创造世界的

It can systematize,deepen and opti-mize people's research and recognition about creativity and creative science,overcome the shortcoming of traditional re-searching,recognizing,developing creativity and creative science independently and lopsidedly,and promote all-round deve-lopment of creativity and creative science.

由于系统科学揭示了客观物质世界新的本质联系和运动规律，为人类认识世界和改造世界提供了新思路、新方法、新途径，因而成为科学研究的锐利武器和有效工具，也为创造和创造学的研究提供了一个崭新的角度和有效的途径。

The term "macroevolution" frequently arises within the context of the evolution/creation debate, usually used by creationists alleging a significant difference between the evolutionary changes observed in field and laboratory studies and the larger scale macroevolutionary changes that scientists believe to have taken thousands or millions of years to occur.

宏进化这一术语经常出现在进化/上帝创造世界的辩论中，通常是被创世论者用来声称在野外和实验室研究观察到的进化改变与科学家认为需要几千年或几百万年才发生的、较大规模的宏进化改变之间有着重大的差别。

If God who creates the world is the beginning of Bonaventure's theology and philosophy, then, Christ crucified for saving human is the final of his theory. The precondition of Salvation is individual's immortal soul.

如果说创造世界的上帝是波纳文图拉神哲学思考的起点，那么，十字架上的上帝——为拯救我们而受苦受难的基督就是他思考的终点，而基督的救赎则是以个体灵魂的不朽为前提的。

Whatever they borrowed, this pessimism they did not borrow -- not from Greek thought, which was a joyous acknowledgment of and homage to the beautiful and noble in this world, with a studied disregard of the element of sorrow; not from Egyptian thought, which did not allow its elaborate speculations on retribution and judgment in the netherworld to cast a gloom on this present existence, but considered the universe created or evolved under the presiding wisdom of Thoth; not from Iranian thought, which held to the absolute supremacy of Ahura Mazda and only allowed Ahriman a subordinate share in the creation, or rather counter-creation, of the world; not from Indian Brahminic thought, which was Pantheism pure and simple, or God dwelling in, nay identified with, the universe, rather than the Universe existing as the contradictory of God; not, lastly, from Semitic thought, for Semitic religions were strangely reticent as to the fate of the soul after death, and saw all practical wisdom in the worship of Baal, or Marduk, or Assur, or Hadad, that they might live long on this earth.

无论他们借来的，这悲观，他们并没有借用-而不是从希腊思想，这是一个欢乐的承认和致敬，向美丽的和高尚的在这个世界上，一个研究无视元素的悲哀；并非来自埃及的思想，不容许其拟订的揣测对报应和判断，在地狱投忧愁就这本存在，但认为宇宙的创造或演变下，主持会议的智慧，透特；不是来自伊朗的思想，举行以绝对优势的阿胡拉马自达和只允许ahriman下属分享在创造，或者更确切地说，反创造，整个世界的；不是从印度brahminic思想，这是泛神论单纯和简单，或上帝在住家，在NaY查明，宇宙，而不是宇宙现有的作为矛盾的上帝；没有，最后，从反犹思想，为犹太人的宗教是奇怪的沉默，以命运的灵魂，死亡后，看到所有实际可行的智慧，崇拜巴力，或马尔杜克，或杆，或哈达，他们可能活，只要这个地球上。

On the other hand, the influence of Absurd drama manifested mainly in the perspective of observing the world in later plays. Absurd drama reveals the uncertainty of the world by the skill of"simile way". Contemporary playwrights draw extensively and broadened the use of"simile way", and create the new simile symbols: anti-classic simile, anti-system simile and anti-meaning simile. At the same time they use a comprehensive simile to create a kind of sensual drama.Absurd drama also destroys the language function of traditional drama by rupture and desegregation, also tends to use "the language of no meaning," to reflect the world's essence. The contemporary generation create a physical theatre to expulse of the role of language. Another extreme is to strengthen language function thus creating a language game.

另一方面，荒诞派戏剧的影响力主要体现在后世剧作对客观世界的认知上：荒诞派通过&直喻&的手法来表现世界不确定性的本质，被后世剧作家广泛借鉴并且拓宽了直喻手法的使用，出现了反经典、反系统和反深度的直喻符号，同时另一个极端则是用剧场性的全面直喻创造了具有震撼力的感官戏剧；荒诞派通过破裂与解体的方法化解了传统戏剧的语言功能，更倾向于用&无义的语言&表达来体现世界的无义，后世剧作家在此基础上索性彻底驱逐了语言的作用从而创造了肢体戏剧，另一个极端则是强化语言功能创造了&语言游戏&。

In a similar vein, some people may feel that the claim that God created the world ex nihilo is irrational since we have no conception of nihilo.

类似地，由于我们没有关于&无&的概念，所以有人可能觉得上帝从&无&中创造世界的主张是非理性的。

In the process of different people accepting creation education, the characteristics in psychological process and personality's difference are always being neglected the component obstacle is baffling the creation education, education system inner part in narrow sense, analyze the teaching barriers of the creation education in teaching the current course structure exists some problem in itself constructive factor the current course contents escapes from the source of creation education namely the student's living world, the course implement process emphasizes to accept study and memorize or train mechanically, seldom let the student obtain the knowledge through his own activities and practice, the student rarely have the opportunity to express his viewpoint and opinion through his own understanding, this annihilates the student' personality and corpus such instruction process is nearly making the student under control according to the craft process, The student can't creatively express himself, so it constitute the obsatacle of creation education.

社会本位观突出了要求个体奉献社会的一面，忽视了个体突破已有社会秩序与常规的富有建设意义的独创思想与行为对社会发展的价值；同时从心理学的视角，对创造教育的心理障碍进行了剖析，不同的个体在接受创造教育的过程中，心理过程的特点与个性差异的被忽视，构成的障碍阻碍着创造教育；在狭义的教育系统内部，就创造教育的课程教学障碍进行了分析，当前的课程结构在其构成要素上本身存在一些问题；现行课程内容脱离创造教育之源，即学生的生活世界；课程实施过程存在过于强调接受学习、死记硬背、机械训练的现状，很少让学生通过自己的活动与实践获取知识，学生少有根据自己的理解发表看法与意见的机会，这是对学生个性的抹杀，这样的教学过程几乎是根据工艺流程对学生进行控制的过程，学生无法创造性地表现自己，对创造教育构成了障碍。

The Chantry believes it to be the "Waters of the Fade" mentioned in the Canticle of Threnodies, the very stuff of creation itself, from whence the Maker fashioned the world.

教会相信它就是在哀歌之曲中提到的&暗物质界的水&，也正是造物主用来创造世界的本源。

The Lord asked his archangels to help him decide where to put the Secret of Life.

上帝创造世界的时候召来了他的天使长们，请他们帮助决定应该把生命的秘密放在哪里。

The SECRET OF LIFE lies within all of us As the Lord God was creating the world he called upon his archangels.

上帝创造世界的时候召来了他的天使长们，请他们帮助决定应该把生命的秘密放在哪里。

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。