在背后

I sit on the grass and gaze upon the sky and dream of the sudden splendour of thy coming---all the lights ablaze, golden pennons flying over thy car, and they at the roadside standing agape, when they see thee come down from thy seat to raise me from the dust, and set at thy side this ragged beggar girl a-tremble with shame and pride, like a creeper in a summer breeze.

上金旗飞扬，在道旁众目睽睽之下，你从车座下降，把我从尘埃中扶起坐立你的旁边，这褴褛的丐女，含羞带喜，像蔓藤在暴风中颤摇。但是时间流过了，还听不见你的车辇的轮声。许多仪仗队伍都在光彩喧闹中走过了。你只要静默地站在他们背后吗？

In Zhang Lin's paintings, he carried on to the light a kind of special presence, that in his works, there is always a bunch of faint but discernable light conceals behind the main figure, which is very similar to the appearance of the master piece ecstasy of st.

在张琳的绘画中，我之所以将这一点提出来，是因为他对光进行了一种独特的呈现。在这些作品中，画面中央的主体人物背后总是隐藏着一束若隐若现的光，极其类似于意大利巴洛克艺术家贝尼尼在其名作《圣德勒萨》中的表现。

When she played her final Carnegie Hall performance — the chamber version of Mozart's Concerto No. 12 in A (K. 414), with the Tokyo String Quartet, in November 2002 — The New York Times reported that,"The small details — the trills and turns that adorn the score — as well as the more expansive pianism in the cadenzas and the glowing Andante, had considerable energy behind them."

当她在卡耐基音乐厅做最后的演出时——在2002年和东京弦乐四重一起演绎的莫扎特第12协奏曲（A调K414总谱）室内音乐厅版——纽约时报如是报道，&颤音和转音——这些装点乐曲的细节，以及在句尾更具扩张性的钢琴演奏技巧和洋溢着的舒缓节拍，这些背后有着强大的能量。&

When she played her final Carnegie Hall performance — the chamber version of Mozart's Concerto No. 12 in A (K. 414), with the Tokyo String Quartet, in November 2002 — The New York Times reported that,"The small details — the trills and turns that adorn the score — as well as the more expansive pianism in the cadenzas and the glowing Andante, had considerable energy behind them."

当她在卡耐基音乐厅做最后的演出时——在2002年和东京弦乐四重一起演绎的莫扎特第12协奏曲（A调K414总谱）室内音乐厅版——纽约时报如是报道，&颤音和转音这些装点乐曲的细节，在句尾更赋张力的钢琴演奏技巧和洋溢着的舒缓节拍，所有这些背后都蕴藏着强大的能量。&

Today, we have reasons to query the "love" behind powerful class's diligence, when the truth from "push" to "fling ", from "fling "to" pull ", it repeatedly evolutes, an anxious scene happen in Fu You hospital. But it makes kindness people felt in the sense of fear: if the Yijun Zou and Xiang Wu go out the tangible asylum with social justice personage's care and help. And the society in which we live like a shady and full of evil intangible asylum, the people here subject to "sedative" brainwashing and tribulations...

今天，我们有理由质疑这&关爱&的背后隐藏着权贵阶层的良苦用心，当真相从&推倒&到&推坐&，从&推坐&到&拉扯&一再演变时，发生在&抚优医院&的揪心一幕，却令善良的&人民&感受到对这世道的恐惧：如果说，邹宜均、吴翔们在社会正义人士的关心和帮助之下走出了有形的疯人院，而我们所处的社会却仿佛是一个黑幕重重、充满邪恶的无形的疯人院，生活在这里的人们，正在遭受着&镇静剂&的洗脑与种种磨难

There are six emergency exits on this aircraft . they are located in the front the rear and the middle sections. please follow the emergency lights witch are on the floor and the exits to evacuate when emergency evacuation. For further information you will find safety instruction card in the seat pocket in front of you.

本架飞机共有6个紧急出口，分别位于飞机前部、后部和中部，在客舱通道上以及出口处还有紧急照明指示灯，在紧急脱离时请按指示路线撤离，在您座位背后的口袋里备有说明书，请尽早阅读。

Benefit from the progress of the social art history theories and Foucault's research on knowledge,this paper sorts out the historical development of Millet research,and at the same time,is more focusing on the relation between "writing" and its "context",analyzing different texts by different critics and researchers,comparing their commons and differences, and the macro- to micro-,explicit- and implicit- factors behind them,which resulted in the same or different views towards Millet,forming this or that or even completely opposite kind of"Millets".

受益于社会艺术史理论的发展和福柯关于知识的研究，本论文在梳理关于米勒研究发展历史的同时，更将焦点集中在&写作&及其与&语境&的关系上，分析不同评论者和研究者所书写的不同文本，比较文本间的异同，以及文本形成背后的宏观与微观、显在或潜在的条件——正是这些条件的交错造成了对米勒看法的相同或不同，创造了&这样&或&那样&，甚至完全对立的&米勒&。

Only hang around the Sheltie people that are positive to the novice and let the negative roll off your back. If you think you have a dog worth showing don't let a few no places in ribbons stop you.

对新手而言，你们要在积极的人群附近生活而且在你的背后有人支作为一个养育者，一再坚持，二在不要放弃狗狗的食品标准，如果你要向你的狗狗高质量那这一条是重要的。

Only hang around the Sheltie people that are positive to the novice and let the negative roll off your back. If you think you have a dog worth showing don't let a few no places in ribbons stop you. You'll find a judge that likes your dog.

对新手而言，你们要在积极的人群附近生活而且在你的背后有人支作为一个养育者，一再坚持，二在不要放弃狗狗的食品标准，如果你要向你的狗狗高质量那这一条是重要的。

Chapter Ⅰ reviews the results of previous research and states the origin, the meanings and the methodology of the dissertation. Chapter Ⅱ interprets the definition of"culture", the basic consciousness of traditional Chinese culture, Characteristics of culture of HK and cultural elements of modern society. Chapter Ⅲ probes the cultural elements of language itself and points out that"features of language","use of metaphor and analogy"and"theme and idea"are its three essential and linked layers which are the most proper channels to infiltrate cultural education. Furthermore, this chapter also compares and contrasts the inner meanings of the syllabus of China and HK. Chapter Ⅳ analyses the model essays of both China and HK through the concept of"features of language","use of metaphor and analogy"and"theme of idea". It also compares the ways of editorship towards the selection of model essays between China and HK. Chapter Ⅴ compares the methods of model essays teaching between China and HK so as to explore its insides meanings of culture. Chapter Ⅵ reasserts the importance of infiltration of culture education into language education and states the limitations of this dissertation. This dissertation counters the existing defects that caused by the over-emphasis of instrumentalism and affirms the importance of infiltration of cultural education into language education.

第一章讲述研究的源起、意义和方法，指出香港在殖民地时期的语文教育状况，及回归后在语文教育中渗透文化教育的重要意义，并列出前人的研究及本文的研究方法；第二章探讨文化的定义，讨论中国传统文化的基本精神，香港文化的特色及现代社会的文化成分；第三章讨论语文本身的文化成分，指出其内含三个层面：&语言特色&、意象连用及&主题思想&；语文及文化关系密不可分就表现在这三方面的紧密联系上面，并冀望教师从这三方面入手，通过语文教育渗透文化教育，此外，又比较内地和香港语文课程大纲的异同及背后所反映的不同意义；第四章从&语言特色&、&意象运用&及&主题思想&三个层面分析内地与香港语文科选文的内容，供教师参考，又比较两地选文及编选手法的特色；第五章比较内地与香港教师就范文教学的课堂处理手法，及从中透显的文化意涵；第六章总结及建议，一方面重申语文科渗透文化教育的重要性，期望教师注意，另方面也指出本研究的限制所在。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。