文艺复兴的

OEcolampadius placed James, Jude, II Peter, II and III John in an inferior rank. Even a few Catholic scholars of the Renaissance type, notably Erasmus and Cajetan, had thrown some doubts on the canonicity of the above-mentioned Antilegomena. As to whole books, the Protestant doubts were the only ones the Fathers of Trent took cognizance of; there was not the slightest hesitation regarding the authority of any entire document. But the deuterocanonical parts gave the council some concern, viz., the last twelve verses of Mark, the passage about the Bloody Sweat in Luke, and the Pericope Adulter in John.

厄科兰帕迪乌斯置於詹姆斯，裘德，二彼得第一，第二和第三约翰在劣势的职级，甚至少数天主教学者的文艺复兴式，尤其是伊拉斯谟和cajetan ，投掷了一些疑虑，对正规的上面提到的antilegomena ，至於整个书籍，新教怀疑是唯一屹立父亲的遄了认识，有没有丝毫犹豫就管理局的任何整份文件，但该次经零件给安理会一些关注，即，过去十二个月的小诗马克，通过关於血腥汗水在路加，和pericope adulter在约翰。

Both Li-Zi and Boccaccio agree with the idea that human have selfish-interest, and object obscurantism and stoicism,all which represent the trend of thought liberation, but there are also differences between them about the ideas of human nature etc, which stem from different social background and theoretical basis.

但是，这种对人性的宣扬与欧洲文艺复兴时期的人文主义思想又存在相当大程度的区别。二者在"人"的本质的定位、人性论的最终着落点等问题上面存在着重大差异，这种差别恰恰缘于各自不同的社会背景和理论根基。

Benvenuto Cellini was born in Florence at the peak of the Italian Renaissance.

切利尼是佛罗伦萨人，他出生的年代，正值文艺复兴艺术发展的顶峰，他性格暴躁、但才华出众，切利尼一生有过许多赞助人，在这些著名赞助人的支持下，切利尼制作出了许多优秀的作品，其中包括一些比较大的青铜雕塑，但更多的是小型金属制品，其中最著名的是为法国国王制作的《金盐盒》。

Since "Apollo " was discovered during the Renaissance, it was highly respected by the people of that time. Cellini's small copy recalls the pride and the beauty of this sun-god.

自从文艺复兴时期发掘出《眺望楼的阿波罗》以来，这尊雕塑一直深受人们的景仰，切利尼的小型青铜复制品重现了太阳神的美丽与高傲，而青铜的质地类似于健康的肤色，十分贴近古希腊人的审美理想。

Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures.

在以往的课程中，学生们构想并于期末展示出了很多优秀的作品，比如一个文艺复兴时期的沙漏，它是学生在麻省理工学院的玻璃工作坊吹制、并在我们布景工作坊的车床上成形的；一台由学生制作的四综纺织机，制作者真正用它来织布；许多锁子甲束腰外衣和头巾；各式各样的服饰、家俱和电气化时代的照明设备。

Almost all of the artists known to us, including Dürer of Renaissance, Rafeal, Holbein and Bruegel of 16th century, Rembrandt of 17th century, Goya of 18th century, Delacroix, Daumier, Gauguin and Munch of 19th century, Paul Klee, Picasso, Matisse, Brac, Rouault of 20th century, as well as some famous painters in modern period, have ever created some print paintings.

像大家都熟知的文艺复兴时期的丢勒、十六世纪的拉斐尔、贺尔拜因、布鲁盖尔、十七世纪的伦勃朗、十八世纪的戈雅、十九世纪的德拉克洛瓦、杜米埃、劳特莱克、高更、孟克、二十世纪的保尔·克利、毕加索、马蒂斯、布拉克、鲁奥……以及至近代的许多知名画家几乎没有不从事版画创作的。

Left-wing literati who dominated Hong Kong literary circle launched different animadverts including attacking Xu Zhong-nian\'s materialistic view of literature, Gu Yi-qiao\'s renaissance and Qian Zhong-shu\'s Fortress Besieged. The phrases and tactics they used settled the basic form of criticism in New China.The First Congress of Literary and Art Workers was convened in Beijing in July 1949. Its reconstruction of literatus under the delegation system, its dense political and martial atmosphere, and its rewriting of May Forth literature, all symbolized the establishment of new literary pattern and the commencement of "contemporary Chinese literature".

首先，考察战后香港文学环境的大体状貌及左翼文化活动的主要内容；然后，逐一梳理左翼主流派发动的各类批判，着重分析对徐仲年"唯生主义文艺观"、顾一樵"文艺复兴论"和钱钟书《围城》的批判；最后，概括左翼文艺批判的基本范式。1949年7月，第一次文代会在北京召开，其代表制对作家队伍的重构、政治领导文艺的氛围、对"五四"新文学的重新叙述，都表明新的文学格局已经形成，"当代文学"的进程已经开始。

It will be seen, however, that majolica can give significant indications regarding the use and disuse of certain instruments over the centuries as well as being a depositary for the conservation, uncontaminated by time, of images narrating past realities; we will see, for example, how during the Renaissance the lute and the vielle were widespread, as was the organ, whether portative or positive; we no longer encounter these in baroque majolica and it is above all the violin which we find in majolica of the Eighteenth Century.

人们会注意到，通过对陶器的观察，我们可以知道在那几个世纪的年代中，人们喜欢用哪些乐器，不喜欢用哪些乐器。陶器上还画有关于过去人们生活的写照，这些图画虽经岁月却依然清晰。例如，我们可以看到，在文艺复兴时期，鲁特琴和vielle (或叫 lira da braccio)非常流行，而可携带的或固定的风琴也很流行。在十七世纪的陶器中，我们就看不到这种情况了。而在十八世纪的陶器中，我们只能看到小提琴了。

Portrayals of the folk of Mecklenburg County, North Carolina, whom he remembers from early childhood, of the jazz musicians and tenement roofs of his Harlem days, of Pittsburgh steelworkers, and his reconstruction of classical Greek myths in the guise of the ancient Black kingdom of Benin, attest to this.

那烙刻在他孩提记忆中的北卡罗来纳Mecklenburg县的乡亲、那体现出哈莱姆文艺复兴时代风貌的爵士乐手和租屋的顶蓬、那匹兹堡的钢铁工人、还有那以古代贝宁王国的形态重现的古希腊神话，都验证了这一点。

Other important milestones in the Early Music Revival included the 1933 founding of the Schola Cantorum Basiliensis in Basel , Switzerland by Paul Sacher -together with distinguished musicians including the pioneering specialist in early vocal music Max Meili , who contributed to the extensive L'Anthologie Sonore series of early music recordings and recorded Renaissance lute songs for HMV -and the 1937 presentation and recording of some of Monteverdi's Madrigals by Nadia Boulanger in France.

早期音乐复兴中的里程碑包括： 1933年，保罗-撒切尔在瑞士的巴塞尔成立了柏森音乐学院；出现了一批杰出的音乐家，如早期声乐方面的顶级专家迈克斯-梅尔(录制了 L'Anthologie Sonore 系列早期音乐唱片，为HMV录制了文艺复兴时期的鲁特琴歌曲)和1937年在法国表演与录制了蒙特威尔第的牧歌的纳迪亚-勃朗格。阿诺德-多尔梅奇注：法国出生的英国音乐家和演奏家。师从H。维厄唐(1820～1881学习小提琴后移居英国，开始收集、修理并学着演奏古乐器。他仿制了多把诗琴、击弦键琴、拨弦键琴、竖笛等乐器，最后他和他的妻子、孩子一起表演和传播早期音乐。

The labia have now been sutured together almost completely.The drains and the Foley catheter come out at the top.

此刻阴唇已经几乎完全的缝在一起了，排除多余淤血体液的管子和Foley导管从顶端冒出来。

To get the business done, I suggest we split the difference in price.

为了做成这笔生意，我建议我们在价格上大家各让一半。