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In Greek mythology, Aeacus, or Aiakos ("bewailing" or "earth borne") was king in the island of Aegina in the Saronic Gulf and was so far-famed for the righteous sense of piety and justice with which he ruled over his people that his judgment was sought all over Hellas, so much so that, that after his death, he was appointed one of the judges of the shades in Erebus, with Cretan Minos and Rhadamanthus.

在希腊神话中， Aeacus，或Aiakos("叹息"或"来自大地")是Saronic湾中的岛国Aegina之王，他以虔诚正直的判断力统驭人民，亦因此而声名远播，全希腊都仰望他的判决。他在死后，和克里特的米诺斯，拉达曼提斯，一起被指定为冥府的判官。

Based on the previous research on the portal crane administration, one standpoint put forward in this paper is idea that is on the foundation of reliability in this paper, two viewpoints take shape when reason is analyzed, that is fatigue break and appearing the flaw that will extend. What is the fatigue break?(this phenomenon is always happen in some place),the fatigue is that board appears apophysis and concave when the board is pressed .so that the board ability of bearing the weight of load will descend. Second , the board appear the flaw that the flaw extends in the some place of board one reason is that the machine works too long, so the board ability of bearing the weight of load will decline.

本论文建立在已有的港口装卸机械管理的研究基础之上，进一步提出了以可靠性为基础的港口装卸机械的管理思想，已有的研究表明，港口机械设备破坏主要由于两个原因，第一是稳定性问题，特别是构件的局部稳定性，所谓稳定性是指：在板的平面内，板受到平行于板面的压力作用，使板发生隆起、内陷等凹凸不平的结果，从而使板受载能力减弱；第二是结构出现疲劳裂纹及其扩展，这是由于设备长时期运行，而造成设备某些部位出现裂纹并得以扩展，使设备承载能力下降。

Its on the oriental stage that a series of oncoming and dormant Oedipus tragedies-incest tragedies, with which the westerners are so familiar regardless of performance on the somewhere strange stage, are highlights, so that the western spectators not only can enjoy the different exotic cultural charms, but from the commanding perspective fell the superiority of their own culture in this fabricated cultural context featured with backward, isolation and far from the reality. In addition, Zhang prefers to the method of time lagging in the film text formation, so that the textual times usually drag back to the past on purpose such as 1930s, 1940s, per-anti-Japanese war period as well as 1960s and 1970s; apart from this, the far-off areas far from the cultural center are chosen as the film space, all which get together to set up a static, stagnate and hiding Chinese traditional cultural context symbolized by backward, barbarousness and ignorantness to satisfy the male desire.

为了营造这个虚拟舞台，张艺谋影片中的采用了时间的滞后性策略，影片中的故事本文时间均选择了过去：十九世纪三十、四十年代，抗战前期，六七十年代；影片中的本文空间均选择了远离文化中心的边缘地带，通过时间的滞后策略和空间的边缘策略来满足一个停滞的、凝固的、静止的落后而由愚昧野蛮的中国传统文化语境；将处于社会边缘的女性放置在其中，利用观众位置的双重性认同结构，巧妙利用女性这一表层可见视觉中心和读解影片时意义渐隐的策略来遮掩和移位其真正的作者意识形态：即重复再一次对女性的观看，满足东西方男性的窥视欲望。

She knew how to smile so that her dimples leaped, how to walk pigeon-toed so that her wide hoop skirts swayed entrancingly, how to look up into a man's face and then drop her eyes and bat the lids rapidly so that she seemed a-tremble with gentle emotion.

她懂得怎样微笑才能使那两个酒窝轻轻抖动，怎样扭着走路才能让宽大的裙子迷人的摇摆，怎样首先仰视一个男人的面孔，然后垂下眼来，迅速地螦E动眼帘，显出自己是在略带激情地颤抖似的。

Time however, and the Satisfaction I had, that I was in no Danger of being discover'd by these People, began to wear off my Uneasiness about them; and I began to live just in the same compos'd Manner as before; only with this Difference, that I used more Caution, and kept my Eyes more about me than I did before, least I should happen to be seen by any of them; and particularly, I was more cautious of firing my Gun, least any of them being on the Island, should happen to hear of it; and it was therefore a very good Providence to me, that I had furnish'd my self with a tame Breed of Goats, that I needed not hunt any more about the Woods, or shoot at them; and if I did catch any of them after this, it was by Traps, and Snares, as I had done before; so that for two Years after this, I believe I never fir'd my Gun once off, though I never went out without it; and which was more, as I had sav'd three Pistols out of the Ship, I always carry'd them out with me, or at least two of them, sticking them in my Goat-skin Belt; also I furbish'd up one of the great Cutlashes, that I had out of the Ship, and made me a Belt to put it on also; so that I was now a most formidable Fellow to look at, when I went abroad, if you add to the former Description of my self, the Particular of two Pistols, and a great broad Sword, hanging at my Side in a Belt, but without a Scabbard.

可是，尽管如此，时间一久，我对食人生番的担心逐渐消失了，更何况我确信自己没有被他们发现的危险。所以，我又像以前那样泰然自若地过平生活了。所不同的是，我比以前更小心了，比以前更留心观察，唯恐被上岛的野人看见。特别是，我使用枪时更小心谨慎，以免给上岛的野人听到枪声。天幸我早就驯养了一群山羊，现在就再也不必到树林里去打猎了。这就是说，我用不着开枪了。后来，我也捉过一两只野山羊，但用的都是老办法，即用捕机和陷阱捉到的。因此，此后两年中，我记得我没有开过一次枪，虽然每次出门时还总是带着的。此外，我曾从破船上弄到三把手枪，每次出门，我总至少带上两把，挂在腰间的羊皮皮带上。我又把从船上拿下来的一把大腰刀磨快，系了一条带子挂在腰间。这样，我出门时，样子实在令人可怕。除了前面我描述过的那些装束外，又添了两支手枪和一把没有刀鞘的腰刀，挂在腰间的一条皮带上。

Is exactly what we have these, so that our enterprises in the fierce competition in the market lead, so that our "Jin-fu" in the field of marketing practice walking in front of peers, so that "Jin-fu," completed a second leap.

正是我们拥有了这些，使我们的企业在激烈的市场竞争中取得领先，使我们的"津福"在营销实践领域走在同行的前面，让"津福"完成了一次次的跨越。

So that portion of humanity that would become insane if the knowledge of what is coming were upon them do not become insane so early that governments inclined to declare martial law and mow their own people down in the streets would do so.

因为人类中有一部分人倘若得知了将要发生之事，就会变得精神疯狂，而如果他们太早疯狂的话，政府就可能宣布军事戒严，在大街上残杀自己的人民。

So they have a wider exploring space when meeting the new subject of oil painting portraits----the new men in 21st century. So this thesis holds that: do not be influenced by the popular trend of that time while opening to outside world; learn from those masters and predecessors system and selectively and inherit the excellent methods, forms and artifices. So that we can improve the artistes' ability of holding and expressing continuously who is as the subject of the oil painting portraits. In the light of the object, we should seize the character of the time from the object observantly; find and express the affecting character moving the subject on any ordinary object.

据此，笔者对21世纪的油画肖像画创作探索的思路为：在秉承开阔艺术胸怀的前提下不为流行之风所动，对前辈大师进行有选择地、系统地学习，继承借鉴其优秀的创作方法、创作形式和创作技巧，不断完善充实当代油画家作为油画肖像画创作主体的把握和表现能力；在表现客体对象方面，力求敏感地把握客体对象身上所渗透的时代气息，在面对的每一个普通表现对象身上都能找到并表现其能打动创作主体的特质。

He was continually hearing phrases, such as,"With your exceptionally kindly disposition"; or,"Considering your excellent heart"; or,"You are so pure-minded yourself, count …" or,"If he were as clever as you," and so on, so that he was beginning genuinely to believe in his own exceptional goodness and his own exceptional intelligence, the more so, as at the bottom of his heart it had always seemed to him that he really was very good-natured and very intelligent.

他不时地听到这些话：&以您的分外的仁慈&，或则：&以您的善心&，或则，&伯爵，您本人如此纯洁……&或则：&如果他像您这样聪明&诸如此类，因此他真的相信自己那种分外的仁慈，相信自己与众不同的智慧，而且在灵魂深处，他经常觉得他确实非常仁慈，非常聪明。

They Told Him Don't You Ever Come Around Here Don't Wanna See Your Face, You Better Disappear The Fire's In Their Eyes And Their Words Are Really Clear So Beat It, Just Beat It You Better Run, You Better Do What You Can Don't Wanna See No Blood, Don't Be A Macho Man You Wanna Be Tough, Better Do What You Can So Beat It, But You Wanna Be Bad Just Beat It, Beat It, Beat It, Beat It No One Wants To Be Defeated Showin' How Funky Strong Is Your Fighter It Doesn't Matter Who's Wrong Or Right Just Beat It, Beat It Just Beat It, Beat It Just Beat It, Beat It Just Beat It, Beat It They're Out To Get You, Better Leave While You Can Don't Wanna Be A Boy, You Wanna Be A Man You Wanna Stay Alive, Better Do What You Can So Beat It, Just Beat It You Have To Show Them That You're Really Not Scared You're Playin' With Your Life, This Ain't No Truth Or Dare They'll Kick You, Then They Beat You, Then They'll Tell You It's Fair So Beat It, But You Wanna Be Bad Just Beat It, Beat It, Beat It, Beat It No One Wants To Be Defeated Showin' How Funky Strong Is Your Fighter It Doesn't Matter Who's Wrong Or Right Just Beat It, Beat It, Beat It, Beat It No One Wants To Be Defeated Showin' How Funky Strong Is Your Fighter It Doesn't Matter Who's Wrong Or Right Just Beat It, Beat It, Beat It, Beat It, Beat It Beat It, Beat It, Beat It, Beat It No One Wants To Be Defeated Showin' How Funky Strong Is Your Fighter It Doesn't Matter Who's Wrong Or Right Just Beat It, Beat It, Beat It, Beat It No One Wants To Be Defeated Showin' How Funky Strong Is Your Fighter It Doesn't Matter Who's Wrong Or Who's Right Just Beat It, Beat It, Beat It, Beat It No One Wants To Be Defeated Showin' How Funky Strong Is Your Fighter It Doesn't Matter Who's Wrong Or Right Just Beat It, Beat It, Beat It, Beat It No One Wants To Be Defeated Showin' How Funky Strong Is Your Fighter It Doesn't Matter Who's Wrong Or Right Just Beat It, Beat It Beat It, Beat It, Beat It

They告诉他不您来周围 Do不想要看您的面孔，您更好消失在他们的眼睛的The火的和他们的词是真正地清楚 So敲打它，打了它 You改善奔跑，您改善做什么您能 Do不想要看血液，不是一强壮男子的人 You想要是坚韧的，更好做什么您能 So敲打它，但是您想要是坏的 Just敲打它，打了它，打了它，打了它没人想要被击败 Showin质朴强怎么是您的战斗机 It不重要谁是错误或不错 Just敲打它，打了它 Just敲打它，打了它 Just敲打它，打了它 Just敲打它，打了它 They是得到您，更好的事假，当您能时Do不想要是男孩，您想要是一个人 You想要停留活，更好做什么您能 So敲打它，打了它 You必须表示他们，您真正地不是害怕的 You是与您的生活的Playin，这不是没有真相或胆敢 They将踢您，然后他们打您， Then他们将告诉您它是公平的 So敲打它，但是您想要是坏的 Just敲打它，打了它，打了它，打了它没人想要被击败 Showin质朴强怎么是您的战斗机 It不重要谁是错误或不错 Just敲打它，打了它，打了它，打了它没人想要被击败 Showin质朴强怎么是您的战斗机 It不重要谁是错误或不错 Just敲打它，打了它，打了它，打了它，打了它 Beat它，打了它，打了它，打了它没人想要被击败 Showin质朴强怎么是您的战斗机 It不重要谁是错误或不错 Just敲打它，打了它，打了它，打了它没人想要被击败 Showin质朴强怎么是您的战斗机 It不重要谁是错误的或谁是不错 Just敲打它，打了它，打了它，打了它没人想要被击败 Showin质朴强怎么是您的战斗机 It不重要谁是错误或不错 Just敲打它，打了它，打了它，打了它没人想要被击败 Showin质朴强怎么是您的战斗机 It不重要谁是错误或不错 Just敲打它，打了它 Beat它，打了它，打了它

I can not make it blossom and suits me

我不能让树为我开花

When temperatures are above approximately 80 °C discolouration of the raceways or rolling elements is a frequent feature.

当温度高于 80 °C 左右时，滚道或滚动元件褪色是很常见的特征。