特纳

And half Galaad, and Astaroth, and Edrai, cities of the kingdom of Og in Basan: to the children of Machir, the son of Manasses, to one? half of the children of Machir according to their kindreds.

还有基肋阿得的一半和敖格在巴商的都城阿市塔洛特和厄德勒：以上地区按照家族，分给了默纳协的儿子玛基尔的子孙，即玛基尔的一半子孙。

And beyond the Jordan to the east of Jericho, they appointed Bosor, which is upon the plain of the wilderness of the tribe of Ruben, and Ramoth in Galaad of the tribe of Cad, and Gaulon in Basan of the tribe of Manasses.

在约但河东岸，耶里哥东面，在旷野高原里，勒乌本支派内指定了贝责尔；在加得支派内，指定了基肋阿得的辣摩特；在默纳协支派内，指定了巴商的哥蓝。

Jair the son of Manasses possessed all the country of d Argob unto the borders of Gessuri, and Machati. And he called Basan by his own name, Havoth Jair, that is to say, the towns of Jair, until this present day.

默纳协的儿子雅依尔，佔领了阿尔哥布全地区，直到革叔尔人和玛阿加人的边界，遂按自己的名字称那地为「哈沃特雅依尔」，直到今日】。

EarthSky spoke with biomedical engineer Ted Bateman of the University of North Carolina, Chapel Hill.

今天节目组采访了北卡罗来纳大学教堂山分校的生物医学工程师泰德贝特曼。

Gergory Bateson's awkward classic, Naven, a study of ritual among a New Guinea people.

格雷戈里·贝特森的难读的名著《纳文人》是对新几内亚的一个民族中的礼仪的研究。

As it invariably happens, history and memory can prove helpful: Leonardo's Vitruvian man is "the measure of all things", while the Renaissance man expands the static point of view of the project anticipating the crucial theme of individual well-being (as Leon Battista Alberti put it in his De re aedificatoria ,"In the choice of the environment it is best to mind that it is welcome by its inhabitants from every point of view").

要设计一项围绕人的实际需求的建筑项目同样意味着创新、价值与激情的构思与应用。创新乃为满足动态参考条件；价值乃为适应社会潜在的经济和结构的变化；激情乃为对于所有参与者以及他们的实际需求的关注。能够证明有效性的永远都是历史与记忆：莱昂纳多·达芬奇的维特鲁威人是"万物的尺度"，同时文艺复兴时期的人发展了项目的静态观点，期望一个非常现代的焦点对象：即个人的康乐。（"在选择环境之时，最好能确保它的方方面面都受到居住者的欢迎"，阿尔贝蒂的《建筑学十书》）。

And indeed Wolfgang directed little of merit himself, though he invited distinguished conductors and directors to Bayreuth—none of whom was allowed to establish a foothold there.

他保护了家族的财产，并订了一条规矩就是：拜罗伊特的掌门人一定要是瓦格纳家族的成员。

When need be, he even created new instruments and edifices—he invented the Wagner tuba, and, in the 1870s, built his own opera house, the Bayreuth Festspielhaus, just to get the sounds he wanted.

当有需要的时候，他甚至发明新的乐器和建筑——他发明了瓦格纳大号，在1870年代又建了他自己的歌剧院，拜罗伊特节日剧院——只为了得到他想要的声音。

THE new production of's "Die Meistersinger von Nürnberg" at Bayreuth this summer was a job application.

这个夏天，拜罗依特音乐节上演的《纽伦堡的名歌手》被喻为是凯瑟琳瓦格纳为继承家族事业尔正式递交的求职意向书。

The Bayreuth performances also produced an invitation to appear at the Metropolitan where she made her debut as Sieglinde in Die Walküre.

由于拜罗伊特的超精彩演出，于是便产生制作了一份来自美国歌剧胜地大都会歌剧院邀请她登台献演的邀请函，在那儿她也是以瓦格纳超级四联歌剧《尼柏隆根的魔指环》之二《女武神》中的首要女主角"齐格琳德"作为其大都会首演的登台曲目。

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。