为了

In some cases, when the ore dressing machinery factory the size of large ore blocks is also a great degree, in order to reduce the paragraphs broken ratio, or the product in order to get a finer granularity, can also be broken processes, Sec.

在个别情况下，当选矿机械厂的规模很大，原矿块度也很大，为了减少各段破碎比，或者为了得到更细的产品粒度，也可用四段破碎流程。

The comparison between the ancient and modern, Chinese and foreign education is to orientate quality education in college more exactly.

研究理论是为了指导实践，放眼古今中外是为了对当下我国大学素质教育有一个更为准确的定位。

Whether I learned to win a trophy or to stay out of financial trouble, without some sort of pull or push, I would have been like spoiled Ormond, and nothing would have changed.

无论是为了赢得奖品，还是为了摆脱财政困难，没有压力，我就可能会像被溺爱的Ormond那样，一直停在原地。

To restrain the Venetians the union of all the others was necessary, as it was for the defence of Ferrara; and to keep down the Pope they made use of the barons of Rome, who, being divided into two factions, Orsini and Colonnesi, had always a pretext for disorder, and, standing with arms in their hands under the eyes of the Pontiff, kept the pontificate weak and powerless.

为了抑制威尼斯人，正如为了保卫费拉拉一样，其他各国必须联合起来。为着遏制教皇，他们就利用罗马的贵族们，使后者分裂成为奥尔西尼和科隆尼斯两派，使彼此之间经常发生龃龉，而且手里拿着武器站在教皇跟前，使得教皇感到软弱、六神无主。

He did it ostensibly for love, but really for money.

他这样做表面上是为了爱情，实际上是为了钱。

Most people overvalue negative amounts of money: they'll work much harder to avoid losing a dollar than to gain one.

绝大多数人对支出比较反感：为了不损失一美元他们竭力工作，而要是为了挣一美元，他们就没有那么卖力了。

I owed it to you and I owed it to myself ...

为了你，也为了我自己，我才这么做。。。

In another word, the status does not exist that a painter should learn from nature "purely" without any "prejudice" and paint realistically by facing an object to paint out what he or she has perceived. To obtain such capability, painting learners or students shall use their eyes (teachers ask students in the painting class "where are your eyes and your perceptions") to observe objects and things at the beginning of study and then paint the models faithfully by means of "facade-subdivision"(or "preferring to square not round" as described by Xu Beihong, or decomposing the object into many petty facades as described in the line drawing textbook by P.P. Chistjakov so as to turn around the object bit by bit).

也就是说，不存在这样一种状态，画家为了画出自己的感觉，他们应该"纯洁"地不带"偏见"地去向自然学习，去面对物体直截了当地写生，而为了获得这种能力，在学习绘画的初始阶段，就必须训练学生们用自己的眼睛(在绘画课室里，老师总是质问学生，你的眼睛在哪里，你的感觉在哪里)去观察对象，然后用一种"分面"的方法(也就是徐悲鸿所说的"宁方勿圆"，或者按照据说是契斯恰科夫的素描教程的要求把对象分解成许多小面，以便使物体能够一点一点地转过去的方法)把眼前的模特如实地画下来。

To overcome this methodological difficulty, in other words, to guarantee the writing of 'the history aesthetical culture'to be a contribution in a scientific sense rather than some sort of paronomasia, this article has to, on two different latitudes, break up the obstacles left by the academic research in the past.

为了克服这一方法论意义上的难点，也就是说，为了使"审美文化史"的写作并非沦为一种文字上的游戏而富有学科意义上的贡献，本文必须在两个不同的纬度上打破以往学术研究的壁垒和障碍。

There were times, like when I sold Andy Peake to Middlesbrough for ￡150,000 to pay three months' wages, or when I bought Alan Pardew and we were up the pub arguing over ￡10 a week.

我们曾经为了支付3个月的工资而把Andy Peake以15万英镑的价格卖给Middlesbrough。我们也曾经在买进Alan Pardrew以后，为了每周10英镑的小钱而和酒吧争吵。

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。