地面上的

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的"到来"，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种"图解的危险"，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

In view of the facts that traditional graphical construction has less pertinence to stray light and tracing different incidence angle rays is fatiguesome and more likely to omit some rays, we proposed a reverse ray-trace method based on the ray reversibility. According to the method, a dot-matrix source was set at the image plane. Each dot emitted rays to fully cover the system aperture. A detector surface, large enough to receive all possible rays from the source, was set at object plane.

针对传统作图法设计遮光罩的针对性不强，且追迹不同入射角的光线繁琐、容易遗漏的问题，本文提出一种逆向追迹法，依据光的可逆性，在像面处设置点阵面光源，每一点都发出充满系统孔径的光束，在物面设置足够大的探测面，使之有充足的余量记录所有到达物方的光线，利用该方法可以在探测面上直观地区分出非成像杂散光。

On the basis of summarizing and commenting upon the major studies of semantic orientation of resultative construction in modern Chinese, the paper claims it is insufficient to study semantic orientation of resultative construction only from the literal or formal logic point of view, but rather, researchers should take into account some subjective factors on the part of language users; then, the paper introduces Talmy's cognitive semantic approach to resultative construction; based on his theoretical framework, the present paper further investigates the internal causes of the diversity of semantic orientation of satellites in Chinese,supported with the data analysis; and finally, this paper concludes that it is the semantic and syntactic properties of the verb root that make these diversified semantic orientation possible, and their actual representation is finalized by the language user via different satellites.

本文在对以往动补结构语义指向的主要研究成果进行总结评价的基础上，提出对语义指向的研究不能停留在字面和形式逻辑的层面上，而应结合语言使用者的主观因素或主观经验，也即是认知语义学的观点；其次，系统地介绍了Talmy的认知语义学观点中关于汉语动补结构的重新描述和分析，并在此基础上，着重分析了汉语动补结构多样化的语义指向的内在原因，即，汉语动作动词特殊的词汇化模式(仅包括动作和使动成分在内)中不包含确定动作执行结果的成分，因而须要借助于其卫星成分来表明动作的结果，这个结果可能是规约性的结果，也可能是偶然性的结果，由此呈现出卫星成分的多义性的特点，也就是传统上说的动补结构的语义指向。

Very clever were some of their productions, pasteboard guitars, antique lamps made of old-fashioned butter boats covered with silver paper, gorgeous robes of old cotton, glittering with tin spangles from a pickle factory, and armor covered with the same useful diamond shaped bits left in sheets when the lids of preserve pots were cut out.

她们的创造品有些还挺见心机--用纸板做的吉它，用旧式牛油瓶裹上锡纸做成的古灯，用旧棉布做的鲜艳夺目的长袍，面上亮晶晶地镶着从一家腌菜厂拿来的小锡片，还有镶有同样的钻石形小锡片的盔甲，这些被派上用场的小锡片是腌菜厂做罐头剩下的边角料。

When I see on the one side the inert bank —— for the sun acts on one side first —— and on the other this luxuriant foliage, the creation of an hour, I am affected as if in a peculiar sense I stood in the laboratory of the Artist who made the world and me —— had come to where he was still at work,sporting on this bank, and with excess of energy strewing his fresh designs about.

当我在路基的一面，因为太阳是先照射在一面的，看到的是一个毫无生气的斜面，而另外的一面上，我却看到了如此华丽的枝叶，它只是一小时的创造，我深深地被感动了，仿佛在一种特别的意义上来说，我是站在这个创造了世界和自己的大艺术家的画室中，——跑到他正在继续工作的地点去，他在这路基上嬉戏，以过多的精力到处画下了他的新颖的图案。

I joined some impatient companion who had been fishing on the pond since morning, as silent and motionless as a duck or a floating leaf, and , after practicing various kinds of philosophy, had concluded commonly, by the time I arrived, that he belonged to the ancient sect of Coenobites.

偶尔，做完一天的农活，我会去看望我的一位性情略有些急躁的同伴，他一早就在湖上垂钓，如一只鸭儿，又似一片落叶般的寂静而悠然地漂在湖面上，同时，他思索着各种各样的人生哲学，并做出普遍的定论，当我到达他那里的时候，他的哲学理论基本上已经属于修道士的古老宗派了。

The interfacial chemistry, synergistic effects and interfacial kinetics of thesynergistic extraction system D_2EHPA-MPA-Fe~(3+) have been studied, where MPA is amono-alkyl phosphate extraction with long carbon chain. D_2EHPA in the mixed extractionsystem strongly exhibits the effect on the thermodynamics of micella formation and interfaceproperties of MPA. Some thermodynamic parameters of micella formation were obtained.The interfacial adsorption behaviour of D_2EHPA is opposite to that of MPA. Theemulsification for single MPA and the mixed system was discussed. The synergistic effectswere found in this mixed extraction system. It is proved that the process of Fe~(3+) extractionfor non-mixed extraction system is controlled by chemical reaction, the controlling reactionoccurs at the interface, and the reaction rate equation is obtained.

本文研究了协同萃取体系D_2EHPA—MPA—Fe~(3+的胶团形成热力学、界面特性、协萃效应和界面动力学(动力学控制机制和反应速率方程)研究发现，混合萃取体系中的D_2EHPA强烈地影响MPA的胶团形成热力学和界面吸附行为，得到了胶团生成常数、胶团形成自由能和临界胶团浓度的热力学参数D_2EHPA和MPA具有相反的界面吸附行为研究发现D_2EHPA—MPA混合萃取剂体系对Fe~(3+)产生了协萃效应动力学和界面化学的研究结果还证实了非胶束混合萃取体系的Fe~(3+)的萃取过程是受化学反应控制的，控制反应发生在界面上

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的&到来&，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种&图解的危险&，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

I didn't watch TV last night, because it .

昨晚我没有看电视，因为电视机坏了。

Since this year, in a lot of villages of Beijing, TV of elevator liquid crystal was removed.

今年以来，在北京的很多小区里，电梯液晶电视被撤了下来。