起绉的

It is neither the separation between the mail and femail, nor the district dividing line between day clothing and the evening wear.his special style,bardian hue and the cultural conflict and communication brought up the dandyism which made him thought the most affective fashion designer in the early 1980s.in 1975,he successfully held his first fashionable issue show,whose revolutionary design opinion made a great contribution to the Milan to become a new fad city.non-liner and stink design of frame and lines,not stickto formal or inforaml fig and the natural colors completely got rid of the popular hippie style in the 1960s.with simple contour and loose lines changed the traditional mail endure and cabined style ,its crape grain coat was the rage.three months later,because of the contract of man fashion ,woman fashion fetched to heel,which adopted traditional man suuff,showing the stongly neutral style.

不是男女性别的截然划分，不是日装和晚装的严密分界，阿玛尼特立的风格、个性的色彩和文化冲突与交流造就的时髦使他自80年代起就一直被认同是最影响力的时装设计师。1975年阿玛尼的第一次时装发布会获得成功，其革命性的设计理念也为米兰成为新的时尚之都做出了巨大贡献。没衬里和张扬结构线条的设计，不拘于正式与非正式的休闲衣着打扮，天然去雕饰的色彩，完全剔除了60年代盛行的嬉皮风格，以简单的轮廓、宽松的线条，改变了传统男性硬挺拘束的风格，绉纹风格的外套风靡一时。三个月后，男装的微缩女装版紧跟着推出，采用传统男装面料，显示出强烈的中性风格。阿玛尼因此成为继保罗·波烈和夏奈尔之后的又一位女性时尚设计的解放者。

The dainty slippers and stockings, the delicately frilled skirts and petticoats, the laces, ribbons, hair-combs, purses, all touched her with individual desire, and she felt keenly the fact that not any of these things were in the range of her purchase.

那些精美的舞鞋和长统袜，饰有漂亮绉边的裙子和衬裙，还有花边、缎带、梳子、钱包，这一切的一切都激起了她的种种欲望，但她痛苦地认识到这里没有一样东西是她买得起的。

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。