查询词典 dancing

A dancing in a whirl you are by my side .

你是我身边一阵阵婆娑

And in the blossom of my heart, she was dancing

我们会说，丫的，这也太无聊了么。

On entering the room, he found his friends dancing in high spirits.

进屋，他就发现他的朋友们在愉快地跳舞。

Poetry in motion,dancing close to me.

动态的诗，向我走来。

Poetry in motion, dancing close to me.

动态的诗，向我

I like dancing in the open air.

我喜欢在室外跳舞。

Belly dancing is an ancient traditional dance popular in the Middle East area, and was deeply influenced by the local cultural and history development process. There are certain degrees of passion and even sexual incitation implication in the choreographic movement.

肚皮舞是中东地区一古老传统舞蹈，由於年代久远，详细发展过程已不可考，但从现存的几种说法当中都可以发现肚皮舞的作用是在取悦观众──神明或是君主，因此当中的各种舞蹈动作其实都是有相当程度的挑逗意味的，这样的舞蹈对於深受儒家传统文化影响，民风相对饱受手的台湾，理应是会造成一股冲击的，但是肚皮舞在台湾女性之间的接受程度却出人意料的高。

He distributes place and power, titles and prelacies, teaches all languages, is an inciter of dancing among terrestrial beings, and has other equally remarkable powers.

他派发的地方和电力，职称和prelacies ，教导各种语言，是一个inciter的舞蹈当中陆地的人，并有其他同样出色的权力。

In the relationship between implication and images, implication not only reflect Chinese culture and spirit, but also reach agreement with "the spirit of dancing accompanied by music" of Chinese art because it exists in an abstract, objective and indistinctive form of "graceful dance movements","a state of life generated by breath" and "the spirit of Taoism".

不仅具有鲜明的中国传统文化特质，同时也是中国绘画本质的体现，是"意"与"象"的完美结合。在"意"与"象"的关系中，"意"不但体现着中国文化和精神的交融，并且因具有一定的抽象性、主观性和模糊性而与中国艺术之精神——"乐舞精神"相吻合。

Nevertheless, The Industrial High School opened in 1900 to the singing, dancing, and prayers of its students.

还有，1900年开办的职业中学，也受到了其学生们的歌颂和拥护。

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。