一些微格式试图把专有的结构嵌入到主体语言的结构中去。
Some microformats try to tunnel specialized structure into the constructs of the host language.
素描方式是素描思维的产物，素描方式的转换是艺术创作主体语言转型的前提。
The drawing method is the outcome of drawing thinking, and its transition is a prerequisite to the transition of the artist's oil painting language.
其约定不过是在主体语言词汇的此类结构中提供了一些细微的差别，我把这种微格式称为具有细微差别的微格式（nuancemicroformats）。
It goes no further than providing nuances in such constructs of the host vocabulary, and I call such microformats nuance microformats.
假若它不是一个行为主体，人类，或者其它东西，故意说出来的句子，它不会有意义，因为它没有语言。
If it weren't a sentence spoken intentionally by an agent, human or otherwise, it wouldn't have meaning because it wouldn't be language.
表明在一门特定的语言中如何构建合适句子的主体规则就是该语言的语法 。
The body of rules that specify how proper sentences are constructed in a given language is called the language's grammar.
第二种方法是使用 pragmas，指定相同信息的语言元素，但是包含在单个源文件的主体中。
The second format uses pragmas, language elements specifying the same information, but contained within the body of a single source file.
主体转换创建一个统一建模语言控件（Unified Modeling LanguageComponent）来描述服务提供者（Service Provider）。
The main transform creates a Unified Modeling Language (UML) Component describing the Service Provider.
语言被说出的过程中，话语的有目的的能动主体，会最终与自己的意愿不相一致，某种意义上讲，是种削弱破坏作用。
It speaks in other words as the moment in which the purposeful agency of speech is finally called into question in a certain sense undermined.
你还是应该使用研究数据来分析如何定义用户主体并描述对象和动作的语言及其可用语法。
Use it to analyze how interview subjects define and describe objects and actions that are part of their usage patterns, along with the language and grammar they use.
它们并不只是语言最初的主体间性的无关紧要的残留，从而可以通过设计一种用于感觉材料的人为的主观语言即可加以去除。
These references are not just inessential vestiges of the initially intersubjective character of language, capable of being weeded out by devising an artificially subjective language for sense data.
文章认为，指向成分和被指成分组成的“语义指向结构”反映了语言外部世界“属性和主体”的关系。
In this paper, the semantic orientation structure, which contains the components of the orienting and the oriented, reflects the relations between characters and objects of language's outer world.
分析表明，实验与测量、观察语言的主体间性能够在不同程度上支持观察的客观性，但是，它们又不可避免是为理论或理论信念所渗透的。
It is shown that experiment, measurement and inter-subjectivity of observation language can make contributions to objectivity of observation, while they are inevitably theory-laden.
语义论——认为隐喻是人类认识世界不可或缺的工具，可以脱离语境、主体意识等超语言的因素创造出新意义；
Semantics deems 'metaphor' an indispensable instrument to familiarize the world, to acquire the novel information without super-language factors like context and subjective intention.
文章的主体部分是第三部分，这一部分是对巴塞尔姆的语言主题与语言技巧进行系统分析与研究的部分。
The third part is about his language as subject matter and techniques-it is the most important part of the passage.
在艺术语言的运思过程中，体现了发话主体审美的差异性。
The thinking process of artistic language embodies the aesthetic differences of the utterance subject.
古今墨家逻辑研究主体、对象、元语言工具、成果形态、层次、方法、作用、后果和评价等元性质，有根本差异。
There are many differences between the study on subject, object, meta-language tool, the form of achievement, ways, function and evaluation etc of the Logic in old times and in modern times.
首先对旧词产生新义的原因进行了探讨，从社会、作为交际主体的人和语言三个方面进行了阐释。
At first, we give reasons why old word generate new meaning, including the factor of society, man as communication body and language.
书籍设计可以说是书的第二文化主体，采用的设计语言往往是文化的象征，它即反映着，又开发着人的思维与审美方式。
Book design is the second cultural subject of a book. The design language we use is always the cultural symbol, which reflects and develops the thinking and aesthetic manners of people.
这个以文本结构模型和文本意义模型为主体的文本生成理论框架，为进一步的计算机语言生成研究提供了方法依据。
This text generation theoretical frame based on text structure model and text sense model gives a method foundation for deep research of computer text generating.
在这个意义上，马克思的主体哲学批判切近地预示了当代哲学的语言学转向。
We think , therefore , marx ' s critique of subject philosophy foreshows the linguistic turn in contemporary philosophy.
光是迪尔曼·克瑞恩影像创作中最主要的语言，他通过光来塑造主体，建构视觉表达的体系。
Light, the most important language of Tillman Crane's creation, is used to mould subject and construct vision expression.
2000年之后，他回归自然，把他的方向转为探索新的绘画语言和主体事件。
After 2000, he's back to nature and shifted his artistic approach in search of a new paint language and subject matter.
一方面，发话主体的审美体验对现实的偏离是艺术语言产生的基础。
One side, the departure of the aesthetic experience to the realism is the base of artistic language.
一方面，发话主体的审美体验对现实的偏离是艺术语言产生的基础。
One side, the departure of the aesthetic experience to the realism is the base of artistic language.
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