到最后

First, one. analyzes the eigenstates-from reachable sets and seeks the one which the target state belongs to. Then using the Grover iteration to amplify the probability amplitude of the desired eigenstate (the modul square of which is the probability of the corresponding eigenstate that the system will collapse to when it is measured). By measuring, the system will then collapse to the desired eigenstate with a probability of almost unity. Finally, one can use the admissible control to drive the system from the eigenstate to the target state.

该策略的核心思想是对本征态能控的系统，通过分析控制目标态与本征态的关系，寻找给定目标态所属的本征态可达集，然后利用量子非结构化搜索的Grover算法，将任意给定的系统初始态经过一定次数的Grover迭代，放大该本征态所对应的概率幅(概率幅的模方对应测量时波函数塌缩到对应本征态的概率)，然后对迭代后的态进行一次测量操作，使系统以接近1的概率塌缩到所需的本征态(前面分析得到的本征态可达集所对应的本征态)，最后用容许的控制将系统从该本征态控制到期望的目标态。

On the basis of the analysis of the scores, the author makes conclusions about the characteristics of Schubert"s last three piano sonatas as followings: 1 The device of universal development in the movements composed in sonata form and rondo-sonata form is the most distinctive feature in the last three sonatas, which is also decisive in the trend of the whole movement and makes the developments relatively "still". 2 In the device of themes, the method of irregularity is preferred. However, By using extension, abbreviation, repetition and further repetition of periods, Schubert brings those themes to ingenious balance in both architectonics and aesthetics. 3 Chain method is applied in the connection of themes, in which the previous material is taken as basis and then modified together with the variations of new materials. By this way, the theme is continuously developed. 4 The principle of the dominant-subordinate is followed in Schubert"s three-key exposition, and the process of each key is extended.

本文在详尽分析乐谱的基础上，对最后三首奏鸣曲的主要创作特点进行了以下总结： 1、奏鸣曲式和奏鸣回旋曲式乐章中展开的普遍化是最后三首奏鸣曲最为显著的特点，它决定了整个乐章的走向，并使展开部具有相对"静止"的特点； 2、舒伯特的主题写作中更喜欢运用非方整性写法，并通过自身材料的延长、缩减和重复或者更高一级的段落重复使其达到了结构上和审美上的巧妙平衡； 3、舒伯特喜欢用链式的主题贯穿方式，音乐以之前的材料为依据，经过变化后再加入新的材料，用这种方式不间断地发展； 4、舒伯特的三调呈示部遵循从主到属的总体原则，并扩展了调性历程。

MIAMI - Nam June Paik, the avant-garde artist credited with inventing video art in the 1960s by combining multiple TV screens with sculpture, music and live performers, has died. He was 74.The Korean-born Mr. Paik, who also coined the term Electronic Super Highway'' years before the information superhighway was invented, died Sunday night of natural causes at his Miami apartment, according to his Web site.Song Tae-ho, head of a South Korean cultural foundation working on a project to build a museum for the artist, said he learned of Mr. Paik's death from Mr. Paik's nephew, Ken Paik Hakuta, in New York.

出生於 1932 年的韩国，在接受完高中教育后，1950 年韩战爆发开始了漂泊的生涯，先后在日本东京大学完成音乐、艺术史和哲学的学位，接续到德国研修西方古典音乐及现代音乐，最后来到美国为其主要的创作舞台与定居地点，可以说是接受了战后文化重建的日本艺术启蒙，又来到欧战结束的德国接受另一番文化重生的洗礼，最后来到世界舞台的纽约，接受世界最迅速、最创新的文化潮流。

It comprises everything from the character following the last backslash to the character preceding the final period.

它包括一切从字符自字符后最后斜线到字符在最后的期间之前。

These threads, linked by an apparent suicide, eventually lead Carlos to Cardinal Baldi, to an American spy, and ultimately to Los Angeles, where Jennifer Narody unwittingly holds the key to the mystery that the Catholic Church, the U.S. Defense Department, and the journalist are each determined to decipher

这些线，被一个明显的自杀联编，最后引导卡洛斯走向主要的 Baldi，对一位美国间谍，而且最后到珍妮佛 Narody 不知情地支撑秘密的关键天主教的教堂，美国国防部的洛杉矶，而且新闻记者每个决定译解。

Forever radish on the donkey to eat less than the incentives are only temporary, and when it is found may also eat less than exhausted, it will stop to rest, and finally it must be starved to death, and will not be foolish of the exhausted.

萝卜对永远吃不到的驴的激励作用只能是暂时的，当它发现可能累死也吃不到的时候，它一定会停下来歇息的，最后它一定是饿死的，而不会愚蠢到累死的。

So long as she was in Boulanger Lane and in the neighborhood of the church, the lighted stalls illuminated the road; but soon the last light from the last stall vanished.

只要她还走在面包师巷和礼拜堂左近一带地方，总还有店铺里的烛光替她照路，可是最后一个摊子的最后一点微光也终于消逝了。那可怜的孩子便到了黑暗中。

Now that crossing a river was unavoidable, and was last time, so it was better forget bronchus and menses, did my best to get to the last destination –Bowlder Mine.

既然渡河是在所难免\何况也是挨这最后一刀，不妨就将什么支气管炎和例假抛弃到底，用夏特里学到的坚强与悲壮来换取最后的光明大道----玉石矿。

I observ'd, that the two who swam, were yet more than twice as long swimming over the Creek, as the Fellow was, that fled from them: It came now very warmly upon my Thoughts, and indeed irresistibly, that now was my Time to get me a Servant, and perhaps a Companion, or Assistant; and that I was call'd plainly by Providence to save this poor Creature's Life; I immediately run down the Ladders with all possible Expedition, fetches my two Guns, for they were both but at the Foot of the Ladders, as I observ'd above; and getting up again, with the same haste, to the Top of the Hill, I cross'd toward the Sea; and having a very short Cut, and all down Hill, clapp'd my self in the way, between the Pursuers, and the Pursu'd; hallowing aloud to him that fled, who looking back, was at first perhaps as much frighted at me, as at them; but I beckon'd with my Hand to him, to come back; and in the mean time, I slowly advanc'd towards the two that follow'd; then rushing at once upon the foremost, I knock'd him down with the Stock of my Piece I was loath to fire, because 1 would not have the rest hear; though at that distance, it would not have been easily heard, and being out of Sight of the Smoke too, they wou'd not have easily known what to make of it: Having knock'd this Fellow down, the other who pursu'd with him stopp'd, as if he had been frighted; and I advanc'd a-pace towards him; but as I came nearer, I perceiv'd presently, he had a Bow and Arrow, and was fitting it to shoot at me; so I was then necessitated to shoot at him first, which I did, and kill'd him at the first Shoot; the poor Savage who fled, but had stopp'd; though he saw both his Enemies fallen, and kill'd, as he thought; yet was so frighted with the Fire, and Noise of my Piece, that he stood Stock still, and neither came forward or went backward, tho' he seem'd rather enclin'd to fly still, than to come on; I hollow'd again to him, and made Signs to come forward, which he easily understood, and came a little way, then stopp'd again, and then a little further, and stopp'd again, and I cou'd then perceive that he stood trembling, as if he had been taken Prisoner, and had just been to be kill'd, as his two Enemies were; I beckon'd him again to come to me, and gave him all the Signs of Encouragement that I could think of, and he came nearer and nearer, kneeling down every Ten or Twelve steps in token of acknowledgement for my saving his Life: I smil'd at him, and look'd pleasantly, and beckon'd to him to come still nearer; at length he came close to me, and then he kneel'd down again, kiss'd the Ground, and laid his Head upon the Ground, and taking me by the Foot, set my Foot upon his Head; this it seems was in token of swearing to be my Slave for ever; I took him up, and made much of him, and encourag'd him all I could.

这时候，我脑子里突然产生一个强烈的、不可抗拒的欲望：我要找个仆人，现在正是时候；说不定我还能找到一个侣伴，一个帮手哩。这明明是上天召唤我救救这个可怜虫的命呢！我立即跑下梯子，拿起我的两支枪--前面我已提到，这两支枪就放在梯子脚下。然后，又迅速爬上梯子，翻过山顶，向海边跑去。我抄了一条近路，跑下山去，插身在追踪者和逃跑者之间。我向那逃跑的野人大声呼唤。他回头望了望，起初仿佛对我也很害怕，其程度不亚于害怕追赶他的野人。但我用手势召唤他过来，同时慢慢向后面追上来的两个野人迎上去。等他俩走近时，我一下子冲到前面的一个野人跟前，用枪杆子把他打倒在地。我不想开枪，怕枪声让其余的野人听见。其实距离这么远，枪声是很难听到的；即使隐隐约约听到了，他们也看不见硝烟，所以肯定会弄不清是怎么回事。第一个野人被我打倒之后，同他一起追来的那个野人就停住了脚步，仿佛吓住了。于是我又急步向他迎上去。当我快走近他时，见他手里拿起弓箭，准备拉弓向我放箭。我不得不先向他开枪，一枪就把他打死了。那逃跑的野人这时也停住了脚步。这可怜的家伙虽然亲眼见到他的两个敌人都已经倒下，并且在他看来已必死无疑，但却给我的枪声和火光吓坏了。他站在那里，呆若木鸡，既不进也不退，看样子他很想逃跑而不敢走近我。我向他大声招呼，做手势叫他过来。他明白了我的意思，向前走几步停停，又走几步又停停。这时，我看到他站在那里，混身发抖。他以为自己成了我的俘虏，也将像他的两个敌人那样被杀死。我又向他招招手，叫他靠近我，并做出种种手势叫他不要害怕。他这才慢慢向前走，每走一二十步便跪一下，好像是感谢我救了他的命。我向他微笑，作出和蔼可亲的样子，并一再用手招呼他，叫他再靠近一点。最后，他走到我跟前，再次跪下，吻着地面，又把头贴在地上，把我的一只脚放到他的头上，好像在宣誓愿终身做我的奴隶。我把他扶起来，对他十分和气，并千方百计叫他不要害怕。但事情还没有完。

Last night, Japanese forces attacked the Philippine Islands , Last night, Japanese forces attacked Wake Island.

在时间上，从昨天到昨晚再到今天凌晨，在距离上，从马来西亚到香港、关岛、菲律宾、威克岛，最后到中途岛。

In the negative and interrogative forms, of course, this is identical to the non-emphatic forms.

。但是，在否定句或疑问句里，这种带有"do"的方法表达的效果却没有什么强调的意思。

Go down on one's knees;kneel down

屈膝跪下。。。下跪祈祷