马克斯

Working with Mark Mescher, Runyon and De Moraes studied how the weed finds its prey.

鲁尼恩、德·莫拉埃斯和马克·梅舍尔一道研究这种草是如何找到猎物的，将研究结果发表在《科学》杂志上。

In fact, monochrome is frequently found in Western abstract painting, for instance works of Mark Rothko and Klein.

西方抽象创作也有不少单色系的作品，如马克。罗斯科和伊夫。

From the very beginning, he followed Mark Rothko's implicit route. The way he delt with background was close to Rothko.

从一开始，他走的就是马克·罗斯科那种含蓄的路线，画面背景的用色处理也与之接近。

One observer noted that His Holiness seemed particularly intrigued by paintings by Mark Rothko and Jackson Pollock.

一位观察员发现，法王似乎对马克罗斯科和杰克逊波拉克（多多注：两位都是著名的抽象主义画家）的作品尤其感兴趣。

Ideally, knowing, say, what sort of resin Mark Rothko used or which pigments are in a medieval manuscript can help determine the best ways to preserve the objects.

理论上说，知道马克·罗斯科使用哪种松脂或中世纪一份手手稿上是哪类颜料，都有助于找出保存这些作品的最佳方法。

There are several such passages of vivid recollection: the sudden feeling once, on some mountainside, of being physically connected to everything; waking on a night of swarming stars; watching the desert dawn; being transfixed by Mark Rothko's paintings:"dense pools of silent energy".

好几段这样的文字都是在描写如此栩栩如生的回忆：一次在山边，突然感到自己的身体与所有的一切都联系在一起；在满天星斗的夜晚醒来；欣赏沙漠的破晓；被马克·罗斯科的画作击中内心深处：&沉默之能汇集的深池&。

It contained what has become, to many, his signature piece: a particularly energetic version of Rimsky-Korsakov's Flight Of The Bumblebee.

在很多人看来这个唱片里包含有马克西姆的标志性作品：里姆斯基·科萨科夫的《野蜂飞舞》，他将这个曲子演绎得活力四射。

DM Armstrong, Universals and Scientific Realism: Nominalism and Realism, II; F Copleston, History of Philosophy, II; R Seeberg, Textbook of the History of Doctrines; M deWulf, History of Medieval Philosophy, I; WGT Shedd, Dogmatic Theology; E Gilson, History of Christian Philosophy in the Middle Ages.

马克阿姆斯特朗，共性和科学的现实主义：唯和现实主义，二女copleston ，哲学史上的第一，第二； r seeberg ，教科书的历史理论；米dewulf ，历史，中世纪哲学，我； wgt谢德，教条式的神学电子商务吉尔松，历史上基督教哲学在中世纪。

The bold claims of Lamarck, Vernadsky, and Lovelock seem ludicrous at first, but in the calculus of lateral causality make fine sense: that all we can see around us -- the snow-covered Himalayas, the deep oceans east and west, vistas of rolling hills, awesome painted desert canyons, game-filled valleys -- are all as much the product of life as the honeycomb.

拉马克、沃尔纳德斯基还有洛夫洛克之流大胆的主张乍看起来似乎荒谬可笑，但推算其横向因果关系得出的结论颇有道理：我们周围目所能及的一切——白雪皑皑的喜马拉雅山，从东到西的深海，逶迤起伏的群山，色调阴森的荒漠峡谷，充满乐趣的溪谷——与蜂窝一样都是生命的产物。

The bold claims of Lamarck, Vernadsky, and Lovelock seem ludicrous at first, but in the calculus of lateral causality make fine sense: that all we can see around us -- the snow-covered Himalayas, the deep oceans east and west, vistas of rolling hills, awesome painted desert canyons, game-filled valleys -- are all as much the product of life as the honeycomb.

拉马克、沃尔纳德斯基还有洛夫洛克等人大胆的主张开始时貌似荒谬，但经过侧面推算其因果关系颇为成立：我们周围目所能及的一切——白雪皑皑的喜马拉雅山，从东到西的幽深大洋，逶迤起伏的山丘，壮丽的荒漠峡谷，充满乐趣的溪谷——与蜂窝相差不多，都是生命的产物。

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。