感

Early in 1995, in his "Desire" series where red and blue lines come in strong contrast with each other, Ma Yiping instinctively used his personal experience to drop a hint of the transcendence of life. From 1996 to 2001, his "Images" series established the development direction of his art, owing to its artistic expression_r_r of overloaded psychological priori images. In his works before or after 2003, dream-like symbolic images presented perplexed feeling of human beings about the universe and the physical world. In his "images" series in 2006, uncertain images stood on black cube-shaped objects and ambiguous edges pointed to various uncertain directions with the accompaniment of silver light and shadow. At this point, the intuitive perception of the essence of nature made his artistic style gradually take shape. In his later "fetish" series, in which he gradually became mature in spiritual and symbolic expression_r_rs, Ma Yiping fully grasped the eternal sense of the spiritual world.

在早期，1995年的《欲望》马一平用对比强烈的红色、蓝色层层涂盖、本能地运用自身感受以暗示的手法表达对生命的超越。1996-2001年以物象为主题的系列作品对超载心理先验物象的表达方式确定了他艺术作品的发展方向，2003年前后的作品中，梦一般的暗示性物体程现了生命本体对宇宙物理世界的茫然，在2006年的《物象》系列中，黑色的方体上不确定的物状、模糊的边缘在泛着银色光影的衬托下，泛生着各种不确定的指向感，此时对本质直观的感知性的把握使作品艺术风格基本形成，到后来的《神物》已经充分地把握了精神世界里的永恒感，画面中所能达到的精神性和神密暗示意义的表现手法已近成熟。

Screen version of the seihan process is relatively simple: the first thing to liquid water-based emulsion coating of print to screen all blocked, and then set of print-and-drop to a drying oven; in the seihan, the renderer.draw business card printing and membership card making image transparency around sensitibvity too sensitive emulsion silk-screen version 5.1, and UV light sources on its exposure (because the screen typically drum-shaped, they need to be rotated screen drum).

丝网版的制版工艺也比力独一：首不后要用固态的火基型感平乳剂涂覆丝网版，以不通功所有的网孔，然后不兵丝网版不收到潮湿箱洋潮湿；制版时，不兵带有制卡和会员卡制作图像的正片环绕在涂覆功感平乳剂的丝网版滚筒上，并用UV平源不对其曝平（由于丝网印版凡是是滚筒状的，不陈必要回旋扭转网版滚筒）。

Some Korean adoptees have written of their anger about their upbringing, expressing feelings of isolation and alienation.

不过，另有部分朝鲜裔的被收养者把愤怒写进了自己的生长史。让世人了解，这段成长史带给他们的是孤立感和疏远感。

In the past decade, an emergence of world-class ballerinas and choreographers has led to a rising interest in German ballet.

在过去的十年里，随着世界级的芭蕾舞演员和舞蹈指导出现，使人们对德国芭蕾感越来越感兴趣。

In the 1980's, Betz and his colleagues, based on self-efficacy theory of Bandura, started to research individuals' occupational choice self-efficacy.

二十世纪八十年代初Betz等人以班杜拉的自我效能感理论为基础，开始研究个体的择业效能感。

Teachers teaching-efficacy ,originated from Bandura s self-efficacy theory,refers to teachers perceptions and judgements of his own ability to have positive effects on students learning.

教师教学效能感的概念来源于班杜拉的自我效能感理论，是指教师相信自己有能力对学生的学习产生积极影响的一种知觉和信念。

With Bandura s Theory of Self efficacy,and based on the analysis of the role that self efficacy plays in the experimental teaching in chemistry ,this paper puts forward the way to foster students self efficacy,which will be better at guiding the experimental teaching in chemistry .

文章运用班杜拉的自我效能理论，分析了化学实验教学中学生自我效能感的作用，并在此基础上，提出了在化学实验教学中，如何培养和提高学生的自我效能感，以期更好地指导化学实验教学。

Data analysise indicates that anxiety , dumps and so on are the main components of chronic-pain of old ages; faith and self- anticipation affect the sense and therapy of chronic-pain of old ages; the sense of going down the drain and stimulation- monotony intensify the chronic-pain of old ages; reasonless attribution affect the chronic-pain cognise of old ages. old ages adopt different strategies such as seeking help, cowering, and positive dealing. Hence the senses and therapy results of chronic-pain of old ages are different.

资料归类分析提示：焦虑、抑郁等情绪体验是老年人慢性疼痛的重要组成部分；信念及自我预期影响着老人慢性疼痛的感受和治疗；被抛弃感、刺激贫乏等导致的孤独感是老人慢性疼痛的强化剂；不合理的归因影响着老人对疼痛的认知；老人面对慢性疼痛，采用了求助、退缩、积极应对等不同的应付策略，由此导致疼痛的感受和疼痛治疗效果也是不同的。

Photographicsensitive the confecting good solution put into tanks, photoptic liquid accounted for about half of the tank.

不兵配制好的感平液拔不入不锈钢槽洋，感平液约撤离槽的一半把握。

Photographicsensitive the confecting good solution put into tanks, photoptic liquid accounted for about half of the tank.

不兵配制好的感平液拔出不锈钢槽洋，感平液约撤离槽的一半把握。

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。