强调的

B Benefit and detriment Historically, the mon law action of debt was said to require a quid pro quo, and that requirement may have led to statements that consideration must be a benefit to the promisor But contracts were enforced in the mon-law action of assumpsit without any such requirement; in actions of assumpsit the emphasis was rather on the harm to the promisee, and detrimental reliance on a promise may still be the basis of contractual relief See 90 But reliance is not essential to the formation of a bargain, and remedies for breach have long been given in cases of exchange of promise for promise where neither party has begun to perform Today when it is said that consideration must involve a detriment to the promisee, the supposed requirement is often qualified by a statement that a "legal detriment" is sufficient even though there is no economic detriment or other actual loss It is more realistic to say simply that there is no requirement of detriment

b收益和损害。从历史来看，普通法上的债的行为被认为要求一个等价物，而且这一要求还可能导出这样的结论：约因必须是允诺人获益。但在缺乏这一要求的契约在普通法上的违约之诉中仍然得到执行；在违约之诉中，强调的是对受允诺人的损害，而且对允诺的有害依赖可能仍然是契约救济的基础。参见第90条。但是信赖对协商的成立并非必要性因素，而且在任何一方当事人均未开始履行的允诺交换允诺的案例中，早已规定了违约救济。现在，当有人认为约因必须包括一个对于受允诺人的损害时，其假设的要求经常由此表述得以满足："一个"法律上的损害即使在没有经济损害或者其他实际损失的情况下仍然是充分的。认为没有对于损害的要求的主张是更加现实的。

And they emphasized the value, in an administrative context, of procedural protections long associated with Anglo-American criminal trials: the right to have the assistance of counsel; the right to know one's accuser and the evidence against one; the right to confront and crossexamine that person; the right to have decision based solely upon a record generated in open proceedings; as well as the right to present argument and evidence on one's own behalf.

他们强调了一直与英美刑事审理有关的程序性保护在行政方面的价值：强调了获得律师帮助的权利；强调了知道指控者和不利于自己的证词的权利，强调了对质和反诘指控者的权利，强调了要求只能根据公开诉讼记录裁决的权利，和为自己辩护和举证的权利。

You see, if the body of human beings without something of essence of life-----it just is called God----,which can innerly dictates its operation, it is just the material of non-life that can be provided to people for study in field of science and if you study from the angle of art appreciation------just as the works of art exhibited after the bodies having been processed in German---- the material has shown a special value, and here what I specially emphasize on is the body without life is still the indication of civilization and culture of human bengs, but it is like a pile of clothings, and its spirit has already left from under the clothings as the most important and essent existence, and what the appearance of body without life can only bring us the symbols hidden under the body.

你看，人体如果没有生命本质-----这就是神----的东西在其体内指挥其运转时，它们只是科学领域内可以供人研究的物质而在艺术欣赏角度-----正如德国的那些对于尸体加工之后作为艺术品展出的作品----看来，那些物质又具有了一种特殊的价值的存在，而特别强调的是，没有生命的人体仍然是一种人的文化文明的表现，只不过那只是象一堆衣服，其灵魂已经作为这堆衣服下作为人最重要最本质的存在而离开了，而由这无生命的人体的表象所能带给我们的仅是这人体所蕴藏着的符号，最多给我们观察到他们的人们以提示：那曾经是一个被代号**所称呼的人的存在，而他们不再能言语，他们也就没有文化文明了。

Notable is the Thespian destruction that Lu Xun gentleman emphasizes, not be to point to before the tragic character that a few esthetician generalize --' good person ',' great figure '-- ruined, however not stick to on what person ' the destruction of worthy thing ', and ' worthy thing also not stick to is material still is spirit.

值得注重的是鲁迅先生强调的悲剧性的毁灭，不是指以往一些美学家所概括的悲剧人物——'好人'、'伟大人物'——的灭亡，而是不拘什么人身上的'有价值的东西的毁灭'，且'有价值的东西也不拘是物质的还是精神的。

More and more I've come to realize that it was Scharmer's Theory U that I liked, and that the rest of the book (notably Peter Senge's apparent insistence on putting "institutionalization" at the end -- top upper right -- of the U, presumably to make it more appealing to business executives who want theory to be actionable in traditional command-and-control measurable-results terms) actually detracted from Scharmer's theory.

事实上我越来越感觉到，我所倾慕的查默尔的理论，加上书中的其他部分的理论（值得注意的是，在书的结尾处彼特·森格所明确表示坚持的设立有关的以大写的 U 来强调的&研究机构&，并推测其将大程度地引起商业界的执行人士对于本曲线的作用的兴趣，例如在激活传统的执行操控及有关重要的事务的结果预测上的帮助）实际上却是在减损查默尔的这个理论。

Ever so, this kind of exploration has stablished the solid foundation for china"s modernization, have played and lays foundation on function for the settlement of china"s rural, agricultural, peasant"s problem, Its position is pioneering.Deng ciao-ping is in the new period for reform and opening up to the lutside world. He suggests reform and opening up the outside world as theAbstractmotive force of development, and reform the factor of fettering productivity development in the old system, make a reservation and solve the basic point of china"s rural problem again. He emphasize that liberates and develop rural productivity again and point out that the rich peasant is a key of solving the problem.

邓小平在改革开放的新时期，改革传统体制中&左&的、束缚生产力发展的旧体制；强调重新解放和发展农村生产力；以富裕农民为关键，以确立农业在新时期的战略重点地位为核心；强调科技在农业发展中的作用；强调调整农业产业结构，发展多种经营；强调工业支援农业，发展乡镇企业，转移农村剩余劳动力；提出中国农业发展的&两个飞跃&的思想；继承毛泽东农民教育思想，提出教育改造农民的新思路；吸取以往经验教训，强调保护农民的物质利益，尊重农民群众的首创精神；继续强调共同富裕的农村发展目标，提出&先富&到&共富&的发展思路等观点。

First, to take ideology as a weapon was the starting point of the revolutionary drama-"the Left Drama"while to pay attention to human and the conflict between human and the society, which led to the probation of the connotation of the conflict consciously was the core of sub-current realism. Second, the main current realism had a strong revolutionary"proletariat"aim and political sense-objective sense while the sub-current realism focused on people and setting up characters. Third the main current realism laid too much emphasis on the sense of mission of its time which led to the tendency of formulizing and generalizing while the sub-current realism paid attention to the firm objectivity and to imitate life as their aesthetic ideal, and as a result the sub-current realism produced vigorous works. CHAPTER 4 Realistic Chinese modern drama experienced a hard and winding way of development. It was even worse after the People Republic of China was established.

本章还从三个基本方面入手，论述了主流的现实主义与非主流的现实主义内质的差异与不同的发展趋向，即作为一种武器的思想是主流的革命现实主义中&左翼戏剧&的出发点，与注重人与命运、人与现实的冲突，从而自觉追求冲突内涵的挖掘是非主流现实主义的核心；主流的革命现实主义中&普罗列塔利亚式&强烈的革命目的&目的意识论&与非主流现实主义的倾心于人物、注重人物塑造的审美原则；主流的革命现实主义所强调的时代使命感而产生的公式化、概念化倾向与非主流的现实主义所注重的客观性、以摹仿生活真实为审美理想而产生的具有生命力的话剧剧作。

From the angle of the artistic nature, both China and India's "taste" studies belong to those of the artistic appreciation as a whole, and they emphasize the importance of the artistic aesthetic sense. They also stress that arts can be savored, chewed and ruminated and can give people aesthetic pleasure.

从艺术本质上讲，中印两国&味&论从总体上看都属于艺术鉴赏论，都强调了艺术美感的重要性，强调了艺术要经得起玩味、寻味、品味，强调艺术要带给人美感享受。

Factor's Act 1889）的第一条也对document of title to goods下了定义,并强调了货物的占有权和控制权,具体如下:"the expression of document of title shall include any bill of lading, dock warrant, warehouse-keeper's certificate, and warrant or order for the delivery of goods, and any other document used in the ordinary course of business as proof of the possession or control of goods, or authoring or purporting to authorize, either by endorsement or by delivery, the possessor of the document to transfer or receive goods thereby represented."

以此为立足点，该学说认为提单的持有和转让与货物所有权的拥有和转移在许多情况下是完全脱节的，提单的转让只是转让货物的推定占有，并不带来货物的所有权的必然转移；即使在国际贸易的运转程度中，提单也完全没有成为或强化为物权凭证的必要。因此，把提单说成是物权凭证是一场历史的误会。提单作为海上货物运输单证的一种，除了是海上货物运输合同以及货物已经由承运人接收或装船的证明外，它只能是一种可转让的权利凭证，即据以向承运人提取货物的凭证。

This paper analyses three tendency of network pioneer poem,"Sensual Composition","Breakage" and "Ant- elevation"."Sensual Composition" give a hard shock on current poem which had a aged character, but it also interflows with the utility of commercial society."Breakage" brings a valiant tidal current in poem composition, also forms a wild style."Ant- elevation" lead poem to the ground, hoist the flag of criticizing social problem, but it can also fall poem into trap of politics.

论文重点分析了先锋诗学中出现的&肉身化&、&破坏性&、&崇低&等三大倾向，认为&肉身化&写作对当下诗歌写作中陈腐的&中老年&特征进行了一次重大冲击，但客观上也迎合了&消费社会&的功利性；&破坏性&力量带来了一股强悍的诗歌写作潮流，解构、反讽、审丑、怪诞等写作手法形成了一种粗暴的美学风格，但也引发了诗歌写作新一轮的戏噱和狂欢；&崇低&将诗歌写作再度引向&地面&，重举批判现实的大旗，拆解虚伪的假面，但其借助网络所强调的&政治性批判&和对写作&政治禁区&的突破正让它面临沦为意识形态工具的危险。

The objective is to subjugate and discourage the people, because that allows the elite to continue to rule unopposed.

其目的是压制和打击人民的积极性，因为这可以让实权派继续统治不会沦为反对派。

GOD,this is the second time you vanquished me!

天啊，这是第二次你打败了我！