巴黎

PARIS, March 3, 2004 – John Galliano has already proved how far he can push it with iconoclastic delirium at Christian Dior.

巴黎， 2004年3月3日-约翰加里亚诺已证明有多远，他可以把它与i conoclastic谵妄在基督教迪奥。

Shosanna narrowly escapes and flees to Paris, where she forges a new identity as the owner and operator of a cinema.

她逃到巴黎后，改头换面，三年后成为了一家影院的经营者。

Nothing was to be heard but grumbling and imprecations against the Flemings, the Cardinal de Bourbon, the Chief Magistrate, Madame Marguerite of Austria, the beadles, the cold, the heat, the bad weather, the Bishop of Paris, the Fools' Pope, the pillars, the statues, this closed door, yonder open window—to the huge diversion of the bands of scholars and lackeys distributed through the crowd, who mingled their gibes and pranks with this seething mass of dissatisfaction, aggravating the general ill-humour by perpetual pin-pricks.

只听见一片埋怨声和咒骂声，把弗朗德勒人、府尹大人、波旁红衣主教、司法宫典吏、奥地利的玛格丽特公主、执棒的捕役、天冷、天热、刮风下雨、巴黎主教、狂人教皇、柱子、塑像、这扇关着的门、那扇开着的窗，总之，把一切的一切全骂遍了。散布在人群中的一堆堆学子和仆役听后畅快极了，遂在心怀不满的人群中搅乱，挑逗促狭，挖苦讽刺，简直是火上加油，更加激起普遍的恶劣情绪。

This period is represented chiefly by the Parisian illuminator Jean Pucelle, whose name has been discovered on several manuscripts.

这一时期的代表主要由巴黎的照明灯让pucelle ，他的名字已被发现的几个手稿）的一个最美丽的他的作品是breviary的belleville

Paris is one of the most beautiful cities imaginable.

巴黎是想像中的最美的城市之一。

In Paris, he did not want to imitate anyone, he just wants to do his own.

在巴黎，他不想模仿任何人，他只想做他自己。

"Impressionism" is an art movement which began in Paris in the 19th century.

印象主义是十九世纪在巴黎掀起的一次艺术运动。

Impressionism is a new artistic style that arose Paris , Europe culture center, in the late 19th century.

印象主义音乐的形成及其特征印象主义是 19世纪末在巴黎萌生的一种新艺术风格。

Impressionism Impressionism is a relatively new and revolutionary movement in painting which developed in Paris during the 1870s.

印象派 印象派是指19世纪70年代在巴黎形成的、一种绘画上的新革命运动。

I managed to convince her to let me snap a couple of impromptu photos of her beautiful body, in her room, in Paris.

我设法说服她让我管理一个美丽的身体，她即兴的照片的情侣，在她的房间，在巴黎。

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。