查询词典 Hughes

Phil Hughes: I've gotten to see Metallica before, definitely my favorite band.

休斯：我会选择Metallica，他们绝对是我最喜爱的乐团。

1St Week: A general introduction to the nature and contents of the course; an investigation of students' acquired knowledge of literature in general; a brief introduction to African-American literature 2nd and 3rd Weeks: Rediscovering an Invisible Culture (Why Black culture had been unknown and unobserved for several decades; how it came to be rediscovered ) 4th to 6th Weeks: Double Consciousness (the marginal perspective in Language, Oral Culture, Folklore and Religion); Reading representative works by three Black writers of racial consciousness: Douglass, Washington and Bu Bois 7th to 9th Weeks: Minstrelsy (Imitation, Parody and Travesty in Black-White interaction rituals 1830--1920); Reading the novel about the Black life: Uncle Tom's Cabin 10th to 12th Weeks: Social Mobility and Cultural Stigma: The case of Chicago Jazz 1920--1930; Reading poems by Hughes and novels by Wright 13th to 15th Weeks: Oral Tradition and the Quest for Literacy: The crisis of Black writers from Philips Wheatley to Ralph Ellison; Reading the masterpiece of Ellison 16th to 18th Weeks: Contemporary Afro-American Culture: the sixties and seventies (efforts on reconstructing the Black identiy and Black history); Reading novels by Morrison

第1周：介绍课程性质、内容，了解学生相关文学背景，简要概括黑人文学历史第2-3周：再现黑人文化（黑人文化长期被掩盖的事实和原因，重新被发现的原因和过程）第4-6周：双重意识（语言、吟唱文学、民俗民谣、宗教的边缘化），阅读黑人种族意识三代伟大启蒙家道格拉斯、华盛顿、杜波伊斯的代表作第7-9周：吟游文学（黑人与白人的文化互动过程中的模仿、戏仿、曲仿），阅读第一部反映黑人生活的小说《汤姆叔叔的小屋》第10-12周：社会动荡与文化耻辱（芝加哥爵士乐的兴起、流行和影响），阅读休斯和赖特的代表作第13-15周：口头文学传统与争取教育权利的斗争（从惠特利到埃里森的黑人作家危机），阅读拉尔夫·埃里森的代表作第16-18周：六、七十年代以来的美国黑人文化（重建身份和重建历史的努力），阅读莫里森的代表作每位参加该课程学习的学生均须严格出勤，按时完成学读任务，每学期主持两次小型（10分钟）学术报告，第一次针对老师推荐的作家作品做一个专题报告，第二次针对自己的学期研究计划做一个选题前瞻性和可行性报告。

C Brooke, The Monastic World; EC Butler, Benedictine Monachism; O Chadwick, Western Asceticism; K Hughes, The Church in Early Irish Society; D Knowles, Christian Monasticism; J Leclercq, The Love of Learning and the Desire for God; LJ Lekai, The Cistercians: Ideals and Reality; W Nigg, Warriors of God.

c布鲁克，寺院的世界；欧共体巴特勒，本笃会monachism ； o查德威克，西方禁欲主义； k休斯，教会在早期爱尔兰社会； d诺尔斯，基督教修道； j勒克莱尔，热爱学习和愿望，为上帝； LJ ， lekai ，熙笃会：理想与现实；瓦特nigg ，勇士神。

Hughes in his opening remarks said:"I am an American living in the United States, I would like to respond to what the U.S. media for China's monetary and trade policies of the community."

休斯在开场白中说："我的美国生活在美国，我想回应什么，美国媒体对中国的货币和贸易政策的社会。"

Finally, I would like to specifically thank Simon Peyton Jones, Simon Marlow, John Hughes, Alastair Reid, Koen Classen, Manuel Chakravarty, Sigbjorn Finne and Sven Panne, all of whom have made my life learning Haskell all the more enjoyable by always being supportive.

鲁迅先生曾说过："时间就象是海绵里的水一样，要挤总是能挤出来的"，以前总觉得自己很忙，没有时间做自己想做的事。现在想来，都不过是借口罢了，lazy 才是真的。

If anything, Sunday's starter is in the air pending Hughes performance on Tuesday since he would be next in line to pitch at that point.

如果会有什麼变化，那便是休斯在星期天的先发将会视他星期二的表现后再来决定。

Charles Hughes developed POMO. Point Of Maximum Opportunity. I attended a lecture he presented on the subject back in the late 70's.

查理·休斯发展出了POMO理论，Point Of Maximum Opportunity。1970年代末期，我参加了一次他谈论这个话题的讲座。

Much has been written about the Hughes/Plath relationship since that first portentous meeting, but few can doubt that these two brilliantly creative people were enormously attracted to one another, almost from the moment they were first introduced.

许多人已书面关于休斯/普拉思关系，因为这首portentous会议，但很少人能怀疑，这两名出色的创作人，极大地吸引了另外一个人，几乎从一时刻，他们首先介绍了。

Eric Hughes sees a role for digital pseudonymity -- your identity is known by some but not by others.

埃里克·休斯则看到了数字匿名的作用——你的身份只有一部分人知道。

Hughes, a Yankees right-hander, went to the concert and said he had fun.

最后休斯说他去看了George Strait的演唱会而且玩得很愉快。

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。