诗人的

Whose oldage thought shows solicitude for modernist"s living environment especially, correct thedanger having expounded this technology frame in the modern science and technologycriticizing and their possibility saving, the existence more, and being going again tocome to elucidate magical going the history boundary that the poem boundary andmodern technology by the fact that Headline waits for a poet to establish structure bringabout comments on import, how the great effect, and person having expounded poetand their poetry and song should "wait for this magical or pure existence survival powerstate.

其晚年的思想更加关注现代人的生存环境，对现代科学技术的批判中阐释了这种技术框架的危险及其拯救的可能性，更通过荷尔德林等诗人创构的诗境和现代技术造成的史境来阐发神的离去和再临的存在论含义，阐释了诗人及其诗歌的伟大作用，以及人应如何"等待"这个神或纯存在的生存势态。

Kauffmann survives, but many of the others are now obscure outside academia: Elizabeth Montagu, a critic—"Queen of the Blues", as Dr Johnson dubbed her—whose portrait by Allan Ramsay shows her looking faintly amused in a froth of lace and pink silk, leaning on a volume by David Hume, the Scottish philosopher and historian; or Anna Seward, a poet who is portrayed turning a page in her Milton—plainly waiting to get back to it; or Elizabeth Carter, poet, classicist, rival of Alexander Pope and translator of Epictetus, helmeted as Minerva, the goddess of wisdom, and carrying a volume of Plato.

经过历史的涤荡，考芙曼的声誉不减当年。而其他的女学者除了在学术界尚有影响以外，已逐渐变得鲜为人知。比如批评家伊丽莎白·蒙塔古。他被约翰森博士称为。在Allan Ramsay为她所做的肖像画上，她身着镶有泡状蕾丝的粉色丝质衣衫，斜斜地倚在由苏格兰哲学家和历史家大卫·修所著的书册上，散发出了令人晕眩的美。再比如诗人安娜·西沃德。在画家笔下，她正在翻动手头的弥尔顿诗篇，很明显，她盼着继续阅读。又比如伊丽莎白·卡特。她既是位诗人，又是古典派作家，与亚历山大·蒲柏齐名，她翻译了的作品。在画中，她扮成智慧女神米诺娃的样子，手执柏拉图的书卷。

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。

Danto: Yes, I do think that's important, that when you pick it up and you start reading it you think you're reading about an adult Spanish nobleman in La Mancha etc., and all his hallucinations and fantasies and so forth, and somebody says,'Oh no, this was written by a 19th century Frenchman, a poet, a symbolist poet, and it's really about language, it's not about Spain at all', you'd say,'But I would never have known that', and I'd say,'Well, no, but if you look on the copyright page, you'll see that it's copyrighted 1897'- and so forth, and you'd have to give it a very different interpretation.

丹图：是的，我不认为那是重要的，当你把那本书拿起来开始读的时候，你以为你在读关于一位成年的西班牙拉曼查那地方的绅士的故事等等，以及他的那些走火入魔和异想天开等等，有人就说，"啊不，这是19世纪的一个法国人写的，是个诗人，象征主义诗人，它其实是关于语言的，完全和西班牙不沾边"，你说，"但是，我本来不会知道这个的呀，"我将说，"嗯，你不知道，但是如果你看看版权页，你会看到那是1897年的版权"——如此等等，那你就得对它做一种非常不同的解释了。

Chapter One presents the western yearning and the imagination of China, the motivation of Portuguese navigation as well as the formation of the Portuguese social psychology; these were the elements that construct the differences in the shaping of the Chinese image. Chapter Two outlines the images of China for the Portuguese in the 16th century and how these images were used or manipulated. Chapter Three identifies the reasons for Fernao Mendes Pintos excessive praise for China. Chapter Four discusses the attitude held towards China by poets and missionaries, and the European misinterpretations of the Chinese image. Chapter Five reviews the Chinese image portrayed by Eca de Queiroz, a Portuguese novelist, and the translations of Chinese poems by certain poets. Chapter Six investigates how poets, especially those who had once stayed in Macao, viewed and perceived China.

第一章概述西方对中国的向往和想象、葡萄牙海外扩张的动机以及民族心理的构成，这决定了他们在塑造中国形象时的某些相异性；第二章论述16世纪葡萄牙人眼中的中国形象，以及对这一形象的利用；第三章集中讨论费尔南·门德斯·平托狂想式赞颂中国的原因；第四章评述诗人和教士对中国的态度以及欧洲对中国形象的&误读&；第五章论及小说家埃萨(Eca de Queiróz)笔下的中国形象以及一些诗人对中国诗歌的翻译；最后一章聚焦澳门，考察在澳门生活过的葡萄牙作家是如何描述中国的。

Cinderella The prince leans to the girl in scarlet heels, Her green eyes slant, hair flaring in a fan Of silver as the rondo slows; now reels Begin on tilted violins to span The whole revolving tall glass palace hall Where guests slide gliding into light like wine; Rose candles flicker on the lilac wall Reflecting in a million flagons' shine, And glided couples all in whirling trance Follow holiday revel begun long since, Until near twelve the strange girl all at once Guilt-stricken halts, pales, clings to the prince As amid the hectic music and cocktail talk She hears the caustic ticking of the clock.

她的诗歌选集曾因&改变当代诗歌创作方向&而获得普利策诗歌奖；她和英国桂冠诗人特德·休斯的恋情与婚变成为英美文坛的一桩著名公案；女权主义者、忧郁症患者、迷乱而热烈的诗人、因悲伤而自杀的女人……这些身份，纠缠着她短暂的一生……普拉斯：&活得精彩又乱糟糟的女人&--袁楠----------------------------------------------灰姑娘那王子倾身向穿鲜红色高跟鞋的姑娘，她碧绿的双目斜视，随着回旋曲缓缓播放那扇形的银发飘逸闪烁波光现在舞曲以翘起的小提琴开始持续悠扬那整体旋转的高大玻璃殿堂宾客如酒悄悄滑进灯光；玫瑰蜡烛摇曳在紫丁香墙上映射着百万葡萄酒瓶的光亮，而滑移的舞伴们都昏旋迷转领会假日开始的长长的陶醉，临近午夜十二点那奇怪的姑娘突然象被击而止，紧握王子，面色苍白仿佛负罪在忙乱的音乐和鸡尾酒交谈中她听到敲响了尖利刺耳的钟。

They thought symbolism is a deep existence, art is a methode. The human being can get rid of the vulgar in common life and access the other world in religion with symbolistic feeling way and symbolistic living way, in this way Russian symbolism reflects that human being conquers the objectivity as the subjectivity and he exceeds his spirit.As a symbolistic poet representing the characteristic greatness of his own nationality, the biggest difference between Blok"s works and other symbolists" consists in that he always and totally realized the tendency of sublimity in his symbolistic system, and developed the symbolistic degree in the fields of subjectivity and objectivity and the relationship between them.

认为象征是一种更深层的存在状态，艺术是手段，人只有以象征主义的感知方式和生活方式才能摆脱日常生活的庸俗而走向宗教化的彼岸世界，因此俄国象征主义反映了人作为主体对客体世界的征服和自我精神的超拔和更新勃洛克作为一位体现着本民族特色的伟大的象征派诗人，其创作与其他象征主义诗人最大的差别就在于在他的象征主义体系中始终而完满地实现了崇高的美学倾向，并且在主客体及二者的关系三个方面发展了崇高的象征主义维度。

Whose oldage thought shows solicitude for modernist"s living environment especially, correct thedanger having expounded this technology frame in the modern science and technologycriticizing and their possibility saving, the existence more, and being going again tocome to elucidate magical going the history boundary that the poem boundary andmodern technology by the fact that Headline waits for a poet to establish structure bringabout comments on import, how the great effect, and person having expounded poetand their poetry and song should "wait for this magical or pure existence survival powerstate.

其晚年的思想更加关注现代人的生存环境，对现代科学技术的批判中阐释了这种技术框架的危险及其拯救的可能性，更通过荷尔德林等诗人创构的诗境和现代技术造成的史境来阐发神的离去和再临的存在论含义，阐释了诗人及其诗歌的伟大作用，以及人应如何&等待&这个神或纯存在的生存势态。

Things take a turn for the better when the newly widowed poet travels to Egypt and beyond in search of her lost daughter, Cleis, and her exiled lover, the poet Alcaeus (whose poetry survives, like Sappho's, in fragments recorded by ancient scholars or scrawled on scraps of papyrus).

这本书一直到了新近守寡的诗人为了寻求失散的女儿克雷斯，和流亡在外的情人诗人阿尔凯奥斯（他的诗像萨福的一样，只在古代学者的记录和莎草纸的碎片里留传下一些片段。

Danto: Yes, I do think that's important, that when you pick it up and you start reading it you think you're reading about an adult Spanish nobleman in La Mancha etc., and all his hallucinations and fantasies and so forth, and somebody says,'Oh no, this was written by a 19th century Frenchman, a poet, a symbolist poet, and it's really about language, it's not about Spain at all', you'd say,'But I would never have known that', and I'd say,'Well, no, but if you look on the copyright page, you'll see that it's copyrighted 1897'- and so forth, and you'd have to give it a very different interpretation.

丹图：是的，我不认为那是重要的，当你把那本书拿起来开始读的时候，你以为你在读关于一位成年的西班牙拉曼查那地方的绅士的故事等等，以及他的那些走火入魔和异想天开等等，有人就说，&啊不，这是19世纪的一个法国人写的，是个诗人，象征主义诗人，它其实是关于语言的，完全和西班牙不沾边&，你说，&但是，我本来不会知道这个的呀，&我将说，&嗯，你不知道，但是如果你看看版权页，你会看到那是1897年的版权&——如此等等，那你就得对它做一种非常不同的解释了。

However, as the name（read－only memory）implies, CD disks cannot be written onorchanged in any way.

然而，正如其名字所指出的那样，CD盘不能写，也不能用任何方式改变其内容。

Galvanizes steel pallet is mainly export which suits standard packing of European Union, the North America. galvanizes steel pallet is suitable to heavy rack. Pallet surface can design plate type, corrugated and the gap form, satisfies the different requirements.

镀锌钢托盘多用于出口，替代木托盘，免薰蒸，符合欧盟、北美各国对出口货物包装材料的法令要求；喷涂钢托盘适用于重载上货架之用，托盘表面根据需要制作成平板状、波纹状及间隔形式，满足不同的使用要求。