并不

V Feuerbach, not satisfied with abstract thinking, wants contemplation; but he does not conceive sensuousness as practical, human-sensuous activity.

费尔巴哈并不满足于抽象的思考，而想要诉诸于感性的直观；但是他并不把感性的当做实践的人类感性的活动。

With admiral spunk, she answered,"Small wonder, Lord, that you have so few of them!"

她勇敢地回答道："我并不诧异，上帝，你的朋友并不多！"

Say a honest word, this kind of illustration LOGO that takes form is not the optimal way that settles a LOGO, but if your client does not pay attention to concentrated sex and platoon too its sex, method of this kind of design is a kind of strategy that is full of achievement again sparely already however.

说句实在话，这种拿来式的插图 LOGO 并不是解决一个 LOGO 的最理想的办法，但假如你的客户并不过于注重专一性和排它性，那这种设计方法却是一种既节俭又富有成果的策略。【以下内容为IT者网站提供英文翻译，未经授权请勿转载

Lyricism to lyric means of literature are diverse: one is willing to speak one's mind's made, the hero is the author's own, works directly express the hero's thoughts and feelings, showing the hero's personality characteristics; One is the care of things for Yan Zhi, the work is not that the author's own hero, but the author's thoughts and feelings of the sustenance of the objects, including figures, there are things, as well as by the negative objects; one is made by the King of the lyric, that is landscape features poetry, on the surface, written by the author saw and heard was not the hero tone of voice to express thoughts and feelings, but in fact the author is described by the mountain scenery to send Italian lyric, its hero is actually author.

抒情文学借以抒情的手段是多种多样的：一种是直抒胸臆之作，主人公就是作者自己，作品直接抒发主人公的思想感情，显示主人公的性格特点；一种是托物言志之作，作品的主人公并不就是作者自己，而是作者的思想感情所寄托的对象，其中有人物、有事物，还有作者否定的对象；一种是借景抒情之作，即山水景物诗文，表面上看，所写作者所见所闻并不是作者以主人公口吻来抒发的思想感情，但实际上作者是借山林景色的描写来寄意抒情，其主人公实际上就是作者。

In The Big Typescript, this dichotomy is detailed in his analysis of the temporal, spatial and genitive expressions, resulting in the distinction between the unspeakable"memory-time"(Ged〓chtniszeit) and the speakable"physical time", and that between the unspeakable"visual space" and the speakable"Euclidean space", etc;(4) From another perspective, the destruction of the conception of the "phenomenological language"could also be seen as the logical consequence of the radicalization of the one and the same conception, since this destruction does reinforce rather than weaken RLF's original intention of distinguishing the physical system from what are given in phenomena by demonstrating the incompatibility between this intention itself and the insistence on the speakability of the phenomena, which gives birth to the illusion of the"phenomenological language";(5) Nevertheless, what the radical distinction between the sense-data and the physical language (as the unique possible language) implies, according to Wittgenstein, is not that the latter has nothing to do with the former, but that the association between the two does not follow the"original sample-copy"pattern but the"screen-presenting-filmoperation"pattern, which indicates that phenomenon itself can be aroused by or included in-rather than to be described by-the physical language/system;(6) Thus Wittgenstein leads us to depart from the obsolete ambition of representing the immediately given data perfectly for a new destination where a comprehensive "perspicuity" of the"grammar"should be required and where his later philosophy is coming into being.

在《大打字稿》中，这一二分法在他对于时间表达式、空间表达式与人称表达式的分析中得到了细化，并导致了他对于"记忆时间"与"物理时间"的区分，以及对于"视觉空间"与"欧几里得空间"的区分，等等；(4)从另一个视角来看，维氏对于"现象学语言"观念的拆解也可以被视为同一观念在被加以彻底化后所导出的必然后果，因为这一拆解工作实际上乃是加强了，而不是削弱了他在写作《略论逻辑形式》时就已怀有的信念，即：必须将物理系统严格地区分于在现象中被直接给予的东西。换言之，维氏在这一拆解工作中所做的，只不过就是暴露了这一信念本身与对于现象之"可说性"的坚执之间的固有矛盾罢了——而所谓"现象学语言"的幻相，亦正是导源于上述坚执；(5)然而，根据维氏的本意，感觉予料与物理语言之间巨大的逻辑差异却并不意味着后者与前者毫无关联，而只是意味着两者之间的关系并不遵循着所谓的"原本—摹本"模式，而遵循的乃是"屏幕呈现—胶片运作"模式。

If you are hurt by a doctor who, while driving home from the hospital, runs a stoplight because he was not paying attention, it should not matter that he was well-intentioned and did not mean to hurt you.

如果您是受谁的医生，而开车回家从医院，经营stoplight ，因为他没有注意，这一问题并不应该，他是善意的，并不意味着伤害你。

That's not necessarily true, and starving a baby into submission isn't a good idea.

这并不一定是正确的，让宝宝饿到投降并不是一个好主意。

When I directly recognize Suchness or Emptiness, or the wetness of my own being, right here, right now, then I have discovered the ultimate truth of all other waves as well. Emptiness is not a Really Big Wave set apart from little waves, but is the wetness equally present in all waves, high or low, big or small, sacred or profane-which is why Emptiness cannot be used to prefer one wave over another.

从最究竟的角度来看，绝对真理与相对真理并不是分开的两个东西，而是不二的，因为空性并不是从事物分离出来的一个独立的东西，它就是所有事物的真如本性，所有波浪的湿性，而本慧则是对真如本性的觉察或发现，它就是你当下那了了分明的觉知，整个宇宙都是从其中升起的。

Resembling carrying sunbonnet on the head then is not for sunshade , and that unlined upper garment that connect a cap also is not for drive cold , what Cameroon person needs is the pleasure that try to be unique forever .

就像那顶太阳帽并不是为了遮阳，而那件连帽衫也并不是为了御寒，喀麦隆人需要的永远是别出心裁的快感。

II Honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry. If we attend to the confused cries of the newspaper critics and the susurrus of popular repetition thatfollows, we shall hear the names of poets in great numbers; if we seek not Blue-book knowledge but the enjoyment of poetry, and ask for a poem, we shall seldom find it.

二 诚实的批评和敏感的鉴赏，并不注意诗人而注意诗，如果我们留意到报纸批评家的乱叫和一般人应声而起的人云亦云，我们会听到很多诗人的名字；如果我们并不想得到蓝皮书的知识而想欣赏诗，却不容易找到一首诗。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。