斯特劳特

According to excerpts of the book on Sunday, Straw sent a letter to the prime minister days before the con-flict broke out in March, urging him to tell US President George W.

根据该书在周日摘引的章节，在3月份伊拉克战争爆发前几天，斯特劳致信布莱尔，力劝他告诉美国总统布什：英国将提供道义和政治支持，但不派出作战部队。

A highly in uential source of this suspicion is Barry Stroud, who in his article 'Transcendental Arguments' suggested that for any claim concerning the necessary condition S,"the sceptic can always very plausibly insist that it is enough we believe that S is true, or it looks for all the world as if it is, but that S needn'tactually be true"(Stroud 2000: 24).3 So, in the case of the problem of the external world, for example, the concern is that no argument can be constructed to show that there must actually be an external world, but just that there must appear to us to be one, or that we must believe there to be one.

斯特劳德在《先验论证》一文中指出，任何涉及必要条件S的断言都会受到怀疑论者这样的反驳：我们确实要相信S是真的，或者说在所有的世界都是这样，但是，S不需要真正地为真。所以，在外在世界问题上，并没有一个论证可以给出证明，说外在世界必须真正实际地存在，而我们只能说，必须有一个外在世界向我们显现，或我们必须相信有一个外在世界。

Another former theosophist, rudolf steiner and his anthroposophical movement, is a major influence, especially upon speakers of german.

二十世纪早期的某些作品也使得这些思潮大为流行，大卫·赫伯特·劳伦斯和叶慈都是这类作家。

In 1988, He moved to Japan. He belonged to brass band club in Japan and, as a trombonist, played Richard Strauss composition, opera "Salome". He felt splendor of the orchestral music which was not seized with harmony of a sound and a limit on skin then.

年来日 。在日本一直隶属於吹奏乐团，从事长号演奏，曾经演奏过理查德·施特劳斯作曲之音乐剧"莎乐美"，管弦乐器音乐具有的和谐性以及不受限制的特色留给他非常深刻的感动。

To several generations of Viennese, the Strausses represented the true soul of the city.

对几代维也纳人来说，施特劳斯父子象征着这个城市的真正灵魂。

But, unlike philosophical reflection, which claims to go all the way back to its source, the reflections in question here concern rays without any other than a virtual focus....

正是神话或神话学话语的任何实在固定中心的这种缺席解释了列维—施特劳斯何以为这本书的结构选择了那种音乐模式。

In order not to short change the form and the movement of the myth, that violence which consists in centering a language which is describing an acentric structure must be avoided.

我希望现在引用列维—施特劳斯在《生与熟》里关于这一点所写下的长而优美的一页：其实，神话研究提出了一个方法论的问题，因为它无法遵循笛卡儿将困难分成许多部分以求解决的原则。

In effect, what appears most fascinating in this critical search for a new status of the discourse is the stated abandonment of all reference to a center, to a subject, to a privileged reference, to an origin, or to an absolute arche'.

1，首先，列维—施特劳斯承认他在该书中当作&参照性神话&来用的Bororo神话配不上这个名字及这种待遇，这个称呼不但华而不实而且是一种滥用。

Straussian hermeneutics is not a general theory of interpretation, it claims that there should be different hermeneutical methods to different text, different author, and different work.

施特劳斯的解释学方法并非一种普遍的解释学理论，而是不同的文本，不同的作者，不同的作品，有不同的解释学方法。

Composed non-stop in forty-two "nights of veritable rapture", this is the younger Strauss's most celebrated and popular operetta - intoxicatingly melodious and exuberant.

轻歌剧《蝙蝠之谜》是奥地利作曲家小约翰˙施特劳斯的名作，据说他用了42天的时间，不眠不休地完成这首作品，故事说一场化妆舞会所接连衍生的一连串花花草草荒谬趣事。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。