阿飞

He spurned my suggestion that he shouldn't go and see the brawl of the hoodlums.

他冷然地拒绝了我提的不要去看阿飞们吵架的建议。

I don't like punk bitches eyeballing me.

我他妈的就烦你们这些狗养的小阿飞盯着我看

But circumstances inside the Wang Jia Wei film displays one kind sometimes all in linearity time going over and future hanging to purchase state , that often is able to point out solar terms in event beginning in image "hooligan formal biography " in famous show opening,"Chongqing tells the sum the "east evil west is poisonous to the date relapse in forest "" despite of he uses detail to go to emphasize the time concept unceasingly,these stories that he gives an account of and not special time background, they may may happen within this city corner every day, They whip the specimen being away from out in life only from the city But that you only are capable to do some detail discovering two stories is each other alternative in fact , Wang Jia Wei uses this to play hide-and-seek coming to bring about one kind of synchronic sex effect dyadic game if you had looked at "Chongqing forest " carefully,chance and nothing order having shown the present age city life now that the linearity time concept having dispeled tradition narrating is protruding, the intention having formed one kind of dyadic spirit of existentialism thereby accumulates, Wang Jia Wei applying on space is more than time benefits by associating together, If you have looked at Wang Jia Wei's work but have moved, that is by no means since are what the overall world impression initiates, but being resonance because of detail, is fragmentary as well as atmosphere called up by the subjective soliloquy that the garrulity spends can let you produce mental conception makes

王家卫电影里的场景往往都在线性时间的过去和未来中呈现出一种悬置状态，尽管他不断地用细节去强调时间概念，像《阿飞正传》里那个著名的开场、《重庆森林》里对日期的反复诉说和《东邪西毒》里经常会在事件开头指出节气，但他讲述的这些故事并没有特别的时间背景，它们可能每天都会发生在这个城市的角落里，它们只是从城市生活中抽离出来的标本。如果你仔细看过《重庆森林》，你就会发现两个故事的某些细节其实是互相交错的，王家卫用这种捉迷藏式的游戏来造成一种共时性的效果，既消解了传统叙事的线性时间观念又凸现了当代都市生活的偶然和无序，从而形成了一种存在主义式的精神意蕴，而王家卫在空间上的运用更是与其时间相得益彰，如果你看了王家卫的作品而感动的话，那绝不是由于整体世界的印象所引发的，而是因为细节、片断以及絮语化的主观独白所唤起的气氛能让你产生心领神会的共鸣使然

His and Mr. Leung's collaboration began on a suitably odd note with "Days of Being Wild"(1991), to which Mr. Leung serves as a kind of gnomic coda.

王家卫和梁朝伟的合作始于《阿飞正传》中一个古怪而又绝赞的配合，梁朝伟在电影的结尾出现，烛照全片。

He didn't know the driver, a young punk with slick black hair and an open shirt, but he got in.

司机是个小阿飞，油光油光的头发，衬衫是敞开的。他不认识这个小子，但他还是上了车。

If I weren't going to he a dancer, he once said, I would have been a teenage hoodlum.

有一次他说："如果我当不成一名舞蹈演员，我很可能会变成一个少年阿飞。"

East wind says with me, want hooligan to still need him only, he won't leave Chinaz.

东风跟我说，只要阿飞还需要他，他就不会离开chinaz。

Although, some times can make a few small faults, but hooligan always can include in the past.

虽然，有的时候会去犯一些小错，但阿飞总会包容过去。

To see him as the hurtful teddy boy in Days of Being Wild, the proud warrior in The Bride with White Hair and the dominant demon romancer in Phantom Lover is to realize there's nothing more exhilarating than a trip to hell with him at the wheel.

看他在《阿飞正传》里饰演那个让人伤心痛苦的阿飞，在《白发魔女传》中那个桀骛不驯的侠士，以及《新夜半歌声》中那个主宰全局的鬼魅情人，你就能了解到，什麼事都比不上和他开著车来趟地狱之旅更令人兴奋的了。

Unexpectedly, is robbed on the way in the transaction by the human, the young rowdy is very depressed, does not think the misfortune never singly comes, tinkling the father does not think the daughter to suffer hardships, opposed firmly, in one time meets however the opportunity young rowdy knew the jewelry line stares at by the gun bandit, for the money, the young rowdy with makes a fraudulent switch counts the value several million diamonds trades the company, the bandit discovered afterward the diamond is false, therefore, the young rowdy has carried on an intense transaction with the bandit

不料，在交易途中被人抢劫，阿飞很沮丧，不想祸不单行，玲玲的父亲不想女儿受苦，坚决反对，在一次遇然的机会阿飞得知珠宝行被枪匪盯上，为了钱，阿飞用调包计把公司里价值几百万的钻石换走，事后抢匪发现钻石是假的，于是，阿飞跟抢匪进行了一场激烈的交易

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。