间或

The third is for those who do not have time or do not want to off-the-shelf design clients, but also to meet.

三是对于那些谁没有时间或不想现成设计的客户，而且也满足。

Instead of sc heduling regular, formal meeting, informal get-togethers over c offee or while

咖啡时间或旅行期间的非正式小聚作为计划正式的有规律的

He sat in a chair on the crook of the armclamps onto a water pipe looks kind of musical instruments, saw himknock several more cymbals, cleared his throat, sang aself-compiled with the dialect of "a gas value of 10000 gold",occasionally making a few mysterious instrument tuning.

他坐在椅子上，臂弯夹着一杆看似水烟袋样的乐器，只见他敲几声铜钹，清清嗓子，用方言唱起了自编的《一家和气值万金》，间或拍几下神秘乐器定音。

He sat in a chair on the crook of the arm clamps onto a water pipe looks kind of musical instruments, saw him knock several more cymbals, cleared his throat, sang a self-compiled with the dialect of "a gas value of 10000 gold", occasionally making a few mysterious instrument tuning.

他坐在椅子上，臂弯夹着一杆看似水烟袋样的乐器，只见他敲几声铜钹，清清嗓子，用方言唱起了自编的《一家和气值万金》，间或拍几下神秘乐器定音。

A change from one scene to another, or from one sequence to another, usually occurs when there is a change in the location of the action or a lapse in time or both.

片断间或段落与段落之间的转换通常与地点或时间或者两者的转换同步。

There is no evidence for it originating in any other time or place.

无任何证据可以证明他的起源来自其他时间或地点。

Hybrid diwa-type orogeny which is the most common is composed of the former two types in space or in time.

在壳体构造理论下，笔者将地洼型造山运动定义为后地台阶段的构造—岩浆活化过程中各种地质作用的总称，并根据其动力来源和壳体运动方式，将地洼型造山运动划分为汇聚式、离散式和混合式，其中混合式是前两类型在时间或空间上的交替，最为常见。

That opened upon a careful observer, now and then, in his eye, and closed again before one could fathom the strange depth partially disclosed; that something which used to make me fear and shrink, as if I had been wandering amongst volcanic-looking hills, and had suddenly felt the ground quiver, and seen it gape; that something, I, at intervals beheld still, and with throbbing heart, but not with palsied nerves.

那种神态过去曾使我畏惧和退缩，仿佛徘徊在火山似的群山之中，突然感到大地颤抖，看到地面裂开了，间或我还能见到这样的表情，我依旧怦然心动，却并未神经麻木。我不想躲避，只渴望迎头而上，去探知它的底细。

Fuzzy phenomena often occur in the boundary of time or space, and sometimes in the periphery of a concept.

模糊现象往往出现在时间或空间的边界地区，或概念的边缘区域。

That is, the problem that how the creation and extinction called the origin of cosmic order can be pictorially embodied on the canvas through the medium or plastic language, is his facing agony.

也就是说，问题是怎么样通过中间或塑造的语言在画布上形象地表达出创造与灭绝和宇宙秩序起源的关联，这是他所要面对的苦恼。

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。