毕业论文-HXD3型电力机车空气制动系统工作原理及故障处理设计.doc

黑龙江交通职业技术学院毕业论文09级电力机车专业黑龙江交通职业技术学院毕业设计（论文）题目 HXD3型电力机车空气制动系统故障处理专业班级 电力机车0919班姓 名 2012年 6 月 1 日目 录一、空气制动系统的技术特点及制动原则6二、HXD3B型机车空气制动系统组成6三、CCBII 制动机的控制关系7四、制动机途中故障处理方法12总 结15参考文献16内容摘要这份毕业设计说明书的题目是HXD3B型电力机车空气制动系统工作原理及故障处理设计，为了提高铁路的运输能力 ,我国铁路一直在向高速与载重上发展。而无论高速还是重载 ,人身安全，精准制动都是一个非常关键的问题。制动问题如果没有解决 ,即使有了高质量的线路 ,有了功率很大的牵引动力 ,高速或重载还是不可能实现为此我国各铁路局运用的HXD3B型电力机车采用了目前国际上较为先进的CCB II微机控制制动系统。本套制动系统是基于网络的电空制动系统，HXD3B 型交流传动货运电力机车于2008 年12 月29日在大连正式下线，是目前世界上功率最大的双端操作电力机车。转向架采用C0- C0 型式，轴重25 t，其牵引功率可达到9 600 kW。该机车采用克诺尔公司的CCBII 微机控制制动系统，但具体控制思路及制动系统的布置则更加优化、合理。文中介绍了整个制动系统的运转过程、各个模块的作用和遇到紧急故障的处理方法。HXD3 型交流传动电力机车空气制动系统采用微机控制的CCBII 电空制动系统。介绍了该系统的组成工作原理及各部分的功能，关键词： CCB II 微机 制动 线路可更换模板毕业设计（论文）开题报告题目：HXD3型电力机车空气制动系统工作原理及故障处理设计1 本课题的来源、选题依据： 根据电力机车教研室关于毕业设计的任务单，下发HXD3型电力机车空气制动系统的资料，根据这些资料以及毕业设计任务书进行战场设计。2 本课题的设计（研究）意义（相关技术的现状和发展趋势）：本次设计以HXD3B型电力机车空气制动系统设计为基础，在原有的设计基础上进行分析处理。HXD3B 型大功率货运电力机车空气制动系统采用了微机控制的CCBII电空制动系统 。我国铁路近几年来一直像着高速、重载的方向发展干线大部分运用机车都采用了微机控制的CCBII电空制动系统。3 本课题的基本内容、重点和难点，拟采用的实现手段（途径）：掌握CCBII 电空制动系统的主要部件控制逻辑、列车气路控制流程、机车控制气路流程及各种故障处理等。重点要搞清电子制动阀、电空制动单元、制动显示屏 (LCDM) 、集成处理器 ( X - IPM) 、继电器接口模块 ( RIM) 、在整个系统中的作用。采用三个流程图模拟整个系统的运作。4 文献综述（列出主要参考文献的作者、名称、出版社、出版时间以及与本课题相关的主要参考要点） ：张曙光 .HXD3型电力机车 ：中国铁道出版社，2009西安铁路局 .HXD3型大功率交流电力机车应急故障处理 ：中国铁道出版社，2010-05-01张宝林 .HXD3大功率机车司机操作技术培训手册：西南交通大学出版社，2011指导教师意见： 指导教师： 年 月 日专业部意见： 签字 年 月 日中期进展情况检查表2012年 6月1日课题名称凤凰水站6502电气集中工程设计学生姓名於云龙学 号200918033专 业电力机车指导教师辛大娟职 称助教主要研究内容及进展本次设计以HXD3B型电力机车空气制动系统设计为基础，在原有的设计基础上进行分析处理。在掌握微机控制的CCBII电空制动系统的基础上进行故障处理 。尚须完成的任务由于学习知识储量所限，只能表达一些基本工作原理及故障处理存在的主要问题及解决措施存在的问 : 由于知识储量不足，还有很多问题理解不透彻。解决措施：进步了解空气制动系统组成，深入理解其工作原理指导教师审查意见专业部审查意见制动系统的组成及介绍二、HXD3B型机车空气制动系统HXD3B型机车空气制动系统主要由风源系统、CCBII制动机、辅助系统及基础制动装置几个部分组成。（一）. 风源系统风源系统为机车及车辆的制动系统提供符合要求的干燥、洁净的压缩空气，其原理图如图所示。压缩由2 台SL20- 5 型螺杆式压缩机组提供，每台排风量为2 400 L/min。每台压缩机配置有2 个LTZ2.2- H 型干燥器，每个的空气处理量为2.4 m3/min。为了保证压缩空气的质量，在干燥器的出口处装有精油过滤器和最小压力阀。压缩空气的储存容器为2 个容积均为800 L 的风缸，二者串联连接，在车内立式安装。为了满足机车重联功能，在机车端部安装了总风重联管软管和平均管软管。A1空气压缩机；A2软管A3安全阀；A4干燥器；A5精油过滤器；A6最小压力阀；A7安全阀；A8止回阀；A10截断塞门；A11第一总风缸；A12排水塞门；A15第二总风缸；B02缩堵。（1）空气压缩机组压缩机组型号为SL20- 5- 102，具有温度、压力控制装置，可实现无负荷启动。冷却器排风口向下，满足机械间独立通风要求。压缩机的开停状态由总风压力开关自动控制，也可以通过手动按钮控制。压缩机组参数如下：排风量/Lmin- 1 2 400工作压力/bar 10转速/rmin- 1 515工作温度/ - 4050油量/L 5.7（ANDEROL 3057M）功率/kW 21.51.505工作电压/V 46046控制电压/V 110频率/Hz 60防护等级IP55质量/kg 2407.2 (2) 空气干燥器干燥器型号为LTZ2.2- H，属于双塔吸附式干燥器，位于压缩机和总风缸之间，具有低温加热功能，能过滤压缩空气中的油、水，降低压缩空气露点，使得空气系统在正常使用时不会出现液态水（3） 辅助风源该系统采用LP115 型辅助压缩机组作为风源，将其和升弓控制模块、升弓风缸及风表相连。辅助压缩机组的控制可以通过手动和自动两种方式来实现。手动按钮在制动柜内，按下按钮后压缩机启动，松开按钮后压缩机停止工作。当乘务员在司机室操作升弓指令后，辅助压缩机进入自动控制模式，机车将监测升弓风缸的压力，使压缩机自动投入或切除。为保证压缩空气和管路的清洁，辅助压缩机配有小型的干燥器和再生风缸。（二）CCBII 制动机（制动控制系统）HXD3B 型机车制动控制系统的核心是CCBII 制动机，该制动机为微机控制式电空制动机。（1） CCBII 制动机的主要部件及安装CCBII 制动机主要部件有：2 个电子制动阀（EBV），2个制动显示屏（LCDM），1 个集成处理器（M- IPM），1 个继电器接口模块（CJB）和1 个电空控制单元（EPCU）。2 个EBV 和2 个LCDM分别位于2 个司机操作台EBV 是CCBII 制动机的人机接口，司机通过自动制动阀和单独制动阀的操作手柄实施动力制动及空气制动。自动制动阀控制列车管的压力，进而控制整列车的制动、缓解，它包括运转位、初制动位、全制动位、抑制位、重联位、紧急位等，其中初制动位与全制动位之间是制动区。单独制动阀控制机车制动缸的压力，它包括运转位、全制动位，两个位置之间是制动区。自动制动和单独制动均采用自保压方式。EBV 中还有一个机械阀，当自动制动手柄处于紧急制动位时，该阀使列车管和大气连通，列车施行紧急制动。LCDM也是CCBII 制动机的人机接口，为司机显示制动机的当前状态，如均衡风缸、制动管、总风缸和制动缸的压力值，以及制动管充风流量和空气制动的当前模式及制动机故障信息。司机可操作显示屏中的按钮，对制动机的本机/ 补机、均衡风缸压力值、制动管投入/ 切除、客车/ 货车、补风/ 不补风等状态进行设定。通过按钮也可进行系统自检、故障查询及传感器标定等工作。M- IPM是CCBII 制动机的中央处理器，它控制所有与LCDM的接口任务，并监测EBV 的指令，通过LON 网线向EPCU 传达命令，并同机车微机进行数据通讯。CJB 是M- IPM与机车进行通讯的硬线接口模块，可以同MVB 网线功能相互作为备份。通过该模块，机车可以实施ATP 惩罚制动及紧急制动、空气制动切除、重联机车自动制动等功能，还可以对机车实施动力切除，撒砂，报警等功能。EPCU 由电空阀和空气阀组成，用来控制机车空气管路的压力，是制动机的执行部件，所有电空阀和空气阀集成到8 个线路可更换模块（LRU）。其中5 个LRU 是智能的，可以进行自检并通过LON 络和EBV、M- IPM进行通讯。电空控制单元内主要部件采用冗余设计，机车运行过程中若发生故障，将自动转换到备用模式，并报警将故障记录，此时，机车仍可以维持运行。（三） 辅助系统HXD3B 型机车空气辅助系统包括升弓控制、停放制动控制、撒砂控制、停放制动辅助缓解控制、制动缸压切除控制、鸣笛控制、轮缘润滑控制等功能。其中升弓控制模块、停放控制模块、撒砂控制模块、停放制动辅助缓解控制模块、制动缸压力切除控制模块均集成安装在制动柜内，鸣笛控制及轮缘润滑控制部件集成安装在机械间侧墙的气路板上。（四） 基础制动装置基础制动装置采用轮盘制动，其具体参数同HXD3 型机车。3 HXD3B 型机车制动系统设计的完善HXD3B 型机车及HXD3 型机车均采用以CCBII 制动机为核心的空气制动系统，其核心控制原理虽然相同，但HXD3B 型机车空气制动系统的功能更加合理、完善，它基于HXD3 型机车的运用经验，对制动部件的布置及系统的部分控制思路进行改进。3.1 制动部件布置完善（1）空气压缩机、干燥器安装空气压缩机、干燥器采用同一安装支架，便于整体吊装和拆卸。同时，压缩机出口同干燥器入口距离近，减少了压缩空气在管路中传递的冷却时间，有效地避免了压缩空气中冷凝水的形成，有利于风源系统冬季的防寒处理。（2） 总风缸及总风管的排水空气系统充分地考虑了风源系统的排水，在总风缸及各辅助风缸最下端均安装了排水塞门，并将排水管路引入车下。同时，借鉴HXD3 型机车运用经验，在U 形总风管路的最低处增加排水塞门，避免由于管路内积水无法排出造成冬季管路内部冻结、压缩空气无法通过的现象发生，该设计有利于机车在较寒冷地区使用。（3） 防断钩用缩堵的安装位置HXD3 型机车防断钩用缩堵安装在重联管路上，该位置可以达到机车断钩后总风缸压力无法快速排出的功能，但也给机车重联时压缩空气的畅通传递带来了困难。HXD3B 型机车将该缩堵设计在第一、二总风缸之间，该设计既满足了机车断钩后总风缸内压缩空气不会快速排出的功能，同时对重联机车压缩空气的传递也没有影响，另外，缩堵的这一设计位置，保证机车无火运行中，司机室内的压力表可以准确地显示第二总风缸的压力，有利于司机的操作。（4） 压缩机启停用压力开关的取点位置HXD3 型机车压缩机起停用压力开关设计在第二总风缸后，当第一总风缸内压力下降后，由于逆止阀的作用，第二总风缸压力不会下降，造成压缩机不能启动，不能及时给总风缸进行补风。HXD3B 型机车压缩机启停用压力开关设计在第一总风缸与逆止阀之间，该位置可以及时、准确地反映总风缸内的压力，保证压缩机及时给总风缸进行补风。（5） 紧急制动阀安装位置HXD3 型机车紧急制动阀安装在司机室操纵台的内部，紧急制动时列车管内的压缩空气大量排出，增加了司机室的噪音。HXD3B 型机车紧急制动阀安装在司机室的后墙附近，其管路容积满足原理要求，同时紧急制动时降低了司机室噪音，为司机提供一个安静的工作环境。三.制动系统控制关系列车控制如图所示。自动制动阀BPCPERCP制动管压力车辆制动机机车制动缸BCCP16CP列车气路控制流程。重联机车制动缸平均管压力单独制动阀机车制动缸BCCP20CP图 7 机车气路控制流程3.CCB II 制动机的故障检测方式（1）开机时,集成处理器( IPM)进行自检。通过自检后对电子制动阀 ( EBV)、电空控制单元( EPCU)的各模块进行实时诊断 ,确认故障后,自动进入备用模式 ,并将3位故障代码的故障信息显示在制动显示屏(LCDM)上 ;（2）通过制动显示屏(LCDM)上的按键可以手动对电子制动阀( EBV)、电空控制单元 ( EPCU)的各模块进行循环或单独自检 ,若发现故障 ,将 4 位故障代码的故障信息显示在制动显示屏(LCDM)上 ;（3）集成处理器( IPM)及电空控制单元 ( EPCU)均有串口与外接 PC机通讯 ,传送各种信息供更新程 序、检测或检修之用。4 CCB II 制动机主要部件的备份及安全保护(1) 空气备用 (16CP 失效)空气备用模式是指系统采用纯机械控制(DBTV)来代替电子控制(16CP)产生制动缸管控制压力。其控制关系如图 8所示。自动制动阀BPCPERCP制动管压力车辆制动机机车制动缸BCCPDBTV图 8 空气备用模式控制关系(2) ER 备用 ( ERCP 失效)如果 ERCP 失效 ,它的功能由 16CP 和 13CP 实现。由软件控制自行进行切换 ,控制关系如图所示。BPCP6CP/ 13CP制动管压力车辆制动机自动制动阀机车制动缸BCCPDBTV图 ER 备用模式控制关系(3) 单独制动备用 (20CP 失效)20CP 失效时 ,16CP 将响应单独制动手柄的指令 ,控制本机车制动缸的压力。对于重联车 ,将不存在平 均管压力。控制关系如图 所示。单独制动阀机车制动缸BCCP6CP图 单独制动备用模式控制关系(4) 紧急制动的触发方式自动制动阀在紧急位 ;打开车长阀触发紧急制动 ;按下操纵台紧急按钮触发紧急制动 ; IPM 触发紧急制动 ; ATP 触发紧急制动 ;列车断钩分离触发紧急制动 ;机车警惕装置触发紧急制动(5) 总风缸压力低保护当总风缸压力低于 350kPa时 ,IPM 接收到 MREP压力开关信号 ,使机车实施制动 ,不允许机车加载牵引。(6) 停放制动装置保护 在停放制动缸的管路上设置停放制动压力开关。机车起动时当管路风压低于开关设定值时 ,不允许机车加载牵引 ,只有当管路风压高于开关设定值时 ,才允许牵引运行。机车运行过程中 ,停放制动装置处于缓解状态。四、制动机途中故障处理方法（一）故障现象1、列车调速时，自动制动阀瞬间失效2、机车换端操作时，制动阀失效。3、单独制动阀缓解时，制动缸不能完全缓解。4、机车摘解换端操作时，列车管不保压。5、总风缸压力突然变低，打风慢。干燥器排污阀或排气阀排风不止。 L=(l+X*G+a)*1.02（二）原因分析1、列车调速时，自动制动阀瞬间失效制动机瞬间失效故障表现在：自动制动阀手柄在运转位时，自动制动阀排风口有排风声响，将自动制动阀手柄由运转位移置制动区时，自动制动阀排风口出现大排风，均衡风缸的压力减不下来，列车无法调速和制动；或当自动制动阀手把由制动区移置缓解位时，自动制动阀排风口排风不止，列车管不能缓解。原因：空气管路内异物垫附在自动制动阀调整法的供、排气阀阀口。2、机车换端操作时，自动制动阀失效。自动制动阀手把由运转位移动到取把位，速度快，且自动制动阀手定位卡子未完全落槽，即取出手把。3、单独制动阀缓解时，制动缸不能完全缓解。单独制动阀缓解柱塞阻力偏大。原因：单独制动阀缓解柱塞橡胶件磨损或缓解柱塞弹簧偏弱。4、总风缸压力突然变低，打风慢。干燥器排污阀或排气阀排风不止。原因：、排污阀或排气阀被异物垫着。、排污电磁阀失效。5、机车摘解风管换端操作时，列车管不保压。原因：、关闭折角塞门时，折角塞门内橡胶件不平顺，泄露。、摘解风管时不规范，拉坏风管以致接头漏风。（3） 解决办法：故障1 属于JZ-7型制动机的惯性故障。机车检修时：要按规定的作业程序，分解清洗管路滤尘器体和滤网，要按规定的作业程序和压力空气吹扫空气管路。途中故障时，列车停稳后：、打开司机室中间地板，关闭中继阀前折断阀。、来回移动自动制动阀手把，排尽列车管表压；并将自动制动阀手把移回运转位。、打开中继阀前折断阀。自动制动阀即可恢复正常。、制动机性能试验良好后开车。若现象依旧，可再重复-部动作。故障2 属于取把操作上的不规范，致使该端的中继阀没有完全处于自锁位。该故障时有发生。解决办法：将自动制动阀手把重新放回原操纵端，正确取出手把，再回到另一端操纵，该故障即可消失。防止办法：换端操纵作业要规范，自动制动阀手把由运转位移动到取把位，不要迅速一步到位，要适当减压、平稳过渡到取把位，并确认自动制动阀手把定位卡子完全落槽，再取出手把。故障3 属于互换范围或检修工艺落实不到位解决办法：按途中按二十四招处理办法处理，维持回段。、机车不缓解或缓解不完,可将作用阀右侧走扳侧制动缸管松开口, 使机车缓解。、牵引列车运行时应注意操作,此时机车不制动。、单机运行时将作用阀右侧拧松的制动缸管拧紧,缓解时拧松。防止办法：、按互换范围互换单独制动阀。、单独制动阀检修时，更换所有O型橡胶圈和缓解弹簧。故障4 属于干燥器突然失效。对干燥器发生故障后的处理步骤，一定要按照段管细则规定的作业程序执行。、关闭空压机自动打风按键；、关闭4号折断阀；开放3号折断阀；、关闭1号、2号折断阀。故障5 机车摘解风管换端操作时，列车管不保压。、从新开放、关闭折角塞门。、关闭第二折角塞门运行回段后处理。总 结 综上所述，HXD3B 型机车采用CCBII 微机控制制动机作为空气制动系统的核心，是一种满足大功率机车设计要求且符合信息化、标准化的先进制动系统，并充分借鉴了HXD3 型机车制动系统的运用经验，使其具有一定的延续性。该系统在部件布置及控制思路上更加完善、合理，相信该系统在将来的运用中会得到用户的认可。而我所阐述的理论尚有许多不完善之处，希望老师给予指导。参考文献 饶忠. 列车制动M. 北京：中国铁道出版社，2006. 张曙光. HXD3 型电力机车M. 北京：中国铁道出版社，2009. 刘豫湘，高殿柱，毛金虎，等. 防治机车空气管路系统冻结的研究J. 机车电传动，2004您好，为你提供优秀的毕业论文参考资料，请您删除以下内容，O(_)O谢谢！A large group of tea merchants on camels and horses from Northwest Chinas Shaanxi province pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. I can still recall the days when I toured with the troupe in the early 80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldnt help but sing the folk songs, Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. The nomadic people were very excited about our visits, Nasun recalls. We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in. For him, the rewarding part about touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as red burgeon, and todays performers of the troupe still tour the regions villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. Being from the region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged, Nasun, the art troupes president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle.Although I learned the piano since childhood and grew up listening to various kinds of music, to me, the folk music of Inner Mongolia is the root, he says. Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled. The first round of spring auction season in Beijing ended last week, but it failed to create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous representative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China Guardians Hu Yanyan. Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, highly anticipated as a milestone in Chinas cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. Whats lost, I believe, are the interesting setups and pauses that illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly competent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has becomehow shall I put it?a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet