查询词典 three-four time

The sixth chapter studies the relationship between MMs and stylistic feature, taking a dynamic perspective to study style, with the second section of this chapter analyzing the usages of MMs in report text and comment text of news style, the third comparing the different usage of three Chinese translations of Uncle Toms Cabin, the fourth analyzing the usage of MMs in three kinds of modern Chinese text , the fifth comparing the usage of MMs in three disciplines academic text and The sixth discussing the interactional rehtorical model, including the establishment of self-identity of speaker/writer, the expectation to reader/hearer, and the intertextuality interaction.

第六章讨论元话语和各语体语篇语体特征的关系，认为从元话语的角度来分析语体是从动态的角度来探讨言语行为和语体类型之间的关系，第二节讨论了报道体和时评体语篇中元话语使用情况，第三节比较了Uncle Tom's Cabin的文言文、古代白话和现代汉语三个译本中元话语标记使用的差异，第四节比较现代汉语三种语体文本中元话语标记使用情况，第五节讨论三个专业的学术论文中元话语标记的使用差异；第六节讨论元话语与语篇的互动修辞，讨论了语篇中表达者自我身份的确立、语篇对接受者的期待和呼吁和语篇的互动模式，说明元话语研究对探讨语篇的修辞互动模式和结构具有重要的意义。

They were, says Mr Stephen, and the end was that the men of the island seeing no help was toward, as the ungrate women were all of one mind, made a wherry raft, loaded themselves and their bundles of chattels on shipboard, set all masts erect, manned the yards, sprang their luff, heaved to, spread three sheets in the wind, put her head between wind and water, weighed anchor, ported her helm, ran up the jolly Roger, gave three times three, let the bullgine run, pushed off in their bumboat and put to sea to recover the main of America.

此语不差&，斯蒂芬先生曰，&其结果，本岛男子发现负情女子异口同声，无可救药。遂建造舟筏，携家财登船，桅杆尽皆竖起，举行登舷礼，转船首向风，顶风停泊，扬起三面帆，在风与水之间挺起船首，起锚，转舵向左，海盗旗迎风飘扬，三呼万岁，每次三遍，开动舱底污水泵，离开兜售杂物之小舟，驶至海面上，航往美洲大陆。&&

Xia Shangzhou in three generations, there is the powder rouge records, Zhang Bo contains "Zhou Tin Lead to burn powder", the Chinese ancient and modern note also mentioned the "rouge, 1998 at the Zhou", the long cloud,"since three generations to lead to powder, Qin Mugong a woman Guo Rong, Germany flu immortal, Xiao history as a powder burn mercury and Tu, Yiming Feiyun Dan, a 2007 song-and end up ", a visible powder products have been used as early as three generations.

在夏商周三代，对香粉胭脂就有记载，张华博载&纣烧铅锡作粉&，中华古今注也提及&胭脂起于纣&，久云，&自三代以铅为粉，秦穆公女美玉有容，德感仙人，肖史为烧水银作粉与涂，亦名飞云丹，传以笛曲终而上升&，可见脂粉一类产品早在三代已使用。

Three-dimensional Geologic Spatial Information System is a three-dimensional system, it uses three-dimensional spatial model to represent the geoscientific spatial information.

本论文分为两个部分：三维地质空间信息系统总体设计和三维可视化研究。

Deng Jingshan, the leader of the Hangzhou Dance Troupe said gladly that in order to make the audiences to experience charm of the summer concert, they specially invited some guests being arranged in the "three tiers inside". They were the workers who have worked for rebuilding the "One Vertical and Three Horizontals" comprehensive road and the Armed Police Officers, and there were more spontaneous and enthusiastic citizens in the "three tiers outside".

杭州歌舞团团长邓京山看着热闹的人群，笑着说&里三层&的观众是这次晚会特别邀请的&一纵三横&道路综合整治的工作人员和武警部队的官兵，为了让他们亲身体会这场夏日音乐会的魅力；而更多的&外三层&观众则是自发前来的热心市民。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

The development from simplex existence of three tuning systems to organic combination of three tuning systems is known as the twelve-tone-equal temperament with multi-frequency flexibility. The harmonious combinations between circle-of-fifths system and rhyme, just intonation and harmonic, and twelve-tone-equal temperament and inflexion, make up a new tuning system which takes full use of advantages of three tuning systems.

从三律的单一存在发展到现代三律的有机结合(即&复频弹性十二平均律&)，五度相生律与旋律美相映，纯律与和声美相映，平均律与转调美相映，复频弹性十二平均律综合三律之长，避其之短，构成一个新的律制，使三律融为一个自由变通的统一体，进入相对的自由王国。

In this recipe, we have three comma-separated targets on the lefthand side, so we need a three-item sequence on the righthand side, the three-item tuple that the packing built.

我们有三个逗号分隔的目标对象在左边，所以我们需要右边有三个元素的序列，他们是有三个元素的被打包的tuple。

It is concluded in Chapter Eight that: 1 linguistic proficiencies in three languages play a considerable part in code-switching of EFL teachers in trilingual context; the inter-sentential switching outweighs the intra-sentential switching both in frequencies and percentage; discourse-related switching also outweighs participant-related switching in frequencies and percentage; the EFL is maintained longest in EFL classroom and the language maintained second longest depends upon learners" higher proficiency in Chinese or Tibetan. 2 Ethnic identity and educational background is the major causal factor of EFL teachers" Chinese-English switching in trilingual classroom; duration of language contact and relative trilingual proficiencies are the two principal contributors to the English-Tibetan switching; while Tibetan-English switching is mainly driven by EFL teachers" ethnic identity and education background, as well as the duration of language contact; English-Chinese switching is also largely motivated by the duration of trilingual contact; and Chinese-Tibetan switching is determined by trilingual proficiency to a considerable extent. Meanwhile, psychologically, the switching is mainly motivated by a procedure of psychological projection, trilingual system conceptualization and the mentality of trilingual selection. 3 The educational reflections upon this study indicate: firstly, in trilingual context, the teachers" classroom discourse is characterized by the multilingual involvement, flexibility in strategy option as well as the extension and strengthening of the domination of teachers" discourse. Secondly, the discourse movement and code-switching are largely affected by two cultural ecological mechanisms: enculturation and cultural manipulation. Thirdly, the status quo of EFL trilingual teachers are characterized by unbalanced trilingual proficiencies, poor cultural awareness, and little knowledge of trilingual education and trilingual code-switching, therefore, suggestions are advanced in the end to provide them further education. Fourthly, in trilingual context, the EFL curriculum for ethnic minorities is characterized by plurality of aims, complexity of organization and variety of resources. Meanwhile, it is of great necessity to understand the linguistic values of EFL education for ethnic minority learners. To be specific, firstly, we should not only have a deep understanding of the distribution, construction, function as well as communicative effects of the three languages, but also have a comparative study of the three languages and thus provide the standardization and guidance for the trilingual education. In the end, it is advanced that trilingual EFL provision for ethnic minority should pursue to develop learners" multicultural value system in which first language culture and mother language culture take the central position and EFL culture plays a vital role.

3在三语环境下，教师课堂话语具有话语形态多元化、话语选择策略具有灵活性和教师话语权得到延伸和拓展等特征；文化涵化和文化操控是影响三语教师课堂语码转换的两种文化生态机制；参差不齐的三语水平、淡薄的多元文化意识和对三语教学和语码转换缺乏科学认识是我国目前三语师资的主要特点，因此应对三语教师进行职后继续教育；在三语环境下，民族外语课程具有课程目标多元化、课程组织复杂化和课程资源多样化等特点；应对民族外语教育的语言价值进行审视和解读，对三种语言在课堂话语中的分布趋势、结构特征、功能作用和交际效果等问题进行深入研究，加强对三种语言间的对比分析研究，同时对民族外语教育中的三语教学进行规范和指导；在强调民族文化和二语文化在三语文化格局中心地位和外语文化的重要作用的同时，民族地区的外语教育应以构建多元文化价值观为其文化追求。

2Aim to the instance of AJiuTian hydropower project, on the basis of thedeep analysis for system exploitation, surrounding three goal of hydropowerengineering, the management and control system of dynamic visual information forhydropower engineering is developed. The development of method of schedulemanagement and control system, investment management and control system, qualitymanagement and control system, engineering three-dimension dynamic visualsimulation, engineering geology three-dimension dynamic visual simulation areadvanced, management and control of dynamic visual information for hydropowerengineering faced construction scene is realized, which provide manager with fast,exact decision-making support.

2紧密结合云南苏帕河阿鸠田水电工程的具体情况，在分析系统开发思路及原则的基础上，围绕水电工程项目管理的三大目标，研制开发了阿鸠田水电工程可视化动态信息管理与控制系统，提出了工程进度管理与控制系统、工程投资管理与控制系统、工程合同管理系统、工程施工三维动态可视化仿真系统、工程地质三维可视化模拟系统等多个子系统的功能设计及实现方法，实现了直接面向施工现场的工程动态信息的可视化管理与控制，为管理人员提供迅速准确的决策支持。

However it can often be frust ating for a child when people are unable to pronounce their name.

但它往往可以令人沮丧的一个孩子当人们无法断言他们的名字。

All these compounds were obtained from this genus for the first time. Compound, 4-cumylphenol, was a new nature product.

所有化合物均为首次从本属海藻中分离得到，其中4cumylphenol为新天然产物。