有图解

Dr. Cabrera, carrying on his father's work, has collected more than 1,100 of these andesite stones, which are estimated to be between 500 and 1,500 years old and have become known collectively as the Ica Stones.

这种石头上有雕刻，大多数是关于两性的图解。

She and her atlas have many fans.

她和她的图解集有很多粉丝。

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的"到来"，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种"图解的危险"，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

To keep members and the public informed, the AQHA publishes an illustrated monthly magazine, Quarter Horse Journal, and other publications.

为使会员和公众及时了解情况，AQHA出版有图解的月刊《四分马杂志》及其它出版物。

In a 1997 interview, Plass told me,"all sorts of things came together" that placed him at the scientific forefront: new detailed laboratory measurements of the absorption bands of water vapor, carbon dioxide and ozone; theoretical developments involving the influence of temperature and pressure on infrared absorption; new information about the carbon cycle and industrial emissions; and access to a new high-speed electronic computer to facilitate complex calculations of radiative transfer that replaced the older, graphical approximations.

在1997年的一次采访中，普拉斯告诉我：&所有的事情都赶在一块儿&，把他推到了研究的最前沿：测量水蒸气、二氧化碳和臭氧的吸收光谱带有了新的实验方法；温度和压强对红外吸收的影响理论有了新的发展；碳循环和工业废气排放有了新的资料；新的高速电子计算机代替了老式的图解近似法，让辐射传热的复杂计算变得简单了。

The discriminant analyses,of 28 granitic intrusives distributed in the periphery of the stanniferous granite bodies,by using the Keluo-Lazi diagram,SiO2-Al2O3+Na2O+K2O-CaO+MgO+FeO diagram,Fe-Na+K-Mg diagram and K-Na-Ca diagram,,indicate that the four diagrams can be applied to...

对分布于含锡花岗岩类岩体外围的28个可能含锡岩体进行科勒-拉兹图解、S iO2-A l2O3+Na2O+K2O-CaO+MgO+FeO图解、Fe-Na+K-Mg图解和K-Na-Ca图解判别后发现，壳源酸性花岗岩类完全可以用四图解进行含锡性判别，并且完全符合实际地质特征，大部分都有希望找到伴生壳源型锡矿床；而幔源中基性花岗岩类的含锡性却不适用上述四个图解进行判别。

The Paleoproterozoic Beidahe Group-complex remains as continental shivers in the interior of the North Qilian orogen. In its early stage of development, there occurred abundant amphibolite. The protolith of the amphibolite is basalts. The Alk-∑FeO-MgO plot, REE features and Rittmann index show that the protolith belongs to the calc-alkaline suite and exceptionally shows the subalkaline character. The rock is characterized by higher Al2O3 and ∑FeO and lower Mg#, indicating that it has a higher degree of compositional evolution and that the formation of volcanic rocks is related to activation of older crust. Highly fractionated REE patterns and amphibolite on the Ti-Zr-Y plot, Ni-FeO/MgO plot and Ta/Yb-Th/Yb plot all indicate the characteristics of volcanic arcs and active continental margins. On the geochemical diagram of basalt, the overall REE features are in the main analogous to those of calc-alkaline island-arc basalt, with Sr87/Sr86=0.71617–0.72033,Nd143/Nd144=0.512414–0.512495 and εNd=–2.79 to –4.37,εSr=245.78–305.3, showing that the magma was derived from the crust or subjected to contamination with the lower crust below the continent.

提要：以大陆碎块形式残存于北祁连造山带内部的古元古代北大河岩群早期发育有大量的斜长角闪岩，其原岩为玄武岩，Alk—∑FeO—MgO图解，REE特征，里特曼组合指数等均显示斜长角闪岩属钙碱性系列范围，个别显示弱碱性，斜长角闪岩具有较高的Al2O3，∑FeO和低的Mg#，这些特点反映其成分演化程度较高，表明火山岩的形成与古老地壳的活化有关，有较强分异的稀土元素分配模式，在Ti—Zr—Y图，Ni—FeO/MgO图解和Ta/Yb—Th/Yb图解上斜长角闪岩均显示火山弧或活动大陆边缘的特点，在玄武岩的地球化学形式图，稀土元素整体特征与钙碱性岛弧玄武岩基本相同；87Sr/86Sr=0.716 17～0.720 33， 143Nd/144Nd=0.512 414～0.512 495，εNd=-2.79～-4.37。

For this reason, the ambiguity filled by Zubin into "Love Palm" provides us with some interpretive clues in spite of the fact that the painting itself appears to be influenced by the type stylizing trend of some contempory works.

正因为如此，《合欢掌》一画中尽管隐约有与某些当代艺术作品类风格化的倾向，但祖斌在画上强行置入的暧昧性为我们铺垫了读解的线索，我们不愿落入他意有所指的细节描绘，但总是又无法回避遁入其作品由主题构建的非逻辑性的图解中。

Some characteristic ratios suggest the picrites and ankaramites were derived from asthenospheric mantle, and high Os/Ir ratios reflect the involvements of pelagic sediments. Pd/Ir versus Ni/Cu diagram implies that the picrites and ankaramites were not primary magmas, but MgO-high basalts with excess olivines, whereas Pd versus Cu diagram suggests a S-undersaturated primary magma.

一些铂族元素的特征比值指示了苦橄岩和富辉玄武岩起源于软流圈地幔，而高的w/w比值则暗示了源区中有深海沉积物的加入。w/w-w/w图解说明本区的苦橄岩不是原始岩浆，而是原始的高镁玄武岩中有过剩橄榄石的加入，而w-w图解则说明原始岩浆硫不饱和。

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的&到来&，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种&图解的危险&，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

What are your goals and strategies for growth?

你的成长目标和策略是什么？

And unto the angel of the church in Sardis write; These things saith he that hath the seven irits of God, and the seven star I know thy works, that thou hast a name that thou livest, and art dead.

3：1 你要写信给撒狄教会的使者，说，那有神的七灵和七星的，说，我知道你的行为，按名你是活的，其实是死的。