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Similarly it is important to see rationalists like Descartes and Spinoza, trying to formulate philosophy in terms of some kind of an axiomatic system, in a discursive and historical context characterized by the emerging natural sciences, formulated in a mathematical language.

同样，在看待象笛卡儿和斯宾诺莎这样设法用某种公理体系构造哲学的唯理论者时，也要将其置于以数学语言构造的新兴自然科学为特征的商谈和历史情境中。

Arbitrariness: one design feature of human language,which refers to the fac t that the forms of linguistic signs bear no natural relationship to their meaning.

人类语言的本质特征之一，指语言符号的形式与意义之间没有自然的联系。

Arbitrariness---- arbitrariness: one design feature of human language,which refers to the fact that the forms of linguistic signs bear no natural relationship to their meaning.

人类语言的本质特征之一，指语言符号的形式与意义之间没有自然的联系。

Her painting method is free and the pictures with the clear language show quality beautifulness of no method and unadorned and childish beautifulness of natural origin.

画法自由，语言清晰的画面道出无法之法的素质美和自然天成的稚拙美。

Code-switching is a natural phenomenon in the environment of bilingualism,multilingualism, and language contact.

语码转换是双语和多语语言环境中，以及语言接触中一种常见的语言现象。

The Bow-wow theory sees primitive language as an imitation of natural sounds, such as the cries of animals, like quack , cuckoo .

该吠声理论认为，原始的语言，模仿自然的声音，如动物的呼声一样，庸医，杜鹃。

McWhorter s academic specialty is language history and chan ge, and he sees the gradual disappearance of "whom", for example,to be natural and no more regrettable than the loss of the case ending s of Old English.

麦克沃特先生的学术专长是语言史和语言变化。举例来说，他认为"w hom"一词的逐渐消失是自然的，并不比古英语中词格尾缀的消失更让人惋惜。

The use of rich, natural, gentle transition of color to express the screen language.

运用丰富，自然、柔和的过渡色来表达画面语言。

Also, if the language is no breakthrough, art is not complete its expanding field of human perception. improve the ability of the natural feelings mission.

同时，如果没有一定的语言突破，艺术也就无法完成它拓展人类感知领域、提高感受能力的天然使命。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xu's works, spur his works to enter audience's habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artist's conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesn't stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

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。