查询词典 in a creative way

The sort of in the past is in in teaching job like to be done by the same old stuff, follow rules, firm condition is self-given, without creative idea, without the doctrinairism way that reforms daring, already did not develop a space.

过去那种在教学工作中喜欢按老一套去做，循规蹈矩，固步自封，无创见，无改革气势的教条主义做法，已没有发展空间。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从"五四"到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族"血性"的传承方面。

From the perspective of philosophy, this paper absorbs and draws, the experience from the former research finding on the basis of realities to deeply probe into the basis of creative thinking generative mechanism and basic methods in an all-round way. For the purpose of laying a solid foundation of Marist philosophy on studying and cultivating creative thinking.

本文从哲学的角度，立足于现实，吸收和借鉴了已有的研究成果和经验总结，对创造性思维的涵义和主要特征、基础、生成机制和基本方法进行全面深入的探讨，为研究、培养创造性思维奠定坚实的马克思主义哲学基础。

There are spur-of-the-moment pit-stops that turn into vacation highlights, great and creative road trip games that the players still talk about years later, gastronomic dreams-come-true enjoyed in restaurants off the beaten path, and deep bonding moments that permanently alter relationships for the better. I often hear inspiring stories like the one where a mother packed a book of questions as a way of entertaining her kids and found out things about them that changed the entire way she perceived one of her daughters.

有加油站变成旅游胜地的，多年后人们津津乐道的公路旅行游戏，享受路边餐厅的美食梦，改善朋友关系的瞬间，我经常听到许多令人鼓舞的故事，例如一个母亲选了一本满是问题的书来娱乐她的孩子，结果发现里面的内容完全改变了她对她一个女儿的看法。

In the process of carrying out the strategy, enterprise should strive to establish an innovative and creative culture and learning-typed organization to adapt to the changes in environment, as well as constructing a middle and high level management team which has common target and high efficiency. Only in this way, enterprise could have a healthy and orderable development in the future.

战略实施的过程中，公司要努力营造一个敢于变革、勇于创新的组织文化；搭建一支有共同远景和高效率的中高层管理团队，保证企业的健康、有序的发展；同时尽力打造一个学习型组织，以适应环境的变化。

Don't be put off by the word "squat": Amsterdam's squat restaurants — volunteer-run kitchens in formerly abandoned buildings — offer a cheap way to break bread with the city's creative underclass.

别因为&路边摊&这个字眼而打退堂鼓：阿姆斯特丹的路边餐馆—位於些原先废弃的建筑物中非专业人士自己经营的厨房—提供一种体验这城市里有创意的下流社会饮食的经济方式。

This article starts form carding the formation and development of the animations in the United States, Japan and Europe, in their respective national television animation style characteristics. In the second chapter, from the national culture, folk customs and ways, the character and geographical four conditions explore the United States, Japan, Europe, ethnic style animation in the film formation due to the dynamic; Chapter III trays to find the common aesthetic features of the Television Animation factors in United States, Japan, Europe, also this part describes the characters from four aspects, such as to find truthfulness, to find kind and so on. Chapter four is the key of this article, this part colludes several parts , such as film animation level, the way how animation to present to the concept of integrity, the character and language of the text character and so on . This end of this article is a summary of papers, down from globalization understanding of the vision of China Television Animation, the theoretical study of the ultimate goal is to practice creative services, what is more important is a comparative analysis, which received some of reference, identify China Television Animation and the gap between other countries, in order to learn from foreign advanced development of the film and television animation experience in the domestic film and television animation themes and concepts updates, in the localization of the close integration with the international on the road to the former OK, can have a more far-reaching significance.

论文首先从美、日、欧、中影视动画各自民族风格的特点出发，对其民族风格的形成与发展进行系统的梳理；进而在第二章中，从民族文化、民风民俗、民族性格和地域条件四个方面探究美、日、欧、中影视动画民族风格形成的动因；第三章是对美、日、欧、中影视动画的同质性因素进行比较，论文从启真、扬善、弘美、尚趣四个维度来寻求其共通的美学特征；第四章中外影视动画民族风格的异质性因素比较是本文的重点，也是论文的难点，这一章涉及到许多影视动画本体性的层面，拟从动画的观念品格、文本品格和行为品格三个方面进行把握、比较；最后一章是论文的总结，从全球化的视野下来认识中国影视动画，理论研究的最终目的是要为实践创作服务的，因而，论文更主要的是通过比较分析，从中获得一些借鉴性意见，找出中国影视动画和其他国家之间的差距，更好的学习国外影视动画先进的发展经验，以期对国产影视动画在题材和观念的更新上、在本土化与国际化紧密结合的道路上如何前行能够有更为深远的指导意义。

In a sense you are the best English teacher,just like Captain kiting, our captain. We have no chance to talk about that movie, but actually I most like kiting, his way of teaching makes students much more creative.

从某种意义上来说你是最棒的英语老师，就像kiting船长，我们的船长，我们没有机会去谈论那电影，实际上我最喜欢kiting，他的教学方式令学生自由发挥。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从&五四&到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族&血性&的传承方面。

Amidst all the attention, in 2009 continue to introduce "Green Kong Fu --creative green living" concept, based on creativity, innovation and green tea to create and lead a new way of life.

在各界的关注下，2009年继续推出&绿功夫-创意绿茶生活&理念，以创意，创新打造并引领绿茶新的生活方式。

Do you know, i need you to come back

你知道吗，我需要你回来

Yang yinshu、Wang xiangsheng、Li decang,The first discovery of haemaphysalis conicinna.

1〕 杨银书，王祥生，李德昌。安徽省首次发现嗜群血蜱。