查询词典 big-boned

It is such a big big concession that it should have been the U.S. government that made these exclamations.

其让步幅度之大，真正会对此发出惊呼的，更有可能是美国政府。

The IMF plans to use the conference to lobby nations for a big dose of Keynesian pump priming -- running big budget deficits to cut taxes and boost spending.

IMF计划利用这次会议来游说多个国家采用凯恩斯学派倡导的经济刺激开支措施－－不惜赤字扩大来加大政府开支、削减税收。

Mother Slouse, the wife, was sort of froze behind one chance, so I could tell she would creech murder given one chance, so I was round that counter very skorry and had a hold of her, and a horrorshow big lump she was too, all nuking of scent and with flipflop big bobbing groodies on her.

斯洛士之妻似乎在柜台后呆住了，可以想见，她随时会喊杀人啦，所以我飞快地跑到柜台后抓住她，她可真是一个大块头，浑身散发着香气，大奶子上下跳动着。

We have big footballers and big players here.

我们阵中有很多优秀的球员。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

This article through to the Chinese characteristic socialist road development model\'s three big essential feature\'s analysis reorganizations, tries hard through to three big essential feature inquisitions, promulgates and annotates the Chinese characteristic socialism development model.

本文通过对中国特色社会主义道路发展模式的三大基本特征的分析整理，力图通过对三大基本特征的探究，以揭示和诠释中国特色社会主义发展模式。来源：AadBC论文网www.abclunwen.com

This experiment selects material E14d SD the big mouse SVZ nerve stemcell as well as P7d the SD big mouse internal ear stem cell, does nothave the blood serum complete culture medium raise through D-MEM/F12to cause its massive multiplication, a part carries on Nestin, NF,CNP, GFAP, MAP-2, Myosin, the P27 immunity group, proved the raise thenerve stem cell has many to the split up ON potential; Another partdyes EGFP after the extension to carry on the guinea pig internal earto transplant, after two weeks fills the class to take the cochleafixed slice observation, discovered has the stem cell ball group inthe internal ear survival, proved the nerve stem cellheterotransplantation the possibility and for transplants the stemcell migration differentiation repair hair cell damage the thoroughresearch accumulation experiment experience.

本实验取材E14d SD大鼠SVZ神经干细胞以及P7d SD大鼠内耳干细胞，通过D-MEM/F12无血清完全培养基培养使其大量增殖，一部分进行Nestin、NF、CNP、GFAP、MAP-2、Myosin、P27免疫组化，证明培养的神经干细胞具有多向分化的潜能；另一部分通过转染EGFP后进行豚鼠内耳移植，两周后灌流取耳蜗固定切片观察，发现有干细胞球团在内耳存活，证明神经干细胞异体移植的可能性并为移植干细胞迁移分化修复毛细胞损伤的深入研究积累实验经验。

Even if they are too big to fail, they are not too big to be reorganised.

即使这些机构庞大得不能破产，它们也不至于大到无法重组。

But Dillon's smalltown demographics are so important to the series'"real" feel, Friday Night Lights wouldn't have any chops if it were plopped into any of the big state's big cities.

背负着全镇的期望和荣誉，Dillon镇的明星高中球队开始了新赛季的征途。与此同时，该队的新任主教练Eric Taylor和队中的明星四分卫都感到了前所未有的压力。

Lots of bass fishing is done with big bait because bass are fierce fighting fish and big bait just seems the way to go.

大量捕捞低音大做诱饵是因为低音大激战鱼的诱饵似乎路要走。

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。