按时间顺序的

The movie was shot in chronological order.

电影是按着时间顺序拍摄的。

We'll talk about the causes of the war in chronological order .

我们将按时间先后顺序来谈谈战争的一些起因。

An artificial method of constrained coassembling process plan based on VRML model includes setting slide – rotary connection constraint; selecting artificial assembling body model; confirming constraint type of each component to its front or back end component in open or closed loop mechanism; calculating translation and rotary matrix of each component in moving course and its position parameter; generating time – order – path matrix and key frame as per time section; writing each key frame in reverse mode into interpolator of each component VRMC model; adding route in sequence between time and position sensors, position sensor and component form node for generating artificial picture.

本发明属于CAD协同产品设计技术领域，其特征在于：在网络环境下，设计者依托装在节点机上的三维VRML模型，以设计者与设计场景交互方式按照以下步骤实现有约束协同装配工艺规划：设定滑动转动联接约束；选定仿真装配体模型；确定开环或闭环机构中各零部件与它的前端和后端部件的约束类型；计算各零部件在运动过程中的平移和转动矩阵，再根据相应的约束计算运动过程中各零部件的位置参数；再据此生成零部件的时间-顺序-路径矩阵，按时间段形成关键帧；把各关键帧分别以逆序写入VRML各部件模型的插补器，依次在时间传感器和位置传感器之间、位置传感器和零部件造型节点间加入路由，生成仿真画面。

It is better to have numbered folios and cross-reference them on unnumbered registration cards. Used folios are then filed in numerical sequence, which almost corresponds to chronological order, and used registrations are filed alphabetically.

最好能将编了号的客人资料簿和未编号的登记卡—一对照，用过的客人资料簿按其编号顺序归档，这大致与时间顺序一致，而用过的登记卡则按字母顺序归档。

Volume 1 introduces the history of accordion , Volume 2 is about the preliminary spread of accordion in China . I dug into great amount of concerning historical data of four aspects, they are the early accordion textbooks, the accordion activities happened in Shanghai, Haerbin and Yanan, which veritably resurges the development of accordion art in China before 1949. Volume 3 reveals the development of Chinese accordion art from after 1949, I focused on five aspects, namely the production, education, performance, theoretical study and communication between China and foreign counties, in time order. This part comprehensively shows the plenty fruits of accordion art in around 50 years after the foundation of China. Volume 4 mainly concerns the development of Chinese accordion music composing. It reviews the history in four periods. Meanwhile, this part also analyses in detail the nationalization pursuit and the utilization of performance skills in composing.

第一章是对&手风琴历史源流&的介绍；第二章是&中国最初的手风琴艺术传播&，本人挖掘出大量的相关史料，从&早期的中国手风琴教科书、上海、哈尔滨和延安的手风琴活动&四个方面进行了研究，真实地再现了1949年以前的中国手风琴艺术发展；第三章是&新中国成立以来的手风琴艺术发展&，分别从&乐器制造、手风琴教育、表演、理论研究与中外交流&五个方面按时间顺序进行了论述，全面反映了手风琴艺术在新中国成立后50余年所取得的丰硕成果；第四章是&中国手风琴音乐创作的发展&，论文将手风琴音乐创作分为四个时期进行了历史的回顾，并对创作中的民族化追求以及手风琴演奏技巧在创作中的运用作了具体分析。

This paper includes several parts: first, some important concepts of the thesis have been defined, a theoretical overview of currency crisis has been finished; then, we have described the history of the international monetary system; later, three chapes have been arranged to discuss the mechanism of currency crisis under fixed and floating and intermediate exchange rate system respectively. The part of the fixed exchange rate system mainly includes the analysis of the collapse of the international gold standard system, the Bretton Woods system and the the European Monetary System; in the part of the floating exchange rate system, the volatility problem under freely floating exchange rate system has been studied; the part of the intermediate exchange rate system mainly includes the analysis of currency crises in regional dollar standard system and the currency board system. And finally, we have analysed the inevitability of the appearance of new type regional monetary cooperation patterns, and how these cooperations avoid currency crises.

本文主要包括这样几部分：首先，对论文中涉及到的重要概念给予界定，并对货币危机理论进行系统梳理；接着，按时间顺序从总体上回忆国际货币制度的历史演进；然后，用三个章节分别研究了固定汇率制度、浮动汇率制度以及中间汇率制度下货币危机的形成机理，其中，固定汇率制度下的货币危机主要包括国际金本位制度和布雷顿森林体系的崩溃，以及欧洲货币体系的瓦解；浮动汇率制度下的货币危机，则重点分析了自由浮动汇率制度下汇率的过度波动问题；中间汇率制度下的货币危机，分别分析了区域美元本位及货币局制度下货币危机的发生机理；最后，分析了目前新型区域货币合作模式出现的必然性，及各模式下如何规避货币危机。

Time when the phrase to describe it, is "a scene and then act, according to chronological sequence of events and movement, and even accompanied by pictures of some of the feelings and emotions have to re-experience."

当亲历者用时间短语来描述它时，都是&一幕接着一幕，按事情发生的时间顺序移动的，甚至伴随着画面，当时的一些感觉和情感都得以重新体验&。亲历者

Time when the phrase to describe it, is "a scene and then act, according to chronological sequence of events and movement, and even accompanied by pictures of some of the feelings and emotions have to re-experience."

当亲历者用时间短语来描述它时，都是&一幕接著一幕，按事情发生的时间顺序移动的，甚至伴随著画面，当时的一些感觉和情感都得以重新体验&。亲历者

"This revised and expanded fourth edition of Andy Warhol Prints: A Catalogue Raisonne 1962-1987, with 1700 illustrations and full documentation, presents the artist's complete graphic production, from his first unique works on paper in 1962 through his final published portfolio in 1987, including trial proof prints and unpublished prints."

&这是《沃霍尔版画作品全集》第四版修订增补本，按时间顺序收录了 Andy 自1962到1987年间的版画作品，有 1700张图片和满满的相关资料。该书展示了这位艺术家所有的版画作品，从1962年第一辑奇特的版画到1987年最后出版的画作，包括未完成的版画样张和其他未出版的作品。&

Vehicle in a car park by vehicles, time of arrival of the order in which they arranged from north to south (the door at the southernmost tip, the first arrival of the first car parked in the parking lot of the most northern end), if the car park has been suspended for at least n cars, Later, the car was only on the sidewalk outside the door waiting, once a car drive away, then came in the first car on the pavement can be opened into; as a car park cars to leave, after it entered Vehicles must be out of parking lots to make way for it until the vehicle drove out of the gate, other vehicles, then the original sequence into the yard, each car parked in the garage when it leaves the car park must stay the length of time it is to pay the cost .

汽车在停车场内按车辆到达时间的先后顺序，依次由北向南排列（大门在最南端，最先到达的第一辆车停放在停车场的最北端），若停车场内已停满n辆汽车，则后来的汽车只能在门外的便道上等候，一旦有车开走，则排在便道上的第一辆车即可开入；当停车场内某辆车要离开时，在它之后进入的车辆必须先退出车场为它让路，待该辆车开出大门外，其他车辆再按原次序进入车场，每辆停放在车场的车在它离开停车场时必须按它停留的时间长短交纳费用。

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。