巴赫

Luck directed one of his men to tread the bellows, sat down at the organ, and played Bach's chorale Danket Alle Gott.

拉克上校指挥一名手下踩踏风琴风箱，上校本人坐在风琴旁边，演奏巴赫赞美歌《众人齐来感谢上帝》*。

This gesture can be seen on many Sasanian rock reliefs, and is still made by Bakhtiari nomads.

这种姿态可以看到许多Sasanian岩石浮雕，并仍然是巴赫蒂亚里所作的游牧民族。

Bakhtin is not the first person who emphasized the dialogue within the main objects,his predecessors such as Darwin,Cohen,Martin Buba etc the master philosophers had been concerned about "other" which make up of the dialogue and the connection between the world and the heart in their own works.They also had put forward "unfinishedness"、"unsureness"、"you and me" and other important concepts.

强调主体的对话性并非巴赫金首创，在他之前，达尔文主义、康德、柯亨和马丁·布伯等几位哲学大师都对构筑对话的&他者&、&自我&与&他者&的关系有所关注，并在他们的著作中探讨了心灵与世界的关系，提出&未完成&、(来源：A79Bb5b5C论文网www.abclunwen.com)&未论定&以及&我与你&等重要概念。

In conclusion. Berg's Violin Concerto is proved to be a masterpiece composed with twelve-note techniques and tonal languages, even including the direct quotation of Bach's chorale and the Austrian Carinthian folk song. The synthesis of the multiple music stylistic elements in this work sufficiently demonstrated the typical character of Berg's composition during his mature periods.

由此得出结论，《小提琴协奏曲》在运用十二音音乐语言的基础上，融合了传统的调性因素，甚至直接引录巴赫的众赞歌和奥地利卡林西亚民歌作为素材，同时携带当时的多种音乐风格元素，并以高度的独创性予以综合，从而充分地体现了贝尔格成熟时期创作中兼收并蓄的典型特征。

But in my article, I only focus on Bakhtins analysis about carnival, and not the whole theory which depends on carnivalesque.

但本文只是对巴赫金关于狂欢节的阐释进行简要的论述，而不是针对他的整个狂欢理论，狂欢节是整个狂欢理论的基础。

But in my article, I only focus on Bakhtin s analysis about carnival, and not the whole theory which depends on carnivalesque.

但本文 只是对巴赫金关于狂欢节的阐释进行简要的论述，而不是针对他的整个狂欢理论，狂欢节是整个狂欢理论的基础。

"Carnivalesque" by Bakhtin has been the first selected word to demonstrate the liberating and creative thinking and fashion.

巴赫金提出的&狂欢&一词现已成为标举解放性、创造性的思维、潮流的首选词语。

Bakthins carnivalesque theory focuses on the ugly, the funny and the marginalized in literary works and brings them into the limelight of literary criticism.

巴赫金的狂欢化理论主要关注文学中丑的、滑稽的、边缘的并让它们占领文学批评舞台的中央。

In his Rabelais and His World, Bakhtin likens the carnivalesque in literature to the type of activity that often takes place in the carnivals of popular culture, particularly the lampooning and overturning of traditional hierarchies and values by mingling "high culture" with the profane.

在《拉伯雷和他的世界》中，巴赫金将文学中的狂欢化比作民间狂欢节上的饮宴喧嚣，特指通过&高雅文化&与世俗文化的混合，来讽刺和倾覆传统的等级制度与价值观。

Mainly by using myth-archetypal criticism, cultural-historical criticism and Mikhail Bakhtin's carnivalesque theories, the thesis elaborates on the Dionysian revival with direct and indicative manifestations in Ulysses.

本文通过对神话原型批评理论、文化历史视角和巴赫金狂欢理论的运用，揭示了《尤利西斯》中酒神精神复兴的直接的和隐含的表现形式。

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 。