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Collazo is a classy boxer who is well able to fire excellent combinations and function well as a clever counter puncher, but come Saturday I believe those assets will not be sufficient to save Luis from the buzz saw pressure that Hatton will put on him. Frankly, I just don't think that he has the kind of firepower that will disturb Hatton more than a tiny tad. Let us not for one moment deny Collazo his skills, but that boxing ability is never what this fight is going to be about; the real question here is ''who is the tougher man?

可那佐，是个优秀的拳手，他能引爆炸药，同时也能想像聪明的数字穿孔者进行精确计算，，但是有些周6 ，我相信这些能力不足以把刘易斯从哈顿施加给他的压力的难堪中解救出来，坦白的说，我不认为他有能力给予哈顿比小孩还强得打击能力，如果我不考虑考纳佐的地技术，而是这场比赛的能力，真正的问题是谁是最强悍的人？

Moonlight shadow -- Mike Oldfield The last that ever she saw him Carried away by a moonlight shadow He passed on worried and warning Carried away by a moonlight shadow Lost in a river last Saturday night Far away on the other side He was caught in the middle of a desperate fight And she couldn't find how to push through The trees that whisper in the evening Carried away by a moonlight shadow Sing a song of sorrow and grieving Carried away by a moonlight shadow All she saw was a silhouette of a gun Far away on the other side He was shot six times by a man on the run And she couldn't find how to push through I stay, I pray See you in heaven far away I stay, I pray See you in heaven one day Four a.m. in the morning Carried away by a moonlight shadow. I watched your vision forming Carried away by a moonlight shadow Star was light in a silvery night Far away on the Will you come to talk to me this night But she couldn't find how to push through Caught in the middle of a hundred and five The night was heavy but the air was alive.

But she couldn't find how to push through 月光的影子麦克欧菲尔德她最后一次见到他因为月光的影子而失去意识他发出了警讯因为月光的影子而失去意识上个周末夜在河里迷失在远远的那一边他被困在一场亡命的打斗中而她不晓得该如何是好树林在黄昏时分低语因为月光的影子而失去意识唱一首关於忧愁与悔恨的歌因为月光的影子而失去意识她看到的是一把枪的轮廓在远远的那一边他被一个奔跑的男子连开六枪而她不晓得该怎麼办才好我停留，我祈求在遥远的天堂相见我停留，我祈求总有一天在天堂凌晨四点钟因为月光的影子而失去意识我注视著你的幻影形成因为月光的影子而失去意识银色的夜里星光熠熠在远远的那一边今晚你会来找我吗但她不晓得该怎麼办才好夜色沉重但空中充满生气但她不晓得该怎麼办才好

CANON VI.-If any one saith, that it is not in man's power to make his ways evil, but that the works that are evil God worketh as well as those that are good, not permissively only, but properly, and of Himself, in such wise that the treason of Judas is no less His own proper work than the vocation of Paul; let him be anathema.

典章六 谁若说，人走自己的坏路，，这不是出于人之权力，而是要使天主，把这恶事，变成善事；且天主不仅容许人做恶事，而且，祂也自己且藉自己做成恶事，竟致茹答斯之叛逆，和保禄之蒙召，同样是天主自己的工程，那么，这种人，应予以绝罚。

After some passionate Expressions of the old Acquaintance, I enquir'd, you may be sure, after my Plantation and my Partner: The old Man told me he had not been in the Brasils for about nine Years; but that he could assure me, that when he came away, my Partner was living, but the Trustees, who I had join'd with him to take Cognizance of my Part, were both dead; that however, he believ'd that I would have a very good Account of the Improvement of the Plantation; for that upon the general Belief of my being cast away, and drown'd, my Trustees had given in the Account of the Produce of my Part of the Plantation, to the Procurator Fiscal, who had appropriated it, in Case I never came to claim it; one Third to the King, and two Thirds to the Monastery of St.

老友重逢，交谈之际，言词热切。不用说，我接着就询问了我的种植园和合股人的情况。老人家告诉我，他已有九年没有去巴西了。但他可以向我保证，当他离开那里的时候，我的合股人还在人世。我曾委托他和另外两位代理人照管我的产业。尽管那两位代理人已经过世，但他相信，关于我那种植园的收益，我还是不难收到一份种植园这几十年来发展的详细报告。

He held the register open while he counted her change I was next in line which meant I was invisible From where I stood I could see that the till was full He didn't look the type to play superhero So I stepped forth and paid for my cigarettes Crept out the stores front door to chase a little breath Fangles in my head, shake the song off Another manic Monday night, its gonna be a long walk A car pulled up, a fixed up cutlass A woman and a child climbed out and left it running They went inside of the deli, placed an order With the extra dollar fifty bottled water cuz the daughters picky When they came out mommy gave me a glance That said man can love an angel but he's got to take the chance Already knew the deal, I lit one up and walk So they got back in the oldsmobile, belted up, and took off Thug love on the corner by the walgreens Lookin at me like I'm just another square saltine As I get closer I notice that they showin each other sketches Out of their notebooks, reminded me of my old roots I walk pass with a nod and a reminisce Swear to god hip hop and comic books was my genesis Respect the life and the fashions of the children It's the only culture I've got, exactly what we've been buildin All of a sudden I'm in front of some man No he's a youngin but he's got a gun in his hand He looks fifteen, he looks frantic, no he looks afraid Immediately apprehensive til I heard him say "Do you want this It's not mine I promise I found it on my block in between a couple garages Didn't wanna leave it for a child to stumble over I don't even know how to hold it."

当他计数了她的变动时，他拿着记数器开放 I是意味的下一个我是无形的我站立我的From可能看直到是充分的 He没有看类型演奏超级英雄 So我跨步并且支付了我的香烟 Crept追逐一点呼吸的商店前门在我的头的Fangles，摆脱歌曲 Another狂躁星期一晚上，它去是长的步行 A汽车开了过来，被固定短箭 A妇女和孩子爬和留下它跑 They去在熟食店里面，安置命令 With额外美元五十装瓶了水cuz女儿好挑剔的他们来妈妈的When给了我扫视 That说人能爱天使，但是他一定采取机会 Already知道成交，我打开了一和步行他们在oldsmobile拿回，围绕的So，和离开了在角落的Thug爱由walgreens 在我的Lookin，如我是另一块方形的撒盐饼干 As我得到更加紧密I通知那他们showin剪影在他们的笔记本外面的，被提醒我我的老根 I与点头和追忆的步行通行证对神Hip Hop和漫画书的Swear是我的创世纪 Respect生活和孩子的时尚 It是我有的唯一的文化，正确地什么我们是buildin 突然我是在某些人前面 No他是youngin，但是他有在他的手的一杆枪 He看十五，他看起来狂热，没有他看起来害怕惶惑的Immediately，我听见他说"您想要它不是我的我许诺的此 I发现了它在我的在夫妇车库之间的块 Did不想要留下它孩子的能绊倒 I甚而不会举行它。"

In The Big Typescript, this dichotomy is detailed in his analysis of the temporal, spatial and genitive expressions, resulting in the distinction between the unspeakable"memory-time"(Ged〓chtniszeit) and the speakable"physical time", and that between the unspeakable"visual space" and the speakable"Euclidean space", etc;(4) From another perspective, the destruction of the conception of the "phenomenological language"could also be seen as the logical consequence of the radicalization of the one and the same conception, since this destruction does reinforce rather than weaken RLF's original intention of distinguishing the physical system from what are given in phenomena by demonstrating the incompatibility between this intention itself and the insistence on the speakability of the phenomena, which gives birth to the illusion of the"phenomenological language";(5) Nevertheless, what the radical distinction between the sense-data and the physical language (as the unique possible language) implies, according to Wittgenstein, is not that the latter has nothing to do with the former, but that the association between the two does not follow the"original sample-copy"pattern but the"screen-presenting-filmoperation"pattern, which indicates that phenomenon itself can be aroused by or included in-rather than to be described by-the physical language/system;(6) Thus Wittgenstein leads us to depart from the obsolete ambition of representing the immediately given data perfectly for a new destination where a comprehensive "perspicuity" of the"grammar"should be required and where his later philosophy is coming into being.

在《大打字稿》中，这一二分法在他对于时间表达式、空间表达式与人称表达式的分析中得到了细化，并导致了他对于"记忆时间"与"物理时间"的区分，以及对于"视觉空间"与"欧几里得空间"的区分，等等；(4)从另一个视角来看，维氏对于"现象学语言"观念的拆解也可以被视为同一观念在被加以彻底化后所导出的必然后果，因为这一拆解工作实际上乃是加强了，而不是削弱了他在写作《略论逻辑形式》时就已怀有的信念，即：必须将物理系统严格地区分于在现象中被直接给予的东西。换言之，维氏在这一拆解工作中所做的，只不过就是暴露了这一信念本身与对于现象之"可说性"的坚执之间的固有矛盾罢了——而所谓"现象学语言"的幻相，亦正是导源于上述坚执；(5)然而，根据维氏的本意，感觉予料与物理语言之间巨大的逻辑差异却并不意味着后者与前者毫无关联，而只是意味着两者之间的关系并不遵循着所谓的"原本—摹本"模式，而遵循的乃是"屏幕呈现—胶片运作"模式。

Now that we have the mode set up, we need to create the drawing surfaces. To do good animation, we need to double-buffer, so we're going to set up the flags so that it creates one back buffer (you can make as many as you have VRAM for, but two should be sufficient unless you're doing stereo imaging... but that's a whole other topic). This call is similar to may DirectX calls that have lots of fields.

现在我们已经进行完了模式设置，我们还需要双缓冲来显示效果良好的动画，可以通过设置一些标志来创建一个后缓冲(你可以在你的显示内存足够情况下创建任意多个，但是一般二个应该足够了，除非你要做立体图形实时绘演，可那完全是另一个问题了)。

After I had solac'd my Mind with the comfortable Part of my Condition, I began to look round me to see what kind of Place I was in, and what was next to be done, and I soon found my Comforts abate, and that in a word I had a dreadful Deliverance: For I was wet, had no Clothes to shift me, nor any thing either to eat or drink to comfort me, neither did I see any Prospect before me, but that of perishing with Hunger, or being devour'd by wild Beasts; and that which was particularly afflicting to me, was, that I had no Weapon either to hunt and kill any Creature for my Sustenance, or to defend my self against any other Creature that might desire to kill me for theirs: In a Word, I had nothing about me but a Knife, a Tobacco-pipe, and a little Tobacco in a Box, this was all my Provision, and this threw me into terrible Agonies of Mind, that for a while I run about like a Mad-man; Night coming upon me, I began with a heavy Heart to consider what would be my Lot if there were any ravenous Beasts in that Country, seeing at Night they always come abroad for their Prey.

我自我安慰了一番，庆幸自己死而复生。然后，我开始环顾四周，看看到底我到了什么地方，想想下一步该怎么办。但不看则已，这一看使我的情绪立即低落下来。我虽获救，却又陷入了另一种绝境。我浑身湿透，却没有衣服可更换；我又饥又渴，却没有任何东西可充饥解渴。我看不到有任何出路，除了饿死，就是给野兽吃掉。我身上除了一把小刀、一个烟斗和一小匣烟叶，别无他物。这使我忧心如焚，有好一阵子，我在岸上狂乱地跑来跑去，像疯子一样。夜色降临，我想到野兽多半在夜间出来觅食，更是愁思满腔。我想，若这儿真有猛兽出没，我的命运将会如何呢？

After I had solac'd my Mind with the comfortable Part of my Condition, I began to look round me to see what kind of Place I was in, and what was next to be done, and I soon found my Comforts abate, and that in a word I had a dreadful Deliverance: For I was wet, had no Clothes to shift me, nor any thing either to eat or drink to comfort me, neither did I see any Prospect before me, but that of perishing with Hunger, or being devour'd by wild Beasts; and that which was particularly afflicting to me, was, that I had no Weapon either to hunt and kill any Creature for my Sustenance, or to defend my self against any other Creature that might desire to kill me for theirs: In a Word, I had nothing about me but a Knife, a Tobacco-pipe, and a little Tobacco in a Box, this was all my Provision, and this threw me into terrible Agonies of Mind, that for a while I run about like a Mad-man; Night coming upon me, I began with a heavy Heart to consider what would be my Lot if there were any ravenous Beasts in that Country, seeing at Night they always come abroad for their Prey.

但不看则已，这一看使我的情绪立即低落下来。我虽获救，却又陷入了另一种绝境。我浑身湿透，却没有衣服可更换；我又饥又渴，却没有任何东西可充饥解渴。我看不到有任何出路，除了饿死，就是给野兽吃掉。我身上除了一把小刀、一个烟斗和一小匣烟叶，别无他物。这使我忧心如焚，有好一阵子，我在岸上狂乱地跑来跑去，像疯子一样。夜色降临，我想到野兽多半在夜间出来觅食，更是愁思满腔。我想，若这儿真有猛兽出没，我的命运将会如何呢？

Bizarre love triangle Every time I think of you I get a shot right thru into a bolt of blue It's no problem of mine but it's a problem I find Living a life that I can't leave behind There's no sense in telling me The wisdom of a fool won't set you free But that's the way that it goes And it's what nobody knows And everyday my confusion grows *Everytime I see you falling I get down on my knees and pray Waiting for that final moment You say the words that I can't say I feel fine and I feel good I feel like I never should Whenever I get this way I just don't know what to say Why can't we be ourselves like we were yesterday?

纠缠三角恋每次想到你莫名的忧伤随即击中我心房这本不是大问题，问题的关键是我生活在对过去的回忆里不必告诉我只有傻瓜才无法解脱也许世事总是这样无人能读懂生活我的迷惘却与日剧增每次看你崩溃我都虔诚的祈祷我一直在等待那一刻你将说出我说不出口的话我感觉很好感觉还不错好像我不该这样但到了这种地步我不知道该说什么为什么我们不能象从前我不确定这意味着什么我亦不认为现在的你是你本来的样子

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。