There's a volume, there's a temperature, than the pressure here. There's other volume, temperature and pressure here, corresponding to this system here.
温度等状态函数有本质区别,这个状态有一组,确定的体积,温度与压强。
- Now they're writing a more abbreviated form, which you'll probably get to if you take organic chemistry, but really it's the exact same idea.
尽管他们现在会写成更简略的形式,如果你选择了有机化学,你以后很可能也会这样,但本质上并没有任何区别。
It's a difference, or differance, that comes into being precisely in writing, and it's only in writing that we suddenly grasp the twofold nature of differance as difference and deferral.
这是一个差异,或者说是延异,它就是在书写中产生的,而就是在书写中,我们突然掌握到,延异的双重本质,这便是区别和迟延。
We basically are different, but we all have the same kinds of needs.
我们虽有本质区别,但我们有共同的需求。
And we talked about this before--that classical music, probably eighty-five percent of it, does not involve a text, and that's a whole different ballgame because then you have to communicate meaning in a completely different sort of way.
我们之前也说过,古典音乐,大约百分之八十五,都没有歌词,所以这就让这两者产生了本质的区别,听众必须用完全不同的方法理解音乐的内涵。
But at the end of the day, the point of the slides is not to expect you to now go write programs in C but really to just remind you that, hey, if you ever get distracted from some of the minutia that is the semicolons, parentheses, and what is very new to many of you, it's really no different than the fun and games we implemented with Scratch last week.
但是最终,我们课件上讨论的主题,并不是让你现在就写一个C语言的程序,而是要告诉大家不要你被那些分号括号,还有一些从未见过的符号等一些细节搅得心烦意乱,因为它们本质上,和我们上周用Scratch做出来的游戏,并无区别。
The last chapter of Seven Types of Ambiguity, his seventh ambiguity, is actually, as Empson said, about "some fundamental division in the writer's mind."
在《朦胧的七种类型》的最后一章,第七种朦胧,Empson提到,“作者思维的本质区别“
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