海尔

Accepting the aesthetic thought of Kant and Schiller, and Heidegger\'s artistic truth view, Marcuse points out in sensibility and morals, i.e. during people\'s the two poles present," the aesthetic dimension " is occupying the status of centre, as the soul ability of person practicing, imagine strength having function mediated and liberated to perception and reason; Aesthetic form, self-containment and truth are identical, art not merely has a function of ideology, have political latent energy criticized , denied even more, it strives for the individual\'s freedom and happiness; Aestheticsis the people\'s life style, therefore has proposed the theory of "not constraining life style", it make up one\'s mind bad smell look at latitude of "remember" emphatically really.

接受康德和席勒的美学思想，以及海德格尔的艺术真理观，马尔库塞指出在感性和道德性，即人的存在的两极之间，"审美之维"占据着中心地位，作为实践的人的心灵能力，想像力对感性和理性有着调和与解放的功能；审美的形式、自律和真理是一致的，艺术不仅具有意识形态的功能，更具有批判、否定的政治潜能，它争取个体的自由与幸福；美学是人的生存方式，"非压抑性生存方式"理论的确立意味着重视"回忆"的纬度。

Sabine Meyer is a committed chamber music player and, in addition to her work with the Trio di Clarone which she founded in 1983, she has performed with Barbara Hendricks, Bruno Canino, Aloys Kontarsky, Heinrich Schiff, Gidon Kremer, Sandor Vegh, the Alban Berg Quartett, the Cleveland Quartet, the Hagen Quartet and the Vienna String Sextet. In 1988 she formed the Bl serensemble Sabine Meyer which performs regularly in Europe and Japan.

萨宾娜·迈耶是一位忠诚的室内乐演奏家，除了她与1983年创建的克拉罗内三重奏一起工作之外，她与芭芭拉·亨德里克、布鲁诺·卡尼诺、阿罗伊斯·康塔斯基、海因里希·席夫、吉顿·克莱默、桑多尔·维、阿尔班·贝尔格四重奏、克利夫兰四重奏、哈根四重奏、维也纳弦乐六重奏合作演出。1988年她成立了定期在欧洲和日本演出的萨宾娜·迈耶吹奏乐团。

Reads 'Signior Martino and his wife and daughters; County Anselme and his beauteous sisters; the lady widow of Vitravio; Signior Placentio and his lovely nieces; Mercutio and his brother Valentine: mine uncle Capulet, his wife and daughters: my fair niece Rosaline; Livia; Signior Valentio and his cousin Tybalt, Lucio and the lively Helena.

"玛丁诺先生暨夫人及诸位令媛；安赛尔美伯爵及诸位令妹；寡居之维特鲁维奥夫人；帕拉森西奥先生及诸位令侄女；茂丘西奥及其令弟凡伦丁；凯普莱特叔父暨婶母及诸位贤妹；罗瑟琳贤侄女；里维娅；伐伦西奥先生及其令表弟提伯尔特：路西奥及活泼之海丽娜。"

Highlights include wiseacre comedian Denis Leary as an un-ladylike ladybug, Joe Ranft as the German-accented caterpillar, David Hyde Pierce as a stick bug, and Michael McShane as a pair of unintelligible pillbugs.

重点展品包括自作聪明喜剧演员丹尼斯莱瑞作为联合国贵妇瓢虫，乔兰夫特作为德国口音的毛虫，大卫海德皮尔斯作为一个坚持错误，迈克尔麦克谢恩作为对难以理解

Jie Hao has been the principal trombonist of such orchestras as Elkhart Symphony Orchestra, Hildesheim City Opera Orchestra, Niedersachsen State Orchestra, Germany, Hamburg Youth Symphony Orchestra and Central Philharmonic Orchestra of China, as well as the second trombonist of North Radio Orchestra Hannover, Germany and so on.

郝杰曾在很多乐团担任首席长号，其中包括埃尔克哈特交响乐团、希尔德斯海姆城市歌剧院乐团、德国夏萨克森州立管弦乐团、汉堡青年交响乐团和中国中央乐团。

On the rough sea ice you may on an unshadowed day...fall over a chunk of ice that is kneehigh- Vilhjalmur Stefansson.

在粗糙的海冰上，你也许能看见毫无阴影的白昼……落在一大块齐膝高的冰上——菲尔加摩尔·斯蒂芬森。

Klestil was widely credited with restoring Austria's credibility following revelations that predecessor Kurt Waldheim served in Germany's Nazi military.

克莱斯蒂尔因为恢复了奥地利政府的威信而闻名，其前任瓦尔德海姆被发现在二战期间曾在一个纳粹部队供职。

Jutta Heine, one of German girl who was the best women dash in her year was the competitor of Wilma, however, this time, for 100 meter and 200 meter race winner was Wilma Rudolph.

一个名叫贾塔。海因的德国姑娘是威尔玛的强劲对手，她是当年最棒的女短跑运动员，无人能敌。可是这次，百米和200米这两项的冠军都是威尔玛。

According to Gadamer,"on-being"was still a kind of transcendent existence, and he accepted"comprehension"as the subject of theory on interpretation, and regarded"possession antecedently, beholding antecedently, grasping antecedently"as the ontological structure of theory on interpretation.

在伽达默尔那里，此在仍然是先验性的存在，他把海德格尔所谓的生存结构的一种样式——领会作为解释学本体接受下来，把&先行具有、先行见到、先行把握&的解释学循环看作解释学的本体结构。

Obviously Wayne and Scholesy but hopefully Gary and Gabi as well.

韦恩和斯科尔斯一定能的，加里·内维尔和海因策也有希望。

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。