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The pants have big pleats; the shirt is two sizes too big; and the whole thing makes me look like "Columbo."

裤子上有很多褶褶皱皱,衬衣足足大两号,总的来说这套衣服让我看起来像神探可伦坡(peter falk扮演的可伦坡,洛杉矶警队凶杀组副组长;矮小其貌不扬;总是穿著一身不合身的长大衣;开著一台旧旧的可爱老爷车,招牌台词是:"Sir, one more question。。。。。。"

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。

Walking feet (if you have one for your machine) or Teflon feet can stop some of the shifting and puckering that is a common problem with velvet, especially with rayon blends

"步行脚"(如果你的机器上已经有了的话),那就用"特氟纶脚",可以防止布料的移位和褶皱,这都是用天鹅绒缝制时常见的问题,特别是当遇到人造混合丝。

All the art are made by hands and suggest should not remove the hand imprint scragginess to keep its purity indiyiduation nature.

所有作品均为手工成型,因而有很多手工痕迹,建议不要刻意去除表面的凸印和褶皱,以保持其个性、素的自然原貌。

Plicatilis was relatively simple, there was no connective fiber membrane or serous membrane and there were often long and intensive cilia grown on the free ends of epithelia.

结果]褶皱臂尾轮虫消化管管壁结构比较简单,没有结缔组织纤维膜或浆膜,上皮的游离端往往着生有长而密集的纤毛。

The underdress was made from a seventy-year old orange short silk with a green weave, and its pleats were designed to catch the light whenever Amidala moved.

内裙由一种有70年历史的混杂绿色织物的橙色短绸制成,其上被设计成打上褶皱,阿米达拉移动时,可以随时捕捉到光线。

Otherwise its skin would get wrinkly and burned.

不然它的皮肤会有烘烤过的褶皱。

J. Crepe streamers may be affixed to flagstaffs flying the United Nations Flag in a funeral procession only by order of the Secretary-General of the United Nations

j。只有在联合国秘书长命令之下,方可对葬礼队列中升有联合国旗的旗杆装饰褶皱彩带。k。当用联合国旗覆盖棺木的时候,旗帜不允许低于墓穴或接触地面

Slim short-limbed lizard having a distinctive fold on each side that permits expansion; of western North America.

细长短腿的蜥蜴,不同之处在于其身体两边长有能膨胀的褶皱;产于北美西部。

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。

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