不表现的

First of all on the screen colorimeter feedback precise setting of the display's brightness and contrast, make sure that the display has the largest range of tone and color gamut.

首不后在屏幕色度计的反馈下大略撤定表现器的亮度和不差比度，保证表现器有最大的色调边界和色域。

The article focuses on Flash animation for the solution to problems, from a technical point of view can not be over-reliance on Flash, should make use of other technology-rich Flash animation of visual expression; to improve modeling capabilities, in shape not only the pursuit of "alternative" style ; grasp the movement of animation can not be over-reliance on Flash for several deformation, so monotonous movements, stiff; master the basic knowledge of lens design, the lens forms, master lens fluid connection method, grasp the lens space and time in order to improve Narrative, performance capacity.

文章重点探讨了针对Flash动画所存在问题的解决途径，从技术角度上不能过分依赖Flash，应该借助其它技术丰富Flash动画的视觉表现力；提高造型能力，在造型上不能仅仅追求"另类"的风格；把握动画运动规律，不能过分依赖Flash所提供的几种变形形式，使动作单调、生硬；掌握镜头设计基础知识，镜头表现形式，掌握镜头联接流畅的方法，把握镜头的空间与时间，以提高叙事、表现能力。

The special thing about Liu's art is that his works are not expressions of general emotions (what is commonly known as 'follow the feelings'), or graceful skills, or utilitarian interpretations of practical questions the latter is originated from France in the 18th century and its revolutionary tradition, namely political and utilitarian behaviorism tradition. French didacticism philosophers in the 18th century, just like the early renaissant civic humanists, advocated active and vibrant way of life and fought against ruminative way. They were not interested in metaphysics, and cared about practical issues—moral, mental and social--in their lives. They were confident of human future and held undoubted faith in history progress.

刘永刚的艺术的独特之处，就在于其作品中的表现性，不是一般性的情绪化的表现，不只是我们通常认为的"跟着感觉走"，也不是技巧性的优雅表现，或是对现实问题的功利性的主题解释，后者来源于18世纪的法国及法国革命传统，即政治化、功利化的行动主义传统。18世纪的法国启蒙主义哲学家，像文艺复兴早期的公民人文者一样，崇尚积极活跃的生活，不赞成沉思默想的生活，对形而上学没有兴趣，关心此时此地的人生中的实际问题——道德的、心理的、社会的问题，他们对人类的前途充满了信心，对历史的进步具有毫不怀疑的信念。

For those students who made errors, the type 9 was found to be the most difficult case. Type 2's have shown good results in other concepts. And type 8 students have performed the poorest in the aspect of equivalence fraction, but did better in simple fraction concepts.

对犯每一错误类型的学童而言，类型九之错误类型最困难，犯错误类型二（不了解分数符号平分意义）的学童在其他概念的表现情形良好，另外八个错误类型的学童，在等值分数概念表现最差，简单分数概念表现最好。

Results: Neonatal rats in hypoxic-ischemicgroup behaved restlessness, cyanosis, deep and rapid breath, astasia, lethargy, irritation and spasm; There were local pyknosis, fragmentation, dissymmetry, blur or disappearance of nucleoli, raritas of ground substance in left cerebral cortex; but there was no statistic significance in chinese traditional medicine group and sham group. The expression of HIF-1α mRNA in brain tissue of experimental group and chinese traditional medicine group were higher than that in sham group, especially chinese traditional medicine group at 3d; HIF-1α positive cells were found in cerebral cortex and hippocampus. There were more HIF-1α positive cells in experimental group and chinese traditional medicine group and mainly in vascular endothelial cells.

结果 缺氧缺血后大鼠相继表现为烦躁不安、全身发给、呼吸加深加快、站立不稳、嗜睡、激惹或间断发作的痉挛和抽搐；HE染色显示实验组大鼠左侧大脑皮层出现局灶性神经元核固缩，核碎裂，核仁偏位，不清或消失，基质疏松；中药组大鼠脑组织结构基本接近假手术组，无明显水肿和坏死表现；实验组和中药组大鼠脑组织HIF-1α mRNA表达较假手术组明显增加，尤其是中药组实验第3日者；免疫组化显示实验组和中药组各时间点大鼠大脑皮层和海马区均可见不同程度的HIF-1α表达，明显高于假手术组，阳性表达主要在血管内皮细胞，海马和皮层的锥体细胞亦有HIF-1α阳性细胞分布。

Results:Most of the intracranial chordoma（16 cases in our group,88 9%）were located in the middle area of the skull base such as clivus and/or sellar region and always invaded extensively the nerves and major in tracranial vessels of skull base.All tumors were hypointense on T1- weighted imaging and heterogeneous hyperintense on T2- weighted imaging,On Gd- DTPA contrast- enhanced T1- weighted imaging 8 chordomas enhanced more markedly,but steady heterogeneous.

结果：颅内脊索瘤大部分（本组16例，占889%）发生于颅底中线处的斜坡和/或鞍区，并广泛侵犯颅底的神经和大血管等重要结构；在T1加权像上肿瘤主要表现为低信号，T2加权像上表现为不均匀高信号，Gd-DTPA静脉注射增强后（8例）均出现较明显的不均匀强化。

The special thing about Liu's art is that his works are not expressions of general emotions (what is commonly known as 'follow the feelings'), or graceful skills, or utilitarian interpretations of practical questions the latter is originated from France in the 18th century and its revolutionary tradition, namely political and utilitarian behaviorism tradition. French didacticism philosophers in the 18th century, just like the early renaissant civic humanists, advocated active and vibrant way of life and fought against ruminative way. They were not interested in metaphysics, and cared about practical issues—moral, mental and social--in their lives. They were confident of human future and held undoubted faith in history progress.

刘永刚的艺术的独特之处，就在于其作品中的表现性，不是一般性的情绪化的表现，不只是我们通常认为的&跟着感觉走&，也不是技巧性的优雅表现，或是对现实问题的功利性的主题解释，后者来源于18世纪的法国及法国革命传统，即政治化、功利化的行动主义传统。18世纪的法国启蒙主义哲学家，像文艺复兴早期的公民人文者一样，崇尚积极活跃的生活，不赞成沉思默想的生活，对形而上学没有兴趣，关心此时此地的人生中的实际问题——道德的、心理的、社会的问题，他们对人类的前途充满了信心，对历史的进步具有毫不怀疑的信念。

An inferior quality in the administration of personnel file, which finds expressions in a lack of individuality and innovation as well as a fake and inaccuracy in the contents and the superiority of politics over the professions. 2. A dissociation of personnel from file which results in an increase in unsolved files. 3. an unadjustment of the personnel file to the new situation which leads to a multiple of management featured by the "file following personal".

通过大量的调查研究，作者认为人事档案目前明显存在的问题主要有：一、人事档案材料内容质量不高，表现为千人一面、缺乏个性，更新滞后、内容陈旧，把关不严、难辨真伪，重政治轻业务等；二、人档分离现象日趋严重，&无头档案&增多；三、人事档案管理体制不适应新的形势，表现为管理体制上是多头管理，管理体系上仍为传统的三大类管理，管理方法上&档随人走&，管理模式上实行封闭式管理；四、人事档案管理方式陈旧、手段落后，仍以手工操作为主。

It's an experimental creation period from "Boatman's Elegy" to "Sirius" during which the performance of poetry's perception and the knowing are not mature/Under the influence of the west modernism art, his poetry has been experienced from the new moon romantic to the modernism. It's his mature period from "Lotus's Association" to"Separates the Water Goddess of Mercy". During this time his poetry's intellectuality and sensibility tends to be mature. Through the reconsidering of the westernization, the poet starts to inaugurate a new sky, and the poetry displays a bright neoclassic principle characteristic, then penetrates into the traditional nationality culture;and the "Bestows on from Cercis chinensis" is the deepened time until now which the poet displays for all kinds of practical styles, which includes multiplex characteristic.In his poetry, the intellectuality blends with sensibility, the sensation combined with logos.

从《舟子的悲歌》到《天狼星》是诗人创作的实验期，这一时期诗歌的感性和知性的表现还不成熟，其间由于受西方现代主义艺术的影响，其诗歌经历了从新月浪漫派到现代主义的变化；从《莲的联想》到《隔水观音》是诗人创作的成熟期，这一时期诗歌的感性和知性表现趋于成熟，诗人通过对西化的反思开始&浪子回头&，诗歌表现出鲜明的新古典主义特征，进而深入到民族传统文化之中；而自《紫荆赋》至今是诗人创作的深化期，表现为兼容并蓄的写实风格，并具有多元取向的特征。

In about a century' s time, their livelihood of swidden agriculture has been changing greatly along with the natural and social environment change. Before 1950s, as a minor group frequently move in the subtropical mountainous area characterized by scarce arable land, high forest coverage rate and sparse population, Kemu people has long been engaged in swidden agriculture which was simple, called for no sophisticated production tools and was suitable for frequent movement. At that time, they adapted to the environment change mainly by moving frequently from one place to another, and their livelihood was featured by complete dependence on environment, frequent movement and swiddening without continuous cultivation. From 1950s to early 1970s, their way of adaptation changed into migration within defined territory and shortterm fallow featured by complete dependence on environment, migration within limited area and short fallow. In early 1970s, they leaned from outside to cultivate irrigated fields and plant cash forest and their livelihood was featured by complete dependence on environment and agro-forestry.

近一个世纪以来，随着其所处自然环境和社会环境的变迁，其刀耕火种的生计方式在不断地变化：20世纪50年代以前，作为频繁迁徙于山多地少、森林覆盖率高、人烟稀少的热带、亚热带山区的弱小族群，以开发容易，便于流动作业不需要复杂生产设施的刀耕火种为其传统的生计方式，主要以迁徙的方式对环境变迁进行调适，其刀耕火种生计方式的特征表现为完全依赖型、随意迁徙型、无轮作型；20世纪50年代至70年代，其主要以固定区域内迁徙和短期轮作的方式对环境变迁进行调适，其刀耕火种生计方式的特征表现为完全依赖型、在固定区域迁徙型、短期轮作型刀耕火种；20世纪70年代初，其主要以外文化——开拓水田及人工造林的方式对环境变迁进行调适，其刀耕火种生计方式的特征表现为部分依赖型、粮林轮作型刀耕火种；20世纪80年代以后，其主要以发展橡胶种植业对环境变迁进行调适，其刀耕火种生计方式的特征表现为暂时依赖型刀耕火种。

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。