查询词典 the Chinese people

(1) Exon 6,7,8 have no relation with the susceptibility of HCV infection. The genetic basis of the four amino acids is highly conserved in Chinese population. Because other sites of CD81 protein are highly conserved among species, there is no or very rare polymorphism of CD8I in Chinese people.(2) The susceptibility of HCV infection has nothing to do with the genetic basis of the ligand binding region of LDLR.Postgraduate DongQiumingDirected by Professor Gao Jinsheng Professor Lu Daru

（1）CD81外显子6、7、8与HCV感染的易感性无关，以上四个氨基酸的遗传基础在中国人中是高度保守的；由于CD81蛋白的其它位点在种间是高度保守的， CD81，LDLR单核菩酸多态拄与丙型肝炎病毒感染易感性的相关性研究摘要因此，在中国人群中 CDSI蛋白的多态性稀少或不存在。u）HCV感染的易感性与LDLR的配体结合结构域的遗传基础无关。

In Chinese antiquity country, had two important public, one is drama stage, the other is family shrine, one place is use of acting, the other is use of offering ancestral memorial tablet, even common people's weddings and funerals cannot leave the drama, so that the Chinese drama is strong、full of histrionic、sorrowful and exultancy、mundane.

在古代的中国乡村，有两个重要的公共场所，一个是戏台，一个是家庙，一个就是演戏唱戏的地方，一个是供放祖先牌位的地方，甚至老百姓的红白喜事都离不开戏剧，所以中国的戏剧是浓烈的、充满戏剧性、大悲大喜的、又是世俗的。

In Chinese antiquity country, had two important public, one is drama stage, the other is family shrine, one place is use of acting, the other is use of offering ancestral memorial tablet, even common people's weddings and funerals ca ot leave the drama, so that the Chinese drama is strong、full of histrionic、sorrowful and exultancy、mundane.

在古代的中国乡村，有两个重要的公共场所，一个是戏台，一个是家庙，一个就是演戏唱戏的地方，一个是供放祖先牌位的地方，甚至老百姓的红白喜事都离不开戏剧，所以中国的戏剧是浓烈的、充满戏剧性、大悲大喜的、又是世俗的。

In Chinese antiquity country, had two important public, one is drama st age, the other is family shrine, one place is use of acting, the other is use of offering ancestral memorial tablet, even common people's weddings and funerals cannot leave the drama, so that the Chinese drama is strong、full of histrionic 、sorrowful and exultancy、mundane.

在古代的中国乡村，有两个重要的公共场所，一个是戏台，一个是家庙，一个就是演戏唱戏的地方，一个是供放祖先牌位的地方，甚至老百姓的红白喜事都离不开戏剧，所以中国的戏剧是浓烈的、充满戏剧性、大悲大喜的、又是世俗的。

It is said that the Chinese are family-oriented, and family occupies an important position in the people is hearts, which manifests the cohesion of the Chinese culture.

有人说中国人是家庭本位的，家庭在中国人心中占有着重要的位置。中国文化中的凝聚性也就体现在这个地方。

From the viewpoint of progression of culture, Chinese traditional medicine and remedies has not seeked a way to make itself development forward that has been engaged Chinese people themselves to understand properly human pathology and physiology; from the viewpoint for a respect to science, CTMR has neither empirical nor rational foundation; from the viewpoint of maintenance for the diversity of life, while CTMR spark plug a wrong remedy to illness, it always destroy diversity of life; and from the viewpoint of humanitarianism,CTMR contains a hoity-toity medical theory and make poisonous, wastes and feculence as remedies.

从文化前进的角度看，中医中药没有寻求到自我前进的道路，约束了人们对病理和生理的理解；从尊敬科学的角度看，中医中药既缺乏经验基础又缺乏思维规律基础；从维护生物多样性的角度看，中医中药在倡导不科学施治的同时，破坏了生物的多样性；从人道主义的角度看，中医中药蕴含着装腔作势的医理诠释，推行毒物、异物、污物入药。

Even though Deng Jianjin's early paintings were related to dreams, love, sex, pornography, peeking, and self-absorption, they provided no entertainment at all. Instead they gave a representation of exaggerated, dead serious, and even overcorrect individual heroism. They bore the historical baggage of China's 5000 years of civilization and all the suffering and oppression of Chinese people in modern Chinese history. They were a diligent and honorable means of salvation.By the end of 1990s, Deng Jianjin's series 'About the Witness's Dreams' continued to carry on his signature style of being 'expressive' and 'intimate', but cynicism and jokes had also started to prevail among his paintings heavy in colors and opened up a way out for 'sentimental youth' and 'heavy-hearted moods'. Ever since then, Deng Jianjin has obtained a sense of uninhibited freedom and been able to let his thoughts flow on this paintings.

邓箭今的早期作品虽然与梦境有关，与情色和色情有关，与偷窥和自恋有关，但却毫无娱乐性，是一种放大了的、极其严肃的、甚至是矫枉过正的个人英雄主义写照，它背负着五千年文明的历史包袱和近现代中国人民的所有压抑和苦难，是一种花大力气的、正派的拯救的方式。90年代末，邓箭今在《有关目击者的梦境》系列中，虽然延续了他一贯的"表现"和"私密"的话语风格，但是调侃和玩笑之风开始盛行于色彩拥挤的画面，并为"感伤的青春"和"忧心重重的情怀"开启了一扇透气的风门，从此，邓箭今游刃有余，思想得以自由穿行。

The deep meaning of the ideal environment model for Chinese people has been explored,and it is found that the prototype of such an ideal model is the ecologically optimum environment that our hominoid ancestors inhabited and that the Chinese culture had experienced during its finalizing period.

通过心理统计数据和考察中国古代寺庙及陵墓的选址规律，以及观察人们在环境中的日常行为，文章揭示了中国人心目中的理想环境模式，并以进化及中国文化发展规律为依据，探讨了这种理想环境模式的深层意义，认为它的原型正是中国原始人类

As most young people, students in Singapore are easily impressible. So if Chinese language teachers are able to use personal experiences to explain the Chinese sayings, maxims, proverbs and idioms, our students can easily fathom their profound wisdom. This way, the teachers can also exert a gentle influence on the students, helping them to build up good and worthy character.

学子的性格犹如素丝，身为华文老师者倘能以深入浅出的方法将诸如成语、谚语等中的哲理娓娓道来，并以切身的例子说之，必能在潜移默化的情况下腋集成裘，使学生融会贯通其中奥理，深受影响，养成良好、有益的性格。

And there are many other urgent global threats that demand our joint attention, from nonproliferation to pandemic disease, particularly the H1N1 virus, to reducing poverty – and I have said publicly and privately about China and to Chinese leaders, we admire the extraordinary progress that China has made in the last 30 years in reducing poverty in China and giving tens of millions of Chinese people the chance to have a better future.

还有其他许多紧迫的全球威胁需要我们共同应对，从不扩散到传染疾病，特别是H1N1病毒，到扶贫。我曾在公开和非公开场合谈到中国，并对中国****人表示，我们钦佩中国过去30年来为减少中国的贫困和为数千万中国人民提供更美好的未来而取得的非凡进展。

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。