伯恩斯坦

"I care about words and their connotations, but you don't have to be in junior high to make this leap," said Robin Bernstein, a corporate speech writer on Long Island, who addressed the issue on her Facebook page on Wednesday.

纽约长岛的企业讲稿撰写人，罗宾--伯恩斯坦周三在她的Facebook博客上谈到这一问题时说：我会注意词汇和他们的隐含意思，但是连小学生都能猜出这个隐含意思。

Bernstein combined the idioms of ethnic folk music and jazz with the virtuosity of a symphonist.

伯恩斯坦以交响作曲家的高度艺术修养，把少数民族的音乐和爵士乐的不同的音乐语汇交融在一起。

CB: They are poems but in a prose format, though as you can see many different approaches to the "prose" format, to such an extent that prose becomes, rather than something neutral, something visually specific, what Marjorie Perloff recently calls "Concrete Prose"(thinking of Haroldo de Campos's Galaxias ).

伯恩斯坦：它们是诗，是散文体的诗，不过这种&散文&形式是有多种方式促成的，以致于它已经不再是某种中性的非色彩的东西，而是具有了视觉，，上的确定性，玛乔瑞·帕洛夫最近称之为&具象散文&（想到了 Haroldo de Campos 的 Galaxias ）。

Overreliance on social media, Bernstein adds, dilutes intimacy because it can't relate the talking, the looking, the affection, the support.

对于社会化媒体的过分依赖，伯恩斯坦表示，这冲淡了亲情，因为所听，所见，所感完全不能联系起来。

CB: There is no exact meaning, no prior meaning which I transform into verse, no single or paraphrasable meaning for the reading to grasp.

伯恩斯坦：本来就没有什么确切的意义，没有什么先在的意义我要转化到诗歌中，没有什么需要阅读以掌握的可以解释的意义。

As Richard Bernstein once put it, it is important 'to try and try again to foster and nurture those forms of communal life in which dialogue, conversation, phronesis, practical discourse, and judgment are concretely embodied in our everyday practices

正如理查德伯恩斯坦曾说过：它是重要的尝试，再试重视培养这些形式的群体生活中的对话交谈中，智慧，实用话语，我们的判断是，具体体现在日常行为

"In our study, socializing was just as effective as more traditional kinds of mental exercise in boosting memory and intellectual performance," said Oscar Ybarra, a psychologist at the U-M Institute for Social Research and a lead author of the study with ISR psychologist Eugene Burnstein and psychologist Piotr Winkielman from the University of California, San Diego.

&在我们的研究中，应酬，只是效果较传统的种精神运动在刺激记忆和智力的表现，说：&奥斯卡ybarra ，心理学家在这个研究所社会研究所的，并率先研究报告的作者与ISR优先心理学家尤金姆伯恩斯坦和心理学家彼得亚雷winkielman由加州大学圣迭戈分校。

The book's greatest value, however, lies not simply in shedding new and more nuanced light on the story of "Our Lenny", but in its consistent demonstration—in accordance with Bernstein's own ideas—that any attempt to separate the musical sphere from the moral and political comes at an unconscionably high price.

然而，此书最大的价值并不简单的在于其为故事&Our Lenny&提供了更为细致入微的新见解，更在于其忠实的阐述伯恩斯坦自身的理念，即任何将音乐界和道德社会环境割离的企图，总随附着高昂的代价。

From ix, 13-15, Hitzig concludes that the author lived about the year 200; Bernstein thinks this ridiculous and opines that some other historical event is alluded to.

从九， 13日至15日，希齐格的结论是，作者居住约一年200 ；伯恩斯坦认为这种荒谬的和认为，其他一些历史事件，是暗示的。

His recording of the C-minor concerto, again with Leonard Bernstein, met with general approval, even if Gould "yields more to his own nature than he shoud in the Largo" and "meanders and rhapsodizes without thinking that this movement, too, is by Beethoven."

即使古尔德&在广板乐章里过多的发挥了他的个性&并且&随意的表现闲散和狂想的情绪而丝毫不顾忌这是贝多芬的乐章&，但是他和伯恩斯坦录制的C小调协奏曲仍然获得了广泛的认同。

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。