)研究基于C8051F040單片機(jī)的嵌入式系統(tǒng)開(kāi)發(fā)基于單片機(jī)的液壓動(dòng)力系統(tǒng)狀態(tài)監(jiān)測(cè)儀開(kāi)發(fā)模糊Smith智能控制方法的研究及其單片機(jī)實(shí)現(xiàn)一種基于單片機(jī)的軸快流CO〈,2〉激光器的手持控制面板的研制基于雙單片機(jī)沖床數(shù)控系統(tǒng)的研究基于CYGNAL單片機(jī)的在線間歇式濁度儀的研制基于單片機(jī)的噴油泵試驗(yàn)臺(tái)控制器的研制基于單片機(jī)的軟起動(dòng)器的研究和設(shè)計(jì)基于單片機(jī)控制的高速快走絲電火花線切割機(jī)床短循環(huán)走絲方式研究基于單片機(jī)的機(jī)電產(chǎn)品控制系統(tǒng)開(kāi)發(fā)基于PIC單片機(jī)的智能手機(jī)充電器基于單片機(jī)的實(shí)時(shí)內(nèi)核設(shè)計(jì)及其應(yīng)用研究基于單片機(jī)的遠(yuǎn)程抄表系統(tǒng)的設(shè)計(jì)與研究基于單片機(jī)的煙氣二氧化硫濃度檢測(cè)儀的研制基于微型光譜儀的單片機(jī)系統(tǒng)單片機(jī)系統(tǒng)軟件構(gòu)件開(kāi)發(fā)的技術(shù)研究基于單片機(jī)的液體點(diǎn)滴速度自動(dòng)檢測(cè)儀的研制基于單片機(jī)系統(tǒng)的多功能溫度測(cè)量?jī)x的研制基于PIC單片機(jī)的電能采集終端的設(shè)計(jì)和應(yīng)用基于單片機(jī)的光纖光柵解調(diào)儀的研制氣壓式線性摩擦焊機(jī)單片機(jī)控制系統(tǒng)的研制基于單片機(jī)的數(shù)字磁通門傳感器基于單片機(jī)的旋轉(zhuǎn)變壓器-數(shù)字轉(zhuǎn)換器的研究基于單片機(jī)的光纖Bragg光柵解調(diào)系統(tǒng)的研究單片機(jī)控制的便攜式多功能乳腺治療儀的研制基于C8051F020單片機(jī)的多生理信號(hào)檢測(cè)儀基于單片機(jī)的電機(jī)運(yùn)動(dòng)控制系統(tǒng)設(shè)計(jì)Pico專用單片機(jī)核的可測(cè)性設(shè)計(jì)研究基于MCS-51單片機(jī)的熱量計(jì)基于雙單片機(jī)的智能遙測(cè)微型氣象站MCS-51單片機(jī)構(gòu)建機(jī)器人的實(shí)踐研究基于單片機(jī)的輪軌力檢測(cè)基于單片機(jī)的GPS定位儀的研究與實(shí)現(xiàn)基于單片機(jī)的電液伺服控制系統(tǒng)用于單片機(jī)系統(tǒng)的MMC卡文件系統(tǒng)研制基于單片機(jī)的時(shí)控和計(jì)數(shù)系統(tǒng)性能優(yōu)化的研究基于單片機(jī)和CPLD的粗光柵位移測(cè)量系統(tǒng)研究單片機(jī)控制的后備式方波UPS提升高職學(xué)生單片機(jī)應(yīng)用能力的探究基于單片機(jī)控制的自動(dòng)低頻減載裝置研究基于單片機(jī)控制的水下焊接電源的研究基于單片機(jī)的多通道數(shù)據(jù)采集系統(tǒng)基于uPSD3234單片機(jī)的氚表面污染測(cè)量?jī)x的研制基于單片機(jī)的紅外測(cè)油儀的研究96系列單片機(jī)仿真器研究與設(shè)計(jì)基于單片機(jī)的單晶金剛石刀具刃磨設(shè)備的數(shù)控改造基于單片機(jī)的溫度智能控制系統(tǒng)的設(shè)計(jì)與實(shí)現(xiàn)基于MSP430單片機(jī)的電梯門機(jī)控制器的研制基于單片機(jī)的氣體測(cè)漏儀的研究基于三菱M16C/6N系列單片機(jī)的CAN/USB協(xié)議轉(zhuǎn)換器基于單片機(jī)和DSP的變壓器油色譜在線監(jiān)測(cè)技術(shù)研究基于單片機(jī)的膛壁溫度報(bào)警系統(tǒng)設(shè)計(jì)基于AVR單片機(jī)的低壓無(wú)功補(bǔ)償控制器的設(shè)計(jì)基于單片機(jī)船舶電力推進(jìn)電機(jī)監(jiān)測(cè)系統(tǒng)基于單片機(jī)網(wǎng)絡(luò)的振動(dòng)信號(hào)的采集系統(tǒng)基于單片機(jī)的大容量數(shù)據(jù)存儲(chǔ)技術(shù)的應(yīng)用研究基于單片機(jī)的疊圖機(jī)研究與教學(xué)方法實(shí)踐基于單片機(jī)嵌入式Web服務(wù)器技術(shù)的研究及實(shí)現(xiàn)基于AT89S52單片機(jī)的通用數(shù)據(jù)采集系統(tǒng)基