koda

Koda : So you are Nita ! Kenai was just dreaming about you .

哥达：原来你就是妮塔。肯尼总是在梦里呼唤你。

Kenai : Nita , this is my brother Koda . Koda , Nita . Nita , Koda .

肯尼：妮塔，这是我弟弟哥达。哥达，妮塔。妮塔，哥达。

Koda : The Japanese people will be interested to know what is secretary general planning to do

日本人想知道安南秘书长在他剩下的任期内对联合国改革的计划

Why did Kenai finally agree to go with koda ?

为什么可奈最后同意跟寇儿一块儿去了？

This paper analyzes the essence of the contract and the legal relationship . In fact , KODA is a high risk of product derived from financial .

本文从分析KODA合约的本质及其相关法律关系入手，得知KODA实质上是一种风险极高的金融衍生理财产品，纠纷产生的重要原因之一就是因为我国对金融衍生理财产品缺乏有效的监管。

Mr. Koda 's tenure included transferring the Brooklyn Museum 's costume collection to the Met in 2009 ;

科达在任期间的业绩还包括：2009年，他把布鲁克林博物馆（BrooklynMuseum）的服装收藏纳入大都会艺术博物馆；

KODA is essentially a kind of derivative financial products , because its extremely complex and high risk , it was prohibited to sale in many countries .

KODA本质上就是一种金融衍生理财产品，由于它本身极端复杂且风险极高，在许多国家是被禁止销售的。

The Introduction section of the paper reviews the manufacturing capabilities of ? KODA STEEL and the typical requirements of global companies regarding supplies of metallurgical products .

本文的介绍部分回顾了SKODA钢铁公司的制造能力及其对冶金产品全球公司供货的典型需求。

The high leverage of KODA was fully revealed under such background , with huge losses of investors and bringing the boom of lawsuits .

在这种经济背景下，KODA的高杠杆性表现的淋漓尽致，投资者损失惨重，一时间掀起投诉潮。

Indeed , though Mr. Koda acknowledged that he had thought of it as the story of the life of a woman of leisure , complete with furniture and art .

的确，虽然科达承认，本来他把这看作一个关于富裕有闲阶层女人的生活的故事。

Mr. Koda and Mr. Bolton say they often tire of having to defend their subject area as a legitimate art form that is not beholden to the fashion industry .

科达和博尔顿都说，他们厌倦了经常需要解释自己的主题领域是一种真正的艺术形式，不依赖于时装业。

Last year 's show " Charles James : Beyond Fashion , " for example , organized by Mr. Koda , featured robotic arms and screens near the dresses showing how they were constructed .

比如，在去年科达策划的“查尔斯·詹姆斯：超越时尚”展（CharlesJames:BeyondFashion）上，连衣裙旁摆着机械臂和屏幕，展示这些服装是怎样做成的。

Manus x Machina will be the first exhibition to fall under Bolton 's full charge since he took over from Harold Koda as the Institute 's curator in charge in January .

自今年一月取代哈罗德•柯达（HaroldKoda）接任服装学院院长以来，“手工x机械”展将是波顿首次全权负责的展览。

The Honolulu-born Mr. Koda , 65 - who will step down in January - guided his department through significant changes since the days when it was institutionally marginal , relegated to the museum basement .

65岁的科达生于檀香山，将于明年1月退休。他带领这个部门经历了巨大变化。最初，这个边缘部门被排挤到博物馆的地下室。

Mr. Bolton , who worked at the Victoria and Albert Museum in London for nine years before joining the Met , said he had learned from Mr. Koda the value of juxtaposing the old and the new .

博尔顿生于英国，现年49岁，在加入大都会博物馆前在伦敦的维多利亚与艾伯特博物馆（VictoriaandAlbertMuseum）工作了九年。博尔顿说，他从科达那里懂得了把新与旧放置在一起的价值。

Her hallmark was , Mr. Koda said , a " kind of idiosyncratic exoticism " marked by saturated colors , rigorous lines , asymmetry and an appreciation for the power of a strategically placed ruffle .

科达说，德里贝斯的特点是“独特的异国风情”——饱满的色彩、精细的线条、不对称和设计巧妙的褶皱。

While leading the institute , Mr. Koda built on the foundations laid by the visionary fashion editor Diana Vreeland , who was installed as head of the Costume Institute by the former Met director Thomas Hoving , and followed by the art historian Richard Martin .

科达领导的时装学院是在有远见的时尚主编戴安娜·弗里兰（DianaVreeland）铺垫的基础上发展起来的。大都会博物馆的时任馆长托马斯·霍温（ThomasHoving）任命弗里兰兼任时装学院的主管，之后的主管是艺术史学家理查德·马丁（RichardMartin）。