漂泊的

On productions at the National Theatre, Skini and Nea Skini theatres, Aplo Theatro, Epochi theatre, Amphitheatro, etc., of plays by Shakespeare, Goldoni, Griboyedof, Turgenief, Chekhof, Gorki, O'Neill, Tennessee Williams, Arthur Miller, Pinter, Mammet, Orton, Aristophanes, Hourmouzis, Loula Anagnostaki, G.Dialegmenos, Euripides etc.At the cinema: Since 1983 she has been a permanent collaborator with Theo Angelopoulos, composing music for his films Voyage to Cythera, The beekeeper, Landscape in the Mist, The Suspended Step of the Stork, Ulysses' Gaze and the Cannes Festival Golden Palm award-winning film, Eternity and a Day. She has also composed music for films by Dimitris Mavrikios, Takis Kanelopoulos, Tonia Marketaki, Christoforos Christofis (Wandering / Rosa), Lefteris Xanthopoulos, Giorgos Koras Margarethe von Trotta (L' Africana), etc.

然后她回到雅典，上电台，办民族音乐试验室，1979年被她视为命运的转折点，她开启了电影作曲的职业生涯，合作者是希腊诗人兼新电影流派的导演Chistoforo Chillstofis，1982年Eleni Karaindrou因前者的影片"芳名罗莎"在塞瑟隆尼基电影节上获得原创音乐奖，颁奖人正是评审团主席Theo Angelopoulos，他们的合作也由此开始，以后的九年可谓硕果累累，两个人物以类聚，谁都没有辜负了彼此间的厚望。80年代安氏创作了他的"漂泊"三部曲，当首篇"塞瑟岛之旅"告竣之后，安氏在访谈录中称赞Eleni正是他所需要的那种博采众长且深具古典音乐实力的最佳搭档，Eleni不仅创作电影音乐，而且也涉足希腊的先锋戏剧，她的第二个丈夫就是一位戏剧导演，Eleni迄今已为35部剧本谱写了音乐。

John and Josie's only child [00:28.23]young and handsome, fast and wild [00:33.58]join in the army at 18 [00:38.74]left the army at 18 [00:44.46]drift then from job to job [00:49.81]town to town and love to love [00:55.17]7 years forever, till young Jonnie came marching home [01:05.85]but Jonnie wasn't looking well [01:10.63]went into the hospital [01:16.41]days turned into several weeks [01:21.73]Jonnie kept on losing weight [01:27.10]Josie said that John sit down [01:32.64]John cried oh god,not my son [01:37.77]Jonnie left at 25 [01:42.39]hole as big as Jupiter [01:49.25] [01:50.10]there's nothing stronger than a love [01:55.21]John and Josie head for Jonnie [02:00.60]throughing his last birthday party [02:06.10]no one from the family came [02:10.04] [02:11.27]no one from the family came [02:16.42]turns John and Josie's grift to shame [02:21.58]shame to anger,anger pain [02:27.05]nothing they needed more now [02:30.28] [02:53.50]2 years's gone, [02:55.38]the telephone is ringing in the dim the damn [03:04.07]beneath the world and cluser face [03:08.93]but John had punched the day he learned [03:14.49]that Jonnie he wouldn't live much longer [03:20.06]now a voice said to his father [03:24.74]Jonnie have a baby here [03:30.11]no one seems to want him [03:33.90] [03:35.94]baby doesn't have his parents [03:40.49]2 months old and with a pair of eyeless [03:46.65]Josie grabbed the phone from John [03:51.79]two of them said yes yes yes [03:57.51]so John and Josie over 60 [04:02.52]taking in a brand-new baby [04:07.78]named Paul Antonio [04:13.29]Jonnie would've loved him [04:18.24] [04:18.99]nothing stronger than a love [04:23.90]John and Josie head for Jonnie [04:29.32]the same love at they've fall apart [04:34.59]they starting up to win again [04:39.71]and on the fear that same could happen [04:45.27]losing paul before his time comes [04:50.53]John and Josie looked right past it [04:55.51]they're basketing in love's mighty presents [05:01.34]John and Josie don't have time [05:07.98]they're basket in love's mighty presents

约翰和Josie歌词翻译悬赏分：5 -离问题结束还有13天22小时 [00 ：23.00]约翰和Josie的独生子 [00 ：28.23]年轻和英俊，快速和狂放 [00 ：33.58]加入军队在18 [00 ：38.74]被留下军队在18 [00 ：44.46]漂泊然后从工作对工作 [00 ：49.81]镇对镇和爱到爱 [00 ：永远55.17] 7年，年轻Jonnie来了前进在家 [01 ：05.85]，而是Jonnie没有很好看 [01 ：10.63]进入医院 [01 ：16.41]天把变成几个星期 [01 ：21.73] Jonnie在丢失的重量保持了 [01 ：27.10] Josie说约翰坐下 [01 ：32.64]约翰哭泣oh神，没有我的儿子 [01 ：37.77] Jonnie离开在25 [01 ：42.39]孔一样大象木星 [01 ：49.25] [01 ：50.10]那里比爱是没什么强 [01 ：55.21]约翰和Josie头为Jonnie [02 ：throughing他的前次生日聚会的00.60] [02 ：06.10]没人从家庭来了 [02 ：10.04] [02 ：11.27]没人从家庭来了 [02 ：16.42]转动约翰和Josie的grift到羞辱 [02 ：21.58]羞辱愤怒，激怒痛苦 [02 ：27.05]他们现在需要的没什么 [02 ：30.28] [02 ：去的53.50] 2年的， [02 ：55.38]电话在昏暗敲响该死的 [03 ：04.07]在世界和cluser面孔之下 [03 ：08.93]，但约翰猛击了他学会的天 [03 ：14.49]那Jonnie他长期不会居住 [03 ：20.06]声音对他的父亲现在认为 [03 ：24.74] Jonnie这里有一个婴孩 [03 ：30.11]没人似乎想要他 [03 ：33.90] [03 ：35.94]婴孩没有他的父母 [03 ：40.49] 2个月老和以一个对无眼 [03 ：46.65] Josie劫掠了电话从约翰 [03 ：51.79]二他们是认为 [03 ：57.51]如此约翰和Josie 60 [04 ：采取在一个全新的婴孩的02.52] [04 ：07.78]命名的保罗Antonio [04 ：13.29] Jonnie将爱他 [04 ：18.24] [04 ：18.99]没什么强比爱 [04 ：23.90]约翰和Josie头为Jonnie [04 ：29.32]同一爱在他们有散开 [04 ：34.59]再开始由胜利决定的他们 [04 ：39.71]和在恐惧同样可能发生 [04 ：45.27]丢失的保罗在他的时间之前来 [04 ：50.53]约翰和Josie看起来正确的过去它 [04 ：55.51]他们在爱的强大礼物basketing [05 ：01.34]约翰和Josie没有时间 [05 ：07.98]他们是篮子在爱的强大礼物

Chapter 2 centres around the spiritual contents of her works. It penetrates through the skin to their core, that is, the tragic sense. Her works take the most ordinary people as characters. Unexpectable elements befall on these people, change their fate considerably. The helplessness of being fooled by destiny overshadows most of her works, leaving readers sign in vain. Then, her portrayal of characters bears a tinge of rootlessness, unsteadiness loneliness, filling the works with deep pensive mood. And finally, she exposes the ugliness of man from this covering of brilliance. Man dares not face his true being. What he shows and sees of himself tends to be his bright side. But his ugly side steels out, which gives himself a deadly blow.

第二章围绕作品的精神内蕴展开论述，侧重于由表及里的层层挖掘，悲剧意识构成王安忆作品精神内蕴的核心，其作品多写芸芸众生，在展现这些人的人生际遇时，难以预料的偶然因素总是改变着他们的命运，宿命感使作品笼罩在虚无的阴影之中，令人怅然；其次作家在写人物时，那种无根的漂泊感、孤独感，使作品有着深深的悲凉意蕴；再次就是对隐藏在绚烂表象之下的人的丑陋本质的发现，人总是无法面对自己真实的存在，看到的或表现出的总是冠冕堂皇的一面，但是那丑陋的一面总会在不经意中呈现出来，给人以毁灭的打击。

The poet in the amount of white hair, I found a deep depression; in Beijing, I also see the last descendant of a lonely man, he was exhausted toward the graves of his trip to limp along, from one side of the late The family can not afford the existence of illusory draw is the joy of Men Tong, looking down at the land and in the cold wind shake in the deep grass Yu uncertain, while paying lip service to call:"There is a travelers will come, he had seen I have a good youth "; he would ask: Your QQ's that for the singers there?

在白发诗人的额间，我发现了深深的苦闷；我在北京时也看见了这最后的一位孤独伟人的后代，他正在精疲力竭地向着自己的坟墓蹒跚行去，一边不断从已故亲人的虚幻无力的存在中吸取令人感到闷痛的欢乐，俯视着冰冷的土地和在狂风中摇驭不定的深草，一边口里呼道："有个漂泊者将会到来，他曾见过我的好青春"；他将会问：你的QQ里的那为歌手在那里？

The opening-up vision angle of this paper is to embark on the track of mentality and life of LiZhi at first, then pose the treacherous character of LiZhi"s, which is the intrinsic gene ,the traditions of be in business ,all sorts of belief in the group of LiZhi"s and was born in the OuanZhou -which is border on the sea, the above cause make LiZhi have the habit of not being bind up by the orthodox of the Confucianism. In his anchorless experience, we play emphasise on the four city桻uanZhou, Beijing, NangJing and HuangAn of the HuBei province, which have an important effect upon LiZhi"s life, then thread the place (homeplace and the place where he act as an offical) the character JiaoHong and the brothers of the Gen ,the incident(the dispute between of GenDingXiang and LiZhi together, by which we can lay out the full life of LiZhi and the process of his heresy idealistic ,we can draw a conclusion that LiZhi"s suicide is a deep consideration, that the pertinacious will of the pursuit for the truth and the fearless of the fighting spirit are the history achievements of LiZhis life .

全文论述的展开视角是先从李贽的心理轨迹和人生轨迹着手，揭示出李贽叛逆性格的内在因子、经商家世的传统和家族信仰多样化的优势以及地处泉州这个开放地域的大环境影响使他过早地就栽下了不为正统儒学束缚的根基：在他的一生漂泊经历中，又重点截取泉州、北京、南京及湖北黄安四个对李贽一生有重大影响的地理位置，通过综合地点、人物、事件的铺叙，立体面地展示李贽的活动内容及其&异端&思想成型扩张轨迹；李贽的最后自刎是其经过理智选择后所做出的最佳告别人世方式，其追求真理的顽强意志和大无畏的战斗精神即是他的人生价值之所在。

A good, generous prayer it was, and went into details: it pleaded for the church, and the little children of the church; for the other churches of the village; for the village itself; for the county; for the State; for the State officers; for the United States; for the churches of the United States; for Congress; for the President; for the officers of the Government; for poor sailors, tossed by stormy seas; for the oppressed millions groaning under the heel of European monarchies and Oriental despotisms; for such as have the light and the good tidings, and yet have not eyes to see nor ears to hear withal; for the heathen in the far islands of the sea; and closed with a supplication that the words he was about to speak might find grace and favor, and be as seed sown in fertile ground, yielding in time a grateful harvest of good.

这是一篇很好的、内容丰富的祷告词，面面俱到：它为教堂和里面的孩子们祈祷；为全县向主求福；为漂泊在狂风暴雨的海洋上可怜的水手们求福；为被迫在欧洲君主制度和东方专制制度铁蹄下呻吟着的数万劳苦大众求福；为那些有了教主的光和福音而熟视无睹、充耳不闻的人求福；为远处海岛上的那些异帮教徒求福；最后牧师祈求天主恩准他所说的话，希望他的话像播种在肥沃土地里的种子一样，将会开花结果，造福无穷。阿门。

On productions at the National Theatre, Skini and Nea Skini theatres, Aplo Theatro, Epochi theatre, Amphitheatro, etc., of plays by Shakespeare, Goldoni, Griboyedof, Turgenief, Chekhof, Gorki, O'Neill, Tennessee Williams, Arthur Miller, Pinter, Mammet, Orton, Aristophanes, Hourmouzis, Loula Anagnostaki, G.Dialegmenos, Euripides etc.At the cinema: Since 1983 she has been a permanent collaborator with Theo Angelopoulos, composing music for his films Voyage to Cythera, The beekeeper, Landscape in the Mist, The Suspended Step of the Stork, Ulysses' Gaze and the Cannes Festival Golden Palm award-winning film, Eternity and a Day. She has also composed music for films by Dimitris Mavrikios, Takis Kanelopoulos, Tonia Marketaki, Christoforos Christofis (Wandering / Rosa), Lefteris Xanthopoulos, Giorgos Koras Margarethe von Trotta (L' Africana), etc.

然后她回到雅典，上电台，办民族音乐试验室，1979年被她视为命运的转折点，她开启了电影作曲的职业生涯，合作者是希腊诗人兼新电影流派的导演Chistoforo Chillstofis，1982年Eleni Karaindrou因前者的影片&芳名罗莎&在塞瑟隆尼基电影节上获得原创音乐奖，颁奖人正是评审团主席Theo Angelopoulos，他们的合作也由此开始，以后的九年可谓硕果累累，两个人物以类聚，谁都没有辜负了彼此间的厚望。80年代安氏创作了他的&漂泊&三部曲，当首篇&塞瑟岛之旅&告竣之后，安氏在访谈录中称赞Eleni正是他所需要的那种博采众长且深具古典音乐实力的最佳搭档，Eleni不仅创作电影音乐，而且也涉足希腊的先锋戏剧，她的第二个丈夫就是一位戏剧导演，Eleni迄今已为35部剧本谱写了音乐。

I made up my mind came to the decision on your side you say: I would like to accompany the child adrift in the sea now, only you can do in the hands of the slurry, no matter how much wind and waves, wind and rain and more crowded, you always have my side; Love is the starting point so that we loved to do themselves, rather than by our imagination bound to use them - or else, we love only to find them in the shadow of their own.

我毅然决定来到你的身边对你说：让我陪愿儿在海中漂泊吧，只为能做你手中的浆，不管风浪多大，风雨多稠，你身边始终有我；爱的出发点是让我们爱的人做他们自己，而不是用我们的想像束缚他们——否则，我们爱的只是在他们身上找到的自己的影子。

This practice is still retained among the wild and uncultivated nations that have never been formed into civil states, like the Tartars and others in the east; where the climate itself, and the boundless extent of their territory, conspire to retain them still in the same savage state of vagrant liberty, which was universal in the earliest ages; and which Tacitus informs us continued among the Germans till the decline of the Roman empire.7 We have also a striking example of the same kind in the history of Abraham and his nephew Lot.8 When their joint substance became so great, that pasture and other conveniences grew scarce, the natural consequence was that a strife arose between their servants; so that it was no longer practicable to dwell together.

这种行为方式仍然保留在那些野蛮无教养的未形成世俗政府的国家之中，比如鞑靼人和其他的东方人；在这些地方气候本身，以及他们领土的无边界性，共同促使他们仍然停留在漂泊自由的野人状态，这在最初的时代是普遍的情形；塔西特斯(56～120？)告诉我们杰曼人（German，常译为日尔曼，我不知道究竟是音译呢，还是意译，或许源于其它语言？）的这种状态一直保持到罗马帝国的衰落。这种情况，我们还有一个明显的例子，即历史上的亚伯拉罕和他的外甥罗得。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。