阅读的

Her father attempted to protect her from reading books that might "joggle" her mind, particularly her religious faith, but Dickinson's individualistic instincts and irreverent sensibilities created conflicts that did not allow her to fall insto step with the conventional piety, domesticity, and social duty prescribed by her father and the orthodox Congregationalism of Amherst.

她的父亲试图保护她从阅读的书籍可能会"啮合"她的心目中，尤其是她的宗教信仰，但狄金森的个人主义的本能和irreverent感性创造的冲突并没有让她属于insto步骤，与传统的孝道，家务，和社会的责任由她的父亲和东正教公理的阿姆赫斯特。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xu's works, spur his works to enter audience's habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artist's conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesn't stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xus works, spur his works to enter audiences habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artists conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesnt stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

Lin Huaimin grew up from the poetries which his great-grandfather preferred to reading, impressionistic paintings, Dream of Red Mansion and Farewell to Cambridge by Xu Zhimo, records of Beethoven and Mozart, as well as the Japanese books his father read. At his fourteen years old, he saw for the first time the performance by American modern dance group Jose Limon—it was one part of American cultural export during the period of Cold War......Adolescent enthusiasm, impetuousness and creativity to be released in the form of literature pursuing and novel writing finally was the easiest and most popular choice at that times.

林怀民是在曾祖父喜悦阅读的诗书，印象派的画作、《红楼梦》与徐志摩的《再别康桥》、贝多芬与莫扎特的唱片，还有他父亲读过的日本书籍中成长起来的，十四岁那年，他还第一次看到了美国现代舞蹈团Jose Limon的演出——它是冷战时代，美国文化输出的一部分……青春的热忱、躁动与创造力，最终以文艺追求和小说写作释放出来，这是那个时代最容易和普遍的选择。

Regard pursueing "Spiel" of freedom as the starting point, adopt the tactics jeered at, talked in professional jargon, through is it construct to conciliate to traditional subversion of literature, revolt tradition and classics. Embody in theindividual free psychology by "there is no regular following one"s benting and write the experience of life at first, come from compatibly the writing in the form of pluralism.

通过欲望化的本色表达和关注日常生活体验来解构深度，单向度平面地展示&当下&生活；用&戏仿&和&拼贴&的游戏性文本策略制造喜剧性的反讽效果和零碎意象的堆积，拨开严肃的、神圣的缪糕糕意义，让人看到生活最本真的状态；开放互动性的结构打破了作者中心，将读者吸引到创作中来，个人自由叙事得到一个最广阔的相容空间，并由此产生新的文本—&超文本&，为读者提供了一种阅读的自由和精神的自由。

Beyonce knowles唱的啊 You need to stop playing round with all them clowns and the wangstas Good girls gotta get down with the gangstas Go head girl put some back and some neck up on it While I stand up in the background and check up on it Ooh Boy you looking like you what you see Won't you come over check up on it,(I'm gonna let you work up on it) Ladies let em check up on it,(watch it while he check up on it) Dip it, pop it, twirk it, stop it, check on me tonight If you got it, flaunt it, boy I know you want it While I turn around you watch me check up on it Oohhh you watchin me shake it, I see it in ya face 'n' Ya can't take it, it's blazin, you watch me in amazement You can look at it, as long as you don't grab it If you don't go braggin, I'm a let you have it You think that I am teasin, but I ain't got no reason I'm sure that I can please ya, but first I gotta read ya Ooh Boy you looking like you like what you see Won't you come over check up on it (I'm gonna let you work up on it) Ladies let em check up on it (watch it while he check up on it) Dip it, pop it, twirk it, stop it, check on me tonight (x2) I can tell you wanna taste it, but I'm gone make you chase it Got to be patient, I like my men patient More patience, you take might get you in more places You can't be abrasive, has to know to pace it If I let you get up on it, you gotta make a promise That you gon put it on me, like no ones put it on me Don't bore me, just show me, all men talk but don't please I can be a tease, but I really wanna please you Ooh Boy you lookin like you like what you see Won't you come over check up on it,(I'm gonna let you work up on it) Ladies let em check up on it,(watch it while he check up on it) Dip it, pop it, twirk it, stop it, check on me tonight (x2) I'm checking on you boo, do what chu do And while dance I'ma glance at this beautiful view I'm keep my hands in my pants, I need to glue em w/ glue I'm in a trance all eyes on you and your crew Me and my mans don't dance, but to feel ya'll bump and grind If won't hurt if you gone try one time They all hot, but let me see this ones mine Its slim thug and DC outta H town Ohh Boy you looking like you like what you see Won't you come over check up on it,(I'm gonna let you work up on it) Ladies let em check up on it,(watch it while he check up on it) Dip it, pop it, twirk it, stop it, check on me tonight x4

slimthug，你必须停止玩回合与所有这些小丑与wangstas好女孩gottagetdown 随着gangstas走头女孩把一些背部和颈部一些比它在我站起背景及检查它oohboy你看你喜欢什么，你会看到你不来对清理出来，(我gonna让你工作起来就)让各位em察看着它，沾，流行资讯，twirk它，阻止它， checkonme今晚如果你有它，炫耀它，男孩我知道你要它当我转身，你看我检查它oohhh你watchin 我摇，我看它在亚面子'n'ya不能把它，它的blazin，你看我一无所有你可以看看，只要你不抓这个问题，如果你不去braggin，我是一个让你如果你觉得我teasin，但我是不会有任何理由，我相信我能请娅但是，我首先gotta阅读娅ooh男孩找你喜欢你喜欢你见到不会你来超过清理它(我gonna让你工作起来就)让各位em检查它沾，流行资讯，twirk它，阻止它， checkonmetonight(x2)，我可以告诉你想品尝，但我已离开人世，使你追逐它必须有耐心，我喜欢我的男病人更耐心，你也许可以得到你的地方越来越多，你不能磨料已经知道它的速度，如果我让你起床，那 yougotta做出承诺，你gonputitonme，不一样的说得对我并不负有我，只告诉我，所有男人说话，但不讨人喜欢，我可以戏耍，但是我真的想请你oohboylookin你喜欢你喜欢你见到不会你来对清理出来，(我gonna让你工作起来就)让各位em察看着它，沾，流行资讯，twirk它，阻止它， checkonmetonight(x2)我查你boo，做什么不楚而舞i'ma一眼这个美丽的看法，我把我的手在我的裤子，我需要胶水emw/胶水我在发呆都看你和你的船员和我我mans不跳舞，但感觉ya'll碰及研磨如果不会伤害如果你去尝试一次他们都热，但让我看到这样的矿井其slimthug直流outtah镇ohhboy你看喜欢你喜欢你见到不会你来清理，那(我gonna让你工作起来就)让各位em察看着它，沾，流行资讯，twirk它，阻止它， checkonme今晚x4

Her father attempted to protect her from reading books that might "joggle" her mind, particularly her religious faith, but Dickinson's individualistic instincts and irreverent sensibilities created conflicts that did not allow her to fall insto step with the conventional piety, domesticity, and social duty prescribed by her father and the orthodox Congregationalism of Amherst.

她的父亲试图保护她从阅读的书籍可能会&啮合&她的心目中，尤其是她的宗教信仰，但狄金森的个人主义的本能和irreverent感性创造的冲突并没有让她属于insto步骤，与传统的孝道，家务，和社会的责任由她的父亲和东正教公理的阿姆赫斯特。

Britain is turning into a nation of "tabloid spellers"—spelling Jane Austen is a far bigger challenge for children than getting David Beckham's name right. A survey carried out by Oxford University Press in research for a new dictionary showed that only 32 percent of school-age children could spell Shakespeare correctly. Only eight percent managed Jane Austen—variations such as Jayne and Jade proved especially popular. But JK Rowling did at least win top marks for teaching the children of the world the joy of reading with her Harry Potter sagas. The young magician's school—Hogwarts—was spelt correctly by 85 percent of the kids polled. Vineeta Gupta, senior editor of Oxford's Children's Dictionaries, said:"We were surprised at how many children managed to spell even quite difficult words correctly if they had a connection with popular culture that caught their imagination." Nearly 15 percent, for example, could spell metatarsal, a word almost unheard of before David Beckham's pre-World Cup fitness problems.

英国正在变成一苏州唯亭镇总体规划个&小报拼写者&的国度——对英国的孩子来说，简·奥斯汀的名字要比大卫·贝克汉姆难拼写得多牛津大学出版社为编纂新词典进行了一项调查，发现只有32%的学龄儿童能正确拼写&莎士比亚&能拼对&简·奥斯捅的人更是只有8%——事实证明把Jane 错拼成Jayne或Jade 的人尤其多起码在让世上的孩子了解阅读的乐趣这方面，罗琳和她的哈里·波特系列传奇做得非常不错接受调查的孩子中有85%拼对了少年魔法师的学校名称——&霍格维茨&牛津出版社负责编纂儿童词典的高级编辑维尼塔·古普塔说：&我们很吃惊，有那么多孩子能正确拼写一些甚至相当难的单词，只要这些词与左右他们想象的流行文化有关举例来说

What colours are they?Six monkeys are sitting in a tree. They have hats on their heads. Two hats are yellow. Two hats are red. One hat is blue and one hat is green. The first monkey is fat. The second monkey is thin. They have the same colour hats. The third monkey is black. His hat is not blue .The fourth monkey has a red hat. He is small.

单词的接触和学习如今已不同于以往，学生们在朗读的时候，在阅读的时候，在听力的时候已接触了无数次，或许他们早已有了药学会写的意愿，即使没有，多次的接触也会觉得无比熟悉，因此但此时综合起来学习的，有必备词汇到常用词汇再到冲刺词汇，把1——32课和33——64课所有单词个分成五组，同学们进行单词闯关，由小组长和老师共同监督和检查。

Tango continues the exploration of, what I labeled in Tango , the cryptozoic life, a strategy for living alongside but not part of what is thought of as progress and contemporary society.

金凯的故事相信打动了读者的心。《高原上的探戈》延续了写作和阅读的历险，在这里我讲述了荒僻之地的生息故事，那种徘徊在&主流&边缘却与发展进步及当代社会这些所谓的&主流&毫不相关的生活。

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。