查询词典 Paris

It's a little bit of Paris in a town where hardly anyone has been to Paris, and the aromas are to die for.

在这座几乎没人到过巴黎的小城里，它就像是巴黎一样，那里的香味让人爱死了。

PARIS, France -- It's the Paris version of the "staycation": Marc des Bouillons lounged in a beach chair with a book, surrounded by women in bikinis, ice cream stands, a DJ spinning summer tunes and kids running amok...

巴黎，法国-这是巴黎版的& s taycation&：马克万B ouillonsl ounged在沙滩椅子上一本书，周围的妇女身着比基尼，冰淇淋站，一个夏天的D J音乐纺纱和孩子们横行。

All Paris was there, the Paris of literature, of finance and of pleasure. There were many journalists, several authors, a number of stock-exchange people and more courtesans than honest women.

这时，剧场成了巴黎的缩影，成了汇集巴黎文学界、金融界和寻欢作乐的人的场所，那里还有许多新闻记者，一些作家，交易所的投机家，也有一些轻佻的女人，她们比正经女人还要多。

These are beings of the great neuter species: impotent men, parasites, cyphers, who have a little land, a little folly, a little wit; who would be rustics in a drawing-room, and who think themselves gentlemen in the dram-shop; who say,"My fields, my peasants, my woods"; who hiss actresses at the theatre to prove that they are persons of taste; quarrel with the officers of the garrison to prove that they are men of war; hunt, smoke, yawn, drink, smell of tobacco, play billiards, stare at travellers as they descend from the diligence, live at the cafe, dine at the inn, have a dog which eats the bones under the table, and a mistress who eats the dishes on the table; who stick at a sou, exaggerate the fashions, admire tragedy, despise women, wear out their old boots, copy London through Paris, and Paris through the medium of Pont-A-Mousson, grow old as dullards, never work, serve no use, and do no great harm.

他们全是那一大堆无用人群的组成部分；不事生产，食人之力，一无所长，有一点地产，一点戆气，一点小聪明，在客厅里是乡愚，到了茶楼酒馆又以贵人自居，他们的常用语是&我的草场，我的树林，我的佃户&，在剧场里叫女演员们的倒彩，以图证明自己是有修养的人，和兵营中的官长争辩，以图显示自己深通韬略，打猎，吸烟，打呵欠，酗酒，闻鼻烟，打弹子，看旅客们下公共马车，坐咖啡馆，上饭店，有一只在桌子下面啃骨头的狗和一个在桌子上面张罗的情妇，一毛不拔，奇装异服，幸灾乐祸，侮蔑妇女，使自己的旧靴子更破，在巴黎模仿伦敦的时装，又在木松桥模仿巴黎的时装，顽冥到老，游手好闲，毫无用处，但也不碍大事。

These are beings of the GRE at neuter species: impotent men, parasites, cyphers, who have a little land, a little folly, a little wit; who would be rustics in a drawing-room, and who think themselves gentlemen in the dram-shop; who say,"My fields, my peasants, my woods"; who hiss actresses at the theatre to prove that they are persons of taste; quarrel with the officers of the garrison to prove that they are men of war; hunt, smoke, yawn, drink, smell of tobacco, play billiards, stare at travellers as they descend from the diligence, live at the cafe, dine at the inn, have a dog which eats the bones under the table, and a mistress who eats the dishes on the table; who stick at a sou, exaggerate the fashions, admire tragedy, despise women, wear out their old boots, copy London through Paris, and Paris through the medium of Pont-A-Mousson, grow old as dullards, never work, serve no use, and do no great harm.

他们全是那一大堆无用人群的组成部分；不事生产，食人之力，一无所长，有一点地产，一点戆气，一点小聪明，在客厅里是乡愚，到了茶楼酒馆又以贵人自居，他们的常用语是&我的草场，我的树林，我的佃户&，在剧场里叫女演员们的倒彩，以图证明自己是有修养的人，和兵营中的官长争辩，以图显示自己深通韬略，打猎，吸烟，打呵欠，酗酒，闻鼻烟，打弹子，看旅客们下公共马车，坐咖啡馆，上饭店，有一只在桌子下面啃骨头的狗和一个在桌子上面张罗的情妇，一毛不拔，奇装异服，幸灾乐祸，侮蔑妇女，使自己的旧靴子更破，在巴黎模仿伦敦的时装，又在木松桥模仿巴黎的时装，顽冥到老，游手好闲，毫无用处，但也不碍大事。

The letter of St. Bernard did not prevent the extension of the feast, for in 1154 it was observed all over France, until in 1275, through the efforts of the Paris University, it was abolished in Paris and other dioceses.

信中的圣伯纳德并不妨碍延长有关的盛宴，因为在第1154据观察所得，所有超过法国，直到1275 ，经过长时间的努力，巴黎大学，它被取消，在巴黎及其他教区。

Ricardo Carbajal, MD, Ph.D., of the Hpital d'enfants Armand Trousseau, Paris, and colleagues collected data on neonatal pain, based on direct bedside observations in intensive care units in the Paris region.

里卡多carbajal ，医学博士，博士研究生的hpital -儿童阿曼德t rousseau，巴黎，和他的同事收集到的数据对新生儿疼痛的基础上，直接在床边观察密集护理单位在巴黎地区。

11 Guest Professorship in ENSBA, Paris; 11 Shanghai Spirit — Shanghai Biennale, Shanghai Art Museum, Shanghai, China; 7 Sui Jianguo and Zhan Wang, Galerie Loft, Paris, France; 6 Sharing Exoticisms — Contemporary Art Lyon Biennale, Lyon, France; 5 Chinese Contemporary Sculpture Invitational Exhibition, Qingdao Sculpture Museum, Qingdao, China

2000年&中国雕塑邀请展&；&中国当代雕塑展&；&东方广场中国雕塑精品展&；&共享异国情调——里昂当代艺术双年展&；&隋建国、展望作品展&；&第三届上海双年展&； 11月在法国巴黎高等美术院作为期三个月的客座教授； 11月举办《上海·上海——第三届上海双年展》； 9月举办（人文山水----景观艺术展）桂林中国上海美术馆上海·中国； 7月举办《隋建国、展望作品展》 LOFT 画廊巴黎·法国； 6月举办《共享异国情调——里昂当代艺术双年展》里昂·法国； 6月举办《东方广场——中国雕塑精品展》北京·中国； 5月举办《中国当代雕塑邀请展》青岛雕塑艺术馆青岛·中国； 3月举办《中国雕塑邀请展》上海美术馆上海·中国。

Notre Dame de Paris stands on the site of Paris' first Christian church, Saint-tienne Basilica, which was itself built on the site of a Gallo-Roman temple to Jupiter.

巴黎圣母院矗立在巴黎第一座基督教堂圣艾蒂安教堂的旧址上，而后者又是建立在为朱庇特而建的一座高卢罗马神庙的旧址上。

I will follow you wherever there is room for a chair; that one must be on one's guard; that at night there would be people pillaging isolated dwellings in the deserted corners of Paris (there the imagination of the police, that Anne Radcliffe mixed up with the Government was recognizable); that a battery had been established in the Rue Aubry le Boucher; that Lobau and Bugeaud were putting their heads together, and that, at midnight, or at daybreak at latest, four columns would march simultaneously on the centre of the uprising, the first coming from the Bastille, the second from the Porte Saint-Martin, the third from the Greve, the fourth from the Halles; that perhaps, also, the troops would evacuate Paris and withdraw to the Champ-de-Mars; that no one knew what would happen, but that this time, it certainly was serious.

我会跟着你们去任何地方，只要那里有摆一张椅子的地方'&，&应随时准备好，晚上会有人在巴黎的荒僻角落里抢劫那些孤零零的人家（在此我们领教了警察的想象，这位和政府混在一起的安娜·拉德克利夫③）&，&奥白利屠夫街设了炮兵阵地&，&罗博和毕若已商量好，午夜或至迟到黎明，就会有四个纵队同时向暴动的中心进攻，第一队来自巴士底，第二队来自圣马尔丹门，第三队来自格雷沃，第四队来自菜市场区；军队也许会从巴黎撤走，退到马尔斯广场；谁也不知道会发生什么事，但是，这一次，肯定是严重的&，&大家对苏尔特元帅的犹豫不决都很关心&，&他为什么不立即进攻？&&

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。