碰

"My job is to shut down Pippen; that's the key for us," Rodman said.

我的任务是冻结皮碰，这是我们成功的关键。

At school; on the contrary, it seemed rather a piquant thing to us to chevy him about

相反，我们在运动场上到处捉弄他，用玩具铁环碰他的小腿骨，并引以为乐。

When Pisanio had provided her with her new apparel, he left her to uncertain fortune, being obliged to return to court.

毕萨尼奥不得不回到宫里去，所以他给她置办好新装以后，就让她一个人去碰运气了。

This obscene operation of superego transgresses the pleasure principle but it really misses the desire out beyond the pleasure principle.

超我这种邪淫的作为虽然逾越了快乐原则，但并没有超出快乐原则而碰触到欲望。

On balance, Mr Bate suggests, the humane realism of Epicurus, an ancient Greek philosopher, whose pliableness and variety of mind Shakespeare would have encountered indirectly through the essays of Montaigne, is a good place to start.

一言以蔽之，莎士比亚大作中，屡见蒙田之散文，可能会间接同古希腊哲学家伊壁鸠鲁圆滑超然的人性化现实主义思想碰出火花——从这儿开始，未尝不是好的选择。

Adopting the method of discontinuity bypass mapping,the Poincare mapping of Jeffcott model near a grazing orbit was estimated as a four-dimensional mapping with square-root compressing or stretching at one direction,from which many chaos motions were found by researching the mapping.

采用不连续穿越映射技术，Jeffcott碰摩转子系统的映射在擦边碰撞附近可以近似为在一个方向上有平方根伸缩的四维映射，本文对此映射的动力学行为进行了研究，而且发现了有大量的混沌现象存在。

Ears: The ears are erect, pointed, inverted V-shaped, set high and close together, but never touching.

耳朵：耳朵是直立的，尖角的，呈倒放的V形，位置高并且间距近，但是不能碰在一起。

When police escorted Steve to court hearings, they do not give Steve the handcuffs, he does not want to touch on.

当警察押解史蒂夫去法庭听证时，他们不给史蒂夫上手铐，更不想碰他一下。

The world's most dangerous volcano buried the town of Pompeii.

在公元前79年，世界上最危险的一次火山碰发。。。

Don't touch me, I'm pooped out.

别碰我，我累坏了。

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。