作图的

R1 o R1 Construct principle: The key in tangency principle is to find the center of the arc and the tangent position of the corresponding lines, line and arc, and arcs respectively.

作图原理圆弧连接作图的关键在于，找出连接弧的圆心位置及与两被连接线段连接处的切点位置。

A statistical method was described for interval mapping of quantitative trait loci using codominant flanking molecular markers such as RFLPs.

本文系统地描述了应用两个相邻共显性分子标记进行数量性状基因座位区间作图的方法。

He conceived the first proof that the 17-sided polygon is constructible.

他构思了17边形可以作图的第一个证明。

By creative design of curvilinear products, student master methods and skills of geometric construction and improve their abilities of engineering design and innovation.

学习基于几何作图的绘图方法及技巧，对含有多种曲线的产品进行创新设计作图，达到对学生工程设计能力和创新能力培养的目的。

Molecular dynamics simulations of NPT (constant pressure and constant temperature) dynamics are carried out to obtain specific volume as a function of temperature for polyethylene , polypropylene , poly-isobutylene , polyoxymethylene , and polydimethylsiloxane .

用NPT分子动力学模拟来获得聚乙烯、聚丙烯、聚异丁烯、聚甲醛和聚二甲基硅氧烷在不同温度下的特征体积。体积玻璃化转变温度通过对模拟得到的V-T作图的曲线的拐点决定。

4From a practical point of view, All kinds of sum graph ymbols can be used as acompressed representation of a graph, a data structure for representing the graph.

从实用的观点来看，各种和图标号均可用作图的压缩表示，即表示图的数据结构。

Through the research we have established in planta transformation system, mutangenesis and screening system for salt sensitive mutants, and constructed a cDNA library under salt stress and cloned a serious of salt-tolerance related genes which had been confirmed the function by overexpression in Arabidopsis or antisense expression in Thellungiella. We also compared different mapping strategy through the analysis of the genetic polymorphism between ecotypes, and establishing mapping population for physical mapping.

建立了小盐芥的转化体系与盐敏感突变体诱变与筛选体系，构建了盐胁迫下的cDNA文库并克隆了一批耐盐相关基因，并通过模式植物拟南芥转化与小盐芥的基因反义表达证实其功能，通过不同生态型小盐芥的遗传多样性分析探讨了基因组作图的策略，建立了作图群体并开始进行物理图谱构建。

The shape formed by projection of correlation line of rotative surface on which two axises Intersect by meahs of analytical method is discussed,and some related characterlstles of hyperbolic curve ,on the basis of which are given some ideas about making a drawing by correlationline projection are analysed and the actual drawing process is illustrated.

用解析法探讨了两轴线相交的回转面的相贯线投影的形状，分析了双曲线的一些相关特性，在此基础上给出了相贯线投影作图的新思路；利用实例说明了具体的作图过程。

Ninety-eight backcross inbred lines derived from a subspecific cross of Nipponbare/Kasalth// Nipponbare and its genetic linkage map were used to identify quantitative trait locus controlling rice appearance quality traits such as grain length, grain width, length-width ratio, percentage of grains with chalkiness, square of chalky endoperm, degree of endosperm and grain endosperm transparency by composite interval mapping over two year.

利用由98个家系组成的Nipponbare / Kasalath // Nipponbare回交重组自交系（backcross inbred lines，BILs）群体（BC1F9）及其分子连锁图谱，采用复合区间作图的方法，在2个不同年份对粒长、粒宽、粒形、垩白率、垩白大小、垩白度和透明度等7个稻米外观品质性状的数量性状基因位点（Quantitative trait loci， QTL）进行了定位分析。

Ninety-eight backcross inbred lines derived from a subspecific cross of Nipponbare / Kasalath // Nipponbare and its genetic linkage map were used to identify quantitative trait locus controlling rice appearance quality traits such as grain length, grain width, length-width ratio, percentage of grains with chalkiness, square of chalky endosperm, degree of endosperm chalkiness and grain endosperm transparency by composite interval mapping over two years.

利用由98个家系组成的Nipponbare / Kasalath // Nipponbare回交重组自交系（backcross inbred lines，BILs）群体（BC1F9）及其分子连锁图谱，采用复合区间作图的方法，在2个不同年份对粒长、粒宽、粒形、垩白率、垩白大小、垩白度和透明度等7个稻米外观品质性状的数量性状基因位点（Quantitative trait loci， QTL）进行了定位分析。

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。