伊利斯

A long string of popular albums resulted, including Mein Liebeslied (2000), Napoli Adieu (2001), Drei Stimmen d'Amour (2001; co-featuring Mara Kayer and Francine Jordi), Mein Gefьhl (2002), Das Beste von Monika Martin (2002), Himmel aus Glas (2003), Eine Liebe Reicht fьr Zwei (2004), Ave Maria: Lieder zur Stillen Zeit (2004), Ein Kleines Glьck (2005), Schmetterling d'Amour (2005), Heute Fьhl' Ich Mich Wie Zwanzig (2006), and Aloha Blue (2007)- most of which were Top 20, if not Top Ten, hits in Austria and anywhere from Top 50 to Top 100 hits in Germany.

专辑的流行造成一长串，包括炒面Liebeslied（2000年），那不勒斯再见（2001年），科特迪瓦爱德雷伊之声（2001；合作具有马拉戈耶尔和弗朗辛霍尔迪），炒面Gefьhl（2002年），达斯Beste马丁冯莫妮卡（2002年），希默尔澳大利亚玻璃（2003年），Eine利伯Reicht黵Zwei（2004年），圣母颂：之歌楚Stillen宰特（2004），艾因KleinesGlьck（2005年），Schmetterling德爱（2005年），霍伊特Fьhl'非物质文化遗产密歇根魏Zwanzig（2006年），和阿罗哈蓝色（2007）-其中大部分是前20，如果不是前十名，在奥地利安打，任何地方从50强的前100点击在德国。

In the spirit of such classics as AMERICAN PIE, THE SURE THING and SUPERBAD, this wild romp follows Ian, Lance and their third musketeer, the spunky and gorgeous tomboy, FELICIA, as they set out in Ian's older brother's beloved '69 GTO.

在为美国馅饼，有把握的事情，SUPERBAD，这个野生欢蹦乱跳等几部经典的精神如下伊恩，兰斯和他们的第三个火枪手，容易发怒和华丽的假小子，费利西亚，因为它们载伊恩的哥哥的心爱的'69 GTO的。

The story line is split between Tell Sackett trying to steer clear of three brothers (Jack Elam, Gene Evans, and Slim Pickens) out to revenge Tell's killing of their card shark brother, and Orrin and Ty Sackett doing their best to bring law and order to Sante Fe despite the diabolical dealings of the town's richest man.

故事线分为推荐萨基特试图避开三兄弟清除（杰克伊拉姆，基因埃文斯和斯利姆皮肯斯）去报复泰尔的杀害了自己的卡鲨鱼弟弟，奥林和ty萨基特（汤姆塞莱克和Osterhage）尽最大努力，尽管镇上的首富残忍的交易治安圣塔菲。

The beginning acoustic effect, which moves sluggishly, is to reminisce Joyce and Proust who initiated the composing technique of "stream of consciousness". Whilst the pile of sound piece, the unharmony tone and the application of "noisy music" in the ending part, are to show my pessimistic respect to Nuonuo, Pendereck, Schnittke, Pierre·Henry.

启始的凝滞的音响效果，是对开创了"意识流"写作技巧的乔伊斯、普鲁斯特等人背叛性的缅怀；后尾大段的音块、不谐和音程、"噪音音乐"的运用，又是对于诺诺、潘德列斯基、施尼特凯、皮埃尔·亨利悲观的致敬。

James Joyce's 'Ulysses' challenged the literary tradition s of his day.

詹姆斯。乔伊斯写的《尤利西斯》打破了他那一时代的文学传统。

James Joyce's 'Ulysses' challenged the literary traditions of his day.

詹姆斯·乔伊斯写的《尤利西斯》打破了他那壹时代的文学传统。

James Joyce uses the topos of the wandering jew in his ulysses.

詹姆斯·乔伊斯在他的《尤利西斯》中采用了流浪的犹太人这一传统主题。

Mr Lloyd Webber has frequently chosen to couple well-known works with comparative rarities: the Saint-Saens Concerto, with the English Chamber Orchestra under Yan Pascal Tortelier, is coupled with the Honegger Concerto and d'Indy's Lied; the Tchaikovsky Rococo Variations is paired with the Miaskovsky Concerto. A two CD set "Favourite Cello Concertos"– which also includes Jackie's Song, Julian Lloyd Webber's personal tribute to Jaqueline du Pre – was released in January 1999 on Philips.

劳埃德·韦伯先生还经常把一些著名作品和相对冷僻的作品搭配在一起，例如和伊安·帕斯卡尔·托特里埃指挥的英国室内乐团合作，他把圣－桑的协奏曲和奥涅格的协奏曲以及丹第的《歌》搭配在一起；还有把柴科夫斯基的《洛可可主题变奏曲》跟米亚科夫斯基的协奏曲搭配在一起。1999年1月Philips发行了一套双张CD ——《最受欢迎的大提琴协奏曲》，其中的一首《杰基之歌》是朱利安·劳埃德·韦伯对杰奎琳·杜普雷的怀念。

The beginning acoustic effect, which moves sluggishly, is to reminisce Joyce and Proust who initiated the composing technique of "stream of consciousness". Whilst the pile of sound piece, the unharmony tone and the application of "noisy music" in the ending part, are to show my pessimistic respect to Nuonuo, Pendereck, Schnittke, Pierre·Henry.

启始的凝滞的音响效果，是对开创了&意识流&写作技巧的乔伊斯、普鲁斯特等人背叛性的缅怀；后尾大段的音块、不谐和音程、&噪音音乐&的运用，又是对于诺诺、潘德列斯基、施尼特凯、皮埃尔·亨利悲观的致敬。

Manuel Blanco, Ignacio Mercado, Antonio Llanos, Andrés Naves, and Celestino Fernandez are also worthy of mention.

曼努埃尔布兰科，伊格纳西奥梅尔卡多，安东尼奥西利亚，安德烈斯Naves ，并塞莱斯蒂诺费尔南德斯也值得一提的。

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。