所谓的

For network security, people will naturally think of offensive and defensive – of the behavior of hackers showdown, while the network of step with the development of safe behavior gradually become a popular focus of attention, while the so-called hackers – using intelligence to challenge the limits of the crowd, as the protagonist and the interpretation of the Internet revolution, but most of the so-called hacker was just that the sense of the word hacker, but rather the punishment not the impulsive and play, hackers, and perhaps the same as Honker, or do not, it is also the behavioral characteristics of attitudes and ideas!

对于网络安全，人们就自然联想到攻防–黑客的行为对决，而随网络大步发展，安全行为逐渐成为热门关注的焦点，而所谓的黑客-用智力去挑战极限的人群，作为主角而演绎网络革命，但大部分的所谓的黑客只是现实意义上的骇客而已，而并非冲动性的惩罚和玩耍，黑客和红客或许一样，那同样是态度和观念的行为特征！

Water margin,that a work dedicated to masculine has always been highly appreciated.yet,it is beyond any doubt that the book presents a biased and even unjust feature of the feminine .there are few women personages in water margin which can be divided into two kinds briefly: namely "lady of easy virtue" and "heroine".novel go on two extremes overly that women'figure was denied impersonal role maid image mould either "bad" or reach "manlike " so that they cant cross to two description of woman these because the writer was intended or involuntary to describe them these.consequently the women' figure maked untrue exceedingly as to the lady of easy virtue write it to the limit excessively ruthlessly poisonously ; as for heroine write its walk chivalrous and loyal to the limit that the woman wasn't defeated by men.the female extreme image was pointed out that the intention of author come from the influence of the super male consciousness to a certain extent and it is inevitability because of masculine being in charge of linguistical power ,in fact, the appearance of women was just only minor role in order that the hero world need to regard man as the centre too.in a word womens destiny in water margin is a miserable foregone!

水浒传》是1部以描写男性英雄为主的名著，历来受到较高评价。然而，作品在女性形象塑造时存在的偏颇甚至不公正却是毋庸置疑的。《水浒传》中的女性人物屈指可数，主要可分为两大类：1是所谓的荡妇恶婆；2是所谓女英雄。作家在对这两类型女性的描写时，都因作者有意或无意的女性意识而走向极端化，实际上是走上了两个无法交汇的极端，使女性形象的塑造过于偏激，不是"淫恶"到极端，就是"男性化"到极点，写淫妇恶婆，写尽其淫，狠，毒；写女英雄，则写尽其行侠仗义，巾帼不让须眉。这种极端化的女性角色定位，既是作者男权意识的自然反映，又是男权社会男性话语权的必然呈现，说白了，出现在《水浒传》的女性不过是点缀和突出男性的生活，是为表现父权制男性英雄世界服务的。

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。

Be it good growth or bad growth, any unbridle growth creates huge imbalance in the earth ecosystem, simply working to sustain the monoculture of human temporarily.

因此，不管是作者提倡所谓比较环保的「好」成长，或是当前人类不永续的成长模式，只要是无限制的成长，都会让地球生态系统中人类与其他物种以及环境间的关系越来越不平等，只会让地球成为以人类为主的单一文化，人类的成长也许暂时能够持续，但没有其他多样物种和环境的支持，人类所谓的「永续」只是暂时的，追求无限制的工业成长是短视近利的。

This which I think and feel underlay that former state of life and circumstances, as it does underlie my present and will always all circumstances, and what is called life and what is called death.

这种我想到和感到的东西过去构成了每一种原先的生活与环境状况的基础，就像它现在构成了我的现在的基础，构成了所谓的生和所谓的死的基础一样。

Water margin,that a work dedicated to masculine has always been highly appreciated.yet,it is beyond any doubt that the book presents a biased and even unjust feature of the feminine .there are few women personages in water margin which can be divided into two kinds briefly: namely "lady of easy virtue" and "heroine".novel go on two extremes overly that women'figure was denied impersonal role maid image mould either "bad" or reach "manlike " so that they cant cross to two description of woman these because the writer was intended or involuntary to describe them these.consequently the women' figure maked untrue exceedingly as to the lady of easy virtue write it to the limit excessively ruthlessly poisonously ; as for heroine write its walk chivalrous and loyal to the limit that the woman wasn't defeated by men.the female extreme image was pointed out that the intention of author come from the influence of the super male consciousness to a certain extent and it is inevitability because of masculine being in charge of linguistical power ,in fact, the appearance of women was just only minor role in order that the hero world need to regard man as the centre too.in a word womens destiny in water margin is a miserable foregone!

水浒传》是1部以描写男性英雄为主的名著，历来受到较高评价。然而，作品在女性形象塑造时存在的偏颇甚至不公正却是毋庸置疑的。《水浒传》中的女性人物屈指可数，主要可分为两大类：1是所谓的荡妇恶婆；2是所谓女英雄。作家在对这两类型女性的描写时，都因作者有意或无意的女性意识而走向极端化，实际上是走上了两个无法交汇的极端，使女性形象的塑造过于偏激，不是&淫恶&到极端，就是&男性化&到极点，写淫妇恶婆，写尽其淫，狠，毒；写女英雄，则写尽其行侠仗义，巾帼不让须眉。这种极端化的女性角色定位，既是作者男权意识的自然反映，又是男权社会男性话语权的必然呈现，说白了，出现在《水浒传》的女性不过是点缀和突出男性的生活，是为表现父权制男性英雄世界服务的。

As to the doctrine called the Real Presence,[22] the council condemns: those who, denying that Jesus Christ, God and Man, is truly, really, substantially present in the sacrament of the Holy Eucharist, hold instead that He is only present as in a sign or image or manifestation of power; those who say that the substance of the bread and the wine remains along with the body and blood of Christ, denying that marvellous and unique changing of the whole substance of the bread into the Body and the whole substance of the wine into Blood, while the appearance of bread and wine still remain--the change which the Catholic Church most suitably calls Transubstantiation; those who say that the Body and Blood of Christ is not there following upon the consecration, but only while the sacrament is in use, while it is being received, that is to say, but not before this or after this, and that in what is left over of the consecrated hosts or particles after communion has been administered, the true Body of the Lord does not remain; who say that the main fruit, or the sole fruit, of this sacrament is the forgiveness of sins; or that Christ the only begotten son of God is not to be adored in this sacrament with the externals of the reverence called latria,[23] and that those who do so adore Him in this sacrament are idolaters; that Christ is shown forth in this sacrament to be received in a spiritual manner, and not also sacramentally and really; that only faith is sufficient preparation for receiving this most holy sacrament.

至於所谓的理论的真实临在， [ 22 ]安理会谴责：这些谁，否认耶稣基督，上帝和人类，这是真正的，真的，大大目前在圣圣体圣事，持有相反，他只是本作为一个标志或形象或表现的权力；谁说，这些实质的面包和酒仍然随著身体和基督的血，不可否认，神奇和独特改变整个实质面包进入人体和整个物质的酒血，而出现的面包和葡萄酒仍然-改变了天主教会最适当的要求Transubstantiation ；谁说，那些身体和血液基督是不存在的神圣以下，但只有同时圣礼正在使用中，虽然它正在收到，这就是说，但在此之前或之后这本，在什麼是遗留下来的在神圣的主机或颗粒后共融已管理，真正的机构上帝不会留，谁说，主要水果，或唯一的水果，这种圣礼是宽恕的罪过；或基督唯一的独生子上帝是不喜欢在这圣礼与外部的崇敬所谓latria ， [ 23 ] ，这些谁做崇拜他的这一圣礼是拜偶像；基督显示本条圣礼收到在一个精神的方式，而不是还sacramentally真正；，只有信仰是足够的准备接受这个最神圣的圣体。

I don't think the project is solely a sort of discourse or exchange on a linguistic level. It touches on myriad experiences that entwines the Chinese language with corresponding information emerging from Chinese society. This so-called artistic experience involves elements of knowledge, but can certainly also be attributed to the current interest in China as being "hot" or "hip". If people had absolutely no interest whatsoever with Chinese society today, then the workshop would never had happened.

我想它不仅仅是一个语言学层面上的交流，它会带来由涉及到中国语言以及相关的中国社会的信息而产生的混合体验，这样的一种所谓的艺术体验，里面会有知识性，当然也要归咎为现在所谓的中国热，如果别人对现在的中国社会一点兴趣没有，WORKSHOP也就无法展开了。

Did you see some of your countrymates who were supporting Tibet, they are cheated by you media and scarified by your injustice news, i hope you can understand the lie can not cover the truth, the truth eventually will come out, be shame on youself.

可笑那些所谓要自由，要 JUSTICE 的无知的人，憎恶西方 MEDIA 对中国过于 BIAS 的报告，掩盖的真相是西藏以前是，现在是，将来也一定是中国的一部分，我们没有所谓的人权问题，只是那些思想狭窄的人才会认为我们有强制压迫，政治话奥运的想法。

Although this can be done bustling atmosphere, but the so-called房展, exhibitions generally smaller scale; the so-called forums, show only the name of the banner of the Forum to圈钱for the purpose of a departure from the thinking of the development of the industry , the Forum has become a draft change to the activities of real estate developers Daihatsu cheap medals.

房展虽然这是可以做到的热闹气氛，但所谓的房展，展览总体规模较小；所谓的论坛，只显示的名称，旗帜论坛圈钱目的是背离的思想业的发展，该论坛已成为改变草案的活动，房地产开发商大发廉价奖牌。

According to the clear water experiment, aeration performance of the new equipment is good with high total oxygen transfer coefficient and oxygen utilization ratio.

曝气设备的动力效率在叶轮转速为120rpm～150rpm时取得最大值，此时氧利用率和充氧能力也具有较高值。

The environmental stability of that world - including its crushing pressures and icy darkness - means that some of its most famous inhabitants have survived for eons as evolutionary throwbacks, their bodies undergoing little change.

稳定的海底环境─包括能把人压扁的压力和冰冷的黑暗─意谓海底某些最知名的栖居生物已以演化返祖的样态活了万世，形体几无变化。