她们的

In the light of the statement, artists use frauds to do human bes seem abundance wonderful than them really are not; dancers clarify us human bes who arouse abundance abundance gracefully than human bes really arouse; films and books and plays clarify us human talking abundance abundance entertainingly than human really talk; singers and musicians clarify us human bes making corrects far abundance lovely than human be really do.

根据那样的说法，艺术家耍弄花招而使得凡人比她们的实际面貌更为奇妙；舞蹈家们向咱们展示的凡人走路姿态优美，远胜过她们实际走路的样子；电影书本戏剧向咱们展示的大部分人谈吐妙趣横生，远胜于她们实际谈吐的CONTENT；歌手和乐师向咱们展示的凡人发出的声音悦耳动听，远胜于凡人实际发出的声音。

It was like old times to me, like homely deja vu, to come across a street brawl not far from People's Square, the ceremonial centre of the city – one of those Mediterranean-style brawls that never come to anything either, but erupt and subside, flare and fade, break sporadically into fisticuffs and peter out in rude gestures to the disappointment of all observers, especially me.

她们演奏的是多情的爱尔兰传统音乐，弹奏手法娴熟。但当我站在那儿的时候，才意识到她们的诠释几乎都是程式化的节奏，不再是温柔的舒缓音调，也没有情感上的震撼，就好像她们被毫无感情的内心节拍器控制着一样。

And people come to the illusion word unconsciously. wherever you go, it's hard for you to find a settled direction. most of people may dissociate and lose oneself in the wispy world at last…" therefore, we found that there are so many confused and inane eyes. although they makeup, smeared red lipstick and dressing with fashion white-collar suit, still can not cover up their emptiness, loneliness, decadence and connivance. they are still loitering in various places lonely. i think this is the reason why liang guyi named his works "blurred city.

不管你往左或右或前或后，很难找到一个固定的方向，在暧昧的霓虹灯间寻觅着、搜猎着、游离着，但又不知该往那里去，只有不停地看，不停地走，走着走着就没有了目的，更没有了方向或根本不需要方向，到最后变成没有了自我，随风而飘迷失在滚滚的万丈红尘之中……所以我们看到其作品中一个个迷茫而空洞的眼神，尽管她们化了妆，涂抹了红色的口红，身着时尚白领套装，依然掩饰不住她们的空虚、孤独、颓废、纵容自我、沉沦，她们依旧是寂寞的，毫无生气的游荡在各种场所。

It has three aspects;(1) Style: Their style is expression of their desire for performing, playing with gender and making community, and it has become a struggling point for the fanfic iban since mass media and homophobic people stigmatize the style.

它有三个方面：（1）风格：她们的风格是她们的表演欲望的表现，拿社会性别取乐，组成团体，而这种风格在受到大众媒体和恐惧同性恋的人群的指责后，成为她们奋争的对象。

I have forgotten their names—Jaqueline, I think, or else Consuela, or Gloria or Judy or June, and their last names were either the melodious names of flowers and months or the sterner ones of the great American capitalists whose cousins, if pressed, they would confess themselves to be.

她们的名字我忘了——杰奎林，大概是，要不然就是康雪爱拉，或者格洛丽亚或者珠迪或者琼，她们的姓要么是音调悦耳的花名和月份的名字，要么是美国大资本家的庄严的姓氏，只要有人追问，她们就会承认自己是他们的远亲。

This article utilizes the literature material law, the expert interview law, the questionnaire survey procedure, the mathematical method of average and the logical analytic method, Takes the investigation object by Beijing Haidian District middle age female, Through investigates their expense idea, the expense present situation, the consumption pattern, the expense form, the consumption level and so on, Affects them from objective and the subjective angle analysis to participate in the factor which the spor...

本文运用文献资料法、专家访谈法、问卷调查法、数理统计法和逻辑分析法，以北京市海淀区中年女性作为研究对象，通过调查她们的消费观念、消费现状、消费结构、消费形式、消费水平等，从客观和主观的角度分析影响她们参与体育健身消费的因素，就其存在的问题和原因进行深入分析，提出相应的改进对策，同时也通过研究她们的体育消费，为下一步进行全国中年女性体育消费提供基础理论及数据。

So if you want to have a happy marriage, be the kind of person who generates positive energy and sidesteps negative energy. If you have to want more pleasant, cooperative teenager, be a more understanding, empathic, consistent, loving parent. If you have to want more freedom, more latitude in your job, be a more responsible, helpful, contributing employee. If you want to be trusted, be trustworthy.

因此，要想拥有幸福的婚姻，就必须正面、积极地与人相处，避免给人以负面影响；要想子女乖乖听话，与你和睦相处，就必须充分理解她们，认真去感受她们的需求，一如既往、充满爱心地对待她们；要想在公司里有更多的自由，工作上有更广阔的发展空间，就得成为有责任、乐于助人和无私奉献的员工；要想获得别人的信任，就必须值得信任。

Confucian culture and Indonesia" s traditional idea have deeply influenced Female Chinese-Indonesian authors" mind. Their creation is such kind of imagination that bases on their verged position, Confucian culture and Indonesia s traditional idea.

她们的书写是她们在印尼社会的历史遭遇与现实处境在文学上的一种折射，简言之，印华女性文学就是印华女作家的边缘身份、儒家文化精神和印尼社会传统观念之沉积以及她们的生存境遇交织作用下的想象的产物。

Sometimes they look at these "urban tribes" and their way of dress, sometimes they explore the 你好storic-aesthetic sources such as black widow's macabre glamour, Victorian cult for mourning garments and jewels, horn-shaped amulets and accessories like instrument of torture but revealing a strong erotic sensuality charge.

有时她们存眷这些&城市群落&和她们的穿衣体式格局，有时她们摸索的历史美学的源头，如黑未亡人可怕的魅力，维多利亚门派悼念的服装和宝石，喇叭状辟邪物及像刑具的配件，却展现出强大的打击。

Ding Lings rendering of the fate of women is tragic, but because they are young women, enabling them to the tragedy was primarily manifested as love tragedy, or that they are all tragedies closely linked with love, all the pursuit and desire, pain and disillusionment in love can be the most tragic and prominent concentrated expression.

丁玲笔下女性的命运大多是悲惨的，而且因为她们多是年轻的女性，就使她们的悲剧主要表现为爱情悲剧，或者说她们所有的悲剧都与爱情紧密相连，所有的追求、欲望、痛苦以及幻灭都可以在爱情悲剧中得到最为集中而突出的体现。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失