查询词典 dare not

I to you am sincere, the by no accident desire, I also knew, perhaps you do not dare facing me to your vindicating, but how can reject me to your this sincerity?

我对你是真诚的，决非偶然之欲，我也知道，你也许不敢面对我对你的表白，但怎能拒绝我对你的这份真诚？

"How dare you," retorted the woman,"I'm not one of your cheap pickups!"

&你怎敢如此说，&妇女很生气，&我可不是你随便找的那种女人！&

Does not even dare as television producer's mother to believe that the loudspeaker spreads is my sound. in October, 2007 I took scene translator to participate in Sino-US Psychology Analyst association president to visit China the academic exchanges report.

作为电视制片人的妈妈甚至不敢相信扩音器传出的就是我的声音。2007年10月我作为现场翻译参加了中美心理分析师协会主席访华学术交流报告。

Doing the Month in July, still can not quite dare to blowing air-conditioning, electric fan, I would like to wear the cotton睡裙, so that can cool a little

七月份做月子，还是不太敢吹空调，电扇，所以想穿棉制的睡裙，这样还能凉快一点

That's not meant to denigrate the matchup; it's a solid piece of matchmaking, a worthy purchase by Showtime, and a night the hardcore boxing fans wouldn't dare miss.

并不是要去贬低这场赛事，这可是有力度的撮合、会带来效益的Showtime的大手笔；同时，铁杆拳迷也不愿错过。

This is how it is described by Donat'Angelo Martucci who arrived in Bethlehem on the 3rd October 1606 and who recounts what the nine Franciscans living there told him: they with the help of the local population who had found refuge in that holy place, were in arms to resist the Arabs (=Bedouins or desert thieves), who, knowing that inside the walls they had arms, did not dare to come near.

这正是当西元1606年十月三日 Donat'Angelo Martucci 抵达白冷时所描述的，他记录了生活在那的九名方济会士告诉他的：他们「在在圣地被忽视的居民的帮助下，武装抵抗阿拉伯人，那些人知道墙内有武装力量而不敢靠近。

The coal, who was a hot-headed fellow, stepped brashly onto the newly constructed bridge, but when he got to the middle and heard the water rushing beneath him, he took fright, stopped, and did not dare to go any further.

煤块性子比较急，立刻大着胆子走上了这座刚刚搭好的桥。可是它走到桥中间时，听到溪水在脚下哗哗地流淌，不由得害怕起来，站在那里不敢往前走。

The coal, who was a hot-headed fellow, stepped brashly onto the newly constructed bridge, but when he got to the middle and heard the water rushing beneath him, he took fright, stopped, and did not dare to go any further.

煤块性子比较急，立刻大着胆子走上了这座刚刚搭好的桥。

Let the ignorant, then, not dare from now on to lay rough hands on canzoni; for we laugh at them as we would at a blind man choosing among colours.

让那些文盲从此不敢把他们粗鄙的手伸向歌曲；因为我们将嘲笑他们，正如我们嘲笑那品评颜色的瞎子。

This "importation" of the individual consciousness of the creator must however remain controlled. This is of the utmost importance, without constraints or measures we would fall either into the aesthetics of popular taste or into an escalation of elitist vocabulary that would weaken the language. If I myself no longer dare to use oil paints, to revisit or augment, it is due to its intrinsic overabundance of culture; having barely touched the palate, there is an immediate return to the domain of noble art. I would be too scared of creating some useless work while loosing the intensity afforded to a more direct language. Fluctuations in our cultural structure have resulted in vernacular embodying the new norm while I, in the domain of artistic language, have opted for the mode and techniques of traditional embroidery. A long while ago, during the time of the Yuan Ming Yuan artist village, I was convinced that I would run into problems if I applied myself to oil paint. I had produced next to nothing up until the day when, by coincidence, I noticed the many works of embroidery being sold at the entrance to the Summer Palace. I felt like I had finally found my mode of expression, my own personal artistic language. Due to the fact that embroidery belongs to the pre-industrial age, there is a "folkie" quality to it, rural and natural. This ill-defined modern world in which we live must also respond to the demands of "common people", the "lowly" and the "nouveau riche". In some sense, the re-appropriation of this folkloric technique was a necessity, much as it was during the time of the shift from "prose to spoken language" [1], an unavoidable consequence of social upheaval. It was not limited to a mere question of the stylistic signification of the semantic form. What embroidery embodies is a structural modification of society at its most basic level.

虽然它注入了艺术家的个人意识，但关键就是分寸感的把握，不然，或者伦为真的大众趣味，或者切入过多的经英语词汇，而使语言虚弱，就我而言，我不敢重操油画，或是改造扩充，就是由于它本身太文化了，一出手就高雅了，怕弄个不伦不类而失掉语言直接性的强度，文化结构的改变，艺术的俗语是一种趋势，从艺术语言上，我是用传统刺绣方式和手法的，早在圆明园画家村时，我几乎没有画出什么东西，油画肯定觉得使用起来有问题，在当时偶然在颐和园门前，看到很多刺绣的艺术品，一下子感到找到了方法，因为刺绣这种手段属于工业文明之前的东西，它有种土色和平民的感觉，这种也对应了时下的&平常人&、&小人物&、&暴发户&对现代化的消费趣味的追求，那种不伦不类的现代性，正好我的家乡唐山有一个很有名的刺绣厂，找师傅做作品可能更方便，有了这个想法之后，也得到朋友的鼓励，刺绣这一传统民间资源的再利用，在某种意义上说就像&白话文&始于当时社会巨大的转型出现的必然，它不单单是语言风格样式上的意义，它体现的是深层的社会文化结构改变的宣示。

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。