用头顶

She enables people to read with the top of thehead,and see with the pit of the stomach.

她使人能够用头顶读书，用肚脐眼'西c不久她就会造出女牛顿和男歌妖来了。

Major with white green red,up dress is fit or same for colour,major with undertint or color,trousers is major with jeans,suspension band dress break out half of back body, basseting navel 10cm beside up and down,some hair of navel appear,the shoes is major with slipper stilt-shoe,all kinds of colour,rump up and being 120 degree with body,abdomen stick out,become S type,hair spread over the shoulder,yellow or dithered color is nice,some hair together up the head ,someone together two side hair with hair clasp,light dress up face,lipstick nature,face is red,many with glasses that are big glasses,grape red,up on the head,every woman have a bag with itself,white more,it is same color or fit with up dress,but color light.woman walk fast,body straight ,eye sight forword,sometimes their dress fit whit mate,night dress may dress to street.

以百色、绿色、红色为主，上衣与鞋颜色相配或一致，以浅色或彩色为主，长裤以牛仔为主，吊带装露背1/2，露胸及乳房的1/3，腰间露肚脐上下各10cm ，下部微露毛；鞋以拖鞋及高跟鞋为主，五颜六色，臀部上翘与腰成120度夹角，腹部前挺，呈大 S 型，头发以披散为多，长以过肩为界，黄色或杂色娇美，打发髻较高，或用小发卡夹住两边各一小绺，面部以淡妆为主，口红自然色，面颊微红，戴眼镜较多，以大镜片，葡萄红为主，戴在头顶作装饰较多，小肩包人人有，以白色居多，但一般与上衣搭配较合理，较衣服色浅。一般走路较快，身体笔直，不左右看。同性相伴造型一至，有时颜色统一。一般睡衣可以上街穿。

In June rain sometimes shades her band of daylight as with pencil hatchings. The path grows slippery with mud, and umbrellas collide. Sudden jets of water from spouts overhead splash on her startled pavement. In her dismay, she takes it for the jest of an unmannerly scheme of creation.

六月里，阵雨仿佛在用铅笔画出的影线，时常把她的一线天涂成暗色；这小巷变得泥泞滑溜，雨伞互相碰撞；头顶上那水流管的喷口处雨水奔涌而来，溅泼到她的惊愕的路面上，在惊恐之中，她把这一切当作用欢快的戏谑来进行无拘无束的创造。

If a kiss wasused, the consoler would press his or her open mouth against therecipient's body, usually on the top of the head or their back.

用亲吻表示安慰时，表达安慰的黑猩猩会张开嘴靠近对方的身体，通常是头顶或后背。

If a kiss was used, the consoler would press his or her open mouth against the recipient's body, usually on the top of the head or their back.

用亲吻表示安慰时，表达安慰的黑猩猩会张开嘴靠近对方的身体，通常是头顶或后背。

A.C. rectified power supplies were not available; A.C.currents were not allowed in the whole building,a dampish corner in the basement of which served as our laboratory,with a dampish chemical laboratory overhead;we were in on the ground floor.

不提供交流整流电源；整幢楼都不准有交流电，这幢楼地下室潮湿的一角便用做了我们的实验室，头顶就是一个潮湿的化学实验室；我们从一楼进入。

I hear children laughing coming our of me while we naughtily dig up orange crayfish with our bare hands in the smooth white sand......sand stuch between our toes wiggle with delight like cherubs chasing seagulls by the water,crowned with fading afternoon rainbows.

当我们调皮地&赤手空拳&挖出藏在光滑白沙下的龙虾，身边的孩子们突然爆发出阵阵欢呼。。。。。。沙子欢快地在我们的脚趾间滑动，堪比天使头顶彩虹的冠冕，用浪花追逐海鸥。

Should not exercise on a horizontal bar when抬杠overarm outcrop, which can not be hand bars, two to make the same, opposite, running and carrying the show, as high overhead, low hip tip, are the scope of activities of exercise on a horizontal bar, the basic action has " Yan mallard water "," tiger tail big kick,"" big clean ride ", etc., performing routines have" pearl倒卷Curtain,"" Wu-fu Peng Shou ","十三太保","二十八宿"and so on.

抬杠时杠子不能过肩露头，不能用手扶杠，二人做同向、相向、相背而抬的表演，高至头顶，低至臀尖，都是杠子的活动范围，基本的动作有&燕凫水&、&老虎大蹶尾&、&大抹坐&等，表演套路有&珍珠倒卷帘&、&五福捧寿&、&十三太保&、&二十八宿&等。

Operation: The performer puts the thumbs on "Yin Tang" between eyebrows of beneficiary with strength to rub separatedly along with upside of eyebrows to two sides to "Tai Yang"point.

体位：施术者坐于受术者的头顶前；2 操作：施术者用两手大拇指指腹着力，从受术者的两眉弓间的&印堂&穴开始，沿眉弓上缘分别向外分抹至&太阳&

Operation: The performer puts the thumbs on "Yin Tang" between eyebrows of beneficiary with strength to rub separatedly along with upside of eyebrows to two sides to "Tai Yang"point.

体位：施术者坐于受术者的头顶前；2 操作：施术者用两手大拇指指腹着力，从受术者的两眉弓间的&印堂&穴开始，沿眉弓上缘分别向外分抹至&太阳&出

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。