在第七

Boston added three runs in the seventh against Wang, then scored twice in the eighth against Colter Bean.

红袜在第七局对抗王建民追加了三分，并在第八局对抗Colter Bean得了二分

In chapter Ⅶ the perturbation theory on the optical ac Stark effect (see chapter Ⅳ) is applied to study the NMR spectroscopy in paramagnetic and diamagnetic systems.

在第七章，我们将第五章中应用于ESR系统的光移动的处理方法推广应用到NMR体系，探索研究了在激光场的作用下，顺磁体系和具有简并激发态的逆磁体系的NMR谱的变化，提出关于激光诱导的NMR频移的理论。

Going further back, the "Encomium" of Modestus, Bishop of Jerusalem, in the seventh century (PG, LXXXVI, 3311), and the Pseudo-Dionysius of the fifth, probably suppose an acquaintance with apocryphal narratives of the Death and Assumption of the Blessed Virgin.

越走越回的" Encomium "的白虾，主教在耶路撒冷，在第七世纪公司（ PG ， LXXXVI ， 3311 ），以及伪狄奥尼修斯第五（者divinis nominibus ，三），可能与假设一个熟人未经说明死亡和升天圣母。

Rock Around The Clock One, two, three o'clock, four o'clock, rock Five, six, seven o'clock, eight o'clock, rock Nine, ten, eleven o'clock, twelve o'clock, rock We're gonna rock around the clock tonight Put your glad rags on and join me, hon We'll have some fun when the clock strikes one We're gonna rock around the clock tonight We're gonna rock, rock, rock,'til broad daylight We're gonna rock, gonna rock, around the clock tonight When the clock strikes two, three and four If the band slows down we'll yell for more We're gonna rock around the clock tonight We're gonna rock, rock, rock,'til broad daylight We're gonna rock, gonna rock, around the clock tonight When the chimes ring five, six and seven We'll be right in seventh heaven We're gonna rock around the clock tonight We're gonna rock, rock, rock,'til broad daylight We're gonna rock, gonna rock, around the clock tonight When it's eight, nine, ten, eleven too I'll be goin' strong and so will you We're gonna rock around the clock tonight We're gonna rock, rock, rock,'til broad daylight We're gonna rock, gonna rock, around the clock tonight When the clock strikes twelve, we'll cool off then Start a rockin' round the clock again We're gonna rock around the clock tonight We're gonna rock, rock, rock,'til broad daylight We're gonna rock, gonna rock, around the clock tonight

罗克 Around 钟一，二，三点钟，四点钟，岩石五，六，七点钟，八点钟，岩石九，十，十一点钟，十二点钟，岩石我们正去向昼夜不停今晚的岩石穿上你的最好的衣服和加入我，亲爱的我们将获得乐趣中的一些当钟用击打我们正去今晚昼夜不停摇动的的时候，我们正去岩石，岩石，岩石，鼻音化符号大白天我们正去向去昼夜不停今晚的岩石的岩石当钟响了二，三和四下，如果乐队让生活松弛些的时候，我们将为我们正去今晚昼夜不停摇动的更多对叫嚷我们是去岩石，岩石，岩石，鼻音化符号大白天我们正去去的岩石向昼夜不停今晚的岩石当排钟正确在第七天堂中按五，我们将是的六和七叫的时候，我们正去向昼夜不停今晚的岩石我们正去岩石，岩石，岩石，鼻音化符号大白天我们正去向去昼夜不停今晚的岩石的岩石当它也是八，九，十，十一的时候，我将强有力地是 goin 和那样你希望我们是去昼夜不停今晚的岩石我们正去岩石，岩石，岩石，鼻音化符号大白天我们正去向去昼夜不停今晚的岩石的岩石当钟给予十二我们将使冷下来的时候，那时再次以开始一 rockin' 昼夜不停我们是去昼夜不停今晚的岩石我们正去岩石，岩石，岩石'，鼻音化符号大白天我们正去向去昼夜不停今晚的岩石的岩石

It may occur in each cycle of infusion but is most common in the 7 to 9 cycles.

它可能发生在每个输注周期，但最常见的在第七至第九周期。

In the Fourth and Fifth Theses of that work he identified all art as the "fruits of unsociableness" due to men's "antagonism in society", and in the Seventh Thesis asserted that while such material property is indicative of a civilized state, only the ideal of morality and the universalization of refined value through the improvement of the mind of man "belongs to culture".

在这部著作的第四和第五论题中，他把所有艺术都看成是由于人们"在社会中的对立"的"孤僻的结果"，在第七论题中他声称，虽然这种重要性质预示着文明状态，但只有通过人的精神改善，道德理想与纯粹价值的普遍化才"属于文化"。

Much of their apocryphal matter was taken up by the offices of the Apostles in the Latin breviaries and lectionaries, composed in the seventh and eighth centuries at an extremely uncritical period.

很多未经证实此事采取行动办公室的使徒在拉丁美洲breviaries和lectionaries组成，在第七和第八世纪在一个极其盲目时期。

The Yankees played stellar defense behind him, too, with Alex Rodriguez making two tough plays on Jose Lopez grounders, one in the third and the other in the sixth, and Hideki Matsui chasing down a tough liner off Suzuki's bat in the seventh that Torre was sure was going to fall in.

D9 D8 k0 _9 |9 A 洋基的防守也很棒， A-ROD分别在第三局和第六局接到两个 Jose Lopez 击出很难防守的滚地球，还有松井秀喜在第七局追到一个铃木一朗击出很难防守的平飞球，那是连会长都几乎很确定会落下来形成安打的球。

John; these facts, together with Bede's statement that Ceolfrid had three pandects written, indicate that "there was a large and flourishing school of calligraphy at Wearmouth or Jarrow in the seventh and eighth centuries, of which till lately we had no knowledge at all".

手写的amiatinus负有强烈相似的一些片断圣卢克在达勒姆手稿，以新约圣经片段约束与乌得勒支psalter ，并能stonyhurst圣约翰；这些事实，加上贝代的声明，即ceolfrid有三个pandects书面表明，&有一个庞大而蓬勃发展的学校的书法wearmouth或jarrow在第七和第八世纪，其中，直至最近，我们不知道，在一切&。

Chapter 3 the Persian war, chapter 4 the Vandal war, chapter 5 the Gothic war are all about the same issue "Wars and Peace."By analyzing every war's cause, process, I then make a conclusion of Procopius'conception of history. Chapter 6 "Natural Calamity and Human Disaster"analyzes and discusses the Plague of Constantinople in 542-543 and "Nika riot"in 532. In chapter 7 "Legend, Customs and Natural Phenomena", besides a scrutiny of Procopius'history criticism, I examine and sum up three kinds of digressions in this work. The last chapter "Military and Religion"inquires into the military organization , armies of the services, equipments, strategy and tactics, weapons of Byzantine empire. This chapter also probes into the attitude of Procopius on Christian, heresies and paganism; The epilogue is a conclusion of this dissertation, making a systematic exposition on Procopius'conception of history.

对这三大战争的研究，笔者采用述论相结合的方法，首先分析各大战争爆发的原因，然后详细分析战争的过程，纠正普罗柯比的正误、讳言之处，通过与其他史料的相互对比还原历史真相，总结经验教训，最后，在每章的总结部分论述战争的结果及其对交战双方的影响，通过对具体内容的分析归纳总结普罗柯比的历史观；第六章&天灾与人祸&主要对《战记》中记载的542-543 年君士坦丁堡大瘟疫和532 年尼卡暴乱加以分析论述，通过普罗柯比与其他史家记载的对比探寻查士丁尼大瘟疫的起源、传播路径、症状、传染介质、死亡人数、政府对策及其影响等问题，通过对尼卡暴乱目击者记录的分析揭示尼卡暴乱爆发的原因、真实过程，对尼卡暴乱作出公允的评价；在第七章&神话传说、民族风俗和自然现象&中，通过普罗柯比对这三类插话描写的总结和评论，分析他的历史批判法；在最后一章&军事与宗教&中，剥开《战记》的表层内容，对其中蕴含的较深层次的思想内容进行研究，如拜占廷帝国的军队组织、兵种、装备、战略战术、军事武器等内容的探讨，同时也就普罗柯比对基督教和异教、异端的态度加以分析论述；最后的结语部分主要是作全文的总结，阐述普罗柯比的历史观。

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。