最当中的

If all options are based entirely on the results of random chance, rather than any actor's intention, then the mage gains a rough idea of the odds — that the guy in the black jacket has the edge in the fight that's about to break out (because his Strength +Brawl dots are higher than his opponents' — not enough to ensure victory, but enough to make him the odds-on favorite).

如果所有的选择都建立在一个随机结果的基础上，比如说一个行动者的意图，那么法师获得一个大体的可能性——那个穿着黑色夹克的家伙在即将发生的打架当中有优势（因为他的力量+肉搏点数比他的对手要高——不足以保证赢，但是足以让他成为有最可能赢的）。

In those conditions as make for the studies of the entity, the seeking - as innate forces - for the influences held by those who concentrate in the silence and in the mental imaginative forces - these, guided by a stabilized ideal, may be made most helpful; these - run rampant, without consideration as to whether same becomes riotous in activity; not clothed, to be sure, in any form of censure, but as to whether same becomes a continuity of influences as of helpfulness or riotousness - without respect of persons, places or things - is different.

在作为此个体的学习的那些条件当中，寻求—作为与生俱来的力量—作为被那些集中于寂静和精神上的想象力里面的人所持守的影响—这些，被1个稳固的灵性理想所指导，大概会是最有帮助的；这些—行为放4的，对于是否同样的人成为在行为上放纵的欠缺考虑；不穿衣服的，无可否认，以任何形式的谴责，但是关于是否同样的人成为1个关于有帮助的或者放纵的影响的连续—不尊重人，地方或者事情—是不1样的。

Peasants who suffered unreasonable deprivation would allege even exaggerate irrationality of the treatment in order to endow legitimacy with his incompliance. And if this treatment had no validity, he may also threat prosecuting or finally indicting his antagonist ,this means will give him great courage in the game. The effect of this strategy also lies on the type of the antagonist. Whether he takes law as a weapon or not in the dispute is decided by cost calculation of this means.

另一方面，被不合理但合法剥夺的农民，会想尽办法先避开利益剥夺的合法性，之后宣称甚至夸大这种利益剥夺的不合理性，从而为自己的不顺从行为创造正当性，这种行动策略最常见于官民纠纷当中，因此它的效果就与基层干部的&摆平&能力相关；如果是不合理且不合法的利益剥夺，那么除了宣传、夸大不合理性外，他还会以诉讼相威胁或者诉讼的方式来维护自己的利益，将追求合理性与追求合法性两者统一起来，这种抗争策略的效果同样与抗争对象的层次有关。

Starting from his first student short The Tram , Kieslowski's dramatic films share a consistent set of motifs: the unattainability of love, the ironies of life, the vicissitudes of fate, the role of destiny and chance, feminine sensibility, and, most distinctive of all, the role of intuition as well as the depiction of seemingly random incidents from life that are unrelated to the story, like the old woman with the glass bottle that appears in The Decalogue and the Three Colours trilogy .

奇斯洛夫斯基的剧情片，打从他的第一部学生作品《电车》开始，已看得出他后期作品中经常重复出现的母题：情事的暧昧、人生的矛盾、机缘的播弄、命运的安排、女性的感触，而当中最可堪玩味的，莫过於他那不可解释的感性和非叙事性的安排──出现於《十诫》和《蓝白红》中路上拾樽的婆婆──这些特徵，都成了他署名式的标记。

An essentialized and remarkably delimited Indian theatre consisting of just one genre, namely, the ancient Sanskrit theatre, with no space for the Ram Lila or other flourishing vernacular genres;(2) Histories from the nationalist period portray Indian theatre as primarily, though not exclusively, madeup of India's Western-influenced "modern" theatre genre but relegate the Ram Lila to the realm of unsophisticated folk theatre; and (3) Postcolonial-era histories offer a broad-based and plural Indian theatre encompassing all major genres, including the Ram Lila, but valorize postcolonial theatre withuntenable and extravagant claims.

我会在结论论证这些研究的源起，并列举三个现代印度文化和历史的不同阶段作为例证：（1）东方主义时期的印度剧场史，呈现出一个本质主义、明显画地自限的印度剧场，当中只有一个剧种：古老的梵文剧场，毫无肚量容纳罗魔节戏或其他盛极一时的地方戏剧；（2）国家主义时期的剧场史，此时最主要由深受西方文化影响的印度「现代」剧场构成，罗魔节戏被贬抑为难登大雅的地方小戏；（3）后殖民时期的剧场史，提供了一个宽广、多元，兼容并蓄的印度剧场，罗魔节戏也在其中，但此时期过於夸大了后殖民剧场的资产。

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。