第四十一

Offiziums "Lamentabili" vom 3 Juli, 1907 (1908); BROWNSON, Conversations on Liberalism and the Church (New York, 1869), reprinted in his Works, VII (Detroit, 1883-87), 305; MING, Data of Modern Ethics Examined (New York, 1897), x, xi; MANNING, Liberty of the Press in Essays, third series (London, 1892); BALMES, European Civilization (London, 1855), xxxiv, xxxv, lxvii; IDEM, Letters to a Sceptic tr.

offiziums " lamentabili " vom 3朱莉， 1907年（ 1908年）； brownson ，会话对自由主义和教会（纽约， 1869 ），重印在他的作品，第七章（底特律， 1883年至1887年）， 305 ；明，数据的现代伦理研究（纽约， 1897年），十，十一；人手，自由的新闻界在散文，第三次系列（伦敦， 1892 ）； balmes ，欧洲文明（伦敦， 1855年），第三十四，三十五， lxvii ；同上，写信给一sceptic

In 1990, as the Eleventh Asian Games host city of water sports, the opening and closing ceremonies of the large scale theatrical performances Qunyi Guan offers a comprehensive showcase for the stage, followed by the Seventh National Gameskai mu shi yan chu , the World B Class Cycling Championships opening ceremony of cultural performances, a nationwide "advocating science, doing away with superstition, clear the cult of" cartoon exhibition, the city's Ying-Qing Shi Liutai and the Sino-Japanese War and the World Anti-Fascist War to commemorate the 60th anniversary of the million people singing the General Assembly to commemorate the 110th anniversary of Mao Zedong's Square performance, Hebei Province, Qinhuangdao City, the Eleventh Asian Games and Asian Games opening ceremony of the fourth large-scale cultural and sports show,"Twenty-first Century International Chinese Music Festival"kai mu shi yan chu activities have been amply demonstrated the strength of large-scale events Qunyi Guan.

每年策划、组织、承办国家、省、市大中型群众文化活动几十项，有些活动在国内外产生了重大影响。50年代业余剧团的普及；60年代"南属上海，北属秦皇岛"的故事活动；70年代综合性的文艺汇演、调演；80年代的群众歌咏活动等都曾为群艺馆的历史写下光辉的一页。1990年，作为第十一届亚洲运动会水上运动项目的承办城市，开幕式、闭幕式的大型文艺表演为群艺馆提供了全面展示的舞台，接下来全国第七届运动会开幕式演出、世界B级自行车锦标赛开幕式文艺表演、全国"崇尚科学、破除迷信、清除邪教"漫画展览、全市迎庆十六大和纪念抗日战争暨世界反法西斯战争胜利60周年万人歌咏大会、纪念毛泽东诞辰110周年广场演出、河北省第十一届运动会和秦皇岛市第四届运动会开幕式大型文体表演、"二十一世纪国际华乐节"开幕式演出等活动都充分显示了群艺馆举办大型活动的实力。

I-xxi; Kuenen, Konig, Reuss, Renan, Westphal ascribe to DN, iv, 45-9, and v-xxvi; a third class of critics reduce D1 to xii, 1-xxvi, 19, allowing it a double edition: according to Wellhausen, the first edition contained i, 1-iv, 44; xii-xxvi; xxvii, while the second comprised iv, 45-xi, 39; xii-xxvi; xxviii-xxx; both editions were combined by the redactor who inserted Deuteronomy into the Hexateuch.

一至二十一； Kuenen ，柯尼格， Reuss ，雷南维，韦斯特法赋予的DN ，四， 45-9 ，和V - 26 ；第三类批评减少D1至十二， 1 - 26 ， 19 ，允许其双重版本：据威尔浩，第一版载一， 1至四， 44 ； 12 - 26 ；二十七，而第二个组成四， 45喜， 39岁； 12 - 26 ；二十八，三十；两种版本合并的redactor谁申命记插入到

During the 19th and 20th centuries there were huge achievements on philosophy literature art and music; a variety of activities were also booming at that time Richard Strauss(1864-1949) born at that era when the social phenomena influenced his music learning process combined the classical and romantic music styles and further developed his unique composing style There were 5 chapters in the dissertation The research motivation purposes methodology and the literature review were included in Chapter One Chapter 2 focused on understanding how the history background and personal attitude influenced Richard Strauss' composing style Through the study of the romantic musicians like Franz Schubert1797-1828 Robert Schumann(1810-1856 Johannes Brahms(1833-1897) Hugo Wolf(1860-1903) Gustav Mahler(1860-1911) and etc I attempted to get a complete picture of musical evolution in Chapter 3 In addition Richard's classic compositions were categorized and organized in order to gain a deep understanding of his music From the study and the analysis of Strauss'"Vier letzte Lieder" the features styles the format and the life of the two poets Hermann Hesse1877-1962）and Joseph von Eichendorff(1788-1857 were explored and the relationship between the music of this composition and the poetry were also discussed Chapter 5 summarized the main arguments to give a short account of Strauss' lifetime rich experiences and thinking in his eighties

横跨十九、二十世纪的理察·史特劳斯（Richard Strauss，1864-1949）正是欧洲人文发展空前灿烂的年代，无论在哲学思想、文学、美术以及音乐方面，都有辉煌的成就。在他音乐学习历程中，结合了古典时期及浪漫时期两种音乐风格，发展出独特的作曲风格。本论文分成五章：第一章绪论包括研究动机、研究目的、研究方法及步骤以及文献探讨；第二章则从对理查史特劳斯生平的详实记载中，了解他创作作品的时代背景和心情；第三章则就浪漫时期艺术歌曲作家舒伯特（Franz Schubert1797-1828）、舒曼（Robert Schumann1810-1856）、布拉姆斯（Johannes Brahms1833-1897）、沃尔夫（Hugo Wolf1860-1903）及马勒（Gustav Mahler1860-1911）等，以诗人、旋律、伴奏型态及曲式和声，稍加整理并说明，以便了解艺术歌曲在此时期之演变过程。并将理查史特劳斯艺术歌曲作品分类统整，藉此对他的艺术歌曲能有更深一步的了解。第四章《四首最后的歌》之音乐探究与分析，则探讨此部作品诗人赫塞（Hermann Hesse 1877 - 1962）及艾辛朵夫（Joseph von Eichendorff﹐1788-1857）的生平和作品特色，以及诗的结构与格式，和此部作品音乐与诗的关系。第五章结语说明史特劳斯一生丰富经历与晚年想法，创作出一组宁静感人又深刻的终曲。

The first one and the eleventh one are concentrate to the tensibility of finger, the second one is famous of it"s fingering technique which is the typical fingering of Chopin, the third and six one are experience the layer of mufti voice parts, the fourth one is keenness which carries on by its speed and music the alone difficulty , the fifth one is the"black keyetude , harmonic innovate are visibly reflected at the seventh, the tenth and the eleventh one, humorousness is performance in the bass field in the eighth one, the ninth and the twelfth one are training stretching and running technique of left hand.

第一首与第十一首是针对手指的伸张技术；第二首是赋予了肖邦典型技术特征的指法；第三首与第六首是多声部织体的演奏；第四首是以其速度和音乐进行的尖锐性而独具难度；第五首是"黑键"练习曲；和声的创新手法在第七、第十以及第十一首里都有明显地体现；第八首最大的特点在于它用左手在低音区表现出谐谑式的旋律；第九首与第十二首在单纯手指技术上是分别训练左手的伸张及快速均匀的跑动。

He had sold the last of his furniture, then all duplicates of his bedding,his clothing and his blankets, then his herbariums and prints; but he still retained his most precious books, many of which were of the greatest rarity, among others, Les Quadrins Historiques de la Bible, edition of 1560; La Concordance des Bibles, by Pierre de Besse; Les Marguerites de la Marguerite, of Jean de La Haye, with a dedication to the Queen of Navarre; the book de la Charge et Dignite de l'Ambassadeur, by the Sieur de Villiers Hotman; a Florilegium Rabbinicum of 1644; a Tibullus of 1567, with this magnificent inscription: Venetiis,in aedibus Manutianis; and lastly, a Diogenes Laertius, printed at Lyons in 1644, which contained the famous variant of the manuscript 411, thirteenth century, of the Vatican, and those of the two manuscripts of Venice, 393 and 394, consulted with such fruitful results by Henri Estienne, and all the passages in Doric dialect which are only found in the celebrated manuscript of the twelfth century belonging to the Naples Library.

他把最后的几件木器也卖了，随后，凡属多余的铺盖、衣服、毛毯等物，以及植物标本和木刻图版，也全卖了；但是他还有些极珍贵的藏书，其中有些极为稀有的版本，如一五六○年出版的《历史上的圣经四行诗》，皮埃尔·德·贝斯写的《圣经编年史》，让·德·拉埃写的《漂亮的玛格丽特》，书中印有献给纳瓦尔王后的题词，贵人维里埃－荷特曼写的《使臣的职守和尊严》，一本一六四四年的《拉宾尼诗话》，一本一五六七年迪布尔的作品，上面印有这一卓越的题铭：&威尼斯，于曼奴香府&，还有一本一六四四年里昂印的第欧根尼·拉尔修①的作品，在这版本里，有十三世纪梵蒂冈第四一一号手抄本的著名异文以及威尼斯第三九三号和三九四号两种手抄本的著名异文，这些都是经亨利·埃斯蒂安②校阅并取得巨大成绩的，书中并有多利安方言的所有章节，这是只有那不勒斯图书馆十二世纪的驰名手抄本里才有的。

He had sold the last of his furniture, then all duplicates of his bedding,his clothing his blankets, then his herbariums prints; 8ttt8.com he still retained his most precious books, many of which were of the greatest rarity, among others, Les Quadrins Historiques de la Bible, edition of 1560; La Concordance des Bibles, by Pierre de Besse; Les Marguerites de la Marguerite, of Jean de La Haye, with a dedication to the Queen of Navarre; the book de la Charge et Dignite de l'Ambassadeur, by the Sieur de Villiers Hotman; a Florilegium Rabbinicum of 1644; a Tibullus of 1567, with this magnificent inscription: Venetiis,in aedibus Manutianis; lastly, a Diogenes Laertius, printed at Lyons in 1644, which contained the famous variant of the manuscript 411, thirteenth century, of the Vatican, those of the two manuscripts of Venice, 393 394, consulted with such fruitful results by Henri Estienne, all the passages in Doric dialect which are ssbbww.com found in the celebrated manuscript of the twelfth century belonging to the Naples Library.

他把最后的几件木器也卖了，随后，凡属多余的铺盖、衣服、毛毯等物，以及植物标本和木刻图版，也全卖了；但是 dddTt 他还有些极珍贵的藏书，其中有些极为稀有的版本，如一五六○年出版的《历史上的圣经四行诗》，皮埃尔·德·贝斯写的《圣经编年史》，让·德·拉埃写的《漂亮的玛格丽特》，书中印有献给纳瓦尔王后的题词，贵人维里埃－荷特曼写的《使臣的职守和尊严》，一本一六四四年的《拉宾尼诗话》，一本一五六七年迪布尔的作品，上面印有这一卓越的题铭：&威尼斯，于曼奴香府&，还有一本一六四四年里昂印的第欧根尼·拉尔修①的作品，在这版本里，有十三世纪梵蒂冈第四一一号手抄本的著名异文以及威尼斯第三九三号和三九四号两种手抄本的著名异文，这些都是经亨利·埃斯蒂安②校阅并取得巨大成绩的，书中并有多利安方言的所有8 tt t8.com 章节，这是只有那不勒斯图书馆十二世纪的驰名手抄本里才有的。

The first one and the eleventh one are concentrate to the tensibility of finger, the second one is famous of it"s fingering technique which is the typical fingering of Chopin, the third and six one are experience the layer of mufti voice parts, the fourth one is keenness which carries on by its speed and music the alone difficulty , the fifth one is the"black keyetude , harmonic innovate are visibly reflected at the seventh, the tenth and the eleventh one, humorousness is performance in the bass field in the eighth one, the ninth and the twelfth one are training stretching and running technique of left hand.

第一首与第十一首是针对手指的伸张技术；第二首是赋予了肖邦典型技术特征的指法；第三首与第六首是多声部织体的演奏；第四首是以其速度和音乐进行的尖锐性而独具难度；第五首是&黑键&练习曲；和声的创新手法在第七、第十以及第十一首里都有明显地体现；第八首最大的特点在于它用左手在低音区表现出谐谑式的旋律；第九首与第十二首在单纯手指技术上是分别训练左手的伸张及快速均匀的跑动。

The Seventh Book Of Moses (61 pages) The seventh book includes twelve tables: The First Table of the Spirits of the Air; The Second Table of the Spirits of Fire; The Third Table of the Spirits of Water; The Fourth Table of the Spirits of the Earth; The Fifth Table of Saturn; The Sixth Table of Jupiter; The Seventh Table of Mars; The Eighth Table of the Sun; The Ninth Table of Venus; The Tenth Table of Mercury; The Eleventh Table of the Spirits; The Twelfth Table of the Schemhamforasch, including uses of seals and commanding spirits.

第七届图书摩西(61页)第七该书还收录十二表：第一表神的空气；第二个表的灵火；第三表的灵水；第四表神的地球；第五表土星；第六表木星；第七表火星；第八表的太阳；第九表维纳斯；第十表汞；第十一表的白酒；第十二表的schemhamforasch，包括使用的印章和指挥灵。

Article 37 The initiators shall conform to the provisions in Article 9 and Articles 11 through 16 of the present measures.

第三十七条发起人应当符合本办法第九条、第十一条、第十二条、第十三条、第十四条、第十五条和第十六条的规定。

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。