Question

一首男的唱的很激情的CF音乐

Answer 1

一首男的唱的很激情的CF音乐
闪电部队向前进
邓紫棋的 手心的蔷薇和谁唱的？
林俊杰，还有3天就首发了！
关于除夕的一天的六百字的
你们经历了高三，但是它对于你们来说并不是黑色的，只是一种比平时紧张的感觉而已，在内心深处你们还没有真正意义上体会到了为了自己的目标拼命的含义，在这一次比较苍白的过程中，你们已经丧失了一次铸炼自己的机会。 一个人失去一次机会并不算...
窦靖童的with you唱谁的是谁的歌?
with you是窦靖童原创的歌曲！
Xandria的歌曲Valentine是主唱唱的吗的
Xandria有过两任主唱，第一任主唱Lisa已经离队，而Valentine则是新任主唱唱的。这个如果他们的歌你听的多的话就可以分辨的出来。

竹子编的，喊的cuoji。带耳朵的那个
词目：撮箕
拼音：cuōjī
英文：dustpan
词义：通常用竹子编织而成，现代也有铁和塑料等材料制成的撮箕，在我国西南部分地区使用这个称谓。
基本解释 [dustpan]〈方〉∶撮垃圾等用的簸箕
详细解释 撮垃圾的簸箕。
周立波 《桐花没有开》：“［ 张三爹 ］看见她手里拿着空撮箕，他猜到她是做什么来的。”
stephen crane 的。<THE OPEN BOAT>.的分析。。英文版的。
“The Open Boat” is a fictionalized aount of a very traumatic personal experience in Crane’s life: a ship on which he was a passenger sank off the coast of Florida, and he found himself one of four men in a tiny open dinghy, struggling to make it through a narrow strip of rough sea and pounding surf that separated them from dry land.
As it was, the men were forced to remain for thirty hours in the boat, rowing frantically against the tide and bailing constantly to keep the craft afloat in the treacherous water, before they were able to e ashore at Daytona Beach. We would expect that this story would be written as a heart-pounding adventure tale; yet it is very cerebral in its approach, focusing less on the adrenaline rush of danger than on the philosophical question of man’s relationship to the world of nature that so pletely overwhelms him.
As Crane shows in this story, the protagonist’s salvation is dependent upon whether or not he will adapt to his surroundings and help his fellow man, not whether or not he can conquer nature. As he demonstrates, this is a moot point, because it is impossible to conquer nature; it is too big, and too impersonal, and man is just a speck against its awesome power. The best one can do is learn nature’s ways and work with, not against, them.
This sense of plete absorption in the struggle against nature is illustrated by the famous first line of the story: “None of them knew the color of the sky.” The reason for this is soon made obvious; the imperiled survivors could not take their eyes off the waves, for to let their guard down for a moment would mean certain death. Significantly, Crane does not deal with the question of heroism; the men in the boat do not feel heroic, nor do they ask us to think of them in those terms. They are simply doing what they need to in order to survive, and supporting one another in this effort.
Interestingly, however, this does not make Crane’s story realistic; it actually creates a kind of hyper-realism, an excruciatingly vivid nightmare state, in which waves resemble horses “scrambl[ing] over walls of water,” “carpets on a line in a gale,” and “white flames,” to mention only a few of the dozens of metaphors. The homeliness of these images does not make the Crane’s rendering of the experience any less profound; they simply call attention to the inability of mere words to convey it.

They also aentuate the gulf beeen an objective journalistic rendering of going down with a ship and the only way to convey the full horror of this experience. Crane borrows, in his fierce and startling imagery, something from Gothic romantics such as Poe; but in no other respect is this story romanticized. On the contrary, the threat of death is not in any way sensationalized, because it does not need to be; the usage of such extreme imagery makes it even more terrifyingly real.
In addition to vivid language, Crane uses carefully-chosen anecdotes to make the situation seem harrowing. The extent to which these men are poised on the brink of life and death is illustrated by the seagull that lands on the captain’s head; as Crane says, “The captain naturally wished to knock it away with the end of the heavy painter, but he did not dare do it, because anything resembling an emphatic gesture would have capsized this freighted boat; and so, with his open hand, the captain gently and carefully waved the gull away.” To have remained in this state for thirty hours seems almost inprehensible.
Crane’s remarkable use of rhythm in this story reminds one of the motion of the sea; while each phrase has a distinct sense of rising and falling, each one is also a different length, just like the waves -- some of which are huge and rolling, while others are merely little swells. One can feel this in the lines “The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high.” In his imagery, in his rhythm, Crane never allows us to fet the story’s setting, even for a second; the huge and harrowing presence of nature, poised to destroy the insignificance which is man, mands our attention at all times.

But the most significant aspect of this struggle lies in the men’s attempts to help one another survive. Consider this passage where Crane describes the time “when we were swamped by the surf and making the best of our way toward the shore”. “But finally [the correspondent] arrived at a place in the sea where travel was beset with difficulty. He did not pause swimming to inquire what manner of current had caught him, but there his progress ceased. The shore was set before him like a bit of scenery on a stage, and he looked at it and understood with his eyes each detail of it. -- As the cook passed, much farther to the left, the captain was calling to him. ‘Turn over on your back, cook! Turn over on your back and use the oar.’ -- ‘All right, sir.’ The cook turned on his back, and paddling with an oar, went ahead as if he were a canoe.”
There is no fighting the sea; it cannot be conquered; but one can learn to bob along on its surface, and aid to the best of one’s ability those fellow human beings who are also caught in the grip of nature’s immense indifference.
杨梅是热的，那淹过的杨梅呢？凉的？
杨梅不热的，我在广东杨梅吃得多了从来不上火吖。糖水可以助湿化火，盐水却是可以泻火的，所以腌杨梅能泻火。
粽子用（ ）的芦叶裹着（ ）的糯米和（ ）的枣子。
粽子用（ 墨绿）的芦叶裹着（软粘）的糯米和（香甜 ）的枣子。
雪的形成与冰雹的形成的区别
我们都知道,云是由许多小水滴和小冰晶组成的，雨滴和雪花是由这些小水滴和小冰晶增长变大而成的。那么，雪是怎么形成的呢?
在水云中，云滴都是小水滴。它们主要是靠继续凝结和互相碰撞并合而增大成为雨滴的。
冰云是由微小的冰晶组成的。这些小冰晶在相互碰撞时，冰晶表面会增热而有些融化，并且会互相沾合又重新冻结起来。这样重复多次，冰晶便增大了。另外，在云内也有水汽，所以冰晶也能靠凝华继续增长。但是，冰云一般都很高，而且也不厚，在那里水汽不多，凝华增长很慢，相互碰撞的机会也不多，所以不能增长到很大而形成降水。即使引起了降水，也往往在下降途中被蒸发掉，很少能落到地面。
最有利于云滴增长的是混合云。混合云是由小冰晶和过冷却水滴共同组成的。当一团空气对于冰晶说来已经达到饱和的时候，对于水滴说来却还没有达到饱和。这时云中的水汽向冰晶表面上凝华，而过冷却水滴却在蒸发，这时就产生了冰晶从过冷却水滴上"吸附"水汽的现象。在这种情况下，冰晶增长得很快。另外，过冷却水是很不稳定的。一碰它，它就要冻结起来。所以，在混合云里，当过冷却水滴和冰晶相碰撞的时候，就会冻结沾附在冰晶表面上，使它迅速增大。当小冰晶增大到能够克服空气的阻力和浮力时，便落到地面，这就是雪花。
在初春和秋末，靠近地面的空气在0℃以上，但是这层空气不厚，温度也不很高，会使雪花没有来得及完全融化就落到了地面。这叫做降"湿雪"，或"雨雪并降"。这种现象在气象学里叫“雨夹雪”。
同样雪的大小也按降水量分类. 雪可分为小雪,中雪和大雪三类
冰雹形成
冰雹和雨、雪一样都是从云里掉下来的。不过下冰雹的云是一种发展十分强盛的积雨云，而且只有发展特别旺盛的积雨云才可能降冰雹。
积雨云和各种云一样都是由地面附近空气上升凝结形成的。空气从地面上升，在上升过程中气压降低，体积膨胀，如果上升空气与周围没有热量交换，由于膨胀消耗能量，空气温度就要降低，这种温度变化称为绝热冷却。根据计算，在大气中空气每上升100米，因绝热变化会使温度降低1度左右。我们知道在-定温度下，空气中容纳水汽有一个限度，达到这个限度就称为“饱和”，温度降低后，空气中可能容纳的水汽量就要降低。因此，原来没有饱和的空气在上升运动中由于绝热冷却可能达到饱和，空气达到饱和之后过剩的水汽便附着在飘浮于空中的凝结核上，形成水滴。当温度低于摄氏零度时，过剩的水汽便会凝华成细小的冰晶。这些水滴和冰晶聚集在一起，飘浮于空中便成了云。
大气中有各种不同形式的空气运动，形成了不同形态的云。因对流运动而形成的云有淡积云、浓积云和积雨云等。人们把它们统称为积状云。它们都是一块块孤立向上发展的云块，因为在对流运动中有上升运动和下沉运动，往往在上升气流区形成了云块，而在下沉气流区就成了云的间隙，有时可见蓝天。
积状云因对流强弱不同出一辙形成各种不同云状，它们的云体大小悬殊很大。如果云内对流运动很弱，上升气流达不到凝结高度，就不会形成云，只有干对流。如果对流较强，可以发展形成浓积云，浓积云的顶部像椰菜，由许多轮廓清晰的凸起云泡构成，云厚可以达4-5公里。如果对流运动很猛烈，就可以形成积雨云，云底黑沉沉，云顶发展很高，可达10公里左右，云顶边缘变得模糊起来，云顶还常扩展开来，形成砧状。一般积雨云可能产生雷阵雨，而只有发展特别强盛的积雨云，云体十分高大,云中有强烈的上升气体，云内有充沛的水分，才会产生冰雹,这种云通常也称为冰雹云。
冰雹云是由水滴、冰晶和雪花组成的。一般为三层：最下面一层温度在0℃以上，由水滴组成；中间温度为0℃至-20℃，由过冷却水滴、冰晶和雪花组成；最上面一层温度在-20℃以下，基本上由冰晶和雪花组成。
在冰雹云中气流是很强盛的，通常在云的前进方向，有一股十分强大的上升气流从云底进入又从云的上部流出。还有一股下沉气流从云后方中层流入，从云底流出。这里也就是通常出现冰雹的降水区。这两股有组织上升与下沉气流与环境气流连通，所以一般强雹云中气流结构比较持续。强烈的上升气流不仅给雹云输送了充分的水汽，并且支撑冰雹粒子停留在云中，使它长到相当大才降落下来。
在冰雹云中冰雹又是怎样长成的呢?
在冰雹云中强烈的上升气流携带着许多大大小小的水滴和冰晶运动着，其中有一些水滴和冰晶并合冻结成较大的冰粒，这些粒子和过冷水滴被上升气流输送到含水量累积区，就可以成为冰雹核心，这些冰雹初始生长的核心在含水量累积区有着良好生长条件。雹核在上升气流携带下进入生长区后，在水量多、温度不太低的区域与过冷水滴碰并，长成一层透明的冰层，再向上进入水量较少的低温区，这里主要由冰晶、雪花和少量过冷水滴组成，雹核与它们粘并冻结就形成一个不透明的冰层。这时冰雹已长大,而那里的上升气流较弱，当它支托不住增长大了的冰雹时，冰雹便在上升气流里下落，在下落中不断地并合冰晶、雪花和水滴而继续生长，当它落到较高温度区时，碰并上去的过冷水滴便形成一个透明的冰层。这时如果落到另一股更强的上升气流区，那么冰雹又将再次上升，重复上述的生长过程。这样冰雹就一层透明一层不透明地增长；由于各次生长的时间、含水量和其它条件的差异，所以各层厚薄及其它特点也各有不同。最后，当上升气流支撑不住冰雹时，它就从云中落下来，成为我们所看到的冰雹了