巴黎

CHAPTER X ECCE PARIS, ECCE HOMO Chinese To sum it all up once more, the Paris gamin of to-day, like the graeculus of Rome in days gone by, is the infant populace with the wrinkle of the old world on his brow.

十 瞧这巴黎，瞧这人英文再简括起来谈谈，今日巴黎的野孩，正如当年罗马的剽民，他是那种额上有古国皱纹的人民孩子①。①在手稿上雨果对&人民孩子&是这样解释的：&人民孩子两词并立，两词表达一个意思：孩子。&

While its suburbs keep growing, the population of Paris, by contrast, is expected to drop by 3% by 2030 according to INSEE, the official statistics body.

反观巴黎的，它的郊区一直在扩展，人口却在不断减少，根据法国中央统计机构INSEE的数据，至2030年，巴黎人口数量将会降低3%。

Kitty2202 kitty2202: La moyenne à paris étant à 5000-6000 euros dans les zones comme paris...

平均为5000-6000欧元，是巴黎地区如巴黎。。。

The Orchestre de Paris combines the continuing energy of youth with the maturity of experience and is the most representative French orchestra.

巴黎管弦乐团，成立於1828年创建的音乐学院的音乐会协会，前身是巴黎音乐学院管弦乐团。

This is exemplified by the recent conflict between the USA and Brazil over local working provisions under article 68 of Brazilian Intellectual Property Law. This paper first discusses the issue of local working in terms of legislative history, concluding that both the Paris Convention on the Protection of Intellectual Property and the TRIPS agreement are interpreted literally and purposively. In conclusion , the local working system is fully consistent with the requirement of the TRIPS agreement , thus it is the legal and reasonable protection of themselves by the developing countries.

但从立法史上来看，《巴黎公约》对其最初予以确认，其后历次大会经剧烈争论后仍将其保留，说明其具有历史的合理性；从条约解释学上看，根据《维也纳条约法公约》，TRIPS第 2 7条并不能构成禁止当地实施的&绝对条款&，TRIPS对此问题没有明确的规定意味着应该适用《巴黎公约》的规定和TRIPS&平衡发明者与使用者之间的权利和义务&的立法宗旨，因此&当地实施要求&并不违反TRIPS的规定，具有合法性，是发展中国家对自己的合理保护。

Since 1975 she has written music for more than forty theatre productions, twenty feature films, for television and radio programs, working with top Greek and foreign directors.More specifically, in the theatre: she collaborated with directors Jules Dassin, Lefteris Voyatzis, Antonis Antypas, Maya Lyberopoulou, Vassilis Papavassiliou, Kostas Bakas, Spyros Evangelatos, et al.

并在雅典的音乐学校接受了十五年的正规教育(这所叫奥德翁的学校培养了众多杰出的艺术家)，然后进入雅典大学研读历史及考古学。1967至1974年是她的巴黎留学时期，她参加流亡社团，主攻民族音乐学，遭遇巴黎的爵士纪元，间或创作商业歌曲。

Frédéric Charles Victor Vernon (born in Paris, 1858-1912) first studied at the workshop of Tasset, in 1879 he entered the Ecole des Beaux-Arts in Paris, where he studied under Cavelier and Chaplain. In 1881 Vernon competed for the Prix de Rome for which he received a second prize award.

弗莱德里-查莱-威克多-弗农（Frédéric Charles Victor Vernon，出生于巴黎1858-1912）最初在塔塞的作坊里学习，1879进入巴黎&高等美术学院&，师从于谢瓦利埃和查普兰。1881弗农竞争&罗马奖&，最终获得二等奖。

She meets a rich gentleman farmer, Etienne Balsan (the marvelous Beno t Poelvoorde), and follows him to his ch teau outside Paris, drawn by a lack of other alternatives and a desire to get closer to Paris.

，并成为了他的情妇——这个角色并非特别适合她。她怀著对巴黎的渴望，别无选择地随之来到他位於巴黎外的城堡。

Paris very speedily accustoms herself to anything,--it is only a riot,--and Paris has so many affairs on hand, that she does not put herself out for so small a matter.

巴黎能很快习惯一切；那不过是一场暴动，并且巴黎有那么多事要做，它不会为那一点点事而大惊小怪。

This form of a ship had also struck the heraldic scribes; for it is from that, and not from the siege by the Normans, that the ship which blazons the old shield of Paris,comes, according to Favyn and Pasquier.

这种大船形状也曾引起纹章记述家的震惊，因为，据法万和帕斯基埃说，巴黎古老城徽之所以以船做为纹章，原因就在于此，而并不是由于诺曼底人围攻巴黎。

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。