无符号的

July 24, 2003 - Fixed the package, fixed drawing to use a memory dc making scrolling smooth, attempted to fix mousewheel scrolling (unable to confirm, no mouse to test with), used window color instead of plain white for background, disabled printing, fixed signed/unsigned warnings.

二○○三年七月二十四日-固定包，固定使用绘图内存DC作出滚动平稳，试图修复滚轮滚动（无法证实，没有鼠标的测试），使用窗口的颜色，而不是纯白色为背景，残疾人印刷，固定符号/无符号警告。

Is it a symbol of hope or hopelessness?

它是希望或无希望的一个符号吗？

Class member with an signed or unsigned integral type that specifies the number of bits to allocate to the member.

有符号或无符号整型类成员，它指定了分配给成员的位数。

Similarly,% and %% provide unsigned and signed modulo operators respectively.

同样%和%%用于无符号和有符号数的求余运算。

Use unsigned types only when you need modulo arithmetic or very very large numbers.

仅在你需要模算术或需要很大很大的数字时，才使用无符号类型。

Nevertheless, if I wished to give some sort of indication by choosing one or two "names," and by recalling those authors in whose discourses this occurrence has most nearly maintained its most radical formulation, I would probably cite the Nietzschean critique of metaphysics, the critique of the concepts of being and truth, for which were substituted the concepts of play, interpretation, and sign; the Freudian critique of self-presence, that is, the critique of consciousness, of the subject, of self-identity and of self-proximity or self-possession; and, more radically, the Heideggerean destruction of metaphysics, of onto-theology, of the determination of being as presence.

假如，我们无论如何要以直陈的名义选择一些"特殊的名字"，提及一些最能表征这种发生过程之极端形式的作者的话，那无疑地就得引用尼采对形而上学和存在及真理概念的批判，因为这些概念被游戏、解释、和符号的概念(即无在场真理的符号概念)所代替；就得引用弗洛伊德对自我呈现的批判，也就是说对意识、主体、自我一致性、自我临近、自我同性的批判：更激进一点，就得引用海德格尔对形而上学、存在论神学、作为在场的存在的规定性的解构。

Multiply and Divide Routines (19 pages, revision B, updated 10/98) This Application Note lists subroutines for multiplication and division of 8 and 16-bit signed and unsigned numbers.

乘、除法例程(19 页，修订版B ，更新时间：98年10月)这份资料列出了8位和16位符号数和无符号数的乘法及除法的子程序。

When used with unsigned keys, it cannot be used in the following instances

当使用无符号密匙时，他不能使用在下边的情况

On the other hand, the influence of Absurd drama manifested mainly in the perspective of observing the world in later plays. Absurd drama reveals the uncertainty of the world by the skill of"simile way". Contemporary playwrights draw extensively and broadened the use of"simile way", and create the new simile symbols: anti-classic simile, anti-system simile and anti-meaning simile. At the same time they use a comprehensive simile to create a kind of sensual drama.Absurd drama also destroys the language function of traditional drama by rupture and desegregation, also tends to use "the language of no meaning," to reflect the world's essence. The contemporary generation create a physical theatre to expulse of the role of language. Another extreme is to strengthen language function thus creating a language game.

另一方面，荒诞派戏剧的影响力主要体现在后世剧作对客观世界的认知上：荒诞派通过&直喻&的手法来表现世界不确定性的本质，被后世剧作家广泛借鉴并且拓宽了直喻手法的使用，出现了反经典、反系统和反深度的直喻符号，同时另一个极端则是用剧场性的全面直喻创造了具有震撼力的感官戏剧；荒诞派通过破裂与解体的方法化解了传统戏剧的语言功能，更倾向于用&无义的语言&表达来体现世界的无义，后世剧作家在此基础上索性彻底驱逐了语言的作用从而创造了肢体戏剧，另一个极端则是强化语言功能创造了&语言游戏&。

From the connotation of Derrida's différance and the language point of deconstructionism, a phenomenon can be found that the component sign of any language is not self-sufficient, but has a complex relationship with other elements involved, not only possesess the trace of other signs, also has their unique differences, which outstands their own value when forming the differences.

从&异延&的内涵和解构主义的语言观可以看出：任何语言符号的组成要素都不是自足的，而是与周围其他成分有着漫无头绪的复杂关系，既带有其他符号的印迹，但又彼此有别，并在形成差异时突显自身的价值。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。