查询词典 time space

For Newton, both space and time were absolute.

对于牛顿来说，时间和空间都是绝对的。

As additional illustration he discussed the absolute effect of velocity change on time dilation on two space travelers.

作为补充说明，他讨论了绝对影响速度变化对时间膨胀的两个太空旅行者。

I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness.

在寻找的过程中，我感觉自己被磨灭、被无限大的时间与绝对的空间感不停旋转着，我变的渺小而且微不足道。

Fig. 5: Model drawn by the writer with compromising orientai and western thinking and the abstentious principles of people-oriented There are always difference and commonness between oriental and western thinking under certain space-time background and we are taught by history that these two ways of thinking are all along mutually referencing and absorbing while seeking commonness and reserving differences.

图5： 由有妥协的orientai的作家塑造拉长和西部认为和有节制的原则的面向人那里总是区别，并且在东方和西部认为在某一时空背景之下和我们之间的普通是由历史教的这两种思维方式一直是相互参考和吸收，当寻找普通和预留区别时。

Extensity, abstractness, polymorphism and space time are their basic feature.

从而，明确了研究工作的基础是对空间数据的定义、存储和处理。

In the beginning and middle parts of 1980s, The Chinese dramas circle actively developed the Chinese traditional concept of time and space and the freehanded style, boldly borrowing the western absurdism and imagism, and started a new phase of innovation and muti-development.

八十年代初中期，中国戏剧积极拓展我国传统戏剧的时空观、写意性特征，大胆借鉴西方现代戏剧的荒诞化、意象性技巧，出现了探索创新、多元发展的崭新局面。

Freudian dream imagery, amorphous space/time, and absurdist humor combine in this drawn out mating ritual between a confused cyclist and the female he pursues.

弗洛伊德的梦想图像，无定形的空间/时间，和荒诞幽默结合在了这一点交配车手之间的困惑和追求女性，他得出的仪式。

This kind of images has made the city become a forest of cement and mechanical moving objects.Those who have created and are living in this atmosphere are,at the same time,enjoying the curiosities,strangeness,dissepiment and insecuritie .All these feelings are hard to be described in one scenario.This is no doubt the feeling of Feng jie,therefore he has adopted a kind of mural painting,used some images that are not interrelated and organized these pieces of memories into a container.Feng jie has a good skill to paint realitically,so he is able to express this kind of absurdness as truly as photographs.He can organize the reality like pieces of cards into an ordered space of images.

环路、高速路、红灯、绿灯、黄灯，——从过街桥上看街道，街道是车的河床，流动着过来的白灯，过去的红灯——这种印象把城市变成了水泥的森林，机械物的运动场，——造成，并生活在其间的人，也同时"享受"这期间的"新奇感"、"陌生感"、"隔膜感"和"不安全感"——这种感受，很难在一个情节剧中叙述，——这就是作者的感觉，他采用一种壁画的篇幅，用一些互不相关的图像，把这些"记忆的碎片"组织在一个"集装箱"中——作者有很强的写实能力，因此能把这种潜在的荒诞感，做得如照片映像般的真实，能把这些碎片似的真实，潜在结构成一个有序的图示的空间中，——一种可沟通的"惶惑"，可感知的冷处理的客观性以及他的批判立场。

The main features of transformation can be summarized as follows: it is widespread in terms of space, accelerative in terms of time, and profound in terms of degree.

我国高等教育转型的主要特点可以概括为空间上的全方位，时间上的加速度，程度上的深层次。

Centuries later, Edinburgh had developed into a town based on the castle. After the unification of England and Scotland, capitalism became the main character of the economy of Edinburgh. At that time, the old town of Edinburgh had arrived at a kind of saturation in the pre-industrialization of middle age: productivity and acceptance level had reached the limit in terms of city plane, space dimensions and city functions. When the Industrial Revolution came, the population increased in times and a great deal of factories and residence were needed to be built up.

从第一次工业革命结束以来，这一郊区化过程可以划分为两个阶段：从1767年第一座新城动工至1850年第五座新城竣工为第一阶段，这一时期郊区化扩展规模大、速度快，建筑内容丰富等特点，故称其为爱丁堡城市郊区化的规模扩展阶段；第二阶段从19世纪50年代第六座新城和第七座新城相继建造至1890年七座新城内主要建筑的建设全部完毕，在这一阶段里，郊区化的城市面积扩展规模较小，重点在于完善城市内部的功能，因此这一阶段可称为郊区化的完善城市功能阶段。

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。