查询词典 in no way

Given, as explained above, that each of the three options is in some sense 'imperfect' in comparison with the chapeau methodology, there is, in our opinion, no meaningful way to judge which option is less imperfect -or of greater authority - than another and, thus, no obvious basis for a hierarchy.

像上文解释过的，去假定三个方法中的任一个与起首条款中的方法相比在某种程度上是完美的，也就是说，我们认为，没有任何有效方法去判断那种选择相比另一个不完美—或者更权威，因而，对于选择层次没有任何明显的基础。

Well I do this in my slumber summer I ain't none of these half-assed newcomers, you know how I do summer I drop heat, when you bring the sun up The combo make niggaz act up, I pick the gun up Niggaz back up; they know I'm not no fronter I don't talk shit, I just flip it +Un+ ya Sorry Lance, I'm just trying to advance my quotes I ain't making you the butt of my jokes But let's not stray from what I came to say To my beloved, think we need some time away They say if you love it, you should let it out its cage And fuck it, if it comes back you know it's there to stay It's tugging, at my heart, but this time apart is needed From the public, who should've gave me the pulitz' Instead gave me they ass to kiss But you know me, thugging 'til the casket dips But still shine light down on all my peers I know they weird... some queer, I still want them to share And all the success I received, I know you can't believe I still love 'em but they don't love me They like the drunk uncle in your family You know they lame, you feel ashamed, but you love 'em the same It's like when niggaz make subliminal records If it ain't directed directly at me, I don't respect it You don't really want it with Hov, for the record I put a couple careers on hold, you could be next kid Keep entering the danger zone You gon' make that boy Hov put your name in a song If you that hungry for fame, motherfucker c'mon Say when, take ten paces and spin But on another note,'bout to take another vaca' On another boat, goddamn a motherfucker rode His way out the hood, and I pray that I stay out for good But any day you know a nigga could Try and play like he Suge, then I gotta play like Dutch Schultz You pass the dutchie, I blast you, trust me Niggaz can't fuck with me I'm in a good mood, you lucky, I got a good groove And I ain't trying to fuck my thing up But I will lay down a couple green bucks, get you cleaned up Now I'm +Pulp Fiction+, Colt four-fifth and Young niggaz that blast for me/blasphemy, no religion Listen here summer baby, I just believe it's the right thing to do I got a brand new bitch, corporate America She showing me a lot of action right now And I know you put me on my feet and all, but I mean, it's time for me to grow You gotta let me go baby, you gotta let me go I'm done for now, so one for now Possibly forever, we had fun together But like all good things, we must come to an end Please show the same love to my friends Dear summer

好，我做这个，我沉睡的夏天，我不是这些半assed新人你知道我怎么做我夏季降热，当你把在太阳升起的二合一作出niggaz法，我拣了枪niggaz后盾；他们知道我不是没有一线，我不说屁话，我只挑它++联合国娅对不起长矛，我只是试图推进我国引号，我是不会令你天大的笑话我，但让我们不要再流浪从我来告诉亲爱的，认为我们需要一些时间，他们说，如果你爱它，你应该让出它在笼中，他妈的，如果他回来了，你知道它的存在，以保持它的拉着，在我的心但这个时候，除了需要来自公众，谁已经给我的pulitz '反而给我的驴子，他们的亲吻，但你也知道我， thugging '胡麻的椟点头，但仍焕发轻，取缔所有同行我知道他们怪异……有些奇怪，我仍然希望他们能够分享和所有的成功，我刚收到我知道你不相信我还是爱'统，但他们不爱我，他们像喝醉了，在叔叔你的家人你知道他们跛了，你会感到羞愧，但你爱的电磁相同它就像niggaz潜意识作出记录，如果不是直接针对我，我不尊重它，你真的不希望它与hov ，根据纪录，我把一对夫妇的事业停摆，你可以在未来保持跑步进入危险地带，你健在'，使男童hov把你的名字一首歌，如果你饿了，对名利，你娘c'mon时说，要花十年的腾飞和自旋，但在另一份说明，'布特采取另空泡的另一条船，福清一娘骑着出路的方巾，我祈求我留出好的，但有一天你知道了nigga可以试着玩像他素，然后推荐我喜欢扮演荷兰人舒尔茨递过dutchie ，我爆你，信任我niggaz不能他妈的，我用我的心情好，你运气好，我有一个好槽，我是不是他妈的我的事了，但我会打下夫妇绿钱，你得到清理，现在我纸浆+小说+， 1485五分之四和年轻niggaz爆我/亵渎的，任何宗教听听这里夏季宝宝我只是认为这是正确的事情要做，我有一个全新的荡妇，企业界她展示了我许多行动，现在，我知道你把我站起来和所有的，但我的意思是，它的时候，我成长你推荐，让我去宝宝推荐你让我走我不行了，所以一人，现在可能永远我们玩在一起，但象所有的好东西，我们必须走到了尽头请你拿出同样的爱，我亲爱的朋友夏天

The boys of Liverpool, When we safely landed,Called myself a fool; I could no longer stand it;Blood began to boil, Temper I was losin',Poor ould Erin's isle They began abusin',"Hurrah my soul," sez I, My shillelagh I let fly;Some Galway boys were by, Saw I was a hobble in,Then with a loud hurray, They joined in the affray.We quickly cleared the way, For the rocky road to Dublin.One, two, three, four, fiveHunt the hare and turn her down the rocky road and all the way to Dublin, whack-fol-la-de-da!

当我们安全地靠了岸一个利物浦男孩说我是个傻瓜我觉得不能再忍耐我的血液沸腾我的头脑发热爱尔兰苦难的灵魂他们开始哭诉"好口巴我的灵魂"我说我挥舞我的橡木棍一些盖尔维男孩站在旁边看到我蹒跚前行他们高声叫好加入这一团混乱我们很快扫清了道路我们要去都市柏林一二三四五抓只野兔吃沿着这一条满是石子的路我要前往都柏林 Whack-fol-lol-de-ra。

On the other hand, the influence of Absurd drama manifested mainly in the perspective of observing the world in later plays. Absurd drama reveals the uncertainty of the world by the skill of"simile way". Contemporary playwrights draw extensively and broadened the use of"simile way", and create the new simile symbols: anti-classic simile, anti-system simile and anti-meaning simile. At the same time they use a comprehensive simile to create a kind of sensual drama.Absurd drama also destroys the language function of traditional drama by rupture and desegregation, also tends to use "the language of no meaning," to reflect the world's essence. The contemporary generation create a physical theatre to expulse of the role of language. Another extreme is to strengthen language function thus creating a language game.

另一方面，荒诞派戏剧的影响力主要体现在后世剧作对客观世界的认知上：荒诞派通过&直喻&的手法来表现世界不确定性的本质，被后世剧作家广泛借鉴并且拓宽了直喻手法的使用，出现了反经典、反系统和反深度的直喻符号，同时另一个极端则是用剧场性的全面直喻创造了具有震撼力的感官戏剧；荒诞派通过破裂与解体的方法化解了传统戏剧的语言功能，更倾向于用&无义的语言&表达来体现世界的无义，后世剧作家在此基础上索性彻底驱逐了语言的作用从而创造了肢体戏剧，另一个极端则是强化语言功能创造了&语言游戏&。

If fortunedrives the master forth an outcast in the world ,friendless and homeless,the faithful dog asks no higher privilege than that of accompanying him to guard against danger,to fight against his enemies;and when the last scene of all comes ,,and death takes the master in its embraces and his bady is laid away in the cold ground ,no matter if all other friends pursue their way ,there by his graveside will the moble dog be found ,his head between his paws,his eyes sad but open in alert watchfulness ,faithful and true,even to death.

假若因命运的捉弄，他的主人变成了一个无家可归的流浪者，这只忠诚的狗也依然会陪伴的主人，和他一起度过难关，抵御敌人，此外别无所求。当万物共同的结局来临，死神夺去了主人的生命，尸体埋葬在寒冷的地下时，纵使所有的亲友都各奔前程，而这只高贵的狗却会独自守卫在主人的墓旁，他仰首于两足之间，眼里虽然充满悲伤，却仍然警惕地守护着赤诚，忠贞不渝，直至死亡。

But the effluent ammonium in the anoxic reactor, where enough NO2 were present, was equal to the blank system, and no ammonium was converted to such nitrogen compounds as NO2- and N2 by Nitrosomonas eutropha using NO2 as electron acceptor, which maybe caused by lack of the function bacteria. There were two ANAMMOX reaction pathways in the one-stage autotrophic nitrogen removal system. One way was that after part of NH4+ was oxidized to NH2OH under aerobic conditions, NH2OH and NO2- were converted to N2O under anaerobic conditions, at last N2O was further converted to N2 which realized the nitrogen removal; Another way was that at first NO2- was reduced to NH2OH, NH2OH reacted with NH4+ to form N2H4, which was further converted to N2 subsequently, realizing the nitrogen removal.

结果表明：单级自养脱氮系统内6.72%的氨氮是通过吹脱等物化作用去除的，不超过6.02%的氨氮是通过传统硝化反硝化途径去除的，87.26%左右的氨氮是由自养脱氮途径去除的，自养脱氮反应起主要脱氮作用；在足够NO2存在且缺氧的条件下，单级自养脱氮系统内的出水氨氮浓度与空白反应器相当，NH4+并没有被亚硝化单胞菌以NO2为电子受体氧化为NO2-和N2等化合物而得以去除，可能是因为系统内不存在该代谢功能的亚硝化功能菌；单级自养脱氮系统内存在两条ANAMMOX反应途径：其中一条途径即NH4+在好氧条件下被氧化为NH2OH后，生成的NH2OH与系统内的NO2-在缺氧条件下被转化为N2O，N2O则进一步被转化为N2而实现氮的去除；另外一条途径即NO2-首先被还原为NH2OH，生成的NH2OH则与系统内的NH4+反应生成N2H4，N2H4继续被转化为N2而实现氮的去除。

In a pluralistic, democratic society where a small elite is parasitizing on a middle class segment that has got no idea what to do except to keep working and play along with the rules, a poor underclass that has got no future, and a confused national identity with a history of a multicultural melting pot that sooner or later is about to explode, there is no easy way to solve problems.

在一个多元民主的社会，那里的一小精英，是寄生于一个中产阶级部分已得到根本不知道该怎么办，除了要不断加大工作和发挥随着规则的，一个贫穷的下层阶级已经得到无前途，并混淆国家认同与历史上的一个多元文化的大熔炉，迟早是要爆炸，有没有简单的方法来解决问题。

Say goodbye say goodbye to Hollywood I thought I had it all figured out I did I thought I was tough enough to stick it out with kim But I wasn't tough enough to juggle two things at once I found myself planted on my knees in cuffs Which shoulda been a reason enough for me to get my stuff and just leave How come I couldn't just see this shit myself it's me Nobody coulda seen this shit I felt Knowin' damn well she wasn't gonna be there when I fell To catch me the minute she was seen she just bailed I'm standin' and swingin' on like 30 people by myself I couldn't even see the millimeter when it fell Turned around saw Gary stashin' a heater in his belt Saw the bouncers rush him and beat him to the ground I just sold 2 million records I don't need to go to jail I'm not about to lose my freedom over no female I need to slow down, trynna get my feet on solid ground So for now Bury my face in comic books,'cuz I don't wanna look And nothin' in this world is too much I swallowed all I could If I could swallow a bottle of Tylenol I would And hit it for good and say goodbye to Hollywood I prolly should 'cuz these problems are piled all at once 'Cuz everything that bothers me I got all bottled up I think I'm bottomin' out but I'm not about to give up I gotta get up, thank God I got a little girl Now I'm a responsible father so not alotta good I'd be to my daughter layin' in the bottom of the mud Must be in my blood 'cuz I don't know how to do it All I know is I don't wanna follow in the footsteps Of my dad 'cuz I hate him so bad Worst feelin' I had was growin' up to be like his fuckin' ass Man if you could understand why I am the way that I am What do I say to my fans when I tell 'em I don't wanna quit, but shit, I feel like this is it, for me to have this much appeal like this is sick This is not a game this fame the real life is as sick Publicity stunt my ass, consume my fuckin' dick Fuck the guns, I'm done I'll never look at gats If I scrap, I'ma scrap it like I never wooped some ass I love my fans but no one ever puts a grasp on the fact That I sacrificed everything I had I never dreamt I'd get to the level that I'm at This is wack, this is more then I ever coulda asked Everywhere I go I had a sweater, hood or mask What about math?

说再见说再见好莱坞我想我已全部揣摩我本来我以为我是足够强硬的坚持，它与金但我是不足够的强硬，以兼顾两件事，在一次我发现自己种植在我的双膝在袖口其中shoulda一直有足够的理由，我得到我的东西和刚刚离开如何来，我不能只看到这个shit外围它自己的我没有人coulda看到这个shit外围我觉得 knowin '可恶，以及她在哪里也不会存在，当我下跌要赶上我一分钟，她看到她刚刚获准保释我standin '的Swingin '就好像30人，由本人我不能，甚至看到毫米，当它下跌回过头看到程介南斯塔欣'了一个加热器，在他的带看到bouncers繁忙，他和殴打他到地面我只售出了200万的纪录，我不用去坐牢我不是即将失去我的自由，没有超过女性我要放缓， trynna让我立足于坚实的地面所以现在埋葬我的脸在漫画书，' cuz我不想看和nothin '在这个世界上是太多 i吞噬了所有我可以如果我能吞下了一瓶tylenol我想和打为好，说声再见好莱坞 i prolly应' cuz这些问题都是成堆一次全部' cuz的一切困扰我，我得到的所有瓶装起来我觉得我bottomin '，但我并不打算放弃 i的宝贝，起床，感谢上帝，我得到一个小女孩现在，我一个负责任的父亲，所以不alotta良好我要以我的女儿layin '在底部的淤泥必须在我的血' cuz我不知道怎样做所有我知道是我不想在后续的脚步我的爸爸' cuz ，我恨他那么差劲最坏的feelin '我曾是growin '要像他fuckin '驴男子如果您能明白为什么我的方式，我我该怎么办说我的球迷，当我告诉骰子我不想退出，但shit外围，我觉得像，这是它，我有这么多的上诉像这样生病了这不是游戏，这名利的现实生活是病假宣传我的驴，消耗我fuckin '迪克他妈的枪，我做我永远不会看服务贸易总协定如果我放弃，我放弃它想我从来没有wooped一些驴我爱我的球迷，但没有人把掌握了这一事实我牺牲了一切，我曾我从来没有想过我要到的水平，我在这是wack ，这是更多的话，我以往任何时候都coulda问我到处都可以了毛衣，遮光罩或面具关于数学是什么？

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。

I remember there was a little story let me ponder for long: five fingers to fight because they are the length of missing, one has to compete against, so they thought of a way, that is, brought a small ball, who should pick up the ball Who is the winner, when the brothers worked hard, want to first pick up the ball, but the days of the later, no one can pick up the ball, the brothers who are very dull of mind, the weakness of their own , complaining, criticism, feel that they are no use, nothing to do anything, the brothers who no sleep a night and, after the anti then, the next morning, the sun out of the ground plane of that moment, brothers say in unison:"We test with the next bar."

记得曾经有一个小故事让我深思良久：五只手指头打架，因为它们长短不齐，却要一争高下，于是它们想到了一个办法，就是拿来一个小球，谁先拿起小球谁就是赢家，那时几个兄弟奋力拼搏，都想先拿起小球，可是日子一天天的过去了，谁也没能拿起小球，兄弟们的心情都十分沉闷，对自己的软弱无能，抱怨，批评，觉得自己很没有用，做什么都一事无成，兄弟们一晚都没睡好，辗转反则，第二天清晨，在太阳跳出地平面的那一瞬，兄弟们异口同声的说：&我们一起试下吧&。

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。