查询词典 P.I.

I am immensely p leased to have this job.

我非常高兴能有这个工作。

You may slide over the p rob lem now, but I'm quite sure it will crop up again one day.

眼下你可以回避这个问题，不过，我相信这问题有一天还会出现的。

The rat model of schizophrenia was prepared by MAP injection i.p. and the nucleus lesioned by direct current to observe the changes in stereotypic behavior of MAP + lesion rats. Expressions of DRD2 in the prefrontal lobe and temporal lobe and limbic system and brain stem were then detected by in situ hybridization.

经腹腔注射MAP制备精神分裂症模型，采用立体定向-直流电毁损伏隔核，观察大鼠刻板行为变化；并采用原位杂交法观察额叶、颞叶、边缘区及脑干部位的D2受体表达。

N3 _6 '* j+ z$ M$?' U P, q: i Membership in Oak City's Civic Club-a club whose primary objective is to discuss local issues-should continue to be restricted to people who live in Oak City.

x j Oak City的市俱乐部主要目的是讨论本地事务，其成员资格应该继续被限制在居住在Oak City的市。

However, I would like to acknowledge, especially, B. Gentry Lee; the Cosmos production staff, including the senior producers Geoffrey Haines-Stiles and David Kennard and the executive producer Adrian Malone; the artists Jon Lomberg (who played a criticalrole in the original design and organization of the Cosmos visuals), John Allison, AdolfSchaller, Rick Sternbach, Don Davies, Brown, and Anne Norcia; consultants Donald Goldsmith, Owen Gingerich, Paul Fox, and Diane Ackerman; Cameron Beck; the KCET management, particularly Greg Andorfer, who first carried KCET's proposal to us, Chuck Allen, William Lamb, and James Loper; and the underwriters and co-producers of the Cosmos television series, including the Atlantic Richfield Company, the Corporation forPublic Broadcasting, the Arthur Vining Davis Foundations, the Alfred P.

然而，我还要特别感谢 B·金特里·李及《宇宙》电视系列片全体制作人员——包括老一辈制片人杰弗里·海恩斯－斯太尔斯和戴维·凯纳德以及监制人艾德里南·马龙，画家乔恩·龙伯格（他那富有独创性的布景设计与组织能力对《宇宙》的拍摄起了关键性的作用）、约翰·阿利森、阿道夫·沙勒、里克·斯特恩巴赫、唐·戴维斯、布朗和安妮·诺西亚；顾问唐纳德·戈德史密斯、欧文·金杰里奇、保罗·福克斯和黛安妮·阿克曼、卡墨伦·拜克；KCET管理人员，特别是格雷格·安多尔弗（他首先把KCET的建议传达给我们）、丘克·艾伦、威廉·拉姆和詹姆斯·洛珀，《宇宙》电视系列片的担保人和合作制片人，其中包括大西洋里奇菲尔德公司、公共广播公司、阿瑟·维宁·戴维斯基金会、艾尔弗雷德·斯龙基金会、英国广播公司和波利特尔国际组织。

C1 M; V p/ m* h/ \ i don't wanna say goodbey to you.

我不想就此与你告别

Q5 M;~6 P# H : Z# p4 g I like to keep everything tidy.

我喜欢每件东西都保持整洁。

B: I'm not sure, perhaps around 8 p. m.

我还不太确定，大概是晚上8点吧。

I could pick you up at your house at about 2 p. m., if you could.

如果你能去的话，我将在下午两点左右开车去你家接你。

It makes no difference who you are,I'm you angel p % 3B

无论你是怎样都不再重要，我是你的天使 8BE OE

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。