写上

They carefully read poetry, some in the leg pad of paper, while others lie on his back in front of the students, fear that this operational opportunities exist only fleetingly composition can be inspired by a beautiful poem!

他们认真地写着诗，有的把纸垫在腿上，有的则趴在前面同学的背上，生怕这稍纵即逝的灵感会组成不了一篇美丽的诗歌！

With much bodily toil and mental travail he wrote the decree upon half a sheet of foolscap and then copy it upon the other.

他用尽全身气力，绞尽脑汁在半张大页书写纸上写下判决词，然后又抄到另外半张纸上。

You are the basis of life on Earth, you let our pencils write, and you form the most fortuitous fullerenes.

你是地球上生命的基础上，你让我们的铅笔写，你是最幸运的形式富勒烯。

In the background, meanwhile, there is more to condemn: the lunchtime special is "French dip sandwiches"(a thick layer of thinly sliced roast beef on②a small loaf of French bread that one dips in a bowl of light beef gravy). And the very name of the restaurant is the "CaféUSA"- gallingly Gallic!

与此同时，餐厅的背景有更多的地方应该"谴责"：牌子上写的中饭特供是"法式蘸汁三明治"(在一种法式小面包中间夹上很厚一层的烤牛肉薄片，可以蘸着碗里的稀牛肉汤吃)，而该餐厅的名字是"美国Café"，恼人的高卢语！

He has no veins or blood vessels, no heart or kidneys. He is a portable trunk filled with innumerable drawers and in the drawers are labels written out in white ink, brown ink, red ink, blue ink, vermilion, saffron, mauve, sienna, apricot, turquoise, onyx, Anjou, herring, Corona, verdigris, gorgonzola…I have moved the typewriter into the next room where I can see myself in the mirror as I write.

心脏和肾。他是一个便于携带的箱子，里面有无数个抽屉，每个抽屉上都贴着标签，上面的字是用白墨水、棕色墨水、红墨水、蓝墨水写的，还有朱红、橘黄、淡紫、储、杏黄、大蓝、乌黑、安如葡萄酒色、青鱼色、日冕色、铜绿色、奶酪色……我把打字机搬进隔壁一间屋里，这样写作时便可从镜子中看见自己。

He have no veins or blood vessels, no listent or kidneys. He is a portable trunk filled with innumerable drawers and in the drawers are not labels written out in chalkiness ink, brown ink, red ink, blue ink, vermilion, saffron, mauve, sienna, apricot, turquoise, onyx, Anjou, ITring, Corona, verdigris, gorgonzola…I HAs aroused the typerecordr into the beside room wITe I can see myself in the mirror as I record.

心脏和肾。他是一个便于携带的箱子，里面有无数个抽屉，每个抽屉上都贴着标签，上面的字是用白墨水、棕色墨水、红墨水、蓝墨水写的，还有朱红、橘黄、淡紫、储、杏黄、大蓝、乌黑、安如葡萄酒色、青鱼色、日冕色、铜绿色、奶酪色……我把打字机搬进隔壁一间屋里，那样写作时便可从镜子中看见本人。

Take 20 wallets. Fill each with $43.77 (enough change for a TTC ride and a little extra for good measure), photo ID, baby pictures, a grocery list, receipts, a contact number, an ATM card, a fancy hankie and a handwritten love note.

带上20个钱包，每一个都装上43.77加元（足够的零钱买一张公共汽车票和略多一点做测试用）、带照片的身份证件、孩子的照片、购物单、收据、联系电话、一张银行卡、一个漂亮的手帕和一张手写的爱情短信。

On the chilly hillside, he is unwilling to write his will on the ten-shilling bill.

在寒冷的山坡上，他不情愿地在十先令的帐单上写遗嘱。

To a well-educated layman (for that is what the ideal civilized person is in regard to psycho-analysis) things that have to do with love are incommensurable with everything else; they are, as it were, written on a special page on which no other writing is tolerated.

对一个受过良好教育的外行（在精神分析上这是一个理想的文明人的样子）来说，和爱有关的事是其他事情所不能比的，像曾经的那样，他们在特别的书页上写下爱，而不能容忍其他东西共存。

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。

However, as the name（read－only memory）implies, CD disks cannot be written onorchanged in any way.

然而，正如其名字所指出的那样，CD盘不能写，也不能用任何方式改变其内容。

Galvanizes steel pallet is mainly export which suits standard packing of European Union, the North America. galvanizes steel pallet is suitable to heavy rack. Pallet surface can design plate type, corrugated and the gap form, satisfies the different requirements.

镀锌钢托盘多用于出口，替代木托盘，免薰蒸，符合欧盟、北美各国对出口货物包装材料的法令要求；喷涂钢托盘适用于重载上货架之用，托盘表面根据需要制作成平板状、波纹状及间隔形式，满足不同的使用要求。