里夫斯

For instance, if the Knicks try to play Curry/Randolph with David Lee at SF (not sure if they're playing that combo much) then Yi could make a lot of sense with Bogut/Ruffin or Bogut/Gadz.

比方说，如果尼克斯用小前锋大卫-里来配合克里或兰多夫（不知道他们会不会这么组合），那么我们就可以用易建联配合博古特或鲁芬，或搭配博古特或加德祖里奇来应对。

The newsletter included columns from Tappan himself as well from Jeff Cooper, Al J. Venter, Bill Pier, Bruce D. Clayton, Rick Fines, Nancy Mack Tappan, J.B. Wood, Dr. Carl Kirsch, Charles Avery, Karl Hess, Eugene A. Barron, Janet Groene, Dean Ing, Bob Taylor, Reginald Bretnor, C.G. Cobb, and several other writers, some under pen names.

生存者通讯包括列塔潘本人以及由杰夫库珀，铝学者文特尔，比尔码头，布鲁斯D克莱顿，里克罚款，南希麦克塔潘，巴顿木材，博士卡尔基尔希查尔斯约翰逊，卡尔赫斯，尤金答：巴隆，珍妮特Groene ，院长英，鲍勃泰勒纳德迪马Bretnor ，协商小组柯布，和其他一些作家。

He played works of some of the German masters and then performed with great success his own compositions gathered into an expensive privately printed volume, The Pleasures of Childhood: Aria, Minuetto, Valse, and Marcia, Opus I, by Jean-Christophe Krafft.

他首先演奏了一些德国大师的作品，然后极其成功地演奏了他自己的作品，这些作品都收集在一本精装的私人刊印的卷册里，名为——约翰·克利斯朵夫·克拉夫脱作品第一号；童年遣兴：咏叹调、小步舞曲、圆舞曲和进行曲。

This dissertation attempts to map out African American dreams for personal fulfillment, for equal opportunity, for recognition in the society, and for a place to start all over again respectively in four major novels written by African American writers in the twentieth century: Their Eyes Were Watching God (1937) by Zora Neale Hurston, Native Son (1940) by Richard Wright, Invisible Man (1952) by Ralph Ellison, and Paradise (1998) by Toni Morrison.

本文以非洲裔美国作家于二十世纪创作的四部作品（佐拉·尼尔·赫斯顿于1937年发表的《他们眼望上苍》、里查德·赖特于1940年发表的《土生子》、拉尔夫·艾里森于1952年发表的《无形人》和托妮·莫里森于1998年发表的《乐园》）为对象，从文化研究的角度分别考察了非洲裔美国人追寻自我价值的实现、平等寻梦的机会、主流社会的认可和获得新生的机会等梦想。

I've been reading quite a few books lately about corporate leadership, from Thomas Neff and James Citrin's Lessons from the Top to Jeffrey Garten's The Mind of the CEO. It seems to me that today's prime-time leader needs a top-10 list that clearly lays out his or her priorities.

最近我读了很多有关企业领导艺术的书籍，从托马斯·内夫与詹姆斯·斯垂恩合著的《高层的教训》到杰弗里·加藤的《CEO的理念》。

You can argue Chandler/Stojakovic/West/Mo Pete against Andrau Gasnum/Odom/Fisher/Turiaf, but when you get into Farmar/Radman/Sasha/Walton against Pargo/J. Wright/Bobzi Welackson/Ryan Bowen/Rasual Butler, I think it's at least a wash.

你可以说钱德勒、斯托亚科维奇、韦斯特、皮特森四人比拜纳姆、奥多姆、费舍尔、图里亚夫四人强，但是当你在拿法码尔、拉的马诺维奇、萨沙、沃顿跟帕戈、J-怀特、威尔斯、莱恩-波文、拉修-巴特勒相比时，你就会明白了，所以我觉得在球队中角色所占的份量这一方面保罗占有。

Actually, the same day is the date of Shakespeare's birth and death, and is the birthday of authors such as William Faulkner, Maurice Druon, and Halldó Kiljan Laxness, so it is a fitting and proper choice for world reading day.

实际上，同一天也是莎士比亚出生和去世的纪念日，又是美国作家纳博科夫、法国作家莫里斯德鲁昂、冰岛诺贝尔文学奖得主拉克斯内斯等多位文学家的生日，所以这一天成为全球性图书日看来&名正言顺&。

In spring 1995, Danish directors Lars von Trier, Thomas Vinterberg, Soren Kragh Jacobsen and Kristina Levering issued DOGMA 95. DOGMA 95 presented an indisputable set of rules known as The Vow of Chastity for the production of the group. The rules were as following: 1. Shooting must be done on location. Props and sets must not be brought in. 2. The sound must never be produced apart from the images or vice versa.

1995年春，丹麦电影导演拉斯·冯提尔、托马斯·温德伯格、绍恩·克瑞夫杰克布森、克里斯蒂娜·勒沃瑞联合发表了一份称为&DOGMA95&的电影宣言——纯洁誓词，这份宣言规定了他们作为一个团体的拍片规则，其中包括，1：影片拍摄必须在实景现场完成。

Along with her husband, the publisher Leonard Woolf, whom she married in 1912, Woolf became one of the leading figures in the Bloomsbury Group of artists and writers.

随着她的丈夫，出版商雷奥纳德伍尔夫，她于1912年结婚，伍尔夫成为一家领先的数字布卢姆斯伯里集团的艺术家和作家。

The Voyage Out , Woolf's first novel, was published in 1915 , three years after her marriage to Leonard Woolf, a member of the Bloomsbury group.

在航程中，伍尔夫的第一部小说，发表在1915年， 3年后结婚雷奥纳德伍尔夫，一个成员布卢姆斯伯里集团。

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。