为了什么

Let me rephrase the question . What can I do to allow you to be manifest in my experience?

让我重复一下我的问题：为了让你在我的生活里显现，我该做些什么？

Munger: Johns Manville's behavior was one of the worst in the history of Corporate America – they knew asbestos hurt people and covered it up to make more money.

曼格：Johns Manville的行为确实堪称美国企业史上一大丑闻，他们明明知道石绵对人体有害，但为了赚钱却装作什么都不知道。

What we do is in order to get an excellent mark.

我们做什么，是为了得到一个很好的标志。

The friend that encounters similar problem is absent a few, actually this friend understands network sale into website promotion, popularize for promotion, did not consider the end of promotion, just be measured to help a visit and pull a visit to measure, such promotion, calculate the website that wants marrier to visit you, cannot clinch a deal likely the business, what issue to give?

碰到类似问题的朋友不在少数，其实这个朋友把网络营销理解成了网站推广，为推广而推广，没考虑推广的目的，只是为了拉访问量而拉访问量，这样的推广，就算要结婚的人都访问你的网站，都有可能成交不了生意，出了什么问题了？

I guess I'll have another drink...here's a toast to Diane McClintock, silliest girl in Rapture.

想像一下我的惊喜…我想我需要再喝一杯…干杯，为了Diane McClintock，这个Rapture城里最傻的女人，傻到爱上了Andrew Ryan，傻到……什么。。

The thesis will make a try to reveal the truth lied in the mechanism on an objective and general basis. The first step is to clarify what it is, then secondly 1 would like to make a contrast between Stanislavsiky, Meyerhold and Brecht with a view to deepen our understanding.

为了真实认识这个在过去及现在都仍具有着深刻影响力的演剧体系，本文力求在较为全面客观研究原著的基础上，首先弄清该体系到底是什么，进而再将斯坦尼斯拉夫斯基与梅耶荷德和布莱希特作一个比较，在横向比较中，对该体系再加以深入的认识。

Wadler tries to appease critics by explaining that "a monad is a monoid in the category of endofunctors, what's the problem?"

为了平息这些批评，沃德勒解释说："'单子'只不过是'自函子范畴中的一个含幺半群'而已，有什么难的？"

I'd move heaven and earth to win her love.

为了赢得她的爱，我做什么都行。

And she saw a long Roman candle going up over the trees, up, up, and, in the tense hush, they were all breathless with excitement as it went higher and higher and she had to lean back more and more to look up after it, high, high, almost out of sight, and her face was suffused with a divine, an entrancing blush from straining back and he could see her other things too, nainsook knickers, the fabric that caresses the skin, better than those other pettiwidth, the green, four and eleven, on account of being white and she let him and she saw that he saw and then it went so high it went out of sight a moment and she was trembling in every limb from being bent so far back that he had a full view high up above her knee where no-one ever not even on the swing or wading and she wasn't ashamed and he wasn't either to look in that immodest way like that because he couldn't resist the sight of the wondrous revealment half offered like those skirtdancers behaving so immodest before gentlemen looking and he kept on looking, looking.

她瞧见一只长长的罗马蜡烛高高地蹿到树木上空，高高地，高高地。大家紧张地沉默着。待它越升越高时，大家兴奋得大气儿不出。为了追踪着瞧，她只好越发往后仰。焰火越升越高。几乎望不到了。由于拼命往后仰，她脸上洋溢出一片神圣而迷人的红晕。他还能看到她旁的什么：抚摩皮肤的印度薄棉布裤衩，因为是白色的，比四先令十一便士的那条绿色佩蒂怀斯牌的看得更清楚。那袒露给他，并意识到了他的视线；焰火升得那么高，刹那间望不到了。她往后仰得太厉害，以致四肢发颤，膝盖以上高高的，整个儿映入他的眼帘。就连打秋千或膛水时，她也不曾让人这么看过。她固然不知羞耻，而他像那样放肆地盯着看，倒也不觉得害臊。他情不自禁地凝望着一半是送上来的这令人惊异的袒露，看啊，看个不停：就像着短裙的舞女们当着绅士们的面那么没羞没臊。

But I believe the main one is so that we get our own narcissistic needs met, at almost whatever cost outside of us.

但我相信，其中主要目的是为了让我们得到我们自己的自恋需要得到满足，在几乎什么费用以外的事情。

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。