罗尔夫

Katrina Peng Dai "history's most ferocious female prisoners" Sang Van Ulf 'great ships' Bacchus Short 'big barrel' A Baluo Pizarro "king of bad governance," the Greek stay long detention center Seven armed even flat sea, sun, white beard pirates Aspen Group Captain Captain Second Fan.

卡特里娜戴彭"历史最凶恶的女犯人"桑凡乌尔夫'巨大战舰'巴克斯肖特'大酒桶'阿巴罗皮萨罗"恶政王"希留看守所长甚平七武海，太阳海贼团船长艾斯白胡子二番队长。

Backed by her quicksilver combo of bassist John Clayton, drummer Jeff Hamilton, and guitarist John Pisano, Krall's jazz heritage comes through loud and clear on this program of standards, ballads, and bossa novas.

背靠她的贝斯手水银组合约翰克莱顿，鼓手杰夫汉密尔顿和吉他手约翰皮萨诺的一些歌曲，克罗尔的爵士乐文物是通过这个响亮和明确的标准，民谣程序，博萨鲁巴。

The part of the 11-year-old Tom is played by Hero Fiennes Tiffin, who happens to be the nephew of Ralph Fiennes, the actor who portrays Lord Voldemort.

这部分中，11岁的汤姆是由希尔罗·费因斯·提芬饰演的，他是扮演伏地魔的演员拉尔夫·费因斯的侄子。

As for fashion shows, she has walked the catwalks for big-name designers such as Vera Wang, Christian Lacroix, Emanuel Ungaro, Giorgio Armani, Fendi, Ralph Lauren, Valentino, among others.

至於时装秀，她已经走在模特的大牌设计师，如维拉王，基督教拉克鲁瓦，伊曼纽尔温加罗，阿玛尼，芬迪，拉尔夫劳伦，华伦天奴等等。

Hler, Norbert Bischof and Doris Bischof-K?hler, three German psychologists. The Bischof-K?

hler、罗尔波特·比斯克赫夫与多李斯·比斯克赫夫·柯和勒–曾提出一个构想，他们说道，仅只有人类能够在经历过某些事情之后从精神意识上勾勒出未来将发生的事情以及他们自己的意想。

Upon their arrival, Hrothgar's thane Wulfgar judges the Geats worthy enough to speak with Hrothgar.

当他们一到，荷罗斯加的一位领主乌尔夫加断定这位耶阿特人配得上与荷罗斯加交谈。

After this story is told, Wealhtheow presents a necklace to Hrothgar while pleading with her brother-in-law Hrothulf to help her two young sons if they should ever need it.

故事说完，薇尔皙欧在恳求她的妹夫荷罗苏夫帮助她的两个年幼的儿子的时候，向荷罗斯加献上了一串项链。

That's what director Wes Anderson and animation director Mark Gustafson managed in this delightful version of the Roald Dahl children's classic about a dapper, larcenous fox who aims to pull off one last, impossible heist.

这就是导演韦斯安德森和动画导演马克古斯塔夫森在这个罗尔德达尔的经典儿童约dapper 中，盗贼福克斯（由乔治克鲁尼表示愉快的版本管理）的目标是谁拉过最后一个，不可能是海斯特。

Thanks to her performance, we put up with the expected Grand National of monsterdom – centaurs, bat-winged horses, Ralph Fiennes gurning as gargoyle-faced Voldemort – and accept the alarming cubits added by age to Daniel Radcliffe's Harry, Emma Watson's Hermione and Rupert Grint's Ron.

多亏她的表演，我们才容忍了意料中的&全国怪物大赛&——人首马身的怪物、长着蝙蝠翅膀的马、拉尔夫·费因斯扮演的怪兽脸的伏地魔等；也接受了各位主角那令人担忧的岁月痕迹，包括丹尼尔·雷德克利弗扮演的哈利、艾玛沃森特扮演的赫敏以及鲁伯特·格林特扮演的罗恩。

Therefore, reviewing theory base on nationality ideas of Kodaly Zoltan, Karl orff and Emile Jaques-Dalcroze these three music education systems as a cut-in point, firstly use psychology, sociology and philosophy as basic theory to process macrocosmic comparative argumentation to three system music education ideas, then process microcosmic theoretic logic discursion to a few basic fields which influence sight singing and ear training course teaching aim, teaching content, teaching implementation and teaching valuation to confirm most correlative and effective information sources of teaching practice based on nation musicality of sight singing and ear training; once more describe actuality of teaching practice based on nation musicality of sight singing and ear training in our country and demonstrate these basic subjects (psychology, sociology and philosophy) with sight singing and ear training teaching relations and actual meanings of music teaching to further propose development direction and actual problems faced with teaching practice based on nation musicality of sight singing and era training in our country.

由于音乐学科教育学研究与哲学、美学、社会学、心理学、教育学、物理学、历史学、民族学等多种学科有着密切的联系和交叉，因此，从考察柯达伊、奥尔夫、达尔克罗兹(Emile Jaques-Dalcroze)三个音乐教育体系民族性理念的理论基础作为切入点，首先从宏观上对三个体系的音乐教育理念进行以心理学、社会学和哲学为基础理论的比较论证；继而从微观上对影响以视唱练耳课民族性教学的目标、教学内容、教学实施、教学评价的一些基本领域进行理论上的逻辑推理，确定与视唱练耳民族音感教学实践最相关的和最有效的信息来源；再对我国视唱练耳民族音感教学实践现状进行描述，论证这些基础学科与视唱练耳教学的种种关系及对音乐教学的实际含义，进一步提出我国视唱练耳民族音感教学实践所面临的具体问题和发展方向。

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。