查询词典 Fez

The bearded man had on a fez, the other's head was bare, and the snow had lodged in his hair.

生络腮胡子的那个戴一顶希腊式的圆统帽，另一个光着头，雪花落在他的头发里。

Q1: Tell us about the Fez Bar?

请给我们介绍一下这个酒吧？

While the philosophers in Fez were not so great as those in Damcar, the previous experiences of CRC enabled him to distinguish the true from the false and thus add greatly to his store of knowledge.

而在非斯的哲学家不如在Damcar那些伟大的，罗森克鲁兹过去的经验使他能够区分虚假的，从而大大增加他的知识存储的真实。

After two years in Fez, CRC sailed for Spain, carrying with him many treasures, among them rare plants and animals accumulated during his wanderings.

经过两年在非斯来，华润航行西班牙，与他进行太多的珍宝，其中珍稀植物，并在其漫游积累的动物。

After studying three years in Damcar, CRC departed for the city of Fez, where the Arabian magicians declared further information would be given him.

学习三年后，在Damcar年，罗森克鲁兹离开的非斯，城市的阿拉伯魔术师宣布将进一步资料给他。

Ancient Greeks have built up a lot of shrines here, so, the ancient calls this land Fez supernatural city of A, call Olympia of " Holy Land " too, depends on the faith at that time, it was symbolizing the peace and friendship.

古希腊人建立了很多的神社，在这里，因此，古代呼吁这片土地上自由贸易区的超自然的城市，呼吁奥林匹亚"圣地"，也依赖于信仰在那个时间，这是象征着和平和友谊。

During the segmentation period, its expression is completely restricted to the rostral region of the prospective forebrain.

在胚体发育的整个器官发生阶段中，Fez的表达完全局限在胚胎前端未来的前脑区域内。

Lord Layard's latest book has a much jauntier image on its cover: a" happy eccentric" with a fez on his head, a monocle in his eye and a bunch of flowers in his hand.

莱亚德勋爵的新书的封面上有一个更加神气活现的形象：一个幸福的怪人头戴小圆红帽，戴着单片眼镜，手上拿着一束鲜花。

According to these, the Rosicrucian brotherhood was founded in 1408 by a German nobleman, Christian Rosenkreuz (1378-1484), a former monk, who while travelling through Damascus, Jerusalem and Fez had been initiated into Arabian learning, and who considered an antipapal Christianity, tinged with theosophy, his ideal of a religion.

根据这些，在Rosicrucian兄弟公司成立於1408年由一名德国贵族，基督教Rosenkreuz （ 1378年至1484年），前和尚，谁旅行时通过大马士革，耶路撒冷和非斯已经开始进入阿拉伯学习，谁审议一个antipapal基督教，带有神智学，他的理想的一种宗教。

Ryan Kisor, one of the best jazz trumpeters in the world, was born April 12th, 1973 in Sioux City, Iowa. He began playing in a local dance band by the age of ten, began classical lessons at 12, met and was inspired by Clark Terry at 15 (while attending the latter's summer jazz camp) and played with various high school all-star bands. In November of 1990 he won the Thelonius Monk Institute's trumpet competition at the age of just 17, beating out the likes of Nicholas Payton and Marcus Printup. After graduating from high school in 1991, he went to the Manhattan School of Music and later studied with Lew Soloff among others. He has recorded fairly extensively both as a leader and sideman and with small and large groups. Among the highlights; the Mingus Big Band (which still plays every Thursday night at "The Fez" under Time Cafe in NYC's east village), the Michel Camilo Big Band (which although only existed for the purpose of recording the album,"One More Once," was arguably one of the best latin big bands recorded in recent memory), the Lincoln Center Jazz Orchestra, Gerry Mulligan, Wynton Marsalis, Wycliffe Gordon, Horace Silver, and Walter Blanding.

Ryan Kisor，美国著名爵士小号演奏家，1973年4月3日生于美国爱荷华州，10岁开始学习小号演奏，1990年在美国竞争最为激烈的爵士乐比赛——Monk国际爵士乐大赛（International Thelonious Monk Jazz Competition）中击败像Nicholas Payton和Marcus Printup这样的高手获得优胜，当时年仅17岁。1991年中学毕业后，被著名学府曼哈顿音乐学院录取师从Lew Soloff先生学习小号，在学期间加入Mingus大乐队，年纪轻轻便以惊人的深厚实力成为独当一面的独奏小号手。19岁时以首张专辑《One For Miles》正式出道，而后自1994年至今一直为世界著名爵士小号演奏大师Wynton Marsalis领衔的林肯中心爵士乐团的常任小号演奏家，同时Kisor先生还受聘加入卡内基音乐厅爵士乐团以及David Matthews率领的曼哈顿爵士乐团，杰出的演奏技巧及艺术水准受到世界乐坛之瞩目，曾受邀多次出访全球各国，每次均毫无保留的展现了其精湛的演奏实力，让世界各地的广大乐迷感受到其小号的魅力。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。