查询词典 up and about

From the practicality point of view, orientated toward the original data and the process flow and based on the analysis for the demand of data, this article sets up the database for fuel rod magazine and nuclear fuel element inspection and develops the friendly man-machine interface which brings about the functions such as the conversion, check, inquiry, collection and maintenance of data as well as the report printing.

本文从实用性出发，基于面向原始数据、面向工艺流程的思想，在数据需求分析的基础上，建立了核燃料元件检验和预装盒数据库，采用可视化编程语言C++Builder开发了友好的人机界面，实现了数据转换、数据检查、数据查询、统计汇总、数据维护以及打印报表等多种功能。

But circumstances inside the Wang Jia Wei film displays one kind sometimes all in linearity time going over and future hanging to purchase state , that often is able to point out solar terms in event beginning in image "hooligan formal biography " in famous show opening,"Chongqing tells the sum the "east evil west is poisonous to the date relapse in forest "" despite of he uses detail to go to emphasize the time concept unceasingly,these stories that he gives an account of and not special time background, they may may happen within this city corner every day, They whip the specimen being away from out in life only from the city But that you only are capable to do some detail discovering two stories is each other alternative in fact , Wang Jia Wei uses this to play hide-and-seek coming to bring about one kind of synchronic sex effect dyadic game if you had looked at "Chongqing forest " carefully,chance and nothing order having shown the present age city life now that the linearity time concept having dispeled tradition narrating is protruding, the intention having formed one kind of dyadic spirit of existentialism thereby accumulates, Wang Jia Wei applying on space is more than time benefits by associating together, If you have looked at Wang Jia Wei's work but have moved, that is by no means since are what the overall world impression initiates, but being resonance because of detail, is fragmentary as well as atmosphere called up by the subjective soliloquy that the garrulity spends can let you produce mental conception makes

王家卫电影里的场景往往都在线性时间的过去和未来中呈现出一种悬置状态，尽管他不断地用细节去强调时间概念，像《阿飞正传》里那个著名的开场、《重庆森林》里对日期的反复诉说和《东邪西毒》里经常会在事件开头指出节气，但他讲述的这些故事并没有特别的时间背景，它们可能每天都会发生在这个城市的角落里，它们只是从城市生活中抽离出来的标本。如果你仔细看过《重庆森林》，你就会发现两个故事的某些细节其实是互相交错的，王家卫用这种捉迷藏式的游戏来造成一种共时性的效果，既消解了传统叙事的线性时间观念又凸现了当代都市生活的偶然和无序，从而形成了一种存在主义式的精神意蕴，而王家卫在空间上的运用更是与其时间相得益彰，如果你看了王家卫的作品而感动的话，那绝不是由于整体世界的印象所引发的，而是因为细节、片断以及絮语化的主观独白所唤起的气氛能让你产生心领神会的共鸣使然

So on to talk about the fire is now the 3rdgeneration ghost dance bar: According to squat key Do not let go and then press the button after the and then aspace Remember After jumping more than most bond by 0.1 seconds, and then at the same time go by this, of course, donot take, such as squatting ground so fast at the same time opening up again after the key and space squat orabove to continue in accordance with this kind of Methods jump This is the 3rd generation ghost jumped.

所以就说说现在最火的3代鬼跳吧：按蹲键不要松开然后先按后键再按空格记住后键最多比跳多按0.1秒，然后同时按这不放，当然蹲也别放等快落地使再同时放开后键和空格蹲还是按这再继续上面那种方法跳这样就是3代鬼跳了。

Sometime I contriv'd to dig a Hole under the Place where they made their Fire, and put in five or six Pound of Gun-powder, which when they kindled their Fire, would consequently take Fire, and blow up all that was near it; but as in the first Place I should be very loth to wast so much Powder upon them, my Store being now within the Quantity of one Barrel; so neither could I be sure of its going off' at any certain Time, when it might surprise them, and at best, that it would do little more than just blow the Fire about their Ears and fright them, but not sufficient to make them forsake the Place; so I laid it aside, and then propos'd, that I would place my self in Ambush, in some convenient Place, with my three Guns, all double loaded; and in the middle of their bloody Ceremony, let fly at them, when I should be sure to kill or wound perhaps two or three at every shoot; and then falling in upon them with my three Pistols, and my Sword, I made no doubt, but that if there was twenty I should kill them all: This Fancy pleas'd my Thoughts for some Weeks, and I was so full of it, that I often dream'd of it; and sometimes that I was just going to let fly at them in my Sleep.

就我目前的境况而言，我其实不缺多少东西。可是，我总感到，由于受到那些野蛮的食人生番的惊吓，因而时时为自己的安全而担惊受怕。以往，为使自己的生活过得舒服，我充分发挥了创造发明的才能，但现在就无法充分发挥了。我本来有一个煞费苦心的计划，想试验一下能否把大麦制成麦芽，再用麦芽来酿起酒。现在，这一计划也放弃了。当然，这实在也是一个荒唐的念头，连我自己也经常责备自己把事情想得太简单了。因为我不久就看出，许多酿造啤酒必不可少的材料我都没有，也无法自己制造。首先，没有啤酒桶。前面说过，我曾尝试做木桶，但怎么也做不好。我曾花了许多天、甚至许多星期、许多个月，结果还是没有成功。其次，没有啤酒花使酒经久不坏，没有酵母发酵，没有铜锅铜罐煮沸。可是，尽管如此，我还是坚信，要是没有对食人生番的惊惧和恐怖，我早就可能着手去做了，甚至也许已做成功了。

A noble place; inside as well as out, a noble place--a house in which you incontinently lost yourself if ever you were so rash as to go about it alone; a house in which no one room had any sympathy with another, every chamber running off at a tangent into an inner chamber, and through that down some narrow staircase leading to a door which, in its turn, led back into that very part of the house from which you thought yourself the furthest; a house that could never have been planned by any mortal architect, but must have been the handiwork of that good old builder--Time, who, adding a room one year, and knocking down a room another year, toppling down a chimney coeval with the Plantagenets, and setting up one in the style of the Tudors; shaking down a bit of Saxon wall there,and allowing a Norman arch to stand here; throwing in a row of high narrow windows in the reign of Queen Anne, and joining on a dining-room after the fashion of the time of Hanoverian George I.

一个高贵的地方，里里外外，全然是个高贵的地方——好一个府邸，如果你竟鲁莽得独自东闯西跑，你立刻就会茫然迷失；好一个府邸，其中没有一个房间同另一个房间有什么和谐一致之处，每个房间都逸出常轨，突入一个内室，再经由内室下到某一个楼梯上，楼梯通向一个门，门又导引你回到了老地方，你还自以为这是府邸中离此最远的部分哩；好一个府邸，任何人间的建筑师都设计不出来的，必定是善良古老的建设者——时间——亲手营造的。时间在这一年增加了一个房间，在另一年又弄塌了一个房间；一会儿推倒一个与金雀花王朝同时代的烟囱，另外垒起一个都锋王朝风格的烟囱；那儿推倒一点儿撒克逊时代的墙垣，这儿又容许建立一道诺曼拱门；既把安女王统治时期流行的一排又高又狭的窗子硬装了上去，又按照乔治一世时代的时髦样式修建了餐室，同一个自从威廉征服英国以来兀立至今的斋堂相毗连。

A noble place inside as well as out , a noble place--a house in which you incontinently lost yourself if ever you were so rash as to go about it alone a house in which no one room had any sympathy with another , every chamber running off at a tangent into an inner chamber , and through that down some narrow staircase leading to a door which , in its turn , led back into that very part of the house from which you thought yourself the furthest a house that could never have been planned by any mortal architect , but must have been the handiwork of that good old builder--Time , who , adding a room one year , and knocking down a room another year , toppling down a chimney coeval with the Plantagenets , and setting up one in the style of the Tudors shaking down a bit of Saxon wall there ,and allowing a Norman arch to stand here throwing in a row of high narrow windows in the reign of Queen Anne , and joining on a dining-room after the fashion of the time of Hanoverian George I .

一个高贵的地方，里里外外，全然是个高贵的地方--好一个府邸，如果你竟鲁莽得独自东闯西跑，你立刻就会茫然迷失；好一个府邸，其中没有一个房间同另一个房间有什么和谐一致之处，每个房间都逸出常轨，突入一个内室，再经由内室下到某一个楼梯上，楼梯通向一个门，门又导引你回到了老地方，你还自以为这是府邸中离此最远的部分哩；好一个府邸，任何人间的建筑师都设计不出来的，必定是善良古老的建设者--时间--亲手营造的。

It seemed a place where heroes could fitly feast after victory, where weary harvesters could line up in scores along the table and keep their Harvest Home with mirth and song, or where two or three friends of simple tastes could sit about as they pleased and eat and smoke and talk in comfort and contentment.

这地方，很适合凯旋归来的英雄们欢聚饮宴；疲劳的庄稼汉好几十人围坐桌旁，开怀畅饮，放声高歌，来欢庆丰收；而富有雅兴的二三好友也可以随便坐坐，舒心惬意地吃喝、抽烟、聊天。

Further analysis shows that the self-creativity of cosmos will he affirmed in this spiritual understanding to nature. It makes people admire nature heartfully, and build up aesthetic and ethic relationship between humanity and nature. As a result, it will be helpful to overcome the sense about using and conquering nature unlimitedly.

进一步的分析告诉我们，灵性地理解自然是对宇宙自我创生过程的肯定，它使人们对自然产生由衷的敬拜，在人与自然之间建立起审美的和伦理的精神性关系，克服对自然的无条件利用和征服心理。

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。

But having gotten over these things in some Measure, and having settled my houshold Stuff and Habitation, made meof Wall up against it of Turfs, about two Foot thick on the Out-side, and after some time, I think it was a Year and Half, I rais'd Rafters from it leaning to the Rock, and thatch'd or cover'd it with Bows of Trees, and such things as I could get to keep out the Rain, which I found at some times of the Year very violent.

前面我已描述过自己的住所。那是一个搭在山岩下的帐篷，四周用木桩和缆索做成坚固的木栅环绕着。现在，我可以把木栅叫做围墙了，因为我在木栅外面用草皮堆成了一道两英尺来厚的墙，并在大约一年半的时间里，在围墙和岩壁之间搭了一些屋椽，上面盖些树枝或其他可以弄到的东西用来挡雨。因为，我发现，一年之中总有一段时间，大雨如注。

I didn't watch TV last night, because it .

昨晚我没有看电视，因为电视机坏了。

Since this year, in a lot of villages of Beijing, TV of elevator liquid crystal was removed.

今年以来，在北京的很多小区里，电梯液晶电视被撤了下来。