不表现的

But they were partial sterile, had 1～4 pollen sacs in each anther and had relative bigger petals and stamens at lower temperature situation. The RGCMS plants were complete sterile at the both temperature situations, and there was no pollen sac differentiation and had smaller peta...

表现核质不育的植株，在高温条件下，花瓣小，表现彻底的polCMS不育，无花粉囊的分化；在低温条件下，花瓣变大，也表现彻底雄性不育，具有核、质不育的共同特点，每个花药可分化出 1～ 4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 DGCMS plants were complete sterile at the both temperature situations, and there was no pollen sac differentiation and had smaller petals and stamens at the higher temperature situation, but there were 1～4 pollen sacs in each anther and had bigger petals and stamens at the lower temperature situation. The cytological characteristics of the anther development were the same as that of GMS plants in Yi-3AB.

表现质核不育的植株，在高温条件下，花瓣小，表现彻底的pol CMS不育，无花粉囊的分化，在低温条件下，花瓣变大，也表现彻底雄性不育，具有核、质不育的共同特点，每个花药可分化出1～4个花粉囊，但无可育花粉，其雄性败育时期和特点与宜3A相同。

They were partial sterile, had 1～3 pollen sacs in each anther and had relative bigger petals and stamens at lower temperature situation. The DGCMS plants were complete sterile at the both temperature situations, and there was no pollen sac differentiation and had smaller petals and stamens ...

表现质核不育的植株，在高温条件下，花瓣小，表现彻底的 pol CMS不育，无花粉囊的分化；在低温条件下，花瓣变大，也表现彻底雄性不育，具有核、质不育的共同特点，每个花药可分化出 1～ 4个花粉囊，但无可育花粉，其雄性败育时期和特点与宜 3A相同

Morphological and cytological observations showed that the pol CMS plants in DGCMS-Yi-3A were complete male sterile, had no pollen sac differentiation and had smaller petals and stamens at higher temperature situation. They were partial sterile, had 1～3 pollen sacs in each anther and had relative bigger petals and stamens at lower temperature situation.

花器形态和花药发育的解剖学观察结果表明，DGCMS-宜3A中表现波里马细胞质雄性不育的植株，其花器形态和花药发育的解剖学特点与pol CMS相同，即在高温条件下，花瓣较小，表现彻底不育，无花粉囊的分化，在低温条件下，花瓣变大，表现部分雄性不育，可分化出1～4个花粉囊，并产生一定数量可育花粉。

Morphological and cytological observations showed that the pol CMS plants in DGCMS Yi 3A were complete male sterile, had no pollen sac differentiation and had smaller petals and stamens at higher temperature situation.

花器形态和花药发育的解剖学观察结果表明，DGCMS-宜 3A中表现波里马细胞质雄性不育的植株，其花器形态和花药发育的解剖学特点与 pol CMS相同，即在高温条件下，花瓣较小，表现彻底不育，无花粉囊的分化；在低温条件下，花瓣变大，表现部分雄性不育，可分化出 1～ 4个花粉囊，并产生一定数量可育花粉。

Morphological and anatomical observationsshowed that the pol CMS plants in DGCMS-Yi-3A were complete sterile and hadno pollen sac differention at higher temperature condition,and were partialsterile and had 1-3 pollen sacs in each anther at lower temperature condition.

花器形态和花药发育的解剖观察表明，DGCMS-宜3A中表现波里马细胞质雄性不育的植株在高温条件下表现为彻底雄性不育，无花粉囊的分化；在低温条件下，表现部分雄性不育，可分化出1-3个花粉囊，产生少量可育花粉。

Morphological and anatomical observations showed that the pol CMS plants in RGCMS?117A or RGCMS S45A were complete male sterile ,had no pollen sac differentiation and had smaller petals and stamens at higher temperature situation.

花器形态和花药发育的解剖学观察表明，RGCMS S45A和RGCMS 117A中表现波里马细胞质雄性不育的植株，其花器形态和花药发育的解剖学特点与polCMS相同，即在高温条件下，花瓣较小，表现彻底不育，无花粉囊的分化；在低温条件下，花瓣变大，表现部分雄性不育，可分化出 1～ 4个花粉囊，并产生一定数量可育花粉。

In CIE Lab color space of a and b revealment,+ with a meaning red, with a meaning green,+ b meaning yellow,-b meaning blue.

在CIE Lab色不时间的a和b二维坐标系洋，＋a表现白色，－a表现绿色，＋b表现黄色，－b表现蓝色。

Resultantly, the individual warm/cold events in ENSO cycle appear to be partially locked to the annual cycle, and also exhibit obvious irregularity both in amplitude and in lasting time.

本文第四章研制设计了一包含海洋表面边界层和大气辐合反馈过程的热带太平洋海气耦合异常模式，进而利用该模式对ENSO循环进行了较为真实的模拟，通过对模式ENSO循环的演变特征及其形成机制的细致分析，建立了-ENSO循环的非线性分析模式，并提出了ENSO循环形成的一种更为客观的理论，指出：1）和观测事实类似，模式ENSO循环确实涉及了三种主要时间尺度过程即LF、QB和AC，其中LF为3-4年主周期振荡，QB占总方差10～20%；2）ENSO循环的正反馈机制是不稳定海气相互作用过程，且这一不稳定过程的发展在暖态中明显强于冷态；3）ENSO循环的负反馈机制在冷暖态中表现不同，在冷态消亡过程中，这种负反馈过程主要表现为西边界反射产生的时滞效应，但在暖态消亡过程中不存在类似的时滞效应，其负反馈过程主要表现为在海气耦合不稳定充分发展时伴随的赤道两侧冷水上翻过程的加强以及非线性过程的衰减作用抑制了不稳定的发展并最终使得系统回复至冷态；4）ENSO循环的3-4年主周期振荡是一非线性系统的自激振荡现象，其形成是线性系统的本征模即准两年振荡通过非线性机制产生的周期加倍所致，其中&单向性&大气辐合反馈加热过程对其形成至关重要；5）虽然年循环过程对ENSO循环形成没有本质影响，但它可明显影响ENSO循环的具体振幅和位相，使得ENSO对季节循环有明显的&锁相&特征，并且也使得ENSO循环在振幅大小和时间长短方面呈现出明显的不规则性。

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。

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。