查询词典 on with

In Rwanda during the genocide of the 90s I accept a active anamnesis of a man advertisement the asleep in his family. He went on and on and on with the names.

卢旺达九十年代种族大屠杀的那个时候，清楚地记得有一个人在历数着他家里所死掉的每一个人。

In this paper, the change of back electromotive force current with the different PWM modes are analyzed in detail on the base of BLDCM model. According to theory and experiment ,ON-PWM type restrains the peak value of back electromotive force current and brings the lest effect to the motor control system.

基于无刷直流电动机的数学模型，分析比较了不同PWM调制方式下反电势电流的变化规律，并通过理论推导和仿真实验证明了当电机系统采用ON-PWM调制方式时，能有效地抑制反电势电流的峰值且对电机控制系统造成的影响最小。

Living by oneself is something which you deal with and you have to deal with and get on with.

"靠自己"是一件必须自己来做并且要不停继续做的事情。

It lists a case on relief management work of Jiangxi province.Finally, basing on the actual method management which has some weakness, this thesis puts forward some suggestions to solve the problem from different angles, like we must press on with consummate rove and cadge management and relief law system, the

最后，本文基于中国现行管理办法的薄弱提出了对城市乞丐群体的社会管理对策建议，提出要加紧完善对流浪乞讨人员管理与救助的法律制度，笔者认为对流浪乞讨人员管理与救助的法律制度应从各部门的协作、救助方式多样化、分型救助等九个方面加以完善和创新。

This essay focuses on the discussion of landscape representation in Robert Louis Stevenson's three travel writings: An Inland Voyage (1878), Travels with a Donkey in the Cevennes (1879), and In the South Seas (1896). Three questions are analyzed in the landscape representation of the three travel writings: first, how the traveller's cultural discourses are embodied in the travel writings; second, how the travelling self interacts with the Other; and thirdly, how the traveller constructs his self.

中文摘要/本论文主要讨论史蒂文生三部旅行书写——《内河航行记》（An Inland voyage， 1878）、《赛凡斯山偕驴同行》（Travels with a Donkey in the Cevennes， 1879）、与《南太平洋记行》（In the South Seas， 1896），以这三部旅行书写中的地景再现来讨论旅行文本中的地景描绘如何呈现旅行者既有的文化论述、旅行者与他者的互动、以及旅行者的自我建构。

Hindley hurried up from his paradise on the hearth, and seizing one of us by the collar, and the other by the arm, hurled both into the back－kitchen; where, Joseph asseverated, I reached this book, and a pot of ink from a shelf, and pushed the house－door ajar to give me light, and I have got the time on with writing for twenty minutes; but my companion is impatient, and proposes that we should appropriate the dairywoman's cloak, and have a scamper on the moors, under its shelter.

欣德利从他壁炉前的天堂急匆匆的走来，提起我们中的一个的领子，抓住另一个的膀子，用力扔到厨房后面。而约瑟夫断言，撒旦会来这里抓我们的，就如同我们活着一样确定。于是，作为安慰，我们各自找一个隐蔽的地方等待他的到来。我拿起这本书，从书架上拿下一瓶墨水，并把房门微微，让亮光照进来，并写了大概20分钟，而我的同伴就没有耐心了。他建议我们偷走牛奶场女工的斗篷，并在它的庇护下在荒地上狂奔。

But now, if I be marching on with my utmost vigour in that way which, according to the sacred geography, leads straight to Jerusalem, why am I beaten and ill-used by others because, perhaps, I wear not buskins; because my hair is not of the right cut; because, perhaps, I have not been dipped in the right fashion; because I eat flesh upon the road, or some other food which agrees with my stomach; because I avoid certain by-ways, which seem unto me to lead into briars or precipices; because, amongst the several paths that are in the same road, I choose that to walk in which seems to be the straightest and cleanest; because I avoid to keep company with some travellers that are less grave and others that are more sour than they ought to be; or, in fine, because I follow a guide that either is, or is not, clothed in white, or crowned with a mitre?

但是现在，如果我正依据那个引导人到耶路撒冷的神圣地理学劲头十足的开始我的长途跋涉，为什么要被他人暴力虐待和折磨？可能因为：我没有穿高统靴；或者我的头发未按某种样式修剪；或者我未按某种方式受洗；或者在路上我吃了肉或其它很对我胃口的食物；或者我绕开了一段在我看来要导向荆棘或悬崖的路；或者在几条通向目的地的路中我选了一条在我看来最近最好走的路；或者我避免与不怎么严肃的人以及过于酸腐的人为伴；或者，最后，因为我跟随了一个穿或未穿白衣，戴或未戴主教头冠的人。

Time to say goodbye, I'll go with you on ships across seas which, with you I shall re-experience them.

I'll go with you， I with you……是该告别的时刻了，我将与你同航，在那越洋渡海的船上，我将与你一起重新经历，我将和你在一起，我和你。

China contemporary appear in the art of relevant draw lessons from of landscape picture with transfer, probably Be not and only proceed from turning respond to of slogan and inspiration to the oil painting race, also not is to tradition Chinese painting art of reform build sex, their emergence probably is according to 1 kind from society sense of vision experience cause of reality pass shine on with with oneself consciousness appearance in the mind background relevant of heart claim, they just use landscape painting concept and the outer shell of appearance and arouse reality disaster within society consciousness with refer to the content of humanities spirit.

中国当代艺术中出现的有关山水图像的借鉴和挪用，可能并非仅仅是出于对油画民族化口号的响应和感召，也并非是对传统国画艺术的革新造性，它们的出现或许是基于一种由社会视觉经验所引起的现实关照和与自身意识形态心里背景有关的内心诉求，它们只是借用山水画概念和形态的外壳，去唤起现实社会中的忧患意识和指涉人文精神的内涵。

But our Patron warn'd by this Disaster, resolved to take more Care of himself for the future; and having lying by him the Long-boat of our English Ship we had taken, he resolved he would not go a fishing any more without a Compass and some Provision; so he ordered the Carpenter of his Ship, who also was an English Slave, to build a little State-room or Cabin in the middle of the Long Boat, like that of a Barge, with a Place to stand behind it to steer and hale home the Main-sheet; and Room before for a hand or two to stand and work the Sails; she sail'd with that we call a Shoulder of Mutton Sail; and the Boom gib'd over the Top of the Cabbin, which lay very snug and low, and had in it Room for him to lye, with a Slave or two, and a Table to eat on, with some small Lockers to put in some Bottles of such Liquor as he thought fit to drink in; particularly his Bread, Rice and Coffee.

这次意外事件给了我们主人一个警告，他决定以后得小心谨慎一些，出海捕鱼时带上指南针和一些食品。正好在他俘获的我们那艘英国船上，有一只长舢舨。他就下令他船上的木匠--也是他的一个英国人奴隶--在长舢舨中间做一个小舱，像驳船上的小舱那样；舱后留了些空间，可以容一个人站在那里掌舵和拉下帆索；舱前也有一块地方，可容一两个人站在那里升帆或降帆。这长舢舨上所使用的帆叫三角帆，帆杆横垂在舱顶上。船舱做得很矮，但非常舒适，可容得下他和一两个奴隶在里面睡觉，还可摆下一张桌子吃饭；桌子里做了一些抽屉，里面放上几其他爱喝的酒，以及他的面包、大米和咖啡之类的食物和饮料。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失