后天的

OK, GIVE ME YOU NAME ARD, TOMORROW OR THE DAY AFTERTOMORROW WE WILL COME TO YOU OFFICE .

好的，把你的名片留给我们，明天或者后天我们会来你们公司的

Instead of believing with the Calvinist that as a man grows better he becomes more unlike his natural self and therefore can

爱默生不相信加尔文教中所宣扬的一个人后天发展的越好就越不像自我(因此只能通过上帝的怜悯来变得更好)。

The human capital refers to the total sum of the factors of knowledge , technique and health within the body that has the economic value, which includes education capital, health capital and migration capital etc.

中文摘要人力资本是存在于人体之中，后天获得的具有经济价值的知识、技能和健康等因素的总合，它包括教育资本、健康资本、迁移资本等。

If so, this would explain why the congenitally blind displayed more shame in defeat than did people who became blind later in life.

如果是这样，也就解释了在失利中为什么先天失明的盲人会比起后天失明的盲人表现出更多的羞愧。

Most ofthe children who come to the fosterhome have minor disabilities thatare correctable.

大多数到这里来的的孩子都多少有点残疾，但都是可以通过后天治疗康复的。

I still remember years ago I watched the movie titled The Day After Tomorrow starred by Tom Cruse about the effects of global warming.

我还记得多年前我看过的电影名为后天主演汤姆粗约的全球变暖的效应。

Culture: Culture is not means knowledge here, if you are illiteracy which is not your fault.

外在的漂亮是先天的，但是气质是后天培养出来的。

Implicit within Tylor's definition is the concept that culture is learned, shared, and behavior.

泰勒的文化定义蕴含着这一概念，即文化是后天习得的人类共有的，被模仿的行为。

Art is an acquired taste—no one is born knowing that Michelangelo is wonderful.

艺术是一种后天养成的兴趣，没有人生来就知道米开朗基罗作品的美妙。

We can analyze this position in more depth by taking a closer look at the Kripkean cases of a posteriori necessity.

我们能通过Kripke式的后天必然的那些情况进行细致观察，从而更为深刻地分析这个情况。

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。