非创造的

Yang Tongde in casting machinery More than 20 years, in the country is recognized as "casting machine", and win credibility, reputation as a pragmatic, the foundry industry has accumulated more than 10 years practical experience and mastery of the domestic industry-leading technology with the design, technology, electronics, computers and other sectors Experts and senior technician and a perfect technology, with rich practical experience of skilled workers and the installation and after-sales service team, the company has excellent production and operation mechanism, in technical research and development, non-standard production capacity, quality, speed and other aspects of acceptance has created A number of the first, summer 2005, the Company at the same time, installation, commissioning of the three pretreatment plate production line: Baode Jinan Steel, Wuhan and Jinan Iron and Steel 9-, three projects on the same day through acceptance, and created a cast Pretreatment-sector and the number of lines installed speed record companies are now casting a domestic machinery equipment engineering centers, is the casting of China's largest machinery industry production and sales, the most species-wide, casting the highest technological content-production bases and technology development center.

青岛德盛利机械制造有限公司是由原青岛华青工业集团铸造机械有限公司的创始人、董事长杨同德先生在原公司职工基础上优化组合后改制企业；董事长杨同德先生从事铸造机械二十余年，在国内被公认为"铸机王"，并赢得诚信、务实的美誉，积聚了铸造行业有十几年实践经验并掌握国内同行业领先技术的设计、工艺、电器、计算机等行业的专家和高级技师并拥有技术过硬、具有丰富实践经验的技术工人和安装、售后服务队伍，公司具有优越的生产、经营机制，在技术研发、非标生产能力、质量、验收速度等方面创造了多项第一，2005年夏，本公司在同一时间内安装、调试了三条钢板预处理生产线：济南鲍德钢构、武汉九通和济南钢铁，三个项目在同一天通过验收，创造了铸机界预处理线安装数量及速度记录；公司现已形成国内铸造机械成套装备工程中心，是中国铸造机械行业产销量最大、品种最全、技术含量最高的铸机生产基地和技术开发中心。

It is then "a freedom from nature" and "a freedom for values." 3. The "will-contingency" structure of Scotus' theory might then offer the room for free choice of alternative possibilities, a radical indeterminism in the nature of things, a more correct understanding of physical reality, the image of a free, dynamic and creative God, and an evolutive history of humanity as well.

董思高对於「意志－偶然」的结构之提供其它的可能性的自由选择，是一个彻底的、非决定的自然世界；也给予一个物质实相的正确解，同时介绍一位生活与创造的天主之概，他以这样的积极性表达他对人史发展的看法。

However, Jiazhangke's films create the space by using motion, shooting scale ,the relations among performers and the transportation and a outer space of image in Jia's films is also created through dispatching the shot, performers and multiple space ,refering to which this text reexplains and conformities the film's concept of space and analyses how to create the space using audio in order to formulate Jia's understandings to space――the film space view of "non-mirror-image" and the inherent tension and open space idea taking root on the reality.

本文通过对电影空间概念的重新诠释和整合，以及对贾樟柯利用运动、景别、人物关系和交通工具营造空间，通过贾樟柯对影片中镜头、演员、多重空间的调度，创造画外空间，和用声音创造空间等实证性的分析，阐述了贾樟柯对空间的理解——非镜像化的电影空间，以及这种理解扎根于当下、立足于现实而形成的内在的张力和开放式的空间观念，揭示了他的作品独特的空间观念及这种空间观念对中国电影民族化的影响。

According to the real demand of our present economic development,based on the sciential understanding,it is still necessary to logically illuminate whether value can be created in nonproductive field; whether materialized labor can create value; whether the natural resources contain value

从我国当前经济发展的现实需要来看，在科学理解的基础上还要对非物质生产领域的劳动是否创造价值、物化劳动是否创造价值、自然资源是否有价值、知识能否创造价值等问题进行合理的阐释。

This causes a funnelling from Asian currencies into dollars and euros.

在这种情况下，上游资金流动创造了大量亚洲货币供给，而下游资金流动却创造了对美元和欧元的需求，而非对亚洲货币的需求。

On the other hand, the concept of modernization shows indifferent neutrality while westernization has distinct value-orientation. The Western culture is the fruit of long-time exchange and evolvement of human cultures and it still needs to improve itself. The wider modernization expands, the more countries it involves, and the further it departs from westernization. Non-European and-American countries on the way of modernization have to harmonize old culture and new culture after transforming them to adapt to each other.

从否定的角度看，现代化是一个价值中立的概念，而西化或欧化则是一个价值取向很强的概念；现代化中的许多内容都是中性的东西，不涉及价值取向；现代化虽然源头在欧洲，但西方文化并不是西方人独自创造的，而是人类文化长期融合、发展的结果；西方现代化模式还不完满，还需要探索和改进；现代化的过程虽然从整体上看是欧美现代文明在全球扩张的过程，但现代化的范围越大，卷入的国家越多，现代化的特色就越多，现代化离西化或欧化就越远；非欧美国家的现代化，不仅是一个新文化取代旧文化的过程，同时也是一个旧文化接纳新文化和新文化改造、融合旧文化的过程。

These are issues that concern us today:the prevention of war; the protection of the environment; the balancing of population and resources; the management of energy so that we will neither exhaust our resources with unbridled growth nor contaminate the environment; the distribution of resources among nations and groups who have been differently dower ed（给以用以维持生活的财产） in the past by nature and history; the humanization of technology so that technology can be used for human ends and not primarily for profit or for power; the replanning of towns and cities so that neighborhoods can again be a microcosm of three-generational wholeness of life; the creation of transcendental values that will no longer set members of one religion against another, or of one ideology against another, so that all human beings can move in new ways without being traitors to the old.

这些是今日和我们息息相关的问题：防止战争；保护环境；人口与资源的平衡；资源管理，以免人口激增而耗尽资源和污染环境；国家团体之间的资源分配，它们过去由于自然和历史因素而分配不均；科技的人性化，使科技能应用在人性化的目的上，而非只用于利益或权力之上；重新规划乡镇和都市，让邻里之间能够再度成为一个三代同堂、生活完整的小天地；创造超越性的价值观念，使得某个宗教信仰或是某个思想体系的人不在敌视异己，人们也就都无需为新弃旧。

The only major omission was Walter Koenig's Chekov, who was replaced at the navigation console by Lieutenant Arex, the three-armed alien who most prominently represented the series' freedom to create non-humanoid characters.

唯一重大遗漏的是沃尔特凯尼格的契诃夫，谁是在导航控制台中将Arex取代，三武装外国人谁最突出代表的一系列的自由创造的非人形字符。

It is not the creature of State legislatures; nay, more, if the whole truth must be told, the people brought it into existence, established it, and have hitherto supported it, for the very purpose, amongst others, of imposing certain salutary restraints on State sovereignties.

他在其中陈述：『此政府，可敬的先生，为公众志愿之产物，非州议会之创造，非也。尤有甚者，若须表述全部真理，则使其成真之人民、肇建、并拥护迄今者，为此之图，连同他事，气魄宏大而明确地强烈限制对州之最高主权。

If he assumes them to be eternal and necessary, he would not admit that the First Being gives the Intelligences being after non-being, at least if "after" is taken in a temporal sense."After" could only be taken in the sense of posterior in the order of nature, according to Avicenna\'s explanation of the meaning of creation in the sixth book of his Metaphysics, chapter two.

如果他假设四因是永恒的和必须的，那至少在时间的意义上他将不会认为第一存在以非存在为基础而后派生出智慧的存在，根据阿维森纳在其《形而上学》第二章第六部分中对创造的阐释，&而后&只能是自然秩序的后天的意义。

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。