1.
The Breakthrough of the Traditional Ideas of Dramatic Criticism by L(u|¨) Tiancheng’s“Qupin”;
试论吕天成《曲品》对传统戏曲批评观念的突破
2.
On Zhang Zai and Lü Dalin s Discussion about "Xing(性) and TianDao(天道)";
论张载、吕大临对“性与天道”问题的探讨
3.
Lüshichunqiu s Existential Philosophy Viewed from Its Heaven and Human Perspective;
从《吕氏春秋》的天人观看其存在哲学
4.
Her early works are the important foundations for the success of Rebecca.
其初期作品是《吕蓓卡》成功的重要基石。
5.
The Origin of Lydian and Greek Coinage: Cost and Quantity;
吕底亚和希腊铸币的起源:成本和数量
6.
The Verb-object Construction Structured by the Verb "Wei" in Lü Shi Chun Qiu;
《吕氏春秋》中由动词"为"构成的述宾结构
7.
Uplift of Lüliang Mountains and Evolution of Huanghe River-Evidence from Gravel Beds in Piedmont
从山前砾石看黄河形成与吕梁山隆升
8.
On the Management Thought of LU Buwei;
秉“性命之情”,求“天下为公”——吕不韦的管理思想
9.
Analysis of Slope Sliding Disaster and Prevention Method for Lvhe Open-pit
吕合露天矿边坡滑坡塌陷灾害分析与治理方法
10.
A Discussion of the Accomplishment Time of the Works in Guan Zi Behind LüShi Annuals;
试论《管子》中的作品完成在《吕氏春秋》成书之后
11.
The autumn Moon on the Calm Lake . This is a representative piece by the master of Guangdong music Lu Wencheng,
《平湖秋月》，是广东音乐名家吕文成的代表作。
12.
The Study of Spatial-Temporal Characteristics and Formation Mechanism of Kuroshio deformation at Luzon Strait;
吕宋海峡黑潮形变的时空分布特征和形成机制
13.
An Analysis of the composition and Nature of Lu Yi-jian Clique in Renzong, North Song Dynasty;
北宋仁宗朝吕夷简集团的组成及其性质
14.
Relationship Between Red Clay and Aqueous Accumulation in the west part of Lüliang Mountain
吕梁山西麓红粘土和水成堆积物之间的关系
15.
Evaluation on Ore-prospecting Foreground of the Ore-forming District of Tieluwan to Lvyangdou,Jiangxi Province
江西铁炉湾-吕阳斗成矿区找矿前景评价
16.
"Really, my dear Albert," replied Lucien, lighting a manilla at a rose-colored taper that burnt in a be beautifully enamelled stand--"how happy you are to have nothing to do. You do not know your own good fortune!"
“那样，他会玷污那把宝剑的，”吕西安答道，“因为我卑贱，非常卑贱。”“噢，天哪
17.
A member of any of several peoples of the mountains of northern Luzon in the Philippines.
伊哥洛人菲律宾群岛、吕宋岛北部山区几个民族中的任何一成员
18.
at the beginning of the 20th century, folk artist Lu Wencheng changed the usual silk strings of the erhu to steel ones,
本世纪初，民间艺术家吕文成把二胡的外弦，从习用的丝弦改为钢弦，