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Because some of the intermediate products in the uranium decay series have very long half-lives (see Table 23.3), this series is particularly suitable for estimating the age of rocks in the earth and of extraterrestrial objects. この英文を和訳してほしいです。
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ウラン自然崩壊過程の中間生成物は、極めて長い半減期を有するので（表23.3)、地球や地球外物質の岩石年代を測定するのに大変有効である。
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ユラニウムの崩壊系列の中間産物には非常に長い半減期（23.3表参照）を持つものがあるので、地球上の岩石や、宇宙の物質の定年に適している。
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関連するQ&A
- 次の英文を和訳してほしいです。
Interestingly, studies based on the uranium series as well as other decay series put the age of the oldest rocks and, therefore, probably the age of Earth itself at A, or B years. この英文を和訳してほしいです。
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Knowing the ratio of argon-40 to potassium-40 in the mineral and the half-life of decay makes it possible to establish the ages of rocks ranging from millions to billions of years old. この英文を和訳してほしいです。
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Assuming that no lead was present when the mineral was formed and that the mineral has not undergone chemical changes that would allow the lead-206 isotope to be separated from the parent uranium-238, it is possible to estimate the age of the rocks from the mass ratio of Pb to U. この英文を和訳してほしいです。
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LATITUDE OF LOVE by Walter Robinson Hiro Yamagata is master of the pop spectacle. In the mid-1990s, the Japanese-born artist, who now lives in Los Angeles, painted a fleet of Mercedes Benz Cabriolet motorcars with a cascade of flowers and butterflies. He has produced paintings for the Olympics and the 100th anniversary of the Eiffel Tower, and made an official portrait of President Ronald Reagan. Hiro has collaborated on projects with Jack Nicklaus and Arnold Schwarzenegger, and designed a set of stamps for Japan. He has produced laser installations in Paris, Los Angeles, St. Louis, Bilbao, Yokohama and Cape Town, some monumental in scale. He has involved himself with worthy charities for people with disabilities, for earthquake victims, and for orphaned children. For the last five years, Hiro has turned his attention to the Bamiyan Valley in Afghanistan, where he proposed a $60-million project for a laser-beam recreation of the destroyed buddha statues there (fueled by solar power). But after several trips to the country, and meetings with government officials, he was forced to abandon the project. In its stead he has been producing a series of somber yet beautiful abstractions, paintings done in black-and-white with rice paper collaged on 6 x 6 ft. canvases, seven of which are now on view in the humble exhibition space of the Tenri Cultural Institute of New York. These works, frankly inspired by Hiro’s visits to Afghanistan, suggest a soaring bird’s-eye view of a dramatic and desolate landscape. The model of consciousness here is a profound one. As we can’t help but draw out in our minds a world of snow and shadow, mountain and crevice, expansive spaces and hollows of human habitation from this fragile surface of thin paper, ink and glue, so do people fill the empty present with all the imagined possibilities of human life. Nowhere is this more true than in the war zone. In these abstractions, in this "Atmosphere," Hiro Yamagata has uncovered something simple but profound, a model of the spark of creativity. Hiro Yamagata, "Atmosphere," Nov. 4-30, 2010, at Tenri Cultural Institute of New York, 43A West 13th Street, New York, N.Y. 10011
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