故事书

I read my way through approximately six tons of comic book s, progressed to Tom Swift and Dave Dawson, then moved on to Jack London's bloodcurdling animal tales.

我看了大约有6吨重的漫画书，接下来又看了汤姆·斯威夫特和戴夫·道森的故事以及杰克·伦敦恐怖的动物故事。

I read my way through approximately six tons of comic books, progressed to Tom Swift and Dave Dawson, then moved on to Jack London's bloodcurdling animal tales.

我看了大约有6吨重的漫画书，接下来又看了汤姆·斯威夫特和戴夫·道森的故事以及杰克·伦敦恐怖的动物故事。

The complete histories emerge gradually over the course of the book, with bits of information appearing in successive stories to clarify, complete, and sometimes controvert the information given in previous stories.

完整的历史逐步形成的过程中书，以比特的信息中出现的连续的故事，澄清，完整，有时争论中提供的资料前的故事。

H. Freeman and Company, 1974, William Dement relates the story of his attempt to fix in the minds of his students the most important lessons of his course.

H。 Freeman and Company， 1974）一书中，William Dement讲了一个故事，故事说的是他如何让学生们记住他的课程中最重要的部分。

Set against the backdrop of Bath, a city steeped in 3,000 years of history, Gillian and her team – Dr Ben Akomfrah, Professor Gregory Parton (encyclopaedic but terminally louche) and eager young post-grad intern Viv Davis – are brought in under a variety of imperatives to extract bodies, books, weapons and all manner of artefacts which lead them into an investigation of the past that will unlock dangers and mysteries in the present.

故事背景设在经历了三千多年历史浸润的、英格兰西南部城市巴思，故事主角Gillian和她的团队——Ben AKomfrah博士、Gregory Parton教授(百科全书式的，但最后变得邪恶)以及充满热忱的研究生实习生Viv Davis——为了要揭开当下的危险和神秘事件，不得不一次次地将掩入历史的人骨、书、武器以及各式物品重新挖掘出来，并进行深入研究。

In this book, Liu Xin has not only successfully summarized the existence of the Chinese in the transitional period as "the otherness of self" but also brought up some enlightening views on the development of ethnographical methods in the new period as follows: the analysis of the characters should develop into a special met...

1这本书不仅通过对人物的分析和故事的讲述，揭示出广西北海这个沿海城市里商业界的运作逻辑，而且试图籍由书中人物讲述自己与他人的故事的方式，反映出转型时期一代中国人的存在状态。尤为可贵的是，该书对民族志方法在

Chop suey, describes a Beijing fashion and pop culture life book, the contents of the book title as chop suey, is going to be very much the size of the modern life details and stories mix concatenation and spine section, change presenters book block together with wire, students'rooms and laws in a chop suey poorly organized, consistent expression of the subject.

杂碎，本来就是讲述一本北京时尚和流行文化生活的书，书中的内容如同书名《杂碎》一样，都是将很多现代生活的大小细节和故事组合串联起来而成，而书脊部分，将花花绿绿的书芯组合起来，用胶用线，在整齐和规律中，透露出一个杂碎凌乱的感觉，正好符合主题的表达需要。

I had done a similar thing in, in Central Station where as we were on the road and when we saw the religious processions in that part of Brazil, we soon incorporated them into the film and it didn't exist in the original screenplay either and here the boy started to imitate, you know, as we went back and forth to the location and the animals were there, he started to imitate all of them and then suddenly we started to incorporate that as well, er, same thing with the fire-eater, when she started to show us what she could do, we, we immediately started to, you know, to organically incorporate those elements into the screenplay and that is really a fascinating part of our film, it's the collaborative aspect of it, you know, it's when you realise that without every single person's input, the film wouldn't be the same and this is what really makes cinema depart from most medium, is that you have to accept it's democratic quality, you know, essence in order for a film to really be alive and interesting to watch, I guess.

唔，有趣的是当卡戴尔看完电影就跑来对我说，你知道吗这是最忠于原著的改编版，可很多元素都不同，最后，我认为当你改编小说时，当你把文学转化成电影时，真正需要重视的是小说精髓之处，这比什么都要紧，并且创造出一种两者如对立沟通式的对白而不只是改编，ipsis literis，你知道这书，运用他作为深刻的灵感来源，他允许你探究，你知道，没有素材来源不可能投入进去，有次我看库布里克的访谈，其中说到他偏爱主人公容易塑造的小说而不是小说本身，如此他就能专注于故事构架和情节而不是依照原本，这我可以明白，但换个角度说，如果我自己没有被故事打动，如果是这样，故事无法让我产生共鸣那进行二次创作很困难，因为人物本身就显得很单薄无法定位和改编，但我真的能理解他的感受。

I read "Chinese fable", the book has 92 stories, each story is contains a profound truth, so I can get some inspiration, learned knowledge.

我读了《中国寓言故事》，书里有九十二个小故事，每一个故事里都蕴含着一个深刻的道理，让我从中受到很大的启发，学到了知识。

The author best known for creating the Headless Horseman also created the iconic image of Santa flying in a sleigh. In his 1819 series of short stories, The Sketch Book of Geoffrey Crayon, New York native Washington Irving described a dream in which St. Nicholas soared across the sky in a weightless wagon. The stories became so popular they spawned a Christmas revival of sorts in the States, and even Charles Dickens is said to have credited Irving's work for inspiring his classic holiday tale A Christmas Carol.

以创作了无头骑士这一形象而著称的知名纽约作家华盛顿·欧文，同时也创造了圣诞老人在雪橇上飞行的形象在他1819年创作的短篇故事《Geoffrey Crayon的素描书》里，他描述了一个梦，圣诞老人在一辆失重的车里在天空中飞驰这个故事太受欢迎，以至于在全国掀起了一场圣诞热甚至狄更斯也表示，他是在欧文的影响下完成了他的经典圣诞故事-圣诞颂歌

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。