拉文斯 的英文怎麼說

中文拼音 [lāwénsī]
拉文斯 英文
lavins
  • 拉 : 拉構詞成分。
  • 文 : Ⅰ名詞1 （字） character; script; writing 2 （文字） language 3 （文章） literary composition; wri...
  • 斯 : Ⅰ名詞（古代驅疫時用的面具） an ancient maskⅡ形容詞[書面語] （醜陋） ugly
  • 拉文 : lavan
  1. It was darwin ' s visit on the beagle to the galapagos isles that gave him the key to his new theory

    達爾文乘「小獵犬號」去加拉戈斯群島的活動使他獲得了新創建理論的鑰匙。
  2. Some materials are also produced in other languages including simplified chinese, thai, hindu, urdu, japanese, tagalog, bengali etc

    簡體中文、泰文、印度文、巴基斯坦文、日文、菲律賓文、孟加拉文等等。
  3. The roster of composers and conductors who have led the philharmonic includes such historic figures as theodore thomas, pyotr ilyich tchaikovsky, anton n dvo ? k, gustav mahler ( music director, 1909 ? 11 ), otto klemperer, richard strauss, willem mengelberg ( music director, 1922 ? 30 ), wilhelm furtw ? ngler, arturo toscanini ( music director, 1928 ? 36 ), igor stravinsky, aaron copland, bruno walter ( music advisor, 1947 ? 49 ), dimitri mitropoulos ( music director, 1949 ? 58 ), klaus tennstedt, george szell ( music advisor, 1969 ? 70 ), and erich leinsdorf

    曾與樂團合作過的史上著名作曲家和指揮包括：西奧多?托馬斯、柴科夫斯基、德沃夏克、馬勒、奧托?克倫佩勒、理查?施特勞斯、威廉?孟高貝格、富爾特文格勒、托斯卡尼尼、斯特拉文斯基、科普蘭、布魯諾?瓦爾特、迪米特里?米特羅普洛斯、克勞斯?騰斯泰德、喬治?塞爾、埃里克?雷恩斯朵夫。
  4. The chance for wright - phillips to score his first chelsea goal may come at craven cottage, if he is selected

    如果他被選上出場的話，賴特菲利普斯開齋的機會可能在克拉文別墅到來。
  5. Turning twice along podnovinsky, balaga began to pull up, and turning back, stopped the horses at the old equerrys crossing

    巴拉加沿著波德諾文斯基大街走了兩段路，開始勒住馬，往回走，在舊馬廄街十字路口，馬停步了。
  6. Thus, or words to that effect, said zarathustra, sometime regius professor of french letters to the university of oxtail nor breathed there ever that man to whom mankind was more beholden

    69此言，或其他有類似含意之言語，系出自曾在牛尾大學開法國文學欽定講座之查拉圖斯特拉70教授。此人賜與人類之恩惠，無人企及。
  7. Their proud sailing traditions have survived to this day. the same goes for the distinctive hanseatic identity of latvian cities and towns that belonged to the league : riga, cesis, valmiera, straupe, limbazi, koknese, ventspils and kuldiga. the period in the 17 and 18 centuries when northern latvia was a part of the swedish kingdom is still refereed to by many latvians as the good old swedish time

    延續到今天的還有曾隸屬這一同盟的拉脫維亞城鎮的獨特漢薩身份，他們的名字是：里加，瓦爾米耶拉（ valmiera ） ，斯特魯普（ straupe ） ，林巴日（ limbazi ） ，寇克倪澤（ koknese ） ，文茨皮爾斯（ ventspils ） ，和庫爾迪加（ kuldiga ） 。
  8. Some of the hungarian jewesses who came to ravensbruck were really delicate beauties.

    來到拉文斯布呂克的匈牙利猶太婦女，其中一些真是纖妍的美人。
  9. Ahab with a piggyback. livingston ? - i can get anything

    亞哈騎脖兒拉屎，利文斯頓？ -我能找到一切
  10. - ahab with a piggyback. livingston ? - i can get anything

    -亞哈騎脖兒拉屎，利文斯頓？ -我能找到一切
  11. " it ' s the mother of all diamonds, " said travis metcalfe, who led the team of researchers at the harvard - smithsonian centre for astrophysics in america

    「這是鉆石之母， 」美國哈佛史密桑尼安天文物理中心研究組組長特拉維斯?梅特卡夫說。
  12. It is likely that atlantis was the land of the minoan culture, namely ancient crete and thera

    傳說中的亞特蘭蒂斯很可能是克里特文明的國土，也就是古代希臘和提拉文明。
  13. Harold bloom, a monumental and legendary figure of literary criticism at yale university, a name that cannot be avoided in poetry criticism, is one of the strongest and definitely the most prolific critics of his generation or of several past generations. professor xu jing, correspondent of foreign literature studies, interviewed professor bloom in may 2006. this interview focuses on his theory of poetry that was explosively brought forth in the 1970s by his famous tetralogy : the anxiety of influence, a map of misreading, kabbalah and criticism, and poetry and repression. bloom regards his theory of " the anxiety of influence " as his most important contribution to literary criticism, and uses " dancing " to explain his famous yet baffling six rations of " misprision. " always preoccupied with his own theory, bloom here again traces the precursors of emily dickinson and makes a brief comparison between walt whitman and wallace stevens. looking back to his past, bloom gives a summation of his life ' s trajectory as a critic : a revivalist of romantic poetry, a theoretician of poetry, and a critic for the general public. bloom began his career as a critic of british romantic literature in the afterglow of the new criticism. in the 1970s, bloom brought forth his explosive " theory of poetry " in the tetralogy publised in very quick succession in the 1970s. since the 1980s, bloom has become less technical and hopes to reach a wider readership. his literary criticism and what he calls his " criticism of religion " for the general public have made harold bloom a household name in america as well as in the world. at present, the 76 - year - old harold bloom is intensely engaged in the writing of what he hopes to be his masterpiece, the anatomy of influence, which is to be published in 2008 by princeton university press

    哈羅德?布魯姆教授是耶魯大學具有里程碑意義和傳奇色彩的文學批評家，一個詩歌批評界的一個不可迴避的名字，是他那一代人或幾代人中最猛烈的、也無疑是最多產的批評家之一.本刊特約記者徐靜於2006年5月對布魯姆教授進行了采訪.本次訪談的重點是布魯姆在20世紀70年代以《影響的焦慮》 、 《誤讀的地圖》 、 《卡巴拉與批評》 、 《詩歌與壓抑》四部曲的形式相繼提出的、具有爆炸性的"詩歌理論" .布魯姆認為"影響的焦慮"是他對文學批評最重要的貢獻，並用舞蹈這一形象的比喻來解釋了他那著名的卻常常令人困惑的關于"誤讀"的"六個定量" .在訪談中，布魯姆還追溯了幾位對愛米莉?狄金森頗有影響的前輩詩人，並簡單比較了惠特曼和史蒂文斯.布魯姆將他的批評生涯概括為三個階段:浪漫主義詩歌的復興者，詩歌理論家以及面向大眾的批評者.在新批評的余輝中，布魯姆以對英國浪漫主義詩歌的批評開始了其批評生涯. 20世紀70年代布魯姆提出了他那爆炸性的、以四部曲的形式相繼問世的"詩歌理論" .進入80年代后，布魯姆的批評不再艱深難懂，他希望能擁有更廣大的讀者群.他為普通大眾所寫的文學批評及"宗教批評" （布魯姆語）使得哈羅德?布魯姆成為了美國以及全世界的一個家喻戶曉的名字.目前， 76歲的布魯姆正全力寫作《影響的解剖》一書，將於2008年由普林斯頓大學出版社出版
  14. No one had bothered to dissect the brain of freud, stravinsky or joyce, but in the 1980s, bits of einsteinian gray matter were making the rounds of certain neurobiologists, who thus learned … absolutely nothing

    沒人費心去解剖弗洛伊德、斯特拉文斯基或喬伊斯的大腦，但在80年代，一些神經生物學家為搞清愛因斯坦的一些灰質大費周折，但最後一無所獲。
  15. She didn ' t want to discourage me, but the only way it could have reminded her of stravinsky is if stravinsky had accidentally sat on the keyboard

    然而她能作出這樣聯想的唯一情況，大概是斯特拉文斯基一不小心坐到了鋼琴鍵盤上。
  16. It was not just that he thought “ intensive measuring and counting ” the key to music ' s future ; stravinsky had got there long before him

    這也不是因為施托克豪森認為「精深的測定與計算」是決定音樂未來的關鍵，斯特拉文斯基在他之前就已經參透這些。
  17. “ it reminds me of stravinsky, ” she said

    「這使我想起斯特拉文斯基， 」她說。
  18. “ ah yes, stravinsky, ” ireplied, nodding my head

    「啊，是的，斯特拉文斯基， 」我點點頭回答道。
  19. Stravinsky songs of the nightingale

    斯特拉文斯基夜鶯之歌
  20. As late as schoenberg, webern and stravinsky, the propensity for " singing " worked its magic even on their purely instrumental works

    晚期如schoenberg ， webern及stravinsky （史特拉文斯基） ，即使在他們的純樂器作品， "唱"的傾向，有效
分享友人
分享到 Line

分享到臉書