威尼斯的

Just as a waltz, mazurka or barcarolle is liable to dance out of one of his Ballades, Scherzos or Polonaises, a Nocturnes can suddenly sprout a miniature mazurka ---- for example, the C sharp minor Nocturne, no 20 here---- and such unexpected juxtapositions, like the strategically placed washes of chromatic harmony or shifts between major and minor keys have much to do with the music's sense of inhabiting those fugitive realms between sleep and wakefulness. One of the most haunting examples is op.

正如华尔兹，玛祖卡舞曲，或者威尼斯的船歌都是除了叙事曲，谐谑曲或者波洛涅兹舞之外易于舞蹈的流派，夜曲却能够突然现露出玛祖卡舞曲的缩影——例如C小调夜曲，NO.20——这样意想不到的并置，就像是在大调和小调之间刻意放置的对半音和声或音律变化的一种冲击，它与存在于那些半梦半醒之间稍纵即逝领域中的乐感息息相关。

Just as a waltz, mazurka or barcarolle is liable to dance out of one of his Ballades, Scherzos or Polonaises, a Nocturnes can suddenly sprout a miniature mazurka ---- for example, the C sharp minor Nocturne, no 20 here---- and such unexpected juxtapositions, like the strategically placed washes of chromatic harmony or shifts between major and minor keys have much to do with the music's sense of inhabiting those fugitive realms between sleep and wakefulness.One of t he most haunting examples is op.

正如华尔兹，玛祖卡舞曲，或者威尼斯的船歌都是除了叙事曲，谐谑曲或者波洛涅兹舞之外易于舞蹈的流派，夜曲却能够突然现露出玛祖卡舞曲的缩影——例如 C 小调夜曲， NO.20——这样意想不到的并置，就像是在大调和小调之间刻意放置的对半音和声或音律变化的一种冲击，它与存在于那些半梦半醒之间稍纵即逝领域中的乐感息息相关。

The text analyzed and researched its emotion representability from three aspects: Firstly, tracing the source of Carnival of Venice; Secondly, appreciating Carnival of Venice according to the technical characteristic of flute; Thirdly, apprehending the emotions of Carnival of Venice's main titles.

本文尝试从三个方面展开长笛作品《威尼斯狂欢节》情感表现力的分析研究：第一，《威尼斯狂欢节》乐曲溯源；第二，从长笛的技术性特点赏析《威尼斯狂欢节》；第三，《威尼斯狂欢节》主题旋律的情感体会。

Without its film festivals and biennials of fine arts and architecture, the "Serenissima" would be just a landmark, threatened by water damage.

如果没有威尼斯电影节、威尼斯美术双年展及威尼斯建筑双年展，威尼斯只是一个被水患威胁的城市而已。

English, French, Spanish, Portugese, Georges, and Louises, doubloons and double guineas and moindores and sequins, the pictures of all the kings of Europe for the last hundred years, strange Oriental pieces stamped with what looked like wisps of string or bits of spiders web, round pieces and square pieces, and pieces bored through the middle, as if to wear them round your neck - nearly every variety of money in the world must, I thin, have found a place in that collection; and for number, I am sure they were like autumn leaves, so that my back ached with stooping and my fingers with sorting them out.

其中有英国的金基尼、双基尼，法国的金路易，西班牙的杜布龙，葡萄牙的姆瓦多，威尼斯的塞肯，有最近一百年欧洲各国君主的头像，有古怪的东方货币，上面像是缕缕细绳、张张蛛网；有圆的有方的，有中间带孔的，好像可以串起来挂在脖子上。我估计差不多世界上每一种货币都被搜罗全了。至于数量，我相信大概跟秋天的落叶一样多，我总是弯着腰，手不断地整理着，一天下来弄得疲惫不堪。

English, French, Spanish, Portugese, Georges, and Louises, doubloons and double guineas and moindores and sequins, the pictures of all the kings of Europe for the last hundred years, strange Oriental pieces stamped with what looked like wisps of string or bits of spider's web, round pieces and square pieces, and pieces bored through the middle, as if to wear them round your neck - nearly every variety of money in the world must, I thin, have found a place in that collection; and for number, I am sure they were like autumn leaves, so that my back ached with stooping and my fingers with sorting them out.

其中有英国的金基尼、双基尼，法国的金路易，西班牙的杜布龙，葡萄牙的姆瓦多，威尼斯的塞肯，有最近一百年欧洲各国君主的头像，有古怪的东方货币，上面像是缕缕细绳、张张蛛网；有圆的有方的，有中间带孔的，好像可以串起来挂在脖子上。我估计差不多世界上每一种货币都被搜罗全了。至于数量，我相信大概跟秋天的落叶一样多，我总是弯着腰，手不断地整理着，一天下来弄得疲惫不堪。

English, french, spanish, portugese, georges, and louises, doubloons and double guineas and moindores and sequins, the pictures of all the kings of europe for the last hundred years, strange oriental pieces stamped with what looked like wisps of string or bits of spider's web, round pieces and square pieces, and pieces bored through the middle, as if to wear them round your neck - nearly every variety of money in the world must, i thin, have found a place in that collection; and for number, i am sure they were like autumn leaves, so that my back ached with stooping and my fingers with sorting them out.

我觉得整理这些钱币是一件莫大的乐事。其中有英国的金基尼、双基尼，法国的金路易，西班牙的杜布龙，葡萄牙的姆瓦多，威尼斯的塞肯，有最近一百年欧洲各国君主的头像，有古怪的东方货币，上面像是缕缕细绳、张张蛛网；有圆的有方的，有中间带孔的，好像可以串起来挂在脖子上。我估计差不多世界上每一种货币都被搜罗全了。

The history of glass making in Venice began from the 13th century,and in 1453 when Constantinople was occupied by Turkey the glass workers of Byzantium came to Venice and brought the technology of glass-making.After the 15th century,Venetians were dedicated to improve the making technology of crystal glass .Venetians didn't fully master the technologies of wiping away dark brown color,coloring,gold-plating on glass and glazing until 16th century. They fused different color rods together, on the transects you will see the patterns of small multicolored beads, which was also called dense-flower art.

威尼斯生产玻璃制品的历史，从十三世纪说起，而在西元1453年，当君士坦丁堡被土耳其占领后，拜占庭的玻璃工人来到威尼斯，并将玻璃的制作技巧传入。15世纪后，威尼斯人致力于改善水晶玻璃品的工艺技术，一直到十六世纪，威尼斯人才充分掌握了使玻璃脱去烟色和着色的技术，及在玻璃上镀金和上釉的方法，他们将不同颜色的彩色玻璃棒融合在一起，在其横断面上，可见五彩缤纷的小珠状图案，这即为。

The Mishnah is extant in many editions, although only the earlier ones can be mentioned here: first edition, Naples, 1492, fol., with the Hebrew commentary of Maimonides; Venice, Justiniani, 1546-50, fol.; Venice, 1549, 4to, with the commentary of Obadiah Bertinoro; Riva di Trento, 1559, fol., with the commentaries of Maimonides and Obadiah; Sabbionetta and Mantua, 1559-63, 4to; Venice, 1606, fol., with the same two commentaries.

该mishnah是尚存在许多版本，虽然只有早前好的可在此提及：第1版，那不勒斯， 1492年，接下来，与希伯来文的评论中的迈蒙尼德；威尼斯，胡斯蒂尼亚尼， 1546年至1550年，接下来；威尼斯， 1549年， 4to ，与评俄巴底亚书bertinoro ； riva迪特伦托， 1559号决议，接下来，与评论的迈蒙尼德和俄巴底亚书； sabbionetta和曼图亚， 1559年至1563年， 4to ；威尼斯， 1606 ，接下来，用同样的两个评论。

The Mishnah is extant in many editions, although only the earlier ones can be mentioned here: first edition, Naples, 1492, fol., with the Hebrew commentary of Maimonides; Venice, Justiniani, 1546-50, fol.; Venice, 1549, 4to, with the commentary of Obadiah Bertinoro; Riva di Trento, 1559, fol., with the commentaries of Maimonides and Obadiah; Sabbionetta and Mantua, 1559-63, 4to; Venice, 1606, fol., with the same two commentaries.

该米示拿是现存的许多版本，但只有以前的可以在这里提及：第一版，那不勒斯， 1492年，奥德耶克。与希伯来文评迈蒙尼德；威尼斯， Justiniani ， 1546年至1550年，奥德耶克。；威尼斯， 1549年， 4to ，以评俄巴底亚Bertinoro ；里瓦娣特伦托， 1559奥德耶克。与评论迈蒙尼德和俄巴底亚； Sabbionetta和曼图亚， 1559年至1563年， 4to ；威尼斯， 1606年，奥德耶克。，同两评注。

This one mode pays close attention to network credence foundation of the businessman very much.

这一模式非常关注商人的网络信用基础。

Cell morphology of bacterial ghost of Pasteurella multocida was observed by scanning electron microscopy and inactivation ratio was estimated by CFU analysi.

扫描电镜观察多杀性巴氏杆菌细菌幽灵和菌落形成单位评价遗传灭活率。