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But circumstances inside the Wang Jia Wei film displays one kind sometimes all in linearity time going over and future hanging to purchase state , that often is able to point out solar terms in event beginning in image "hooligan formal biography " in famous show opening,"Chongqing tells the sum the "east evil west is poisonous to the date relapse in forest "" despite of he uses detail to go to emphasize the time concept unceasingly,these stories that he gives an account of and not special time background, they may may happen within this city corner every day, They whip the specimen being away from out in life only from the city But that you only are capable to do some detail discovering two stories is each other alternative in fact , Wang Jia Wei uses this to play hide-and-seek coming to bring about one kind of synchronic sex effect dyadic game if you had looked at "Chongqing forest " carefully,chance and nothing order having shown the present age city life now that the linearity time concept having dispeled tradition narrating is protruding, the intention having formed one kind of dyadic spirit of existentialism thereby accumulates, Wang Jia Wei applying on space is more than time benefits by associating together, If you have looked at Wang Jia Wei's work but have moved, that is by no means since are what the overall world impression initiates, but being resonance because of detail, is fragmentary as well as atmosphere called up by the subjective soliloquy that the garrulity spends can let you produce mental conception makes

王家卫电影里的场景往往都在线性时间的过去和未来中呈现出一种悬置状态，尽管他不断地用细节去强调时间概念，像《阿飞正传》里那个著名的开场、《重庆森林》里对日期的反复诉说和《东邪西毒》里经常会在事件开头指出节气，但他讲述的这些故事并没有特别的时间背景，它们可能每天都会发生在这个城市的角落里，它们只是从城市生活中抽离出来的标本。如果你仔细看过《重庆森林》，你就会发现两个故事的某些细节其实是互相交错的，王家卫用这种捉迷藏式的游戏来造成一种共时性的效果，既消解了传统叙事的线性时间观念又凸现了当代都市生活的偶然和无序，从而形成了一种存在主义式的精神意蕴，而王家卫在空间上的运用更是与其时间相得益彰，如果你看了王家卫的作品而感动的话，那绝不是由于整体世界的印象所引发的，而是因为细节、片断以及絮语化的主观独白所唤起的气氛能让你产生心领神会的共鸣使然

In East Africa, forms of cooperation and territorial organization vary with a society's core institutions, with groups such as the Nuer and the Somali characterized by segmentary lineage organization, Oromo by a generation-grading system, and the Maasai and other Nilotic societies by an age-set system.

但是牧民由于失去草场最易受威胁，这反过来刺激了冲突的增加。他认为，现代性的概念在非洲语境中过于频繁使用，很少作为生产力增长、经济发展的一种科学观念，更多受到非洲干旱土地上的牧民的怀疑。因此，牧民不应仅看作为生计方式特征的社会，而且是一个为保留土地基地而战的乡村阶层。

It is concluded that the deep fracture was caused by epigenetic reformation by release of high geostatic stresses. The formation age of the deep fracture is when the river changes from wide valley to canyon by stream trenching.

在此基础上提出，库首右岸深部拉裂缝是岸坡快速卸荷条件下浅表生改造的产物，其形成时期相当于河谷由宽谷深切为峡谷这一转换时期。

Yo age woman is in commonly every months of oviposit, but by the left and right sides two side are ovarian by turns eduction, or by a side ovarian and successive eduction.

育龄妇女一般在每月排卵一个，可由左右两侧卵巢轮流排出，或由一侧卵巢连续排出。

As assessed by rheometry, the rigidity of collagen gel, ranged from 10 to 120 Pascal, was elevated by age effects and lowered by sonication.

以流变仪来测定胶原蛋白凝胶的黏弹系数，其黏弹系数范围从10到120 Pascal，其系数随老鼠年龄增加而上升，随超音波震荡时间增加而减少。

In this paper, temperature series for last 500-years in the east of northern Xinjiang is reconstruct ed by means of corelation analysis between tree-ring chronologies and temperature, and tested by his torical glacial data and so on, and the stages of little Ice Age are determined by using the series.

本文通过对年轮年表与温度的相关分析，建立了近500年来北疆东部冷暖变化序列，并利用历史记载、冰川进退等资料进行了验证，且运用冷暖序例进行了小冰期的年代测定并较详细地研究了气温与降水分布特征。

I could always tell if visitors had called in my absence, either by the bended twigs or grass, or the print of their shoes, and generally of what sex or age or quality they were by some slight trace left, as a flower dropped, or a bunch of grass plucked and thrown away, even as far off as the railroad, half a mile distant, or by the lingering odor of a cigar or pipe.

在我出门时有没有客人来过，我总能知道，不是树枝或青草弯倒，便是有了鞋印，一般说，从他们留下的微小痕迹里我还可以猜出他们的年龄、性别和性格；有的掉下了花朵，有的抓来一把草，又扔掉，甚至还有一直带到半英里外的铁路边才扔下的呢；有时，雪茄烟或烟斗味道还残留不散。

I could always tell if visitors had called in my absence, either by the bended twigs or grass, or the print of their shoes, and generally of what sex or age or quality they were by some slight trace left, as a flower dropped, or a bunch of grass plucked and thrown away, even as far off as the railroad, half a mile distant, or by the lingering odor of a cigar or pipe.

我总是能够知道我不在家的时候，是不是有人来拜访过，因为我会看到一些弯曲的小枝条或者一些草，或者是一些鞋印。我也能大体判断他们的年龄以及性别，以及他们是什么样的人，从他们的留下的些许痕迹我都可以进行猜测。一朵花被丢下，一束草被拔起，然后丢下，有时候甚至沿着铁轨走出半英里远才扔下。萦绕在周围的香烟的味道。

Any one who had chanced to pass through the little town of Vernon at this epoch, who had happened to walk across that fine monumental bridge, which will soon be succeeded, let us hope, by some hideous iron cable bridge, might have observed, had he dropped his eyes over the parapet, a man about fifty years of age wearing a leather cap, trousers a waistcoat of coarse gray cloth, to which something yellow which had been a red ribbon, was sewn, shod with wooden sabots, tanned by the sun, his face nearly black his hair nearly white, a large scar on his forehead which ran down upon his cheek, bowed, bent, prematurely aged, who walked nearly every day, hoe sickle in hand, in one of those compartments surrounded by walls which abut on the bridge, border the left bank of the Seine like a chain of terraces, charming enclosures full of flowers of which one could say, were they dddtt.com larger:"these are gardens," were they a little smaller:"these are bouquets."

当年如果8 tt t8.com 有人经过 ssbbww 小城韦尔农，走到那座宏大壮丽的石桥上去游玩（那座桥也许 ssbbww.Com 不久将被一道丑恶不堪的铁索桥所替代），立在桥栏边往下望去，便会看到一个五十左右的男子，戴一顶鸭舌帽，穿一身粗呢褂裤，衣衿上缝着一条泛黄的红丝带，脚上穿的是木鞋，他皮肤焦黄，脸黝黑，头发花白，一条又阔又长的刀痕从额头直到脸颊，弯腰，曲背，未老先衰，几乎整天拿着一把平头铲和一把修枝刀在一个小院里踱来踱去。在塞纳河左岸桥头一带，全是那种院子，每一个都有墙隔开，顺着河边排列，象一长条土台，全都种满花木，非常悦目，如果8 tt t8.com 园子再大一点，就可以 www.ssbbww.com 叫做花园，再小一点，那就是 www.8ttt8.com 花畦了。

Any one who had chanced to pass through the little town of Vernon at this epoch, and who had happened to walk across that fine monumental bridge, which will soon be succeeded, let us hope, by some hideous iron cable bridge, might have observed, had he dropped his eyes over the parapet, a man about fifty years of age wearing a leather cap, and trousers and a waistcoat of coarse gray cloth, to which something yellow which had been a red ribbon, was sewn, shod with wooden sabots, tanned by the sun, his face nearly black and his hair nearly white, a large scar on his forehead which ran down upon his cheek, bowed, bent, prematurely aged, who walked nearly every day, hoe and sickle in hand, in one of those compartments surrounded by walls which abut on the bridge, and border the left bank of the Seine like a chain of terraces, charming enclosures full of flowers of which one could say, were they much larger:"these are gardens," and were they a little smaller:"these are bouquets."

当年如果有人经过小城韦尔农，走到那座宏大壮丽的石桥上去游玩（那座桥也许不久将被一道丑恶不堪的铁索桥所替代），立在桥栏边往下望去，便会看到一个五十左右的男子，戴一顶鸭舌帽，穿一身粗呢褂裤，衣衿上缝着一条泛黄的红丝带，脚上穿的是木鞋，他皮肤焦黄，脸黝黑，头发花白，一条又阔又长的刀痕从额头直到脸颊，弯腰，曲背，未老先衰，几乎整天拿着一把平头铲和一把修枝刀在一个小院里踱来踱去。在塞纳河左岸桥头一带，全是那种院子，每一个都有墙隔开，顺着河边排列，象一长条土台，全都种满花木，非常悦目，如果园子再大一点，就可以叫做花园，再小一点，那就是花畦了。

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。