查询词典 telling

It Might be You》 Sung By "Stephen Bishop" Time I've been passing time watching trains go by All of my life Lying on the sand, watching seabirds fly Wishing there would be Someone waiting home for me Something's telling me it might be you It's telling me it might be you All of my life Looking back as lovers go walking past All of my life Wondering how they met and what makes it last If I found the place Would I recognise the face Something's telling me it might be you Yeah it's telling me it might be you So many quiet walks to take So many dreams to wake And we've so much love to make Oh, I think we've gonna need some time Many be all we need is time And it's telling me it might be you All of my life I've been saving love songs and lullabies And there're so much more No one's ever heard before Something's telling me it might be you Yeah, it's telling me it must be you And I'm feeling it'll just be you All of my life May be it's you May be it's you I've been waiting for all of my life

可能是你演唱者：Stephen Bishop 我一直经过时间看火车经过我的全部生活躺在沙子上，看海鸟飞行愿会有某人为我在家等候某事告诉我它可能是你它正在告诉我它可能是你我的全部生活向后地看如爱人去步行过去我的全部生活觉得奇怪他们如何遇见和什么使它最后如果我发现地方我会承认脸吗某事告诉我它可能是你是的它正在告诉我它可能是你是的，它正在告诉我它一定是你而且我正在感觉它将会仅仅是你我的全部生活可能是它是你可能是它是你我一直等候我的全部生活

The thesis are divided into four parts: chapter 1 is telling the background of La Traviata and the composer"s mentality; chapter 2 is telling how to perform Violetta on the basis of the musical and dramatic factors; chapter 3 is telling the greatness and tragic of the character Violetta; chapter 4 is telling unitarily the artistic charm of the character Violetta,, and her artistic value to the opera La Traviata and even to Verdi"s other opera works.

全文共分为四大部分：第一章主要交待《茶花女》的创作背景和创作心理；第二章主要从音乐和戏剧两因素分析作曲家如何对薇奥莱塔人物形象进行塑造和演唱者如何进行二度创作；第三章，主要从美学角度分析薇奥莱塔形象的"崇高"和"悲剧性"审美价值；第四章，从"薇奥莱塔"歌剧形象看威尔第歌剧的独特艺术魅力。

The thesis are divided into four parts: chapter 1 is telling the background of La Traviata and the composer"s mentality; chapter 2 is telling how to perform Violetta on the basis of the musical and dramatic factors; chapter 3 is telling the greatness and tragic of the character Violetta; chapter 4 is telling unitarily the artistic charm of the character Violetta,, and her artistic value to the opera La Traviata and even to Verdi"s other opera works.

全文共分为四大部分：第一章主要交待《茶花女》的创作背景和创作心理；第二章主要从音乐和戏剧两因素分析作曲家如何对薇奥莱塔人物形象进行塑造和演唱者如何进行二度创作；第三章，主要从美学角度分析薇奥莱塔形象的&崇高&和&悲剧性&审美价值；第四章，从&薇奥莱塔&歌剧形象看威尔第歌剧的独特艺术魅力。

In using the method of telling story, we determine how the children change in the Montessori Teaching Class, the frequency of the changing of these children who read on their own and listen to the teacher telling story, as well as understand how their parents value this story telling activity.

本研究旨在探讨幼儿图画故事书在蒙特梭利教学中的应用历程，透过说故事方式，探讨蒙特梭利教室中幼儿的改变、幼儿自行阅读和听老师说故事的频率变化，并了解幼儿家长对说故事活动的评价。

I'm still in love I'm telling you straight up Still in love I can't believe we could break up I'm still in love Can we get, can we get back to it, can we get, can we get back Cause I'm still in love, still in love Girl you got me going crazy, thinking bout you everyday The feelings that I have for you, baby they will never go away Girl I'm still in love, no matter what dem wan sey You got me so caught up, so baby just come my way I'm trying, I'm trying, But I'm lying, I'm lying Cause I'm crying, I'm crying, I'm dying Without you there's nobody, nobody, nobody That moves me like you do I'm still in love I'm telling you straight up Still in love I can't believe we could break up I'm still in love Can we get, can we get back to it, can we get, can we get back Cause I'm still in love, still in love I'm still in love I'm telling you straight up Still in love I can't believe we could break up I'm still in love Can we get, can we get back to it, can we get, can we get back Cause I'm still in love, still in love

我仍然爱我要告诉你的直线上升还在爱我不敢相信我们会分手我仍然爱我们能得到的，我们能回到它，我们能得到的，我们才能回来因为我还在爱情中，还在爱女孩，你让我疯狂，思考你每天一回我的感觉，宝贝，他们永远不会消失女孩，我仍然爱，无论什么湾你给了我这么赶了上来，所以宝宝就走自己的路我尝试，我尝试了，但我说谎，我撒谎因为我哭，我哭了，我快死了没有你，没有人，没有任何人我喜欢你做的动作我仍然爱我要告诉你的直线上升还在爱我不敢相信我们会分手我仍然爱我们能得到的，我们能回到它，我们能得到的，我们才能回来因为我还在爱情中，还在爱我仍然爱我要告诉你的直线上升还在爱我不敢相信我们会分手我仍然爱我们能得到的，我们能回到它，我们能得到的，我们才能回来因为我还在爱情中，还在爱

I'm still in love i'm telling you straight up still in love i can't believe we could break up i'm still in love can we get, can we get back to it, can we get, can we get back cause i'm still in love, still in love girl you got me going crazy, thinking bout you everyday the feelings that i have for you, baby they will never go away girl i'm still in love, no matter what dem wan sey you got me so caught up, so baby just come my way i'm trying, i'm trying, but i'm lying, i'm lying cause i'm crying, i'm crying, i'm dying without you there's nobody, nobody, nobody that moves me like you do i'm still in love i'm telling you straight up still in love i can't believe we could break up i'm still in love can we get, can we get back to it, can we get, can we get back cause i'm still in love, still in love i'm still in love i'm telling you straight up still in love i can't believe we could break up i'm still in love can we get, can we get back to it, can we get, can we get back cause i'm still in love, still in love

我是仍然在朝派爱注意不加冰块的仍然在朝派爱i不能相信我们是罐破碎向上的移动我是仍然在朝派爱罐我们到达罐我们回来向它罐我们到达罐我们回来原因我是仍然在朝派爱仍然在朝派爱女孩你得到自我发疯思考较量你每天每天感情那个i富人为你当作婴儿般对待他们意愿从不去在客方场地的比赛去在客方场地的比赛女孩我是仍然在朝派爱不管什么dem变苍白sey dem 变苍白sey你得到自我如此抓住向上的移动如此当作婴儿般对待仅仅来我的方式来我的方式我是请尝试我是请尝试但是我是撒谎我是撒谎原因我是高喊我是高喊我是死去外面你那里's没有人没有人没有人那个移动自我爱好你社交聚会我是仍然在朝派爱注意不加冰块的仍然在朝派爱i不能相信我们是罐破碎向上的移动我是仍然在朝派爱罐我们到达我们能重新回到它，我们能得到，我们能把原因送回去我仍然是 in love， still in love i'm still in love i'm telling you straight up still in love i can't believe we could break up i'm still in love can we get， can we get back to it， can we get， can we get back cause i'm still in love， still in love

And as for that sheet they made the rag ladder out of, ther' ain't no telling how many times they DIDN'T steal that; and flour, and candles, and candlesticks, and spoons, and the old warming-pan, and most a thousand things that I disremember now, and my new calico dress; and me and Silas and my Sid and Tom on the constant watch day AND night, as I was a-telling you, and not a one of us could catch hide nor hair nor sight nor sound of them; and here at the last minute, lo and behold you, they slides right in under our noses and fools us, and not only fools US but the Injun Territory robbers too, and actuly gets AWAY with that nigger safe and sound, and that with sixteen men and twentytwo dogs right on their very heels at that very time!

说到他们用来做绳梯的床单，他们已经偷了不知多少回啦。还有面粉啊，蜡烛啊，烛台啊，调羹啊，旧的暖炉啊，还有我如今已经记不起来的上千种东西，还有新的印花布衣服啊等等的。可我和西拉斯，还有我的西特和汤姆，还日日和夜夜看守着、提防着呢，这些我都对你说过了。可是我们没有一个能抓住他们的一根毛，或者见到过他们人，或者听到过他们的声音，而如今到了最后一刻，啊，你看吧，他们竟然能溜之大吉，就在我们的鼻子底下呢；还竟然敢于作弄我们，并且还不只作弄了我们，还作弄了印第安领地的强盗，并且终于把那个黑奴太太平平地弄走了，即便立即出动了十六个人、二十二条狗拼命追踪也无济于事！

Fortune-telling of the general will say that when you make a fortune, it is clear this person is not telling the general public.

一般算命的都会说你什么时候发财，显然这个算命的人并不是一般人。

"If you have, telling our second mistress is just the same as telling Her Ladyship."

"若有话，只管回二奶奶，是和太太一样的。"

Open eyes in Zhang Jie's works is a self-revealing, a woman telling their own story; Closed eyes in Hu Ke's works is a observation of men to women, a men telling story of woman.

张婕作品中睁着的眼睛，是一种自我流露，是女人讲自己的故事；胡柯作品中的闭着的眼睛，是男人对女人的观察，是男人讲女人的故事。

Although translator has turned from being a crystal ball by which the original culture can unrestrainedly penetrate to another crystal ball by which the target culture can freely traverse, the translator's personal embodiment, in the process of cognitive act, are still absent in translation studies. Translators are still subjects without body or simply disembodied subjects.

译者虽然由原语文化可以自由穿透的玻璃球变成了译语文化可以自由穿越的玻璃球，但译者认知过程中的个体体验在翻译研究中依然缺席，译者依然仅仅是一个没有躯体体验的主体。

Chillingly, he claimed our technology is 'not nearly as sophisticated' as theirs and "had they been hostile", he warned 'we would be been gone by now'.

令人毛骨悚然的，他声称我们的技术是'并不那么复杂，像他们一样，和"如果他们敌意"，他警告说，'我们将现在已经过去了。