查询词典 as one man

So long as the heart is still beating and the blood hot , one should raise his head to be a real man — an upright man.

只要心还在跳动，血还是热的，就要抬起头来做人，做一个真正的人，一个正直的人。

So long as the heart is still beating and blood hot, one should raise his head to be a real man – an upright man.

只要心还在跳动，血还是热的马厩要抬起头来做人，做一个真正的人，诚实的人。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从"五四"到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族"血性"的传承方面。

I rose as at thy call, but found thee not; To find thee I directed then my walk; And on, methought, alone I pass'd through ways [ 50 ] That brought me on a sudden to the Tree Of interdicted Knowledge: fair it seem'd, Much fairer to my Fancie then by day: And as I wondring lookt, beside it stood One shap'd and wing'd like one of those from Heav'n [ 55 ] By us oft seen; his dewie locks distill'd Ambrosia; on that Tree he also gaz'd; And O fair Plant, said he, with fruit surcharg'd, Deigns none to ease thy load and taste thy sweet, Nor God, nor Man; is Knowledge so despis'd?

它看来很美，比我白天所想的美丽百倍；我惊奇地发现，树旁站着一个带翅膀的，样子很像我们常常看见的天使，他那湿漉漉的鬈发，蒸发着天香。他也在那儿观看那棵树；还说： '啊，真是美丽的树，果实累累，竟没有神或人来品味你的甘美，从而减轻你的重荷？难道知识那么贱？

One old man, who has been a close observer of Nature, and seems as thoroughly wise in regard to all her operations as if she had been put upon the stocks when he was a boy, and he had helped to lay her keel —— who has come to his growth, and can hardly acquire more of natural lore if he should live to the age of Methuselah ——told me —— and I was surprised to hear him express wonder at any of Nature's operations, for I thought that there were no secrets between them —— that one spring day he took his gun and boat, and thought that he would have a little sport with the ducks.

有一位老年人，是大自然的精密的观察家，关于大自然的一切变幻，似乎他有充分的智慧，好像他还只是一个孩子的时候，大自然给放在造船台上，而他也帮助过安置她的龙骨似的，——他现在已经成长了，即使他再活下去，活到玛土撒拉那样的年纪，也不会增加多少大自然的知识了。他告诉我，有一个春季的日子里，他持枪坐上了船，想跟那些野鸭进行竞技，——听到他居然也对大自然的任何变幻表示惊奇，我感到诧异，因为我想他跟大自然之间一定不会有任何秘密了。

But, says the old Man, I have one Piece of News to tell you, which perhaps may not be so acceptable to you as the rest, and that is, That believing you were lost, and all the World believing so also, your Partner and Trustees did offer to accompt to me in your Name, for six or eight of the first Years of Profits, which I receiv'd; but there being at that time, says he, great Disbursements for encreasing the Works, building an Ingenio, and buying Slaves, it did not amount to near so much as afterwards it produced: However, says she old Man, I shall give you a true Account of what I have received in all, and how I have disposed of it.

我和这位老朋友又连续商谈了好几天，他就把我种植园最初六年的细账交给了我，上面有我的合股人和两位代理人的签字。当时交出来的都是现货，像成捆的烟叶，成箱的糖；此外，还有糖厂的一些副产品，像糖蜜酒和糖蜜等东西。从账目中我可以看到，收入每年都有增加，但正如上面所提到的，由于开头几年开支较大，实际收入不大。尽管如此，老人家还是告诉我，他欠我四百七十块葡萄牙金币，另外还有六十箱糖和十五大捆烟叶。那些货物在船只开往里斯本的航行中因失事而全部损失了。

As the time passed, the matryoshka has its own style, which the different size has been wrapping one by one, let the man think that is interesting. From the 14th century until now, originated at the earliest stage from south of Moscow 70 kilometer Russian old town Zagorsk's matryoshka, for generations artisan's exquisite carving and the pictorial skill as well as Russia national culture's accumulation, has received various countries' child and the friend's affection.

随着时间的推移，套娃形成了特有的风格，大小不一的娃娃一个套着一个，让人更觉有趣。14世纪至今，最早起源于莫斯科以南70公里的俄国古镇Zagorsk的套娃，由于世世代代工匠精湛的雕刻和绘画技巧以及俄罗斯民族文化的积淀，受到了各国小朋友和大朋友的喜爱。

Sometimes I just feel like, quitting I still might Why do I put upthis fight, why do I still write Sometimes it's hard enough just dealin wit real life Sometimes I wanna jump on stage and just kill mics And show these people what my level of skills like But I'm still white, sometimes I just hate life Something ain't right, hit the brake lights Case of the stage fright, drawin a blank light Da-duh-duh-da-da, it ain't my fault Great big eyeballs, my insides crawl And I clam up, I just slam shut I just can't do it, my whole manhoods Just been stripped, I have just been vicked So i must then get, off this bus then split Man fuck this shit yo, I'm going the fuck home World on my shoulders as I run back to this 8 mile road I'm a man, I'ma make a new plan Time for me to just stand up, and travel new land Time for me to just take matters into my own hands Once I'm over these tracks man I'ma never look back (8 mile road) And I'm gone, I know right where I'm going Sorry mama I'm grown, I must travel alone Ain't gunna follow these footsteps, I'm making my own Only way I know how to escape from this 8 mile road I'm walking these train tracks, tryin to regain back the spirit I had fore I go back to the same crap To the same plant, in the same pants Tryin to chase rap, gotta move ASAP And get a new plan, mommas got a new mam Poor little baby sister, she don't understand Sits in front of the T.V, buries her nose in the pad And just colors until the crayon gets dull in her hand While she colors her big brother, her mother and dad Ain't no tellin what really goes on in her little head Wish I could be the daddy that neither one of us had But I keep runnin from something I never wanted so bad!

有时候，我不安，因为我不是尚未引爆这就像我长大的，但我是不会长大我两个坚果尚未不要有代表我的一步，没有获得足够的肽的压力很大的人，我只是设法做最新最好的和我尝试，单独坐在我哭泣哟我不会告诉任何谎言，而不是目前的推移我不祈求天空，请我开始你的上帝请不要让我bitchin holdin没有固定工作哟我希望你能听到我家无论身处何地哟我tellin您dawg我白琳这拖车明天告诉我的妈妈我爱她，亲吻婴儿的妹妹再见说你需要我whenevr婴儿我永远远但是，你我有爱摆脱的唯一途径，我知道和我回到你的第二个，我的打击我拥有的一切，我会成为我自己去工作，我去，回到这个八英里道我一个人，我作出了一项新的计划时间对我来说，只是站起来，新的土地和旅行时间对我来说，只是考虑到我的问题自己手中一旦我对这些歌曲的人我从来没有回头看（ 8英里路）和我走了，我知道在那里我会对不起妈妈我长大，我必须单独旅行不是贡纳按照下列脚步，我让我自己唯一的办法，我知道如何摆脱这个8英里道你得活到觉得，你没有你不会得到它或看到什么大问题是，为什么这不是skillest 这是walkin寄宿线底特律城市的界限这是不同的，这在一定意义，证书的真实性，您甚至从来没有见过但everthing对我来说，这是我的信誉你从来没有见过或听说闻见了一个真正的三菱商事谁是难以置信的相同pedastal为我可是我仍然未签名的，有一个粗略的时间坐在门廊智慧我的所有朋友和踢哑巴儿歌去工作和服务三菱商事的在lunchline 但是在关键时刻，我punchlines哪里去谁，我必须表明，我国流动到胸部如果要我去，我必须知道谁还是我刚才在另一个蟹斗因为我不是没有运气havin与这个小兔子，以便他妈的它也许我需要一个新的出路，我startin怀疑狗屎我有点怀疑feelin谁余空闲时我看起来像一个流浪汉，你我的衣服是不是狗屎在救世军设法挽救一个装备和它的冷设法前往这道另外我觉得对滞留在该battlin模式我的防守是如此，并有一件事我不想遗憾的是没有人，这个城市是没有乐趣没有太阳，真是太黑暗有时候，我只是觉得我被分开从每一个我的四肢，每一个我的一个朋友这足以使我只是想跳出我的皮肤有时我觉得自己像一个机器人，有时我只是不知道是我的乐队我的打击，我的头是一个炉灶顶部我只是爆炸，水壶会这么热有时候，我的嘴刚刚超载的屁股，我没有但是，我学到了，现在是时候让我掉头你只需要一个时间，我引火烧身不是不属于任何下一次我遇到一个新的女孩我可以不再扮演笨或未成熟我每一个组成部分，我需要的是勇气就像我已经有了节拍，所有我需要的话得到的冲动，突然它的进口激增突然爆发的一个新的能源已经发生时间显示这些自由世界领导人在三个第三我不再害怕现在，我作为一个自由鸟然后我又和越过中间遏制击中动词和所有你看到的是一个模糊的8英里道我一个人，我作出了一项新的计划时间对我来说，只是站起来，新的土地和旅行时间对我来说，只是考虑到我的问题自己手中一旦我对这些歌曲的人我从来没有回头看（ 8英里路）和我走了，我知道在那里我会对不起妈妈我长大，我必须单独旅行不是贡纳按照下列脚步，我让我自己唯一的办法，我知道如何摆脱这个八英里道

I endeavour'd to clear up this Fraud, to my Man Friday, and told him, that the Pretence of their old Men going up the Mountains, to say O to their God Benamuckee, was a Cheat, and their bringing Word from thence what he said, was much more so; that if they met with any Answer, or spake with any one there, it must be with an evil Spirit: And then I entred into a long Discourse with him about the Devil, the Original of him, his Rebellion against God, his Enmity to Man, the Reason of it, his setting himself up in the dark Parts of the World to be Worship'd instead of God, and as God; and the many Stratagems he made use of to delude Mankind to his Ruine; how he had a secret access to our Passions, and to our Affections, to adapt his Snares so to our Inclinations, as to cause us even to be our own Tempters, and to run upon our Destruction by our own Choice.

从这些事情入手，我逐渐教导他，使他认识真正的神是上帝。我指着天空对他说，万物的伟大创造者就住在天上，并告诉他，上帝用神力和神意创造了世界，治理着世界。我还告诉他，上帝是万能的，他能为我们做任何事情，他能把一切都赐予我们，也能把一切从我们手里夺走。就这样，我逐渐使他睁开了眼睛。他专心致志地听我讲，并且很乐意接受我向他灌输的观念：基督是被派来替我们赎罪的。他也乐意学着向上帝祈祷，并知道，上帝在天上能听到他的祈祷。有一天，他对我说，上帝能从比太阳更远的地方听到我们的话，他必然是比贝纳木基更伟大的神。因为贝纳木基住的地方不算太远，可他却听不到他们的话，除非他们到他住的那座山里去向他谈话。我问他：他可曾去过那儿与他谈过话？他说：没有，青年人从来不去，只有那些被称为奥乌卡儿的老人才去。经过他解释，我才知道，所谓奥乌卡儿，就是他们部族的祭司或僧侣。据他说，他们到那儿去说&哦&，（他说，这是他们的祈祷。）然后就回来，把贝纳木基的话告诉他们。从星期五的话里，我可以推断，即使是世界上最盲目无知的邪教徒中，也存在着祭司制度；同时，我也发现，把宗教神秘化，从而使人们能敬仰神职人员，这种做法不仅存在于罗马天主教，也存在于世界上一切宗教，甚至也存在于最残忍、最野蛮的野人中间。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从&五四&到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族&血性&的传承方面。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。