多拉

He has appeared as a soloist with many orchestras, like Filarmonica della Scala, Philarmonie der Nationen, Bochumer Symphoniker, Oriol Ensemble, Mozarteum Orchester, Orchestra di Padova e del Veneto, Kammerakademie-Potsdam, Filarmonica di Torino, Orchestra Regionale del Lazio, Nuova Orchestra Scarlatti di Napoli, performing with famous conductors, like Justus Frantz, George Pehlivanian, Daniel Russel Davies.

他曾在与许多乐团的合作中担任独奏，其中包括波鸿交响乐团、奥里奥尔乐团、莫扎特乐团、都灵爱乐乐团、拉齐奥地区乐团、新拿不勒斯史卡拉第乐团，他也曾和贾斯特斯·弗朗茨、乔治·彼里凡年、丹尼尔·戴维斯多等著名指挥家合作演出。

When a piece of the International Space Station's solar array was torn in November 2007, astronaut Scott Parazynski took a ride on the station's robotic arm to patch up the live electrical panel.

2007年11月3日，美国航天员帕拉金斯基完成历时7个多小时的太空行走，成功修补了一块国际空间站太阳能电池板。由于电池板依然带电，而且破损点距离工作舱足有半个足球场远，帕拉金斯基要"走"上近一个小时，英国《泰晤士报》曾评论说这次任务是美国航天史上最危险的太空行走。

Because it would have been useless and dangerous for Pertinax and Alexander, being new princes, to imitate Marcus, who was heir to the principality; and likewise it would have been utterly destructive to Caracalla, Commodus, and Maximinus to have imitated Severus, they not having sufficient valour to enable them to tread in his footsteps.

因为对于同是新君主的佩尔蒂纳切和亚历山大说来，想要模仿那个根据继承权世袭王位的马尔科，不但徒劳无益而且是要吃亏的。同样地，对于卡拉卡拉、科姆莫多、马西米诺说来，想要模仿塞韦罗是极其危险的事情，因为他们没有足够的能力使自己能够追踪塞韦罗。

It seems to me sufficient to take all those emperors who succeeded to the empire from Marcus the philosopher down to Maximinus; they were Marcus and his son Commodus, Pertinax, Julian, Severus and his son Antoninus Caracalla, Macrinus, Heliogabalus, Alexander, and Maximinus.

我觉得，列举那些继承罗马帝国帝位的皇帝们，上起哲学家马尔科下至马西米诺为例就足够了。这些皇帝包括马尔科、他的儿子科姆莫多、佩尔蒂纳切、尤利亚诺、塞韦罗、其子安托尼诺·卡拉卡拉、马克里诺、埃利奥加巴洛、亚历山大和马西米诺。

Inestimable treasures of learning then existed in various monasteries, of the value of which their inhabitants were at length aware; and even laymen began to partake of that curiosity, which made Petrarch but a few years after travel round Europe to collect manuscripts, and to preserve those wonderful writings, now mutilated, but which would otherwise have been entirely lost.

当时修道院里存放着价值无可估量的精神财富，修道士们终有一天意识到了其中的价值，无奈一些凡夫俗子也来趁机淘宝，于是几年过后，彼特拉克开始周游欧洲搜寻这些手稿，并把这些伟大的著作珍藏起来。当然这些作品后来多有损毁，然而如若没有彼特拉克的努力，恐怕早已悉数亡佚了。

Platina puts Martino's "Libro" in regional context, writing about ingredients coming from the regions, including perch from Lake Maggiore, sardines from Lake Garda, grayling from Adda, hens from Padua, olives from Bologna and Piceno, turbot from Ravenna, rudd from Lake Trasimeno, carrots from Viterbo, bass from Tiber, roviglioni and shad from Lake Albano, snails from Rieti, figs from Tuscolo, grapes from Narni, oil from Cassino, oranges from Naples and moray from Campania.

普拉提纳了马蒂诺的"书"的区域范围内，写成分来自各地区，包括来自马焦雷湖鲈鱼，沙丁鱼从加尔达湖，格雷从阿达，母鸡从帕多瓦，橄榄从博洛尼亚和皮切诺，大菱鲆从拉文纳，陆克文湖Trasimeno ，胡萝卜从维泰博，低音从伯， roviglioni和鲥鱼阿尔巴诺湖，蜗牛从瑞耶提，从Tuscolo无花果，葡萄从Narni ，石油从蒙特卡西诺，橙子从那不勒斯和鳝由坎帕尼亚。

Furthermore, applying the deductive and comparative approach by the classification and organization of chord structure, harmonic progress and the tonality management in six chamber music. Stravinsky use pitches material on the basis of diatonic tone and pitch organizing principle on the basis of polytonality to form his unique harmonic language. Accordingly, we get the further understanding about Stravinskys precise and rational music creation style as well as his extraordinary arractive music language.

文章采用总结归纳和比较研究的方法，通过对六部室内乐作品在和弦结构、和声进行、调性处理等方面和声应用技术的梳理和分类，探讨斯特拉文斯基以自然音为音高基本材料，以多调性为音高组织原则而形成的独特和声语言，从而进一步理解斯特拉文斯基严谨、理性的创作风格以及个性化和极富魅力的音乐语言表达。

Given that Larry O'Hara seems to view Private Eye as a source of semi-radicalism and security service disinformation, perhaps this is more than coincidence.

由于拉里奥哈拉似乎要查看私人眼科的一个来源半激进主义和安全事务的假，也许这是多巧合。

Now Deborah, a prophetess, the wife of Lappidoth, was judging Israel at that time.

有一位女先知名叫底波拉，是拉比多的妻，当时作以色列的士师。

Gnosticism-that is, the cabalistic "okmah", translated into "Madda'"(Aramaic,"Manda'"= knowledge of things divine)-seems to have been the first attempt on the part of the Jewish sages to give the empirical mystic lore, with the help of Platonic and Pythagorean or Stoic ideas, a speculative turn; hence the danger of heresy from which Akiba and Ben Zoma strove to extricate themselves, and of which the systems of Philo, an adept in Cabala (see "De Cherubim," 14;"De Sacrificiis Abelis et Caini," 15;"De Eo Quod Deterius Potiori Insidiatur," 48;"Quis Rerum Divinarum Heres Sit," 22), and of Paul see Matter,"History of Gnosticism," ii.

诺斯替主义，也就是说， cabalistic " okmah "，翻译成" Madda "（阿拉姆，"曼达"=知识的神圣的东西）似乎是第一次尝试对部分犹太圣人给实证神秘传说的帮助下，柏拉图和毕达哥拉斯或斯多葛思想，投机反过来，因此危险的异端邪说从秋叶忠利和本祖马力求脱困，以及该系统的哲学，一个善於Cabala （见"德革鲁宾，" 14 "；德Sacrificiis Abelis等彩妮，" 15 ；"德御宁狱吏Deterius Potiori Insidiatur ，" 48 "； Quis事物Divinarum继承人坐下，" 22 ）和保罗（见物，"历史的诺斯替主义"二。

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。