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The calculation of carbon stock changes for the purpose of accounting for harvested wood products, if so elected, on land that is to be accounted for under either reforested land or elected forest management land shall be based on the total increment of carbon stock growth in the eligible forest minus any changes in soil carbon, minus carbon stocks left over from timber harvest activities, minus carbon stocks from any wood residues from wood mills, minus carbon stocks from wood products used for the purposes of paper, wood chips or other short-lived wood products, minus a carbon release estimate of harvested wood products produced and then destroyed during the commitment period, times a conversion factor from carbon to carbon dioxide equivalent.

如经选定，为了对伐木制品进行核算，对再造林土地上或选定的森林管理土地上碳储存变化的计算应基于以下方式：符合资格的森林中碳储存的增量总额减去土壤碳的任何变化量，减去伐木活动余下的碳储存，减去木材厂木渣的碳储存，减去用于造纸的木材产品、木屑或其他短生命周期木制品的碳储存，减去在承诺期生产但后又破坏的伐木产品的估计碳释放量，乘以从碳到二氧化碳的换算系数。

From the perspective view of character's description and by the purpose of perspectiving the transition of YuHua writing, this passage tries to disscuss the change of the character's description in the novel from accepting fates to looking for redemption,the display of human behavior from lacking the humanity to revivifying the humanity,and the process of building image fuction from prop to real individual.

本文试图从人物书写这一角度出发，对余华前期与后期的作品进行比较，展现小说人物在精神命运层面上从接受宿命向寻找救赎的转变、在行为状态上人性缺失到人性复活的呈现、在形象功能上由&道具&转变为&真实个体&的过程，以透视余华创作的转型。

Stores stock shelves for the first time were marked with th e price and time, before the 12 days and full price sales; from 13 days to the first 18 days, price reduction 25%; from 19 day to 24 days, prices by 5 0%; from 25 days to the first 30 days, cut prices 75%, the implementation of "tea rful Big Bargain"; from 31 day to 36 days, such goods have not sold, then se nt to charity show love.

店内商品分别标明价格和首次上架时间，前 1 2 天按全价销售；从第 1 3 天到第 1 8 天，降价 2 5 %；从第 1 9 天到第 2 4 天，降价 5 0 %；从第 2 5 天到第 3 0 天，降价 7 5 %，实行&挥泪大甩卖；从第 3 1 天到第 3 6 天，如此货仍未售出，则送慈&善机构&献爱心&也许读者们会发问：长此下去岂不。亏本关门了吗？

By fitting the function reflects the changing trends in the data, access overloading current round of fighting, and in accordance with a real-time measurement of the current round of fighting, from coal forecast instantaneous flow, and flow measuring devices and video detection to the instantaneous flow of coal from joint participation control, at the same time on different Bucket Meidui set rated from coal flow from coal bucket wheel and different operating current limit, to ensure that coal Bucket from the high efficiency and safe operation.

通过拟合的函数关系反映出的数据变化趋势，获取斗轮超载电流，并根据实时测得的斗轮电流，预测瞬时取煤流量，并与视频流量检测装置检测到的瞬时取煤流量共同参与控制，同时为斗轮机对不同煤堆取煤设定额定取煤流量和不同的斗轮工作电流上限，确保斗轮机取煤的高效率和运行安全。

It's an experimental creation period from "Boatman's Elegy" to "Sirius" during which the performance of poetry's perception and the knowing are not mature/Under the influence of the west modernism art, his poetry has been experienced from the new moon romantic to the modernism. It's his mature period from "Lotus's Association" to"Separates the Water Goddess of Mercy". During this time his poetry's intellectuality and sensibility tends to be mature. Through the reconsidering of the westernization, the poet starts to inaugurate a new sky, and the poetry displays a bright neoclassic principle characteristic, then penetrates into the traditional nationality culture;and the "Bestows on from Cercis chinensis" is the deepened time until now which the poet displays for all kinds of practical styles, which includes multiplex characteristic.In his poetry, the intellectuality blends with sensibility, the sensation combined with logos.

从《舟子的悲歌》到《天狼星》是诗人创作的实验期，这一时期诗歌的感性和知性的表现还不成熟，其间由于受西方现代主义艺术的影响，其诗歌经历了从新月浪漫派到现代主义的变化；从《莲的联想》到《隔水观音》是诗人创作的成熟期，这一时期诗歌的感性和知性表现趋于成熟，诗人通过对西化的反思开始&浪子回头&，诗歌表现出鲜明的新古典主义特征，进而深入到民族传统文化之中；而自《紫荆赋》至今是诗人创作的深化期，表现为兼容并蓄的写实风格，并具有多元取向的特征。

Shun Art Gallery artists come from everywhere of the world, belonging to different times , different nations, and different working methods. Their way of creating almost cover all means of art creation, from portrait to water ink , from drawing to video, from device to dress.

熏依社画廊的艺术家来自世界各地，从属于不同的时代，不同的民族，不同的创作手法，他们的创作方法几乎涵盖了所有的创作媒介，从影像到水墨，从绘画到摄影，从装置到服装。

Tall: 64cm # Circumference of Neck: 9.5cm # Circumference of Chest: 25.5cm # Shoulder Width: 13cm # Length of Arm from Shoulder to Wrist: 22cm # Length from Elbow to Wrist: 10cm # Length of Back: 16cm # Circumference of Waist: 20.5cm # Circumference of Hips: 25cm # Length from Hips to Knee: 22cm # Length from Knee to ankle: 15cm # Circumference of Ankle: 7cm # Foot Size: 7.5cm

＃高层：64厘米＃圆周颈部：9.5厘米＃圆周胸围：25.5厘米＃肩宽：13厘米＃长度从肩至腕臂：22厘米＃长度从肘部至手腕：10厘米＃返回长度：16厘米＃圆周腰围：20.5厘米＃圆周臀围：25厘米＃长度到膝盖的臀围：22厘米＃长度从膝盖到脚踝：15厘米＃圆周踝关节：7厘米＃脚尺寸：7.5厘米

In the early life evolution, the evolution of ecosystem mainly exhibited the development what was from passive accepters to active competitors in life demands for environment factors, from dependence on to reform in the environment, from two-dimension to three-dimension in the spatial distribution, and from outside to inside of organism in the style of energy transformation.

在生命演化的早期，生态系统的演化主要表现为生物从被动地接受环境因子到对环境因子需求的竞争，从依赖环境到参与对环境的改造，生物的环境空间分布从二维到三维，生物的能量传递方式从生物体外到体内。

The cognitive law that man cognizes things from the near to the far, from entity to non-entity, from the simple to the complex, and from the concrete to the abstract determines the basic role of body parts in cognizing the world.

由于人类的认知规律是由远及近，由实体到非实体，由简单到复杂，这就决定了人体及其器官是人类认知世界的基础。

The cognitive law that man cognizes things from the near to the far, from entity to non-entity, from the simple to the complex, and from the concrete to the abstract, determines the basic role of body parts in cognizing the world.

人类由近及远、由实体到非实体、由简单到复杂、由具体到抽象的认知规律，决定了人体及其器官是人类认知世界的基础。

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。