个人地

The marble clock on the mantel-piece softly chimed the half-hour, the dog rose uneasily from the hearthrug and looked at the party at the breakfast table.

半点了，壁炉上的大理石时钟轻轻响了起来，小猎狗不安地从壁炉旁的小地毯上起身，看着餐桌旁的这几个人。

This personage, who had taken the train at Elko, was tall and dark, with black moustaches, black stockings, a black silk hat, a black waistcoat, black trousers, a white cravat, and dogskin gloves.

演讲传教的消息很快地在车上百十来个旅客中间传开了。其中对这个布道会有兴趣的至多不过三十个人，他们都被吸引到117号车厢里来了。

Existence of domain of electronic business affairs is false information, trade divulge on website of con, individual, because the standard is insufficient,be, broad consumer just dare not be at ease the consumption on bold earth mat.

电子商务领域存在虚假信息、交易欺诈、个人信息网上泄露，正是因为规范不足，广大消费者才不敢放心大胆地网上消费。

Simon gave a fierce pull and got the youth's head and shoulder back through the doorframe so he could look at him.

Simon猛烈地一拖，把这个孩子的头部和肩部从门框拉起来，他想看看这个人。

Your son?' she said, having doubtfully surveyed, first one and then the other.

"你的儿子？"她疑惑地把他们两个人轮流打量一番，然后说。

With downcast eyes I explained that I was not the person they all thought I was.

我双目低垂地解释说，我并不是他们都以为的那个人。

Here is a man who is leaving office reluctantly after 10 years in Downing Street.

有个人在唐宁街呆了10年之后很不情愿地卸了任。

No one could map out the difficulty and the prospects of a lengthy stay in dry dock seemed likely.

没有一个人能够搞定这困难，看起来似乎要呆在这干码头上漫长地期待了。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xu's works, spur his works to enter audience's habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artist's conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesn't stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xus works, spur his works to enter audiences habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artists conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesnt stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

According to the clear water experiment, aeration performance of the new equipment is good with high total oxygen transfer coefficient and oxygen utilization ratio.

曝气设备的动力效率在叶轮转速为120rpm～150rpm时取得最大值，此时氧利用率和充氧能力也具有较高值。

The environmental stability of that world - including its crushing pressures and icy darkness - means that some of its most famous inhabitants have survived for eons as evolutionary throwbacks, their bodies undergoing little change.

稳定的海底环境─包括能把人压扁的压力和冰冷的黑暗─意谓海底某些最知名的栖居生物已以演化返祖的样态活了万世，形体几无变化。