斯坦斯特德

Members: Steve Barber, Peter Barnes, Ilene Burnstein, Michael Davis, Amr El-Kadi, N. Ben Fairweather, Milton Fulghum, N. Jayaram, Tom Jewett, Mark Kanko, Ernie Kallman, Duncan Langford, Joyce Currie Little, Ed Mechler, Manuel J.

委员：史蒂夫修发，彼德班，Ilene伯恩斯坦，迈克尔戴维斯，穆萨萨尔瓦多，卡迪，注本费尔韦瑟，米尔顿Fulghum，注贾亚拉姆，汤姆朱伊特，马克观光，厄尼卡尔曼，邓肯朗福德，乔伊斯柯里小，埃德梅希勒，曼努埃尔J。

Members: Steve Barber, Peter Barnes, Ilene Burnstein, Michael Davis, Bmr El-Kadi, N. Ben Fairweather, Milton Fulghum, N. Jayaram, Tom Jewett,马克 Kanko, Ernie Kallman, Duncan Langford, Joyce Durrie Little, Ed Mechler, Manuel J.

委员：史蒂夫理发，彼德班，Ilene伯恩斯坦，迈克尔戴维斯，穆萨萨尔瓦多，卡迪，注本费尔韦瑟，米尔顿Fulghum，注贾亚拉姆，汤姆朱伊特，马克不雅光，厄尼卡尔曼，邓肯朗福德，乔伊斯柯里小，埃德梅希勒，曼努埃尔J。

The culture keeps up a rapid-fire bombardment of the power and the glory of romantic love, and yet it seems curious that so many of the Greatest Love Stories Ever Told – Cathy and Heathcliff, Tristan and Isolde, Heloise and Abelard, Lancelot and Guinevere – end in disaster, if not death and carnage.

文化业持续着它连发轰炸般的势头推崇着浪漫爱情的力量和荣耀，但似乎好奇的是迄今为止那么多的伟大爱情故事–比如凯西和希斯克利夫，特里斯坦与伊索尔德，爱洛绮斯和阿贝拉，兰斯洛特和关妮芙之间的爱情都是以灾难结束(如果不算死亡和屠杀的话)。

In the class I took on the history of modern Germany, for example, Prof. Henry Turner focuses his lectures exclusively on the socio-political development of Germany since Bismarck. The reading includes the biography of Bismarck by AG Taylor, excerpts from German Marxist Eduard Bernstein's political writing and 19th century German historian Heinrich von Treitschke's lecture notes, Heinrich Mann's novel Man of Straw, excerpts from Hitler's Mein Kampf, Michael Allen's The Nazi Seizure of Power, and many other books.

比如，在我选的德国近代史课程中，享利·特纳教授的演讲集中在自俾斯麦以来德国社会政治的发展，而阅读则包括了由AG·泰勒所写的俾斯麦的生平、德国马克思主义者爱德华·伯恩斯坦的政论选以及19世纪德国历史学家海因里赫·范·特来奇克的演讲记录、海因里赫·曼的小说《稻草人》，希特勒的《我的奋斗》的节录、麦克尔·艾伦的《纳粹攫取权力》，还有很多其他的书。

That's what the mezzo-soprano Waltraud Meier and tenor Ben Heppner are doing every four days right now, in the Paris Opera's sold-out new production of Richard Wagner's "Tristan und Isolde."

这就是女中音沃特劳德·梅耶尔和男高音本。赫普纳目前每隔四天在巴黎剧院里新改编自理查德。瓦格尔的歌剧《特里斯坦和伊索尔德》"Tristan und Isolde"）中要去做的。

He then left the stage to let an imaginary Bernstein conduct the piece, the overture to his operetta "Candide".

伯恩斯坦。他离开了舞台，让一个想像中的伯恩斯坦指挥了他自写的轻歌剧《康迪特》（又名老实人、天真汉、憨第德）的序曲。

He was awarded conducting fellowships to the Los Angeles Philharmonic Institute where he worked with Leonard Bernstein, Michael Tilson Thomas and Herbert Blomstedt.

并被洛杉矶爱乐乐团学院授予指挥奖学金。在那里他与纳德伯恩斯坦，迈克尔蒂尔森托马斯和赫伯特布隆斯泰特一起工作。

Examples of possible leadership, focusing on countries that are not part of the group of eight industrialised nations (this need not be a requirement, provided the individual has a strong international perspective), include: Montek Singh Ahluwalia; Leszek Balcerowicz; Kemal Dervis; Francisco Gil Diaz; Stanley Fischer; and Trevor Manuel.

可能的领导人选——聚焦于非G8国家（如果某人拥有较强的国际视角，那么这不是一个必要条件）——举例如下：印度的蒙特克·辛格·阿卢瓦利亚、波兰的勒茨克·巴塞罗维茨、土耳其的凯末尔·德尔维什、墨西哥的弗朗西斯科·希尔·迪亚斯、以色列的斯坦利·费西尔和南非的特雷弗·曼纽尔。

Also Sprach Zarathustra is also the title of a symphonic poem by Richard Strauss, composed in 1896 and inspired by the book. It is best known for its use in Stanley Kubrick's 1968 film 2001: A Space Odyssey (which is postulated to have also been inspired by the book, at least in part).

查拉图斯特拉如是说》也是理查德施特劳斯的交响诗的题目，写于1896年，由同名的书得到灵感，斯坦利克比克于1968年的电影《2001：奥德赛空间》就用了这首交响曲（至少也是部分地受到这本书的灵感）。

The expansion of the authority of the kingdom of Wessex posed a threat to all the smaller kingdoms in the British Isles, and Athelstan faced a repeated alliance between native rulers such as the kings of the Scots and Strathclyde with Viking rulers of the Dublin dynasty.

扩大权力王国威塞克斯构成威胁所有的小王国的不列颠诸岛，并一再阿特斯坦面临同盟关系，如本地的统治者，国王的苏格兰斯特拉斯克莱德与海盗统治者都柏林王朝。

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。