上海

Marlene Dietrichs one-liner in Shanghai Express became a kitsch classic:"It took more than one man to change my name to Shanghai Lili."

玛莲·德烈奇在《上海快车》中的俏皮话成为了一句庸俗的经典："不止一个男人让我的名字变成了'上海莉莉。"

Marlene Dietrich's one-liner in Shanghai Express became a kitsch classic:"It took more than one man to change my name to Shanghai Lili."

玛莲·德烈奇在《上海快车》中的俏皮话成为了一句庸俗的经典："不止一个男人让我的名字变成了'上海莉莉'。"

Department of Ophthalmology, Shanghai Sixth People′s Hospital, Shanghai Jiaotong University, Shanghai 200233, China

上海交通大学附属第六人民医院眼科，上海 200233；2。

Shanghai Institute of Optics and Fine Mechanics,Chinese Academy of Sciences,Shanghai 201800,China

上海大学材料科学与工程学院，上海 200072

Shanghai Institute of Optics and Fine Mechanics,Chinese Academy of Sciences,Shanghai 201800, China

中国科学院上海光学精密机械研究所，上海 201800

State Key Laboratory of Organometallic Chemistry , Shanghai Institute of Organic Chemistry , Chinese Academy of Sciences , Shanghai 200032, China

2金属有机化学国家重点实验室，中国科学院上海有机化学研究所上海 200032

State Key Laboratory of Organometallic Chemistry , Laboratory of Analytical Chemistry , Shanghai Institute of Organic Chemistry , Chinese Academy of Sciences , Shanghai 200032, China

1金属有机化学国家重点实验室，中国科学院上海有机化学研究所，上海200032，中国

In many people's eyes,the Shanghai Oriental Pearl TV Tower is a symbol of the city's fast development.

在许多人的眼里，上海东方明珠电视塔是上海快速发展的一个象征。

Department of Orthopedics,Changhai Hospital,The Second Military Medical University,Shanghai 200433,China

上海第二军医大学长海医院骨科，上海 200433

In Shanghai Express (1932) and The Shanghai Gesture (1941) Josef von Sternberg piled dream-Pelions on the eastern Ossa, creating a Babel of mingling cultures and micro-political intrigue, of multivalent gambling, of polymorphous-promiscuous sexuality smoked, refined and narcotised in the land of the opium den.

在《上海快车》（1932年）和《上海风光》（1941年）中，约瑟夫·冯·史登堡在这个东方城市完成了一个不可能的梦想，他在这个鸦片烟的土地上，搭建起一座包含混杂文化与微型政治阴谋、三教九流赌局以及滥交的通天塔。

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。