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Among the species we measured, the maximum water holding specie is Abelia chinensis, and the minimum is Cudrania tricuspidata, and the water holding capacity of Abelia chinensis is three times as Cudrania tricuspidata. The shrub and herbage amount of six forest types is Shrubbery and grass land, Pinus massoniana forest, Mixed conifer forest, Conifer and broadleaf forest, Broadleaf forest and Cupressus funebris forest in order. And the water holding amount of shrub and herbage have positive relative with their amounts.

6种森林类型林下凋落物存储量从大到小依次是柏木林、针阔混交林、阔叶林、针叶混交林、灌草地和马尾松林；各种森林类型的凋落物都以半分解层为主，凋落物的组成以叶子为主枝条为辅，并杂有一些果实、树皮及芽鳞等；凋落物持水量从大到小依次是阔叶林、柏木林、针阔混交林、针叶混交林、灌木林和马尾松林，主要原因是除了受凋落物数量的影响外，还受凋落物成分的影响。

The modern physics development by to the concrete material embodiment inspection, moved towards to the abstract material abstract research, namely from specially moves towards general, its utilizes the mathematical instrument is also same, moves towards mathematics from physical mathematics physics, already developed the abstract algebra and the general analysis situs, from bad on the one hand said, the physicist because of lost the concrete material object to change confusedly, was at a loss how to proceed, from was good on the one hand says, the research technique from specially moved towards general, also caused its thinking mode to have the return, tended to the philosophy, this speaking of the physics, was one kind of significant crisis, but at the same time, Also is a brand-new development turning point.

现代物理学的发展已由对具体物质的具象考察，走向对抽象物质的抽象研究，即从特殊走向一般，其所运用的数学工具也一样，从物理的数学走向数学的物理，已经发展到抽象代数和一般拓扑学，从坏的一方面讲，物理学家因失去了具体的物质对象而变得迷茫，无所适从，从好的一方面讲，研究方法的从特殊走向一般，也使其思维方式发生了回归，趋向于哲学，这对物理学而言，是一种重大危机，但与此同时，也是一个全新的发展契机。

Out where the river broke The bloodwood and the desert oak Holden wrecks and boiling diesels Steam in forty five degrees The time has come To say fair's fair To pay the rent To pay our share The time has come A fact's a fact It belongs to them Let's give it back How can we dance when our earth is turning How do we sleep while our beds are burning How can we dance when our earth is turning How do we sleep while our beds are burning The time has come To say fair's fair To pay the rent, now To pay our share Four wheels scare the cockatoos From Kintore East to Yuendemu The western desert lives and breathes In forty five degrees The time has come To say fair's fair To pay the rent To pay our share The time has come A fact's a fact It belongs to them Let's give it back How can we dance when our earth is turning How do we sleep while our beds are burning How can we dance when our earth is turning How do we sleep while our beds are burning The time has come To say fair's fair To pay the rent, now To pay our share The time has come A fact's a fact It belongs to them Let's give it back How can we dance when our earth is turning How do we sleep while our beds are burning

在哪里爆发的河流该bloodwood和沙漠橡树霍顿沉船和沸腾柴油蒸汽在45度现在时机已到如果说公平公正付房租我们的支付份额现在时机已到一个事实是事实它属于他们让我们回到我们怎么能跳舞时，我们的地球是转折点我们怎么睡觉，而我们的床燃烧我们怎么能跳舞时，我们的地球是转折点我们怎么睡觉，而我们的床燃烧现在时机已到如果说公平公正付房租，现在我们的支付份额四个轮子吓唬cockatoos 从金托尔东Yuendemu 西部沙漠的生命和呼吸在45度现在时机已到如果说公平公正付房租我们的支付份额现在时机已到一个事实是事实它属于他们让我们回到我们怎么能跳舞时，我们的地球是转折点我们怎么睡觉，而我们的床燃烧我们怎么能跳舞时，我们的地球是转折点我们怎么睡觉，而我们的床燃烧现在时机已到如果说公平公正付房租，现在我们的支付份额现在时机已到一个事实是事实它属于他们让我们回到我们怎么能跳舞时，我们的地球是转折点我们怎么睡觉，而我们的床燃烧

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。

The death rate grew by 37%. Chinese previously did not need security door. But by now, to some place, security window has been set at seventh floor. For there are too many gangster every where, no company in China would arrange with their workwomen to go home at night. No body knows what really are the food every one have everyday. Neoteny has take place on children. Then we can imagine the situation of our health in the future. There are about 20 million girls in China are pursuing sexual work. That creates 6% of GDP aggregate, which is as much as 1000 billion RMB. This kind of activity had never appeared in the history of human being except Japan. The height of Chinese people is 2.5cm lower than that of Japanese. We can no longer see them by looking down. The small Japan became big Japan. We create 0.1 billions GDP with the payment of 1 person's life, reported by reference news. The number of death in 2003 is 136 thousands. So the number of industrial injury will be 200 thousands. It is true that our GDP is bloody. Actually, this number is a small part of the true number. The numbers which can be accounted are in nationalized business or in a big accident. In personalized business or overseas-funded enterprise, the owner do not pay attention on the death of workers. So the data can not pass to the statistical department. However, the number of death there is much more than that of the first ones. If we add this in account, the number,annually can be compared with the massacre in Nanjing.

中国人从原来不知道防盗门窗为何物，到现在防盗窗已安装到了楼房的七层以上；由于流氓遍地防不胜防，全国企业早已不再安排女工上下夜班；有毒食品已经100%的覆盖了全部行业，每天人们咽进肚子里的食物究竟是什么，只有天知晓；性早熟现象已经蔓延到了学龄前儿童，未来的身体和寿命可想而知；约2000万少女被迫卖淫，创造的收入占GDP总量的6%，相当于一万多亿人民币，这种肉体积累是世界历史上除日本之外绝无仅有的现象；中国人的平均身高比日本人低了2.5公分，由以前低头看日本人到现在抬头看日本人，小日本真的成了"大日本"；《参考消息》报道，中国每亿元GDP工伤死亡1人，2003年死亡达13.6万人，以此推算，今年工伤死亡人数将达到20万，"是名副其实的带血GDP"，其实这个死亡数字不过是冰山一角，能够统计到的死亡数字，要么是国有企业，要么是死人较多的特大事故，私企和外企平常死个把人根本到不了统计部门，而私企和外企用工数量远远超过国有企业，如果考虑到这个因素，每年死亡人数至少相当于一场南京大屠杀。

It is an objective psychological guarantee system in view of psychology, is a result of utilitarian calculations, and an institutionally and structurally operative system in view of managerial science.

可以这样认为，契约型政府信任关系是在对社会制度和治理秩序的主观设计和建构中历史生成的，从哲学的角度看，它经历了一个从怀疑主义到契约论的过程；从心理学的角度看，它为与国家二元分立中的社会提供了一种客观性的心理保障机制；从经济学的角度看，它是个体功利性计算的集体选择；从管理学的角度看，它的制度化具有组织化的可操作性。

I don't see what anyone can see, in anyone else But you I will find my nitch in your car With my mp3 DVD rumple-packed guitar I don't see what anyone can see, in anyone else But you Du du du du du du dudu Du du du du du du dudu Du du du du du du dudu du Up up down down left right left right B A start Just because we use cheats doesn't mean we're not smart I don't see what anyone can see, in anyone else But you You are always trying to keep it real I'm in love with how you feel I don't see what anyone can see, in anyone else But you We both have shiny happy fits of rage You want more fans, I want more stage I don't see what anyone can see, in anyone else But you Don Quixote was a steel driving man My name is Adam I'm your biggest fan I don't see what anyone can see, in anyone else But you Squinched up your face and did a dance You shook a little turd out of the bottom of your pants I don't see what anyone can see, in anyone else But you Du du du du du du dudu Du du du du du du dudu Du du du du du du dudu du But you

我不搞清任何人所能在其他任何人但是你中注意到的我将发现我的nitch在你的小汽车中我不和我的mp3 DVD皱纹-挤满的吉他有关搞清任何人所能在其他任何人但是你中注意到的 Du dudu dudu dududu Dudu dudu dudu duduDu dudu dudu dududu du 是沿着沿着顺而下顺左边权利而下仅仅因为我们使用骗人的东西，左边正确B一出发不意味着我们是不我不在中搞清任何人所能注意到的刺痛其他任何人但是你你是总是设法使它保持真正我是爱你怎样感到我不搞清任何人所能在其他任何人但是你中注意到的我们在两方面同样地富人暴怒的你更多想要的有光泽愉快合身扇，我想要更多舞台我不搞清任何人所能在其他任何人但是你中注意到的&堂吉诃德&是一钢是驱动男人我的名字是亚当我你的我不看见的最大扇子是在任何人所能看见其他任何人但是你的中沿着你的脸扭歪有一点和跳你摇动的舞粪块从出来你的裤子的底部我不搞清任何人所能在其他任何人但是你中注意到的 Du dudu dudu dududu Dudu dudu dudu duduDu dudu dudu dududu du但是你

This article starts form carding the formation and development of the animations in the United States, Japan and Europe, in their respective national television animation style characteristics. In the second chapter, from the national culture, folk customs and ways, the character and geographical four conditions explore the United States, Japan, Europe, ethnic style animation in the film formation due to the dynamic; Chapter III trays to find the common aesthetic features of the Television Animation factors in United States, Japan, Europe, also this part describes the characters from four aspects, such as to find truthfulness, to find kind and so on. Chapter four is the key of this article, this part colludes several parts , such as film animation level, the way how animation to present to the concept of integrity, the character and language of the text character and so on . This end of this article is a summary of papers, down from globalization understanding of the vision of China Television Animation, the theoretical study of the ultimate goal is to practice creative services, what is more important is a comparative analysis, which received some of reference, identify China Television Animation and the gap between other countries, in order to learn from foreign advanced development of the film and television animation experience in the domestic film and television animation themes and concepts updates, in the localization of the close integration with the international on the road to the former OK, can have a more far-reaching significance.

论文首先从美、日、欧、中影视动画各自民族风格的特点出发，对其民族风格的形成与发展进行系统的梳理；进而在第二章中，从民族文化、民风民俗、民族性格和地域条件四个方面探究美、日、欧、中影视动画民族风格形成的动因；第三章是对美、日、欧、中影视动画的同质性因素进行比较，论文从启真、扬善、弘美、尚趣四个维度来寻求其共通的美学特征；第四章中外影视动画民族风格的异质性因素比较是本文的重点，也是论文的难点，这一章涉及到许多影视动画本体性的层面，拟从动画的观念品格、文本品格和行为品格三个方面进行把握、比较；最后一章是论文的总结，从全球化的视野下来认识中国影视动画，理论研究的最终目的是要为实践创作服务的，因而，论文更主要的是通过比较分析，从中获得一些借鉴性意见，找出中国影视动画和其他国家之间的差距，更好的学习国外影视动画先进的发展经验，以期对国产影视动画在题材和观念的更新上、在本土化与国际化紧密结合的道路上如何前行能够有更为深远的指导意义。

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。

Also many propositions from psychology: eg that the powers of the soul are not merely accidents even natural and necessary of the soul, that they are not really distinct from the substance of the soul or from one another; that sense perception is not purely passive; that the intellect can recognize the singular directly, not merely indirectly; that the soul separated from the body forms its knowledge from things themselves, not merely from the ideas which it has acquired through life or which God infuses into it; that the soul is not united with the body for the purpose of acquiring knowledge through the senses but for the purpose of forming with it a new species, ie human nature; that the moral virtues are not necessarily inter se connexae, etc. Also many propositions concerning the doctrine of the angels: eg that the angels can be numerically distinct from one another, and therefore several angels can belong to the same species; that it is not merely through their activity or the application of their powers that angels can be in a given place; that they cannot go from place to place without having to traverse the intermediate space; that they do not acquire all natural knowledge from infused ideas only, but also through contemplation of things themselves; that their will must not necessarily will good or evil, according as it has once decided.

也有许多从心理学的主张：例如，权力的灵魂不只是意外甚至自然和必要的灵魂，他们并没有真正有别於的实质或灵魂从彼此；这个意义上的看法是不是纯粹的被动；该智慧可以识别奇异直接，而不是仅仅间接的灵魂脱离身体的知识形式从自己的事情，而不是仅仅从想法，它已经收购了生命或通过上帝注入到它的灵魂是不联合国与机构的目的是通过获取知识的意识，但目的是形成了一个新的物种，即人性的道德并不一定是相互connexae等也有许多主张有关理论天使：例如，天使数值可以从一个不同的另一种，因此，几个天使可以属於同一物种；，它不仅是通过他们的活动或运用其权力，天使可以在一个特定的地方；，他们不能去地点，而无需导线的中间空间；，他们不会获得所有自然知识，只有注入的想法，而且还通过静观事情本身；，他们将必须不一定会好或邪恶的，因为它显示了一旦决定。

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。