创造的

The IIA property might not be satisfied in human decision-making of realistic complexity because the scalar preference ranking is effectively derived from the weighting—not usually explicit—of a vector of attributes (one book dealing with the Arrow theorem invites the reader to consider the related problem of creating a scalar measure for the track and field decathlon event—eg how does one make scoring 600 points in the discus event "commensurable" with scoring 600 points in the 1500 m race) and this scalar ranking can depend sensitively on the weighting of different attributes, with the tacit weighting itself affected by the context and contrast created by apparently "irrelevant" choices.

该协会的财产可能不能满足人类的决策现实的复杂性，因为标偏好排名实际上是来自加权，通常没有明确的载体的属性（一本书处理的箭定理请读者考虑有关问题创造一个标措施，田径十项全能比赛，例如如何使一个得分600分，铁饼事件"公"与得分600分， 1500米比赛）和本量排名可以依靠敏锐的加权不同的属性，与默契加权本身受影响的范围和所创造的对比显然是"无关"的选择。

Among Lee's most memorable performances are Rochefort in three Three Musketeers movies, Sherlock Holmes, classic James Bond villain Scaramanga in The Man with the Golden Gun (Lee's cousin, author Ian Fleming, created Bond), and, of course, nearly every classic monster in the book for Britain's hit Hammer horror films of the 1950s and '60s: his breakthrough role in The Curse of Frankenstein (he was the monster to Cushing's mad doctor); the title role in The Mummy; double duty as Jekyll and Hyde; and, most famously, his solitary yet deadly Count Dracula, whom he portrayed more than any other actor, beginning with 1958's Horror of Dracula, which pitted him against Cushing as Van Helsing, and lasting until 1974 with The Satanic Rites of Dracula.

在李最令人难忘的表演中，有电影《三剑客》中的罗切福特，夏洛克·福尔摩斯，经典的《金枪客》中詹姆斯·邦德的对头斯卡拉曼加（李的堂兄，作家伊恩·弗莱明创造了邦德），当然还有英国二十世纪50~60年代中几乎每一部经典恐怖片中都要出现的怪物：他在《弗兰肯斯坦的诅咒》中的突破性演出（他是库欣扮演的疯狂教授创造的怪物）；《木乃伊》中的木乃伊；双重性格的哲基尔和海德；还有那个最著名的，孤独而又致命的德库拉伯爵，他对这个角色的演绎次数远远超过其他任何演员，从1958年的《恐怖的德库拉》开始——在该片中他对抗库欣扮演的范·海尔欣，一直到1974年的《德库拉的恶魔典礼》。

Our rapidly increasing understanding of the human genome and those of other organisms means that we are becoming capable of genetically modifying ourselves by cutting out ,rearranging,and adding various snippes of our own DNA molecules and implanting DNA swquences form other organisms.This secondary evolution will allow us to change the course and speed of primary evolution (based mostly on the glacially slow process of natural selection) of our own species and other species by creating types of genes not currently found in the rest of nature.

我们很快地增加了对人类基因组以及那些其他生物的了解的方法，我们成为有能力从基因方面修改我们自己的基因，藉由删去关掉、重新排列、以及增加各种的片段在我们拥有的DNA分子以及注入一连串的DNA序列从其他生物，而这第二个发展出来的东西将是允许我们藉由创造的类型(创造的类型：不是属於现在处於自然界中的基因)改变初始发展的过程及速度(初始发展：主要是建立在兵期的缓慢的自然淘汰的过程)在於我们拥有的种类以及其他种类。

If his previous work could be categorized by being in between illustration and Contemporary art, his recent work can be described as shifting and committing completely to the presets of Contemporary art. Deva Loka, an epic project Amano eagerly created with much drive. Deva Loka, a work that was crystallized through much time and imagination, carries significance because it encompasses Amano's world of art. The main concept for this project is the Big Bang, a phenomenon that brought about all the planets in space.

如果说之前的作品是游走於动画与现代艺术的中间地带，那麼，2008年创造的 Ddeva Loka＜天界＞则是开天辟地的艺术史诗，充满形而上的美丽华滋和未来主义的斑斓表现，天野喜孝发挥了他前所未有的想像力，倾注了大量的心血和时间，淋漓尽致呈现他的艺术观，创造一个过去与未来并存，存在各种不可预知的可能与光怪陆离持续在酝酿变化的奇异想像空间，那是一个充满无限生机和爆发力的混沌空间，是宇宙万物的源头，天神的居所，未来的寄托，更是梦幻的渊薮。

The dissertation consists of three parts: firstly, the purpose 、 significance and the methods of the papers were demonstrated;and then, after researching in the traditional Chinese art and modern architecture with analogizing、 deducting research methods, this paper raise the theoretical basis of expressing "Architectural Conception" in the public building entrance space base on confining the concept . Finally, based on the former study, to the basic concepts to the creation of artistic conception in entrance space as a guide, this thesis focus on how to use the public building entrance spaces constituent elements to create space artistic conception, and analysis the methods of artistic conception creation in the entrance space of different types of construction simplify. This paper could be regarded as a reference of the research and practical operation on the theory of public building entrance space design, at the same time, a more humanity entrance circumstance for people could be provided.

全文共分三大部分：首先对论文研究的目的、意义、方法等进行了阐述；其次在对论文的相关概念进行界定后，运用类比、演绎的写作方法，在对中国传统艺术及现代建筑中意境的创造进行了借鉴研究后，进一步提出了公共建筑入口空间之&建筑意&表达的理论基础；最后在前文研究的基础上，以入口空间意境创造的基本观点为思想指导，重点阐述了如何运用公共建筑入口空间的构成要素来营造空间意境，并简单分析了不同建筑类型中入口空间意境营造的方法，期望在为公共建筑入口空间设计理论的研究和实际运作提供参考的同时，能为人们营造一个更加人性化的空间环境。

In fact, most interactive story experiences built to date have either been highly episodic (generally those narrative experiences built by the game industry, e.g., adventure games), have employed a hypertextual logic of association rather than a logic of dramatic probability and causality (generally those experiences built by fine artists and writers), or have focused on story not as a highly structured experience created by an author for consumption by an audience, but rather as a shared social construction facilitating human communication (e.g., multiuser worlds such as MUDs, MOOs,and avatar spaces ; massive multiplayer games such as Everquest and Ultima Online ; and games such as Purple Moon's Rocket series or Will Wright's The Sims).

实际上，目前大多数的互动故事经验都是高度段落化的（一般这些故事性体验来自于游戏产业，例如，冒险游戏），有意或无意使用超文本的组成逻辑而不是戏剧的逻辑（一般这种体验都由艺术家和作家营造）；聚焦到一个并非由作家为观众消费而创造的高度结构化的故事上，而是一种社团式的共同创造的公共结构（例如多用户系统 MUDs， MOOs 或者替身空间；大型多用户游戏 Everquest 和 Ultima Online ；或者 Purple Moon 公司的 Rocket 系列、 Will Wright 公司的 The Sims 游戏）。

" The Prophet added,"As for Paradise,(it will be filled with good people) because Allah does not wrong any of His created things, and He creates for Hell whomever He will, and they will be thrown into it, and it will say thrice,'Is there any more, till Allah His Foot over it and it will become full and its sides will come close to each other and it will say,'Qat!

所以阿拉说，到天堂，'你是我的慈悲，'，并说地狱，'你是我的惩罚，而我所造成的，其中后，我想，我应当填写你们两位'&先知说，&至于天堂，因为真主没有任何错误的，他创造的东西，是他创造了为地狱是谁，他会，他们将会被扔进它，它会说三次，'有没有更多的，一直到阿拉，他的脚超过它，而它会成为全职及其双方还将来亲近对方，而且会说

Dante, I think, committed a crude blunder when, with a terror-inspiring ingenuity, he placed above the gateway of his hell the inscription "I too was created by eternal love"—at any rate, there would be more justification for placing above the gateway to the Christian Paradise and its "eternal bliss" the inscription "I too was created by eternal hate "—provided a truth may be placed above the gateway to a lie!

我觉得但丁在这里犯了一个大错误，他凭着一种能唤起恐惧感的机灵在通往他的地狱的大门上写下了&我也是被永恒的爱创造的&，——不管怎么说，在通往基督教的天堂和&永恒的极乐&的大门上应当更有理由写上&我也是被永恒的仇恨创造的&，让真理站在通往谎言的大门上！

Ernst eagerly intended to break through the new vision effect, created by Giorgio De Chirico, which was similar to Freud's "unconscious theory". After all, Ernst created a brand new combination style of philosophic theory, which was not only limited in "dream" but a all new theory combined with psychology, philosophy, and Freud's theory. Simply speaking, Ernst owned unique thought which was free from the limitation of logic and traditional esthetics thinking.

恩斯特野心勃勃的在艺术界全力以赴，企图超越基里诃所创造的一种新的视觉效果，一种接近佛洛伊德所描绘的潜意识理论，最后恩斯特不仅跨越佛洛伊德所发现的潜意识理论，进而创造一种全新的哲学风貌混合意象，这新的混合意象不再只限于梦的单纯表象而已，这全新的意象是结合心理学、哲学以及佛洛伊德学说三者而成。

Ernst eagerly intended to break through the new vision effect, created by Giorgio De Chirico, which was similar to Freud's "unconscious theory". After all, Ernst created a brand new combination style of philosophic theory, which was not only limited in "dream" but a all new theory combined with psychology, philosophy, and Freud's theory. Simply speaking, Ernst owned unique thought which was free from the limitation of logic and traditional esthetics thinking.

恩斯特野心勃勃的在艺术界全力以赴，企图超越基里诃所创造的一种新的视觉效果，一种接近佛洛伊德所描绘的潜意识理论，最后恩斯特不仅跨越佛洛伊德所发现的潜意识理论，进而创造一种全新的哲学风貌混合意象，这新的混合意象不再只限於梦的单纯表象而已，这全新的意象是结合心理学、哲学以及佛洛伊德学说三者而成。

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。