在第十二

For the next two decades, the second and third series banknotes were used concurrently.

在接下来的二十年中，第二次和第三次系列钞票同时使用。

Colette is said to be one of France's leading twentieth-century novelists.

柯莱特于1873年出生在勃艮第的圣索沃尔昂皮赛，被认为是法国二十世纪最重要的小说家之一。

Holland Cotter, art critic for the New York Times says this third, larger piece at 240,000 square feet is already a classic.

荷兰科特，艺术评论家对纽约时报说，这第三次，较大的一块在二十四点○万平方英尺是已经成为经典之作。

A hackney car, number three hundred and twentyfour, driver Barton James of number one Harmony avenue, Donnybrook, on which sat a fare, a young gentleman, stylishly dressed in an indigoblue serge suit made by George Robert Mesias, tailor and cutter, of number five Eden quay, and wearing a straw hat very dressy, bought of John Plasto of number one Great Brunswick street, hatter.

470家住多尼布鲁克一哈莫尼大街一号的车夫詹姆斯。巴顿所赶的第三百二十四号出租马车上，坐着一位乘客——一位年轻绅士。他那套款式新颖的靛蓝色哔叽衣服是住在伊登码头区五号的缝纫兼剪裁师乔治。罗伯特。梅西雅斯做的；头上戴的那顶极其时髦漂亮的草帽子是从大布伦斯维克街一号的帽商约翰。普拉斯托那儿买的。

The expression of Item 3 Section 225 of the Criminal Law is abstract and general which makes the intension of illegal business crime expansile.

《刑法》第二百二十五条第三项在罪状表述方式上具有高度抽象性与最大概括性，这使得非法经营罪的内涵具有扩张性特征。

When he was twenty-one he read about Michael Faraday's experiments in electricity.

二十一岁时，他读到迈克尔·法拉第在电学方面进行的实验。

About five minutes later a hook and ladder truck arrived at the hospital, extended its ladder up to Biopsy's third floor open window and 14 firemen and two firewomen climbed up the ladder into Biopsy's room.

以后勾子和梯子卡车大约五分钟到达了在医院，延伸了它的梯子由切片检查法的第三楼开放窗口决定并且14 消防员和二十楼上升梯子入切片检查法的屋子。

Finally, in Chapter Five, by taking the history and culture of the South into account, the thesis points out the relationship between the women in the literary world of Faulkner and the myth of the South and the myth of Southern ladyhood. It makes it clear how Faulkner acquired the power to represent women in the bond of social and cultural forces and how he exerts his own power as a writer to write the historical progress of the South.

第五章结语部分在南方特定的历史与文化的背景下揭示了了福克纳文本中南方女性形象与南方神话、南方淑女神话的关系，总结了福克纳作为小说家如何从历史话语与文学话语中汲取力量，积极参与南方的历史进程，参与对二十世纪初叶南方现实的构塑。

Chapter Seven also has a discussion about the philosophical meaning ofaxiomatic thought in logicism and the latest development of the foundational problemsof math in the late 20〓 century.

第七章还对逻辑主义关于"公理化思想"的哲学意义和"数学基础问题"在二十世纪末期的新进展进行了论述。

The Hong Kong Baptist University Symphony Orchestra presented its first Annual Gala Concert on 1 May 2009 in the Concert Hall of City Hall. Conducted by Music Director Professor Johnny Poon, the 90-strong orchestra performed Tchaikovsky's Symphony No. 6 in B minor, Pathétique, Op. 74 and Wagner's Overture to Die Meistersinger von Nürnberg.

香港浸会大学交响乐团於二零零九年五月一日在香港大会堂音乐厅举行「周年汇演2009」，由音乐总监潘明伦教授指挥约九十位团员，演奏柴科夫斯基的「第6 号交响曲B小调，悲怆，作品74」和瓦格纳的「纽仑堡名歌手序曲」。

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。