感情上的

THEY are not the world's most effusive people at the best of times.

即使在情况最好的时候，他们也绝不会是这个世界上感情表露最多的人。

By the lack of one to talk to, he put his feelings on paper.

由于没有谈话的对象，那时候他把所有的感情都写在了纸上。

They come to a relationship so silent painted period.

他们 好不容易得来的一段感情就这样无声无息的被画上了句点。

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。

You must force yourself to detach your emotions and ego from what you are doing.

你必须强迫自己把自己的感情和自我从你所做的事情上分离出来。

Feelings of control are so important to people that a lack of control is inherently threatening.

感情的控制是非常重要的人，一个缺乏控制本质上是威胁。

Cloaked in that lazybones demeanor. I'll miss the prodigious sleeper, the slouchy, gangly, drowsy kid who napped in the player lounge and shuffled around in flip-flops for the past 15 years. I'll miss the determined, glowering athlete who internalized pain but couldn't keep it from coming out sideways. I'll miss the dedicated player who made a champion out of himself by deciding that his work should be equal to his talent.

那个在赛场上穿着宽松的球衣，潇洒的挥舞着球拍，为比赛创造出无限精彩的他，让我怀念；那个在过去15年里，常常在球员休息室的沙发上慵懒的打盹儿，喜欢穿着人字拖悠悠的闲逛的他，让我怀念；那个总是装着一副坚决的狠表情来隐忍着痛苦，却又在不经意中泄漏感情的他，让我怀念；那个坚信努力应该与天赋成正比，凭着对网球的执着与投入，最终成为冠军的他，让我怀念。

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。

If it was always crucial, under the threat of psychiatric sectioning, to carefully screen out any sign of confused speech, negativity, coldness, suspicion, bizarre thoughts, sixth sense, telepathy, premonitions, but above all the sense that "others can feel my feelings, and that someone seemed to be keeping up a running commentary on your thoughts and behaviour," then reporting these to a psychiatrist, or anyone else for that matter who was not of a mind to believe that such things as mind-control could exist, would be the end of your claim to sanity and probably your freedom.

如果它总是至关重要的，在威胁精神病切片，仔细筛选出任何迹象，语言不清，消极，冷漠，猜疑，离奇的想法，第六感，心灵感应，预感，但最重要的意义上说：&别人能感觉到我的感情，有人似乎跟上运行述评您的想法和行为&，然后报告这些心理医生，或任何其他人的事谁没有的态度是认为，这种事物的精神控制可能存在的，将是结束您的要求，以理智，也许你的自由。

If the lack of emotion demonstrated by the Chinese dancers was a result of the 'culture of collectivism', then the purity of the Balanchine and the classicism of the Cunningham, since 'not a drop was spilled', must suggest that Balanchine and Cunningham are indeed communist as well.

如果中国的舞者在舞台上&缺乏感情&，是因为生活在实行&集体主义&制度的国家之下，那巴兰钦的纯净如水的舞蹈，和肯宁汉的典雅之极的作品，在舞台上更是&一滴血都不存在&，根据评论员的逻辑，是否这两位当代美国编舞大师，必定是共产党人？

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。