不表现的

A,stores the first key condition of a check,a coffee shop exterior image of the results: the grade must be in line with the coffee shop,bearing in mind the personality and the impression of the performance of the shape,but also to maintain a sense of beauty. 2,signs "visible results" of performance: for the "easy to see a high degree of" certainty,we should still be able to make it clear in the distance,and attention should be paid to the suitability of the specifications. 3,store window charm: the performance of windows to be commensurate with the style,while attractive,will have to have induced. 4,to facilitate the import入店: the first shop to have the appropriate degree of openness,and easy to see the coffee-house,at the same time be able to have intimacy. 5,the first shop in the entire facility: a good performance must be able to store the image of the situation in order to avoid fouling,and even to consider closing the store after the first performance.

尤其对于店面的房子装修预算，要透过定期与不不定期的检查与清点；至于检核的重点，可以分成店头状况、店内家居装修设计图、陈列装饰及管理设施等方面进行。a、店头状况检核重点 1、咖啡店外装设计图的效果：必须与咖啡店品位符合，同时注意个性的表现与印象的塑造，而且要保持美感。2、招牌"易见效果"的表现：对于"易见高度"的装修设计图，要使它在远处仍可以一目了然，且要注意规格的房屋装修预算书性。3、店面橱窗的魅力：橱窗的表现要能与风格相称，同时要具有吸引力，进而要具有诱导性。4、便于入店的进口：家居装修设计图适当的店头开放度，并且易于看到咖啡店内部，同时要能有亲切感。5、店头的装修设计图设施：必须要能表现好的店面形象，制作淘宝装修素材有污损状况，甚至要 qq空间免费装饰打烊后的店头表现。

If I do not play an active part even if a team wins, I will be discharged.

如果我不表现的活跃，即使球队赢了，我也会沮丧。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从"五四"到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族"血性"的传承方面。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

The RGCMSplants in RGCMS-117A or S45A were complete male sterile at the bothtemperature conditions,and there was no pollen sac differentiation at thehigher temperature condition and there were 1-3 pollen sacs in each anther atthe lower temperature condition,but the anther development was inhibited atthe stage of microspore.

表现核质不育的植株，在高温条件下表现彻底波里马细胞质雄性不育，无花粉囊分化；在低温条件下，也表现彻底雄性不育，具核、质不育的共同特点，每个花药可分化出1-3个花粉囊，但无可育花粉，其雄性败育时期和特点与S45A和117A相同。

The first type is the scanner signature files that provides a Kodak, Agfa or Fuji company's standard quadrochromatic and the quadrochromatic standard data, use of scanner input these quadrochromatic, scan data and the difference between the standard quadrochromatic data reflects the scanner's properties; the second is the display characteristics of the file, which provides software that you can detect your display's color temperature, and then generate a color swatch on the screen, these swatches of information reflects the characteristics of the display; and the third being the print device signature files, it also provides a suite of software, the software in a computer-generated that contains hundreds of color swatch in the graphic, and then the graphic output on the output device, if it is a printer, printing press with respect to direct proof in respect of the first film, proofing and printing, the image on the output measure that is a reflection of the print device's characteristics file information.

第一类是扫描仪特征文件，它供应了柯达、爱克发、富士公司的尺度草稿及这些草稿的尺度数据，诳骗扫描仪不输不入这些草稿，扫描数据与尺度草稿数据的差值反响了扫描仪的共性；第二类是表现器的特征文件，它供应了一些软件，可测不入表现器的色温，然后在屏幕上天生一色块，这些色块新闻反响不入了表现器的特征；第不一类为打印摆设的特征文件，它也供应了一套软件，该软件在计算机洋天生一个含有数百个色块的图形，然后不兵图形在输不入摆设上输不入，如果是打印机不离间接打样，印刷机不离不后不入胶片、打样再印刷，差这些输不入的图像举行丈度即反响不入打印摆设的特征文件新闻。

Results: Most synovial sarcomas located in the extremities close to joints. Synovial sarcomas detected by radiography typically appeared as round, oval or multilobulated juxtaarticular soft-tissue masses with calcification in some cases. The most common CT appearance of synovial sarcoma was heterogeneous deep -seated soft-tissue mass with attenuation similar to or slightly lower than that of muscle. On T1WI, synovial sarcomas typically appeared as prominently heterogeneous multilobulated soft tissue masses with signal intensity similar to or slightly higher than that of muscle. On T2WI, synovial sarcomas appeared as prominent heterogeneity with predominantly high signal intensity.

结果：大部分滑膜肉瘤位于关节旁；X线表现为圆形、椭圆形或分叶状软组织肿块，部分可见肿块内钙化；典型的CT表现为较深在的、等或稍低密度不均匀的软组织肿块；磁共振T1WI与肌肉信号相比，滑膜肉瘤表现为分叶状、不均匀、等或稍高信号，T2WI则表现为高信号为主的不均匀信号；DSA呈显著的肿瘤实体染色及新生血管。

The 352 valid samples were analyzed by SPSS. The results showed there was no distinct corresponding relationship between the product attributes and reaction time. The different key attributes from questionnaire importance rating and the shortest reaction time standards were used to regressively analyze the results of customers' overall rating (such as overall satisfaction,objective quality, recommend intention).The results indicated that the coefficiency of regression of the special attributes chosen from reaction time to overall rating was distinct, while the coefficiency of the special attributes chosen from importance rating to overall rating was not. The main conclusions are: 1. Regarded attributes can be obtained by the reaction time of brand performance rating.

本实验的有效样本为352个，通过SPSS软件进行分析统计，数据统计结果显示，在品牌表现评价反应时与其重要性问卷评定结果的相关系数的检验中，并未发现品牌表现评价反应时与品牌属性重要性评定结果之间的显著相关；将由问卷重要性评价最高标准所得到的关键属性与通过品牌表现评价反应时最短的标准所选取的关键属性的品牌表现分别对消费者的总体评价结果（如&总体满意度&、&主观质量&、&推荐意向&）进行回归分析，发现通过品牌表现评价反应时方法选取的特殊关键属性（与问卷重要性评定法选取不一致的关键属性）的品牌表现对总体评价结果的回归系数显著，而重要性评定问卷法选取的特殊关键属性（与品牌表现评价反应时法选取的不一致的关键属性）的品牌表现对总体评价结果回归系数不显著。

Results:In this group there were 5 mucinous cystadenoma; 4 serous cystadenoma; 4 teratoma; 2 lager ovarian cyst; 4 subserous leiomyoma of uterine. The massive cystic-solid tumor with irregular cystic wall was seen in mucinous cystadenoma and serous cystadenoma; Teratoma appeared non homogenous density with fat density mass; Subserous leiomyoma of uterine showed large cystic tumor with clear edge, and the size of uterine was normal.

结果：5例卵巢浆液性囊腺瘤，4例黏液性囊腺瘤，CT表现为腹盆腔内巨大囊性或囊实性肿瘤，囊壁厚薄不均；4例卵巢畸胎瘤，CT表现为盆腔巨大肿瘤内部密度不均，可见脂肪密度影；卵巢巨大囊肿2例，CT表现为腹、盆内巨大单囊状肿物；4例浆膜下子宫肌瘤，CT表现为盆腔内巨大囊性肿物，边界清晰，子宫大小正常；1例阔韧带平滑肌瘤，CT表现为密度不均匀的实性肿物，增强扫描强化不均。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

Singer Leona Lewis and former Led Zeppelin guitarist Jimmy Page emerged as the bus transformed into a grass-covered carnival float, and the pair combined for a rendition of "Whole Lotta Love".

歌手leona刘易斯和前率领的飞艇的吉他手吉米页出现巴士转化为基层所涵盖的嘉年华花车，和一双合并为一移交&整个lotta爱&。

This is Kate, and that's Erin.

这是凯特，那个是爱朗。