电视上的

He runs for it, drives off, and leads the police on a long chase, something which Jack watches on television. Hurley is arrested and repeatedly cries that he is a member of the Oceanic 6. Hurley is brought to the police station, where Ana-Lucia's old partner Mike Walton, now a Detective, heart brokenly asks Hurley if he knew Ana Lucia Cortez (suggesting a romantic attraction). Hurley guiltily lies and claims to have never met her. Walton leaves, and Hurley looks onto the two-way mirror and sees Charlie drowning with the words "THEY NEED YOU" written in marker on his hand, much like the words "NOT PENNYS BOAT" were written in the finale of the third season. The mirror breaks and water come pouring out, and Hurley screams for help.

他跑开，驾车离开了，这导致一辆警车跟了他很久，而这些都被jack在电视上看见了。hurley被逮捕了，并且反复喊叫道他其实是"大洋六人组"的一员。hurley被带到了警察局，ana lucia的老搭档mike walton此时在这里任职侦探，他伤心地问hurley是否认识ana lucia cortez(可能是因为二者的一些爱情联系)。hurley充满罪恶感地否定了，并说从未听说过她。walton离开了以后，hurley看见双向玻璃镜里出现了溺水的chalie以及写在他手心的"他们需要你"这几个字，这场景非常像第三季最后出现的那个"不是penny的船"的画面。

We are not covering silent films in this course. We will begin with the first talking motion picture, The Jazz Singer, released in 1927. The next week, we'll be looking at The Gold Diggers of 1933, a piece that is very representative of the escapist trend in films released during the depression. Some of the films we will be watching will probably be new to you, like Frank Capra's Why We Fight. Others you might have already seen on TV like Rebel without A Cause starring James Deane, or Stanley Cooper's Doctor's Strange Love. However, I hope you see even familiar film with new eye. In the last three weeks of the course, we will be watching films from the 1980s and you'll choose one of them as a subject for an extensive written critique.

这门课不讲无声电影，我们将从1927年放映的第一部有声电影＇爵士歌手＇开始，下周我们也将观看1933年放映的＇掘金人＇，一部非常能表现萧条时期逃避注意的电影，有一些电影对你们来说可能很新奇，象Frank Capra的＇为什么我们会打架＇，别的你们可能在电视上已经看过了，象James Deane主演的＇没有目标的反抗＇或Stanley Cooper的＇医生的怪癖＇，但是我希望你们对即使很熟悉的电影，也采取一种崭新的观点去看，在本课程的最后三周内，我们会观看一些80年代的影片，同时你们需要从中选出一部电影作为撰写深入评论的对象。

We are not covering silent films in this course. We will begin with the first talking motion picture, The Jazz Singer, released in 1927. The next week, we'll be looking at The Gold Diggers of 1933, a piece that is very representative of the escapist trend in films released during the depression. Some of the films we will be watching will probably be new to you, like Frank Capra's Why We Fight. Others you might have already seen on TV like Rebel without A Cause starring James Deane, or Stanley Cooper's Doctor's Strange Love. However, I hope you see even familiar film with new eye.

这门课不讲无声电影，我们将从1927年放映的第一部有声电影＇爵士歌手＇开始，下周我们也将观看1933年放映的＇掘金人＇，一部非常能表现萧条时期逃避注意的电影，有一些电影对你们来说可能很新奇，象F rank Capra 的＇为什么我们会打架＇，别的你们可能在电视上已经看过了，象 James Deane 主演的＇没有目标的反抗＇或 Stanley Cooper 的＇医生的怪癖＇，但是我希望你们对即使很熟悉的电影，也采取一种崭新的观点去看，在本课程的最后三周内，我们会观看一些80年代的影片，同时你们需要从中选出一部电影作为撰写深入评论的对象。

This thesis analyze the TV text and the interview of viewers, in order to realize what the TV text presented, and viewers how to recognize the TV text. With regard to the TV text, it represented the virtual relationship of diffuseness, this is the main element to attract viewers, that the talk show looks like many people who discuss the social event, but it is just chatting.

透过对於电视文本的分析，以及对於个案访谈的分析中发现，该节目透过亲和力的展现而构筑出虚拟的扩散性关系，其中亲和力的展现，主要是透过语言和和谐的情境，此为吸引观看者的元素，也就是该节目所展现的只是如同日常生活中与亲朋好友聊天的情境，对於社会事件的谈论，也并真正提出了建立在学理上的分析，大多只是来宾、主持人陈述自己的心得与对於事件的揣测。

Life is easy when you're unchallenged: this is why people read the New York Times or watch Fox News… This is, in essence, what Cass Sunstein worries about in Republic.com - in a world where one can choose media that matches one's preconceptions and prejudices, what prevents us from choosing to live in an echo chamber of supportive voices?

没有挑战的生活是很轻松的：君不见那么多人都读《纽约时报》，看福克斯电视吗？这样的忧虑与卡斯·圣斯泰因发表于新共和网站上的言论如出一辙：在今日这个我们可以自由选择的时代，我们可以只关注那些与我们的观点立场吻合的媒体，问题是，有谁能够给我们一个提醒，让我们不致于自困于一个回音室？

Novelty most of the ads star from "Chunghwa Telecom portable code," the TV ads suddenly intensive exposure in the major channel of the moment,"Who is this beautiful girls "the whispering began as soon set off a wave of the epidemic spread Open to - it is 22-year-old Stefanie in the fluorescent screen on the first novel of the performances.

2000年最亮眼的广告新星从"中华电信随身码"的电视广告突然在各大频道密集曝光的那刹那，"这个漂亮女生是谁？"的耳语就开始像一种即将掀起的流行风潮漫延开来–那是22岁的孙燕姿在莹光幕上的第一次新奇的演出。

Thus it can be seen,knowledge dissemination in form innovation and change, however alsohas some concealed worries behind the success: Program selected topicrelatively narrow, the content novel, the academic star's appearance,knowledge fragmentariness, the program creates the personnel and thetelevision viewer lacks the very good interaction and thecommunication, these new questions all need to reconsider, and ispositive facing with the solution.

由此可见，知识传播在形式上的创新与改变，然而在成功背后也存在着一些隐忧：节目选题的相对狭窄，内容的小说化，学术明星的出现，知识的零碎性，节目创作人员和电视观众缺乏很好的互动和沟通，这些新问题都需要反思，并积极的面对和解决。

In this Globalist Bookshelf selection, she explores modern China from the unique perspective of an American expatriate.

Rachel DeWoskin来到中国的时候，这个国家正处在一个社会转型的关键时期，她必须在成为中国最受欢迎的电视明星的同时，适应这里的一切：文化上的冲突，语言障碍和官僚作风。她以一个美国移民的独特角度观察现代化的中国。

One might have second thoughts about the theorists' influence when one watches how the veterans of televised election campaigns fight each other for every single minute when it comes to displaying their limousine , their historic appearance before the guard of honor, their hairstyle on the platform, and above all their speech organs.

一个人可能会重新思考理论家们的影响，当他/她看到这样的场景：电视竞选的老手们每一分钟都在相互拼打竞争，他们展示自己的豪华轿车，他们在仪仗队面前历史性地抛头露面，展示他们在讲坛上的发型，最重要的是展示他们的演讲嗓音。

Aso made the remarks at a televised ceremony to pay respect to millions of Japan's war dead at the Nihon Budokan hall in Tokyo on the 64th anniversary of the end of World War II.

麻生太郎是在东京武道馆举行的纪念二战结束64周年，并向数以百万计的日本战死亡灵致意的一个电视转播的仪式上时作上述表示的。

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。