|
Storss, Landon. Civilizing Capitalism: The National Consumers' League, Women's Activism, and Labor Standards in the New Deal Era. 2000.
|
|
|
《文明化的资本主义:新政时期的全国消费者联盟、妇女运动与工作标准体系》2000. |
|
Story Editor: He's a youngster of German origin who was studying under the father of modern rocketry (Hermann) Oberth.
|
|
|
作者：他是德国血统的年轻人，跟着自己的父亲学习现代火箭技术。 |
|
Story starts when several strangers come to your village looking for something. It is implied it may have something to do with the defeated King of Shadows.
|
|
|
故事开始的时候，镇子里出现了一些陌生人正在企图寻找什么，他们的到来似乎与被打败的阴影王有着某种联系。 |
|
Story-construction-wise, Quidditch practice serves as a tidy excuse for not having Ron present at the Skeeter meeting later on.
|
|
|
故事的安排是很明智的，魁地奇练习为之后罗恩没有参加与斯基特的会面提供了充分的借口。 |
|
Story-telling presupposes linguistic representation accessible to our meaning dynamism.
|
|
|
故事的叙說已经进入了语言的表象，其基本特性是隐喻性的。 |
|
Story: A mermaid, Yi, came to a city to live.
|
|
|
故事：讲述一人鱼，仪，来到城市生活的故事。 |
|
Story: Mouse saves builder!
|
|
|
故事:老鼠救了建筑工人! |
|
Story: The story begins in mid-seventies Kerala where William - in his late thirties, is a priest in the solitary church in a small coastal town.
|
|
|
故事发生在中世纪七十年代的喀拉拉邦，快四十岁的威廉是一个海岸小镇的仅有的教堂的牧师。 |
|
Story: We''re going to crash!
|
|
|
故事: 我们要坠机了! |
|
Storyboards can be especially useful when working in group environments, something quite common in the animation industry.
|
|
|
在进行团队环境的开发制作中，故事情节串联板的作用非常明显，所以在动画开发产业中，它被广泛的使用。 |
|
Storyline is different based upon if you are an Autobot or a Decepticon, humans are part of the story, but not part of THE GAME play.
|
|
|
故事情节依据汽车人或霸天虎而不同，人类是故事的一部分，但不是游戏操作的角色。 |
