斯坦斯特德

In the tenth century St. Dunstan set himself to reform the English monastic houses on the model of Fleury and of what he had seen successfully carried out at Ghent during his exile in Flanders.

在10世纪圣邓斯坦为自己确定的改革英语寺院的房屋模型的弗勒里和他所看到成功地进行了在比利时根特在他流亡在佛兰德斯。

Since those days the Vienna Boys' Choir have given concerts under nearly all the great conductors of this century: Claudio Abbado, Leonard Bernstein, Nikolaus Harnoncourt, Herbert von Karajan, Carlos Kleiber, Lorin Maazel, Riccardo Muti and Sir George Solti.

因为这些天的维也纳男童合唱团音乐会已下几乎所有伟大的指挥家在本世纪：克劳迪奥阿巴多，伦纳德伯恩斯坦，自1985赫伯特冯卡拉扬，卡洛斯克莱伯，洛林·马泽尔，里卡尔多穆蒂和爵士索尔蒂。

The thesis will make a try to reveal the truth lied in the mechanism on an objective and general basis. The first step is to clarify what it is, then secondly 1 would like to make a contrast between Stanislavsiky, Meyerhold and Brecht with a view to deepen our understanding.

为了真实认识这个在过去及现在都仍具有着深刻影响力的演剧体系，本文力求在较为全面客观研究原著的基础上，首先弄清该体系到底是什么，进而再将斯坦尼斯拉夫斯基与梅耶荷德和布莱希特作一个比较，在横向比较中，对该体系再加以深入的认识。

There are also some common parts between them. Divided by similitude, Stanislavsiky produced prose poem, Meyerhold produced lyric poem and Brecht produced narrative philosophical poem.

用句比喻来形象地区分他们，即：斯坦尼斯拉夫斯基追求的是散文诗，梅耶荷德想往的是抒情诗，布莱希特要求的是叙事哲理诗。

Stanislavsiky hold a lot of differences on drama esthetics and production style with Meyerhold and Brecht. Mainly the difference shows to be: the former is of the school of"reappearing esthetics"while the latter is of"expressive esthetics".

斯坦尼斯拉夫斯基与梅耶荷德和布莱希特，在戏剧美学思想和创作方法上都存有很大区别，这主要表现为，前者属于"再现美学"，而后两者属于"表现美学"，但他们之间也有很多相同相通之处。

He continued to work with various magazines as illustrator and designer, and gradually entered into the world of set and costume design, working together with Diaghilev of the Ballets Russes, as well as Ida Rubinstein, among others he designed sets and costumes for: Cleopatra, Le Festin (1909), Le Carnaval, Scheherazade (Rimsky-Korsakov), The Firebird (1910), Les Orientales, Narcisse Le Spectre de la Rose, La Péri (1911), Thamar, Le dieu Bleu, L.

他继续与各种杂志Illustrator和设计师，并逐步进入世界的设定和服装设计，一道列夫的芭蕾Russes ，以及艾达鲁宾斯坦等集和他设计的服装：克利欧佩特拉，乐Festin （ 1909年），勒狂欢节，舍，火鸟（ 1910 ），法国东方，纳西斯乐幽灵玫瑰，香格里拉期（ 1911年）， Thamar ，乐德迪厄艾迪布尔，研究。

The clock of the Temple Church and the clocks of St. Dunstan's, St. Clement's Danes, and a crowd of other churches, whose steeples uprear themselves above the house-tops by the river, struck ten at last, and Mr. Audley, who had put on his hat and overcoat nearly half an hour before, let himself out of the little lobby, and locked his door behind him.

圣殿教堂的钟，圣邓斯坦和圣克莱门特·戴恩斯教堂的钟，以及尖塔高耸在河滨屋顶之上的、一群其他教堂的钟，终于都为十点钟而挡挡报时了，奥德利先生半个钟头以前已经把帽子戴上、大衣穿上，这时便走出小小门廊，把房门锁上了。

Anahita was said to have conceived the Saviour from the seed of Zarathustra preserved in the waters of Lake Hamun in the Persian province of Sistan. Mithra's ascension to heaven was said to have occurred in 208 B.C., 64 years after his birth.

安娜希塔据说是通过保存在波斯锡斯坦的哈曼湖的琐罗亚斯德的种子而受孕的，密特拉提升到天上据说是发生在公元前208年，他诞生之后64年。

Fighting for Your Marriage: Positive Steps for Preventing Divorce and Preserving a Lasting Love - by Howard J. Markman, Scott M. Stanley, Susan L.

Blumberg 争取你的婚姻：为防止离婚的积极步骤和维护持久爱-由霍华德J马克曼，斯科特斯坦利，苏珊湖布隆伯格

Cast :, Michael Rooker as Church, Lara Cox, Temuera Morrison as Damo, Ted DiBiase Jr., Able Wanamakok as News Reporter, Josiah D .

演员：，迈克尔洛克尔的教堂，拉腊考克斯，坦穆拉莫里森的达摩，小特德戴比斯，埃布尔Wanamakok如新闻记者，乔赛亚桶。

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。